#Anne Horak

[derekklenadaily]

                                                             DINER

Erika Henningsen, Derek Klena, Anne Horak, Jacqueline Beatrice Arnold, Rachel Stern. Photo by Matt Urban. Mobius New Media

[popentertainment-moviereviews]

BOMBSHELL: THE HEDY LAMARR STORY (2017)

Featuring Mel Brooks, Jennifer Hom, Anthony Loder, Wendy Colton, Fleming Meeks, Richard Rhodes, Jan-Christopher Horak, Jeanine Basinger, Peter Bogdanovich, Anne Helen Petersen, Diane Kruger, Stephen Michael Shearer, Robert Osborne, Denise Loder DeLuca, Roy Windham, Manya Breuer, Guy P. Livingston, Tony Rothman, Prof. Danijela Cabric, Nino Amarena, Michael Tilson Thomas, Arthur A. McTighe, Lodi Loder, James L. Loder, William J. Birnes, Dr. Lisa Cassileth, David Hughes, Major Darrell Grob and archival footage of Hedy Lamarr.

Directed by Alexandra Dean.

Distributed by Zeitgeist Films. 90 minutes. Not Rated.

bomb·shell:  

1.  An overwhelming surprise or disappointment.

2.  a very attractive woman

3.  a fitting title for a movie about one of Hollywood’s most recognized faces and the “hidden in plain sight” story about an under acknowledged genius of her time.

Bombshell: The Hedy Lamarr Story dishes on the Hollywood beauty icon who garnered worldwide attention for her glamorous looks, marriages, scandals, and even arrests. More importantly, it sheds light on her inventive mind, strength, and perseverance to make a difference in the world.  

Born to a wealthy family in Vienna, Austria, Hedy was raised between the world wars, leading a bourgeois life of private schools and the celebration of culture, encouraged by her father to be creative and use her mind. Although born Jewish, the Kiesler family lived as assimilated Jews and did not publicize their religion.

Hedy began her acting career in small Viennese films in her early teens, but gained notoriety at age 18, in 1933’s Ecstasy, a scandalous film of its time denounced by both the Pope for its sexual escapades and by Hitler for its Jewish actress.  It left a black mark on young Hedy’s career that she worked hard to overcome, but seemed to have had an ongoing impact on her contracts and overall career as both filmmakers and the public made assumptions on her character and acting skill, typecasting her for years.  

At 19, Hedy married Fritz Mandal, a jealous munitions tycoon, 14 years her senior. This was to be her first of six marriages. A fun note mentioned in Bombshell is that Mandal’s jealousy and paranoia led him to buy up every print of Hedy from Ecstasy, and the more he bought, the more prints there were created. In spite of luxury and leisure, the marriage was unhappy and in the end, Hedy managed a stunning escape with her jewels sewn into her coat lining and maneuvered her way to London and then to Hollywood.  

Bombshell is filled with vignettes, photos, and footage of Old Hollywood – the glamour, the forced entry into drug use and addiction, and a world run by powerful men. This is much of the gossip and history that we’ve heard, but in Hedy’s world, there was also a parallel life of science and invention that she pursued in her off time – be it in her Hollywood set trailer or in her limited free time.  

What Bombshell does well is to tell the cautionary tale of what can happen to the human spirit if inventiveness and creativity are not celebrated and allowed to flourish. This is not the story of Albert Einstein, Howard Hughes, or Henry Ford. This is the story of a woman who collaborated on an idea that led to a US Patent for signal hopping technologies, was given a “thanks but no thanks” and then was told to put her efforts into something more useful, like selling war bonds if she wanted to help the troops. Her groundbreaking invention is the foundation of today’s Bluetooth, GPS, and secure wi-fi technologies. At the time, it was acknowledged by the Navy and then shelved.  

Hedy’s story is fascinating because it is so widely unknown. Bombshell as an overall film feels slow, rightfully angry, and a bit narcissistic as it focuses a bit too much time directly on cuts from her 1990 cassette recorded 1990 Forbes Interview.

It is an important story for this generation in the midst of the #metoo movement and a Hollywood journey in search of equality. However, I don’t suspect the story will garner the attention that it deserves in this format. Bombshell will be attractive to Old Hollywood buffs, but I fear that it will not reach the audience of young women that it is meant to inspire.  

Bonnie Paul

Copyright ©2018 PopEntertainment.com. All rights reserved. Posted: March 9, 2018.

[luisbunueldondeestas]

Strand 1: Theorising Moving Images

1.   Ontology

Reading:

André Bazin, "The Ontology of the Photographic Image.” In What is Cinema?. Volume I. Hugh Gray, ed. and trans. (Berkeley: University of California Press, 1967), pp. 9-16.

Alessandre Raenga, On the Sleeve of the Visual: Race as Face Value (Dartmouth, NH: University Press of New England), pp. 21-51.

Stanley Cavell, The World Viewed. Cambridge, Massachusetts: Harvard University Press, 1979), pp. 10-25; 118-133.

Jean-Luc Nancy, "The image--the Distinct.” In Nancy, Jean-Luc. The Ground of the Image. Jeff Fort, trans. (New York: Fordham University Press, 2005), pp. 1-14.

Further Reading

Martin Heidegger, 'The Question Concerning Technology', The Question Concerning Technology and Other Essays, William Lovitt, trans. (New York: Harper Perennial, 1977), 3-35.

