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Francine Stock's exploration of the way film has entered our lives is Aliya's non-fiction choice for this month's Book Club...
There are lots of different ways to talk about films. There’s film as an art form, in which people try to objectively discuss how the director makes a statement by manipulating sounds and images. There’s film as a historical document – why was it made at that time? What does it say about what was happening in society? And there’s film on a totally subjective level, where you just like what you like; whether it’s important artistically or historically or in any other way is not the point.
It’s rare to come across a book that attempts to address film on all three of those levels at the same time, but In Glorious Technicolor! gives it a good shot. It’s described in the introduction as, »
By Anjelica Oswald
Yesterday, the Academy’s documentary branch narrowed down the list of 134 documentaries to 15 for the shortlist. Of these 15, five will be announced Jan. 15 as the nominees for the 87th Academy Awards, which will be held on Feb. 22.
Over the past few months, I wrote about three documentaries and the precedent past nominees set for them: Rory Kennedy’s Last Days in Vietnam, John Maloof and Charlie Siskel’s Finding Vivian Maier and Orlando von Einsiedel’s Virunga. All three films made the shortlist. The lists of related documentaries that landed nominations for best documentary consist of eleven Vietnam documentaries, six photography-related documentaries and eight documentaries about the animal world.
Two weeks ago, I looked at ten of the top documentary contenders that debuted at Sundance, and five made the shortlist: The Case Against 8, about the battle to overturn California’s Proposition 8; Last Days in Vietnam, »
- Anjelica Oswald
Out on the publicity trail for the home release of his sci-fi curio The Congress, Waltz With Bashir director Ari Folman has revealed he's got his sights on a bigger space opera. Namely, he wants a crack at Frank Herbert's epochal Dune. But specifically, he'd like to make an animated adaptation of Alejandro Jodorowsky's abandoned version."I wish I could do that film," Folman tells Den Of Geek. "The Dune [Jodorowsky] wanted to do. At the end of the movie, he says that he didn't want to do it animated, but he had a 300-page storyboard illustrated for that film. He said, 'The time will come when a great animation director will take this book and make an animated movie out of it'."If you're unfamiliar with the story, Jodorowsky (El Topo, The Holy Mountain) claims the universe told him to make a film of Dune in 1977, despite not actually having read it. »
December sees the home release of The Congress, Ari Folman's sprawling, psychedelic science fiction film which mixes live-action and animation to hypnotic effect. Director Ari Folman previously made Waltz With Bashir, the animated film about his life as a soldier during the Lebanon War in 1982.
During a recent interview with the director, we asked whether he'd be making another science fiction film like The Congress in the future, given that he's been quite vocal about his love of the genre in the past.
"I'd love to make another one," he said, before going on to talk about Jodorowsky's Dune - Frank Pavich's 2013 documentary about director Alejandro Jodorowsky's ambitious but ultimately doomed attempt to adapt Frank Herbert's seminal sci-fi novel back in the 1970s.
Inspired by Pavich's film, »
Often it is the one that gets away that leaves the biggest impact. For director Alejandro Jodorowsky his white whale was his dream of adapting the literary classic Dune. It was a dream he came inches close of achieving only to see it disintegrate in a cloud of dry dust. Although the movie was never made it left cinematic ripples that still affect the movies we see today. Now generations later we all have an opportunity to see what could have been in Frank Pavich’s documentary Jodorowsky‘s Dune.
Not only does Jodorowsky’s Dune operate as a piece of hidden Hollywood history it also shows how passion does not falter even after generations of failure. This absorbing story encapsulates the encompassing power of enthusiastic inspiration, and the frustrating nuisance of bureaucratic movie making. In the case of, “Who Killed Originality in Mainstream Movies” this should be used as Exhibit A. »
- Dan Clark
Since the development of the moving picture camera in the late 19th century, the world, especially Americans, has been fascinated by the silver screen. For a time, people shut out the cold reality of the Great Depression with Shirley Temple's iconic curls, and legends such as Errol Flynn, Gregory Peck, and Katherine Hepburn roamed Hollywood lots and ordered Cobb salads at the Brown Derby. For awhile it seemed that our infatuation with Hollywood would never end, but the most recent decade has seen both its revenue and cultural significance decline, and many industry experts are scrambling to understand how movies have slipped from the spotlight. Internal changes show that studios have reinvested quite a bit of their resources into television production, and although Hollywood has been a television oriented town since the late -1950s, it had never stepped on film profits until fairly recently.
