cuvtixo

Most corny old Irish films feature Irish Catholic farming villages, and I guess it seems only fair to have an Irish film with lower-class Protestant cattle herders, featuring a feisty pastor(instead of the usual Catholic priest) and a fiery, bad-tempered, but good-hearted middle-aged woman in tow, succeeding against the odds to get fair earnings (against some wealthy Catholics, for fair measure and complete reversal of the usual stereotype). A side story includes a Irish Army deserter who is determined to join the British army instead, in time to fight Hitler (yeah, right!) Not to say the film is better or worse than the usual sickeningly sweet Irish movie plot, but there is an attempt here to portray Irish Protestants as champions of the rural countryside and underdogs in class conflicts. I'm not sure many Americans will even recognize the ways this film tweaks past depictions of Irish country life, while presenting a very familiar package.

"Night of the Living Dead" immediately lapsed into the public domain because the original theatrical distributor, the Walter Reade Organization, didn't place a copyright notice on the prints. In 1968, United States copyright law required notice for a work to maintain a copyright. Image Ten had a proper notice on the title frames beneath the original title, "Night of the Flesh Eaters." The distributor inadvertently removed the copyright statement when it changed the title, an act of negligence which ensured widespread distribution, but without royalties to the film makers.

Romero wanted to get at least some restitution for himself and others who worked on the original.

This film is a demonstration of deconstructionist thought first; and its subject happens to be the "father of deconstructionism." Once you get over this situation, it's a somewhat charming film, a sort of video fugue. The film presents an important theme early on, when Derrida quotes Heidegger (quite fittingly because much of Derrida's writings are based upon Heidegger's philosophy) about Aristotle's life: he was born, he thought, and he died. And the rest is pure anecdote. This is pretty much all this film says about Derrida. Listening to the commentary on the deleted opening scene in the extras on the DVD is quite helpful, and can give you an idea if you want to continue to watch. I liked how much this film touches on the issues of celebrity, privacy, and media saturated culture, without focusing on a mega-pop celebrity. I'd have liked to have been more succinct, but this forum requires ten lines. Too bad.