Screening

Electrocuting an Elephant (Edison, 1903)

Study in Choreography for the Camera

How It Feels to Be Run Over (Hepworth, 1900)

Blow Job (Andy Warhol, 1963)

(nostalgia) (Hollis Frampton, 1971)

The Girl Chewing Gum (John Smith, 1976)

2. The Aesthetic

Reading  

Immanuel Kant, The Critique of the power of judgment, Paul Guyer and Eric Matthews, trans. (Cambridge: Cambridge UP, 2000 [1790]), pp. 89-127; 182-187.

Gilles Deleuze, 'Having an Idea in Cinema', Deleuze & Guattari: New Mappings in Politics, Philosophy and Culture Eleanor Kaufman and Kevin Jon Heller, eds. (Minneapolis and London: University of Minnesota Press, 1994), pp. 14-19.

Jacques Rancière, The Politics of Aesthetics, Gabriel Rockhill, trans. (London: Continuum, 2004), pp. 12-34 and 42-45.

 Further Reading

Jacques Rancière, 'What Aesthetics Can Mean', From an Aesthetic Point of View: Philosophy, Art and the Sciences, Peter Osborne, ed. (London: Serpent's Tail, 2000), 13-33.

Douglas Burnham, An Introduction to Kant's Critique of Judgement (Edinburgh University Press, 2000)

Fiona Hughes, Kant's Critique of Aesthetic Judgement: A Reader's Guide (London: Continuum, 2010)

Screening  

Bamako (Abderrahmane Sissako, 2006)

Mothlight (Stan Brakhage,1963)

Study in Color and Black and White (Stan Brakhage,1993)

3. Form and Medium

Reading

G.W.F. Hegel, Aesthetics: Lectures on Fine Art, T.M. Knox, trans. (Oxford: Clarendon Press, 1975 [1835]), pp. 1-55.

Karl Marx, Capital, Vol. I, Ben Fowkes, trans. (London: Penguin 1990), Chapter 7, Part 1 'The Labour Process', pp. 283-292.

Maya Deren, An Anagram of Ideas on Art, Form, and Film, in Essential Deren, Bruce R. McPherson, ed. (Kingston, NY: Documentext, 2005), pp. 85-109.

Bernard Siegert, ‘Doors: On the Materiality of the Symbolic’, John Durhan Peters, trans. Grey Room 47 (Spring 2012), pp. 6-23.

Further Reading

Erwin Panofksy, Perspective as Symbolic Form, Christopher S. Wood, trans. (New York: Zone Books, 1997)

Peter Bürger, Theory of the Avant-Garde, Michael Shaw, trans. (Minneapolis: University of Minnesota Press, 1984), pp. 55-82.

David Bordwell, Narration in the Fiction Film (Madison, WI: University of Wisconsin Press, 1985), pp. 3-47; 48-62.

Eugenie Brinkema, The Forms of the Affects (Durham, NC: Duke University Press, 2014), pp. 26-46.

Lorenz Engell, ‘Ontogenetic machinery’, Radical Philosophy 169 (September-October 2011), pp. 10-12.

Screenings

Ritual in Transfigured Time (Maya Deren, 1946)

Playtime (Jacques Tati, 1967)

4. Watching

Reading

·         Karl Marx, Capital, Vol. I, Ben Fowkes, trans. (London: Penguin 1990); Chapter 1, Section 4, 'The Fetishism of the Commodity and its Secret', pp. 163-177.

·         Sigmund Freud, 'Fetishism' (1927), The Complete Psychological Works of Sigmund Freud, Vol. XXI, James Strachey, trans. (London: Hogarth and the Institute of Psychoanalysis, 1950), pp. 147-157.

·         Laura Mulvey, 'Visual Pleasure and Narrative Cinema', Screen 16:3 (Autumn 1975), pp. 6-18.

·         bell hooks, 'The Oppositional Gaze: Black Female Spectators'. In Black Looks: Race and Representation (Boston: South End Press, 1992), pp. 115-152.

·         Jonathan Beller, The Cinematic Mode of Production: Attention Economy and the Society of the Spectacle (Dartmouth College Press, 2006), pp. 1-33.

Further Reading

·         Theodor Adorno and Max Horkheimer, 'The Culture Industry: Enlightenment as Mass Deception', in Dialectic of Enlightenment, John Cumming, trans. (London: Verso, 1997 [1944]), pp. 120-167.

·         Jean-Louis Baudry, 'Ideological Effects of the Basic Cinematographic Apparatus', trans. Alan Williams, Film Quarterly, 28.2 (Winter 1974-5), pp. 39-47.

·         Jean-Louis Baudry, 'The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema', Camera Obscura 1 (Fall 1976), pp. 104-128.

·         Christian Metz, Psychoanalysis and Cinema: The Imaginary Signifier. Celia Britton, trans. (Basingstoke: Macmillan, 1982)

Screening

·         Imitation of Life (Douglas Sirk, 1959)

5. Time

Reading

Mary Ann Doane, 'The Representability of Time', in The Emergence of Cinematic Time: Modernity, Contingency, the Archive (Cambridge, MA.: Harvard University Press, 2002), pp. 1-32.

Mary Ann Doane, 'Zeno's Paradox: The Emergence of Cinematic Time', in The Emergence of Cinematic Time: Modernity, Contingency, the Archive (Cambridge, MA; London: Harvard University Press, 2002), pp. 172-205.