Since the true golden »
- Brandon Engel
Directed by David Lynch
Aired April 8, 1990 on ABC
“Diane, 7:30 am, February 24th. Entering town of Twin Peaks. Five miles south of the Canadian border, twelve miles west of the state line. Never seen so many trees in my life. As W.C. Fields would say, I’d rather be here than Philadelphia. … Lunch was $6.31 at the Lamplighter Inn. That’s on Highway Two near Lewis Fork. That was a tuna fish sandwich on whole wheat, a slice of cherry pie and a cup of coffee. Damn good food. Diane, if you ever get up this way, that cherry pie is worth a stop.” – Dale Cooper
In the nearly 25 years since Twin Peaks debuted on ABC, the show has achieved an almost mythic status in the canon of television. Not only has it influenced a legion of other shows, »
- Les Chappell
Departure Day: When it comes to TV, is closure important?
If you happen to follow a decent number of TV critics on Twitter, you may have noticed a minor eruption of late. A schism has emerged, prompted by accounts like The Cancellation Bear, which concerns itself solely with the topic of whether or not series are likely to survive based on current ratings patterns. That may sound perfectly innocent on its own, but quite a few admirers have expressed the notion that they refuse to dive into a series if they get the sense that it will come to a premature end, thereby robbing them of closure. This idea has, naturally, left many critics incensed: isn’t TV a medium founded on chaos, on the thrill of working within limitations and at the whims of fickle audiences? Moreover, isn’t it silly to always want tidy resolution in the context »
Injury Autumn/Winter 2011 Video Look Book. Or a three-minute horror movie trailer. You decide.
Founded by former architecture student and graffiti artist, designer Eugene Leung started his line Injury in Sydney, in 2004. The name Injury came to Leung when he drew a comparison of being “cut and sewn,” and therefore being in “a situation of injury,” to what happens when he manipulates fabrics for his fashion line. Leung says he gets his primary inspiration from horror movie soundtracks, as well as “all things dark, bizarre, gothic, or darkmarish.” His line is also well known for its video look-books, which play out like short unsettling horror movie trailers. Like the one for Injury’s Autumn/Winter 2011 collection called “Pandemonium”, above.
Injury’s logo, or a memento from a serial killer?
So what about the clothes?
They are totaly rock and roll, either black or white, and unisex. When it comes to the patterns, »
- Cherry Bombed
Cool film stuff can be almost as fun as actually going to the movies. Think of a Batman cape, an Arnold Schwarzenegger action figure, or Goldeneye on the N64. Hell, the merchandising can often be more enjoyable than the actual film – remember how much fun the first few months of 1999 were before Star Wars: The Phantom Menace was actually released?
Yet, in the chase to make a quick buck out of devoted fans, some... let's just say less relevant, movie merchandise is churned out and flogged to the public.
Here then are 50 of the strangest (not ranked in order!) – expect action figures of obscure henchmen, 16-carat gold Twilight jewellery and some truly vomit-inducing burgers…
In Spider-Man 3, Peter »
It's a bit of an interesting episode as it lacks a little bit of direction, but we manage to talk for just over an hour taking a look at the return of Bryan Singer to X-Men: Apocalypse, Colin Farrell confirmed to star in the second season of "True Detective", a few thoughts on Se7en had it been released today, answer a few of your questions, play some games and a few other bits and bobs. Hope you enjoy! If you are on Twitter, we have a Twitter account dedicated to the podcast at @bnlpod. Give us a follow won'tchac I want to remind you that you can call in and leave us your comments, thoughts, questions, etc. directly on our Google Voice account, which you can call and leave a message for us at (925) 526-5763, which may be even easier to remember at (925) 5-bnl-pod. Just call, leave us a »
- Brad Brevet
Directors’ Trademarx is back! At least once a month, Cinelinx will chose one director for an in-depth examination of the “signatures” that they leave behind in their work. This month we examine the trademark style and calling signs of David Lynch as director.
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Unlike the other people who have been featured in this column in the past, David Lynch is less a director and more an artist. He is a writer, a visual artist, an actor, and a musician in addition to being a director. Above all, he is an interesting personality. His style is best described as surreal, and is not for the faint of heart. His films are typically sparse in action (but frequently violent), heavy in drama, and dwell in the bizarre. As such, despite being so well-renowned for his unique perspective, his films don’t have a lot of »
- email@example.com (G.S. Perno)
20. Fear and Loathing in Las Vegas (1998)
Directed by: Terry Gilliam
So…drugs, right? Based on Hunter S. Thompson’s 1971 novel of the same title, Fear and Loathing stars Johnny Depp and Benicio del Toro as Raoul Duke and Dr. Gonzo, respectively. The pair is heading to Sin City, speeding through the Nevada desert, under the influence of mescaline. From there, the film is series a bizarre hallucinations seen through the eyes of Duke. So, we jump from hotel room to hotel room, all of the action a blur of what is happening and what really isn’t. Throughout the course of the film, Duke and/or Gonzo ingest the following drugs: mescaline, sunshine acid, diethyl ether, LSD, cocaine, and adenochrome (probably more). Duke – who is a Thompson stand-in – is supposed to be writing an article before heading back to Los Angeles, but tends to get sidetracked quite a bit. In »
- Joshua Gaul
The folks at One Way Static Records must have chanted “Candyman” five times while looking in the mirror, because their latest release is the soundtrack to 1992’s Candyman, a film based on Clive Barker’s Books of Blood short story, “The Forbidden.” Making its vinyl debut, the eerie soundtrack by Philip Glass is available to pre-order, and we have song samples and a look at the gatefold and cassette cover art.