Laura Mulvey, 'Passing Time', in Death 24x a Second: Stillness and the Moving Image (London: Reaktion, 2006), pp. 17-32.

Laura Mulvey, 'Uncertainty: Natural Magic and the Art of Deception', in Death 24x a Second: Stillness and the Moving Image (London: Reaktion, 2006), pp. 33-53.

David Rodowick, 'The Virtual Life of Film', in The Virtual Life of Film (Cambridge, MA: Harvard University Press, 2007), pp. 1-24.

Garrett Stewart, 'Introduction: An Optical Allusion', in Framed Time: Toward a Postfilmic Cinema, (Chicago: University of Chicago Press, 2007), pp. 1-19.

Screening

La Jetée (Chris Marker, 1962)

L'Année dernière à Marienbad (Alain Resnais, 1961)

Arrebato (Iván Zulueta, 1979-80)

6. Sensation 

Reading

Viktor Shklovskii, 'Art as Device', (1919), in Theory of Prose, trans. and ed. Benjamin Sher (Illinois: Dalkey Archive Press, 1990), pp. 1-15.

Dziga Vertov, 'The Cine-Eyes. A Revolution', (1923), in Richard Taylor and Ian Christie, eds., The Film Factory: Russian and Soviet Cinema in Documents (London : Routledge, 1994), pp. 89-94.

Sergei Eisenstein, 'The Problem of a Materialist Approach to Form' (1925), in Richard Taylor, ed., S. M. Eisenstein: Selected Writings 1922-34, Selected Works, Vol.1 (London: BFI, 1998), pp. 59-64.

Béla Bálazs, Béla Bálazs: Early Film Theory, Erica Carter, ed.; Rodney Livingstone, trans. (Oxford: Berghahn, 2010), pp. 1-15; 40-45. See also Erica Carter, 'Introduction,' pp. xxiv-xxv.

Walter Benjamin, 'The Work of Art in the Age of Mechanical Reproduction', in Illuminations, Hannah Arendt, ed.; Harry Zohn, trans. (New York: Schocken, 1969), pp. 217-251.

Miriam Hansen, 'The Mass Production of the Senses: Classical Cinema as Vernacular Modernism', Modernism/Modernity 6:2 (April 1999), pp. 59-77.

Malcolm Turvey, 'Balázs: Realist or Modernist?', October 115 (2006), pp. 77-87.

Screening

Man with a Movie Camera (Dziga Vertov,1929)

Further screening

Film Eye (Dziga Vertov, 1924)

Three Songs of Lenin (Dziga Vertov, 1934)

The New World (Terence Malick, 2005)

7. Exclusions

Reading

Frank Wilderson, Red, White, Black: Cinema and the Structure of U.S. Antagonisms (Durham, NC: Duke University Press, 2009), pp. 1-32.

Lee Edelman, No Future: Queer Theory and the Death Drive (Durham, NC: Duke University Press, 2004), pp. 1-31.

Meg Wesling, ‘Queer Value’, glq: A Journal of Lesbian and Gay Studies, 18:1 (2012), pp. 107-125.

Hito Steyerl, 'In Defense of the Poor Image', in The Wretched of the Screen (Berlin: Sternberg Press, 2012), 31-45.

Further Reading

Saskia Sassen, Expulsions: Brutality and Complexity in the Global Economy (Cambridge, MA: The Belknap Press of Harvard University Press, 2014)

Colin Dayan, The Law is a White Dog: how legal rituals make and unmake persons (Princeton: Princeton University Press, 2011)

Judith Butler, Bodies That Matter: On the Discursive Limits of Sex (Routledge: 1993), pp. 121-140.

bell hooks, ‘Is Paris Burning?’. In Black Looks: Race and Representation, (Boston: South End Press, 1992) , pp. 145-156.

Eva Cherniavsky, Incorporations: Race, Nation, and the Body Politics of Capital (Minneapolis; London: University of Minnesota Press, 2006), pp. 71-99.

Susan Sontag, ‘Notes on Camp’. In Against Interpretation (New York: Dell Publishing, 1966), pp. 275-292.

Silvia Federici, Revolution at Point Zero: Housework, Reproduction, and Feminist Struggle (Oakland, CA; Brooklyn, NY: PM Press; Autonomedia, 2012).

Alyson Nadia Field, Jan-Christopher Horak, and Jacqueline Najuma Stewart, L.A. Rebellion: Creating a New Black Cinema (Oakland: University of California Press, 2015).

Cheryl Harris, 'Whiteness as Property', Harvard Law Review 106:8 (June 1993), pp. 1707-91.

Screening

Several Friends (Charles Burnett, 1969)

Looking for Langston (Isaac Julien, 1989)

Formation (Beyoncé Knowles, Melina Matsoukas, 2016)

Further Screening

Paris is Burning (Jenny Livingston, 1990)

Mariposas en el Andamio (Butterflies on the Scaffold,  Margaret Gilpin and Luis Felipe Bernaza; 1996)

Daughters of the Dust (Julie Dash, 1991)

8. Periodisation

Reading

Fredric Jameson, Postmodernism, Or the Cultural Logic of Late Capitalism (Durham, NC: Duke University Press, 1991), pp. 1-54.

Fredric Jameson, ‘Historicism in The Shining’. In Signatures of the Visible (New York and London: Routledge, 1992), pp. 112-134.

Steven Shaviro, Post Cinematic Affect (London: Zero Books, 2010).

Screening

The Shining (Stanley Kubrick, 1980)

[356mission]

List of individuals and groups who have participated in an event at 356 Mission

LeanThe New Dreamz (Rose Luardo and Andrew Jeffrey Wright)

Andre Hyland

Whitmer Thomas

Jessica Ciocci

Michael Webster

Asha Schechter

Gabu Heindl & Drehli Robnik (screening)

Rachel Kushner (with parts read by Barry Johnston, Gale Harold, Karen Adelman, Paul Gellman, Stuart Krimko, Stanya Kahn, Alex Israel, Milena Muzquiz)

Mina Stone

Ken Ehrlich & Emily Joyce

Flora Wiegmann with Alexa Wier

James Lee Byars (screening)

Trisha Brown (screening)

Ei Arakawa (screening)

Jennifer Phiffer

Euan MacDonald and Henri Lucas

Fundación Alumnos47

ForYourArt

Derek Boshier

Alex Kitnick

Cherry Pop

De Porres

Aaron Dilloway

Jason Lescalleet

John Wiese

Final Party (Barry Johnston)

Crazy Band

Aram Moshayedi

Bruce Hainley

Gary Dauphin

Kathryn Garcia

Leland de la Durantaye

Sohrab Mohebbi

Tala Madani

Tiffany Malakooti

Negar Azimi

Barbara T. Smith

LeRoy Stevens

Joe Sola and Michael Webster

Math Bass and Lauren Davis Fisher

Angel Diez Alvarez (screening)

Hedi El Kholti

K8 Hardy

Anna Sew Hoy

L.A. Fog

Trinie Dalton

Rita Gonzalez

Alex Klein

Mark Owens

Tanya Rubbak

AL Steiner

C.R.A.S.H.

Lao

Mexican Jihad

Zak-Matic

Laura Poitras (screening)

Parker Higgins

Domenick Ammirati

John Seal

John Tain

Bruce Hainley

Lisa Lapinski

Kate Stewart

Sarah Lehrer-Graiwer

Ian Svenonius

Entrance Band

Allison Wolfe

Geneva Jacuzzi

Chain & the Gang

Shivas

Hunx

Jimi Hey

69

Tim Lokiec

Scott & Tyson Reeder

Total Freedom

Prince William

Kingdom

SFV Acid

Jesse Fleming

William Leavitt

Lucas Blalock

Oliver Payne

Meredith Monk

Jessica Espeleta

Rollo Jackson (screening)

Jack Smith (screening)

Noura Wedell

Sylvère Lotringer

Jesse Benson

Zoe Crosher

Alex Cecchetti

Patricia Fernandez

Jeff Khonsary

Ben Lord

Shana Lutker

Joseph Mosconi

Suzy Newbury

Scott Oshima

Kim Schoen

Clarissa Tossin

Mark Verabioff

Brica Wilcox

Michael Clark

Ben Brunnemer

Ted Byrnes / Corey Fogel

Kirsty Bell

Johnston Marklee

Emily Sundblad & Matt Sweeney

Kevin Salatino

Wooster Group (screening)

Shannon Ebner

East of Borneo

Sue Tompkins

Alexis Taylor

Leslie Buchbinder (screening)

Odwalla88

Dean Spunt

Bebe Whypz

Saman Moghadam (screening)

J Cush

Hive Dwellers

Bouquet

Dream Boys

Jen Smith

Thee Oh Sees

Jack Name

Alex Waterman and Will Holder

Jonathan Horowitz

Ali Subotnick

Brian Calvin

Dean Wareham

Gracie DeVito

Indah Datau

Jake DeVito

Sara Gomez

Luke Harris

Sarah Johnson

Julia Leonard

Jillian Risigari-Gai

Joseph Tran

George Kuchar (screening)

Andrew Lampert

Reach LA

Oscar Tuazon

Black Dice

Danny Perez

Avey Tare

Shinzen Young

Jesse Fleming and Lewis Pesacov

Mecca Vazie Andrews

Mira Billotte

Julian Ceccaldi

Oldest (Brooks Headley & Mick Barr)

DJ Andy Coronado

François Ceysson

Amanda Ross-Ho

Raphael Rubinstein

Wallace Whitney

Bradford Nordeen

Chris Kraus

Samuel Dunscombe & Curt Miller

Jay Chung

Lev Kalman & Whitney Horn (screening)

Maricón Collective

The Shhh 

Alice Bag 

Martin Sorrondeguy

Sex Stains

Kevin Hegge (screening)

Rhonda Lieberman

Lisa Anne Auerbach

David Benjamin Sherry

Eric Wesley

Tamara Shopsin, Jason Fulford, and Brooks Headley

Deborah Hay

Becky Edmunds (screening)

Kath Bloom

Erin Durant

Ben Vida

Charles Atlas

Laurie Weeks

Kerry Tribe

Renée Green

Fred Moten

The Office of Culture and Design / Hardworking Goodlooking

YUK, MNDSGN, and AHNUU

PATAO

Michael Biel

Mark Von Schlegell

Graham Lambkin

Lex Brown

Jibade-Khalil Huffman

Dan Levenson

Sarah Mattes

Carmen Winant

Gloria Sutton

John Musilli (screening)