Press Release - “One Way Static Records is really proud to be bring you their latest release, A release where we had the chance to work with two icons in their own respective fields!
- Derek Anderson
It's like Star Wars, but refracted through a strange lens. Here's Han Solo, but he's green, like the Toxic Avenger, and has gills. Here's Luke Skywalker, but he's a powerful general with a white beard and a flinty look in his eye.
All this can be found in what is now commonly called The Rough Draft of The Star Wars, originally written by George Lucas back in 1974. A kind of mid-point between the somewhat vague ideas Lucas first had for his space fantasy movie earlier in the decade, and the fourth draft - which was used as the shooting script for the 1977 film - The Star Wars is a jarring document from the franchise's early history.
Villordsutch reviews The First Kingdom Vol. 5 – The Space Explorers Club…
With the conclusion of The First Kingdom, human champion, Tundran, and his children, fulfil their ultimate destiny and bring down the pantheon of the gods, heralding a new epic! From a far-flung future of space-faring humans to races of strange new gods, The Space Explorers Club is published here Exclusively for the First time by Titan Comics, expanding what is considered by many to be the first true graphic novel! Vol. 5 comes with exclusive all-new interviews and special features!
I am unsure whether I should admit to never being aware of Jack Katz’s The First Kingdom (Volumes 1 through 4). I don’t know if I’ll be escorted from the comic book fraternity as a fraud, my peers will turn their backs on me and I’m forced to hand back my ceremonial robes of office and keys to the front door. »
One of the key reasons that prognosticators under-estimated the performance of Marvel Studios' Guardians of the Galaxy is because modern audiences haven't always proven to be up for big space adventures that aren't already part of their own established cinematic brand. In the last couple of years we have seen big budget epics like John Carter and Ender's Game completely fail to capture attention, perhaps because people weren't interested in keeping track of the special terminology and following the progression of new world building. As it turns out, studios were paranoid about this kind of reaction to complex sci-fi dating all the way back to 1984, as evidenced by these Dune "glossaries" that have found their way online. What you see above and below are two full pages of definitions that were handed out to patrons paying to see director David Lynch's adaptation of Frank Herbert's famous sci-fi »
The story follows a militant Native American student who kidnaps the thirteen-year-old white son of a U.S. politician, intending to sacrifice the child for vengeance against wrongs committed against his people.
As the captor and the captive flee from hunters across the Pacific Northwest, they form a bond that throws the planned act into question.
Villard pursued the rights to the project in the 1980s before his career took him away from film altogether. Now he's back and after a year of negotiation with the Herbert estate he scored the rights. He's currently seeking a director.
Source: Deadline »
- Garth Franklin
Frank Herbert’s most famous work of fiction Dune is the topic of this week’s 1984 look back series. Showing uncanny timing news has reached us that another of the author’s works has just been optioned. The story in question is Soul Catcher, a story that was first published in 1972.
Surprsingly although Herbert has the accolade for having written the best-selling science fiction novel ever, Dune remains his only work to be transformed into celluloid. That might have some to do with the reception the Dune film received, with director Lynch distancing himself from the project (read all about it in our feature). Before his death in 1986 Herbert had written dozens of stories including several Dune sequels.
Soul Catcher appears to have a rather strange and interesting plot. A militant Native American student seeking vengeance for his people kidnaps the teenage son of a Us politician. The pair then »
- Kat Smith
Frank Herbert's Soul Catcher has been optioned for film.
Soul Catcher centres around a young Native American student who kidnaps the 13-year-old son of a Us politician, planning to sacrifice him in vengeance for the wrongs committed against his people.
As the pair flee from federal hunters, they form a bond which threatens to derail the plan.
"The book is an extraordinary example of Frank Herbert's brilliant writing, and it is something I've always wanted to turn into a film," said Villard.
"I remember the rights being unavailable when I first pursued the Soul Catcher project in the '80s, but as my producing career developed I never forgot »
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