Pieter Schoolwerth and Alexandra Lerman (screening)

Nate Young

Safe Crackers

Frances Stark

Liliana Porter (screening)

Adam Linder

Corazon del Sol

Gary Cannone

Ben Caldwell

Jacqueline Frazier

Jan-Christopher Horak

Haile Gerima (screening)

Barbara McCullough (screening)

Jon Pestoni

Andrew Cannon

David Fenster

Dick Pics

Seth Bogart

Lonnie Holley

Rudy Garcia

Dynasty Handbag

Christine Stormberg

Anthony Valdez

Kate Mosher Hall

JJ Stratford

Diana Adzhaketov

DJs Cole MGN and Nite Jewel

Casey Jane Ellison

Gary Indiana + Walter Steding

Kate Durbin

Michael Silverblatt

Hamza Walker

Wynne Greenwood

Robert Morris

Maggie Lee (screening)

Brendan Fowler

Susan Cianciolo

Aaron Rose

John Boskovich (screening)

Michel Auder (screening)

Lauren Campedelli, Leo Marks, and Jan Munroe

Klang Association feat. Anna Homler (Breadwoman), Jorge Martin, Jeff Schwartz

sodapop

Hoseh

Miles Cooper Seaton & Heather McIntosh

Drip City

Geologist

Deaken

Brian Degraw

$3.33

Angela Seo

George Jensen

Carole Kim & Jesse Gilbert & Friends

Aledandra Pelly

dublab

Mariko Munro

Emily Jane Rosen

Lana Rosen

Max Syron

Mark Morrisroe (screening)

Ramsey McPhillips

Stuart Comer

Jordan Wolfson

Kiva Motnyk

Samara Golden

Sam Ashley

John Krausbauer

Kate Valk

Elizabeth LeCompte

Lewis Klahr

Barbara Kasten

Martine Syms

Margo Victor

Studioo Manueel Raaeder

Mary Farley

Wayne Koestenbaum

Jibz Cameron

Sean Daly

Kendra Sullivan

Trinh T. Minh-ha

Johanna Breiding + Jennifer Moon

Tisa Bryant

Cog•nate Collective (Misael G Diaz + Amy Y Sanchez-Arteaga)

Bridget Cooks

Michelle Dizon

Anne Ellegood

Shoghig Halajian

Katherine Hubbard

Simon Leung

Amanda McGough + Tyler Matthew Oyer

Dylan Mira

Litia Perta

Eden’s Herbals

Matt Connors

Flat Worms

Susan

Lucky Dragons

Dos Mega

David Korty

Monica Majoli

Forrest Nash

Sophie von Olfers

Rudolf Eb.er

dave phillips

Joke Lanz

The Dog Star Orchestra

The Edge of Forever (Elizabeth Cline + Lewis Pesacov)

Lutz Bacher (screening)

Agnes Martin (screening)

Marisa Takal

Moyra Davey (screening)

Suzanna Zak

Wu Tsang, boychild and Patrick Belaga

Snake Jé

VIP

Fictitious Business DBA The Geminis

DJ M.Suarez

Asmara

Weirdo Dave

Mission Chinese

Veronica Gonzalez Peña

Thomas Bayrle

Bernhard Schreiner

Bob Nickas

The Cactus Store / Christian Herman Cummings

Atelier E.B

Iman Issa

Diana Nawi

Sqirl

Downtown Women’s Center

Earthjustice

Juvenile Justice Clinic at Loyola Law School

Loyola Immigrant Justice Clinic

N.eed O.rganize W.ork

Planned Parenthood

SoCal 350 Climate Action

St. Athanasius

WriteGirl

Sean/Milan

John Santos

Thomas Davis

Twisted Mindz

Adrienne Adams

Evan Kent 

Jasmine McCloud 

Gia Banks

Ace Farren Ford

Dennis Mehaffey

Fredrik Nilsen

Paul McCarthy

Joe Potts

Rick Potts

Tom Recchion

Vetza

Oliver Hall

Rigo 23

Gil Kenan & Vice Cooler (screening)

Cassie Griffin

Clara Cakes

Clay Tatum + Whitmer Thomas (Power Violence)

DJ AshTreJinkins

DJs Protectme

Crush

Sara Knox Hunter

Dodie Bellamy

Miranda July

Alexander Keefe

Thomas Keenan

Kevin Killian

Silke Otto-Knapp

Calypso Jete, Essence Jete Monroe, Virginia X, Leandra Rose, Naomi Befierce, Tori Perfection, Foxie Adjuis

Brontez Purnell

Kate Wolf

Adam Soch (screening)

Dar A Luz

ADSL Camels

Cold Beat

Tropic Green

No Sesso

Michelle Carrillo

Ruth Root

Timothy Ochoa

[transnationaltransformations]

synchornization of the sense syllabus

Course Description:

Synchronizations of Senses (SOS), a seminar/workshop/studio/study group/conversation, is a complement to 4.356Cinematic MigrationsLinks to an external site.. This class invites in-depth examination of sense percepts, noting nuances, and articulating specificities. A generative focus is placed on the practices of varied practitioners­–film directors, artists, musicians, composers, architects, designers–whose writings relay a process of thinking and feeling integral to their forms of material production.

Using prompts suggesting varying contexts, such as The Film Sense, written by Sergei Eisenstein, and The Cinema Interval, written by Trinh T. Minh-Ha, in addition to other writings by Eisenstein and Minh-Ha and others, the intention of this course is to create a space for experimentation, exploratory discussion and productions via aesthetic inquiry into perceptions of all senses.

Testing various ways aesthetic forms and their shifts—historic and contemporary—have relations to still emerging contemporary subjectivities (felt emotion in a human body), in this workshop/seminar we will study productions created by participants, case studies of varied producers, and generate new work individually and/or collaboratively via diverse media explorations, which include reading, writing, drawing, and publishing, as well as photographic, cinematic, spatial, and audio operations productions.

The course contents will comprise screenings, listening assignments, and guest visits, in addition to readings, discussions, and presentations. An aim is conviviality, rigor, and engagement fueled by the willingness of the participants to share perceptions and projects. The SOS Documentation Project, produced by the previous participants, is an ongoing accretive node.

Course References: Filmmakers considered include Sergei Eisenstein, Luis Buñuel, Ousmane Sembene, Trinh T. Minh-ha, Lucrecia Martel, Jia Khangke, Andrei Tarkovsky, John Akomfrah, Jean-Luc Godard, Apichatpong Weerasethakul, Abderrahmane Sissako, Haile Gerima, and others. Selected Readings: This is a list of readings indicating what class participants may be able to choose from in relation to their interests. Eisenstein, Sergei. The Film Sense. Edited by Jay Leyda. New York: Harcourt, Brace, 1947. Eisenstein, Sergei, and Jay Leyda. Film Form: Essays in Film Theory. New York: Harcourt, Brace, 1969. Trinh, T. Minh-Ha. Cinema Interval. New York: Routledge, 1999. Trinh, T. Minh-Ha. Woman, Native, Other: Writing Postcoloniality and Feminism. Bloomington: Indiana University Press, 1989. Trinh, T. Minh-Ha. When the Moon Waxes Red: Representation, Gender, and Cultural Politics. New York: Routledge, 1991. Trinh, T. Minh-Ha. Lovecidal: Walking with the Disappeared. New York: Fordham University Press, 2016. Cha, Theresa Hak Kyung. Dictée. New York: Tanam Press, 1982.Cha, Theresa Hak Kyung. Dictee. 1St Calif. pbk. ed. Berkeley: University of California Press, 2001. Cha, Theresa Hak Kyung., ed. Apparatus, Cinematographic Apparatus: Selected Writings. New York: Tanam Press, 1980. Tarkovskiĭ, Andreĭ Arsenʹevich. Sculpting in Time: Reflections on the Cinema. 3Rd University of Texas Press ed. Austin: University of Texas Press, 1991. MacKenzie, Scott, ed. Film Manifestos and Global Cinema Cultures: a Critical Anthology. Berkeley: University of California Press, 2014. Anthes, Bill. Edgar Heap of Birds. Durham: Duke University Press, 2015. Rukeyser, Muriel. The Life of Poetry. New York: Current Books, 1949.Rukeyser, Muriel. The Life of Poetry. New York: Kraus Reprint, 1968. Silko, Leslie Marmon. Almanac of the Dead: a Novel. New York: Simon & Schuster, 1991.Silko, Leslie Marmon. Almanac of the Dead: a Novel. New York: Penguin Books, 1992. Pamuk, Orhan, and Erdağ M Göknar. My Name Is Red. 1St American ed. New York: Alfred A. Knopf, 2001. Pamuk, Orhan, and Maureen Freely. Other Colors: Essays and a Story. 1St U.S. ed. New York: Alfred A. Knopf, 2007. Buñuel, Luis, and Garrett White. An Unspeakable Betrayal: Selected Writings of Luis Buñuel. Berkeley: University of California Press, 2000. Classen, Constance, ed. The Book of Touch. Oxford: Berg, 2005. Classen, Constance. Worlds of Sense: Exploring the Senses in History and across Cultures. London: Routledge, 1993. Classen, Constance. The Color of Angels: Cosmology, Gender, and the Aesthetic Imagination. London: Routledge, 1998. Deleuze, Gilles, and Félix Guattari. What Is Philosophy?. New York: Columbia University Press, 1994. Deleuze, Gilles. Cinema. Minneapolis: University of Minnesota Press, 1986.Deleuze, Gilles. L'Image-Mouvement. Paris: Éditions du Minuit, 1983.Deleuze, Gilles. L'Image-Temps. Paris: Éditions de Minuit, 1985. Bergson, Henri, Nancy Margaret Paul, and M. E Dowson. Matter and Memory. London: G. Allen & Unwin, 1962.Bergson, Henri, Nancy Margaret Paul, and M. E Dowson. Matter and Memory. New York: Doubleday, 1959.Bergson, Henri. Matter and Memory. New York: Zone Books, 1999.  Barad, Karen Michelle. Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Durham: Duke University Press, 2007. Keeling, Kara. The Witch's Flight: the Cinematic, the Black Femme, and the Image of Common Sense. Durham: Duke University Press, 2007. Delany, Samuel R. About Writing: Seven Essays, Four Letters, and Five Interviews. Middletown, CT: Wesleyan University Press, 2005. Batchelor, David. Chromophobia. London: Reaktion Books, 2000. Arnheim, Rudolf. Visual Thinking. Berkeley: University of California Press, 1969. Thomas, Sheree R., ed. Dark Matter: a Century of Speculative Fiction from the African Diaspora. New York: Warner Books, 2000. Marcus, Greil., and Werner. Sollors, eds. A New Literary History of America. Cambridge, Mass.: Belknap Press of Harvard University Press, 2009. Albers, Josef. Interaction of Color. 50Th anniversary edition ; 4th edition. New Haven, [Connecticut]: Yale University Press, 2013. Liu, Cixin, and Ken Liu. The Three-Body Problem. First U. S. edition. New York: Tor Books, 2014. Condé, Maryse, and Richard Philcox. Of Morsels and Marvels. London: Seagull Books, 2020. Spivak, Gayatri Chakravorty. Readings. London: Seagull Books, 2014.  

The asteriks (***) indicate readings to be read during the initial weeks of the workshop/seminar, as these will allow us to begin discussions of a matrix of terms we’ll be working with–such as functives, percepts, and concepts–in order to share a basis for further probing.

***Moten, Fred. Stolen Life. Durham: Duke University Press, 2018.

‘Anassignment Letters’

***Deleuze, Gilles, and Félix Guattari. What Is Philosophy?. New York: Columbia University Press, 1994.‘Conclusion : From Chaos to the Brain’***Eisenstein, Sergei. The Film Sense. Edited by Jay Leyda. New York: Harcourt, Brace, 1947.chapter 2, ‘Synchronization of Senses’

***Wolf, Maryanne. Reader, Come Home: The Reading Brain in a Digital World. New York: HarperCollins,

***Ingold, Tim. “Bringing Things Back to Life: Creative Entanglements in a World of Materials.”

University of Aberdeen, 2010.

 Further References:

Spillers, Hortense J. Black, White, and in Color: Essays on American Literature and Culture. Chicago: University of Chicago Press, 2003.

Keller, Helen. The World I Live in. New York: The Century co., 1914.

Harris, Laura. Experiments in Exile: C.L.R. James, Hélio Oiticica, and the Aesthetic Sociality of Blackness. First edition. New York: Fordham University Press, 2018.

New Museum (New York, N.Y.). Trigger: Gender as a Tool and a Weapon. Edited by Johanna Burton and Natalie Bell. New York, NY: New Museum, 2017.

(exhibition catalogue)

Janevski, Ana, and Thomas J. Lax. Judson Dance Theater: the Work Is Never Done. New York, NY: Museum of Modern Art, New York, 2018.

(exhibition catalogue)

Bard College Center for Curatorial Studies. The Conditions of Being Art: Pat Hearn Gallery & American Fine Arts, Co. Edited by Jeannine Tang, Ann E. Butler, and Lia Gangitano. Annandale-on-Hudson, NY: Center for Curatorial Studies, Bard College, 2018.

(exhibition catalogue)

Hustvedt, Siri. Living, Thinking, Looking: Essays. New York: Picador, 2012.

Brinkema, Eugenie. The Forms of the Affects. Durham: Duke University Press, 2014.

Rancière, Jacques. Aisthesis: Scenes from the Aesthetic Regime of Art. London: Verso Books, 2013.

Rothenberg, Jerome, and Steven Clay, eds. A Book of the Book: Some Works & Projections about the Book & Writing. New York: Granary Books, 2000.

White, Hayden V. The Practical Past. Evanston, Illinois: Northwestern University Press, 2014.

Eagleton, Terry. The Ideology of the Aesthetic. Cambridge, MA, USA: Basil Blackwell, 1990.

Lupton, Ellen. Thinking with Type: a Critical Guide for Designers, Writers, Editors, & Students. 2Nd rev. and expanded ed. New York: Princeton Architectural Press, 2010.

Baer, Nicholas, Maggie Hennefeld, Laura Horak, and Gunnar Iversen, eds. Unwatchable. New Brunswick: Rutgers University Press, 2019.

Flusser, Vilém, and Nancy Ann Roth. Gestures. Minneapolis, MN: University of Minnesota Press, 2014.

Chute, Hillary L. Why Comics?: from Underground to Everywhere. First edition. New York, NY: Harper, an imprint of HarperCollinsPublishers, 2017.

Clark, Samanta and Samuel. Casa Moro. London: Ebury, 2004.

Caruth, Cathy. Unclaimed Experience: Trauma, Narrative, and History. Twentieth Anniversary edition. Baltimore, Maryland: Johns Hopkins University Press, 2016.

[soremx-blog]

All of this hopefully

I also think Tress should bench these player for the bowl game. Roller is right when saying this action will help any appeal to reduce the five games for next year. Maybe benching this "gang of moral losers" could intice the NCAA into reducing the suspensions to only 3 games.

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[philmaguire]

Summer 2018 Live Dates

Summer 2018 Live Dates

16/06/18 – Hundred Years Gallery, London presenting new work with Anne La Berge, for flute, electronics, synthesisers, found texts special guest: Steph Horak 16/06/18 – L A D I G 06: i’m sitting in a room. Naples, Italy fixed media presentation of ‘Fower / Fowk’

29/06/18 – ame x verz tour – Hundred Years Gallery, London solo. Duo by sonic luz (Klaus Filip/Noid) 30/06/18 – ame x verz tour – Northern…

[adolfozee]

FOX8 REBRAND from Morteza Shahbake on Vimeo.

FOX8 REBRAND

CREATIVE BRIEF: To cement a 360 degree brand positioning (on air, Print & Online) & reinvigorate the FOX8 brand look and feel to appeal to people aged 16-39

TARGET: Men & women 16-39.

ART DIRECTION & DESIGN OBJECTIVE: New design with a fresh youthful feel Own youth & entertainment Connect with the FOX8 Core audience who are digital natives, connected 24/7 on multiple devices & very heavy internet users Fresh and modern Sleek and uncluttered Functionality; the design must be flexible across a broad spectrum of genres Drama, Reality, Wrestling, Animation A need to feel like a premium product, the aesthetic should exude ‘quality’ with high production values and understated confidence.

CHALLENGES Logo had to remain the same shape Tight Deadline (2 months for the whole package) Breadth of content and audience – can’t be all things to all people

RESULTS Won Bronze in the international design award (Bass Awards) in the BEST TV CHANNEL BRANDING category.

bassawards.org/winners/BEST_TV_CHANNEL_BRANDING/FOX8_REBRAND/2014/587

Won Silver at Promax BDA ANZ awards 2014 for BEST ON-AIR BRANDING DESIGN (IN-HOUSE)

Increased FOX8 Brand awareness on the previous year by 13% among non-subscribers.

Highest ever promoter scores and percent of viewers who Value FOX8 & would recommend to a friend

Credits:

Lead Design & Art Direction : Morteza Shahbake

Fox & Comedy Creative Design Team: Sally-Anne Kerr, Geoff Thomson, Kris Dollman, Tristan Brittaine, Natalie Horak

____________________ m0rteza.com/?p=277

[papermoonstheatricaldiary]

BOEING-BOEING

January 19, 2012

BOEING-BOEING is a farce written by French playwright Marc Camoletti.  In a Paris flat, bachelor Bernard has three beautiful flight attendants engaged to him without knowing about each other. But his  perfect life gets bumpy when his friend Robert comes to stay and a new (and speedier) Boeing jet throws off all of his careful planning. Soon all three women are in town simultaneously and Robert is forgetting which lies to tell to whom.

The French-language version ran in Paris in 1960.  The English adaptation by Beverley Cross and Francis Evans was first staged in London in 1962 running seven years.  In February 1965 the show opened on Broadway but was a flop, closing after just three weeks.  Despite this, that same year it was adapted as a Hollywood film starring Jerry Lewis and Tony Curtis.  In 2007 there was a London revival staged by Matthew Warchus.  It transferred to Broadway the following year winning a Tony for best revival and another for its star, Mark Rylance.  The play is now extremely popular in regional (see below) and community venues worldwide.

BOEING-BOEING was performed at New Jersey's Paper Mill Playhouse (Millburn) from January 18 to February 12, 2012.  It was directed by James Brennan with set design by Ray Klausen, costumes by Brian Hemesath, lighting design by F. Mitchell Dana, hair and wig design by Bettie O. Rodgers, and sound design by Randy Hansen. The cast featured Anne Horak (Gretchen), Brynn O'Malley (Gabriella), Heather Parcells (Gloria), John Scherer (Robert), Matt Walton (Bernard) and Beth Leavel (Berthe).  

I hadn't seen this play on Broadway, but I am glad to have seen it produced at the Mill, an organization who typically produces mid-winter farces to “chase the blues away.”  This was the last production that I audio-described at Paper Mill, and being a farce, it was particularly challenging.  I imagine that the original Warchus staging with Mark Rylance made the show worth seeing, but it was still mildly amusing (silly) viewing here.  

John Scherer had done many shows at the Mill but I remember him best as Bertie Wooster in Alan Ayckbourn's By Jeeves. It took me a while to figure out where I had seen Matt Walton, but it finally hit me while I was riding up in the elevator with him one day: he was the Optimum man – the TV spokesperson for Optimum Cable Television.  And come to find out he's a Jersey boy. Brynn O'Malley had played the Judy Garland role in Paper Mill's Meet Me in St. Louis and went on to take their production of Honeymoon in Vegas to Broadway.  But if anyone stood out in the cast it was the comic genius Beth Leavel.  Most of us at the Mill went to the previews of The Drowsy Chaperone because our Roy Miller was one of the producers.  Leavel was brilliantly funny in the title role – just as she was here in the supporting role of the maid.  By the way, the people in the show's postcard and program cover (above) are just models, not the actors in the show.  I always hated this practice, which was deemed necessary to promote the season in advance of the casting.  

BOEING-BOEING rates 3 Paper Moons out of 5

[nealspaper]

Diner -- Delaware Theatre Company

Diner — Delaware Theatre Company

Of all of the shows to open in the Philadelphia area this season, none is as important or has the far-reaching ambition of “Diner.”

This is a piece that brings two lights from other arts, movies and popular music, to the theater with a property that, by their luster, is automatically stamped “Broadway Bound!”

To a critic, that means the show has to examined and thought about more thoroughly than…

[nealspaper]

Company -- Bucks County Playhouse

Company — Bucks County Playhouse

Hunter Foster defeats the most resounding impediment people mention when you wonder why there’s not more production of Stephen Sondheim and George Furth’s musical above wedlock and commitment, “Company.”

The unfamiliarity with pot, a woman studying martial arts, a couple living together for the sake of their children in spite of getting a divorce, a guy making a gay overture to his friend,…