(Roughly) Daily

Posts Tagged ‘film history

“Since there is no real silence / Silence will contain all the sounds”*…

Sound: it’s so ubiquitous that, unless we’re momentarily thrilled or annoyed by it, we tend to take it for granted. But what is it? Tim Urban to the rescue…

We think of sound as something we hear—something that makes noise. But in pure physics terms, sound is just a vibration going through matter. The way a vibration “goes through” matter is in the form of a sound wave [as per the illustration above]…

Ears are an evolutionary innovation that allows us to register sound waves in the air around us and process them as information—without ears, most sound waves would be imperceptible to a human with only the loudest sounds registering as a felt vibration on our skin. Ears give us a magical ability to sense even slight sound waves in a way so nuanced, it can usually tell us exactly where the sound is coming from and what the meaning of it is. And it enables us to talk. The most important kind of human communication happens when our brains send information to other brains through complex patterns of air pressure waves. Have you ever stopped and thought about how incredible that is?…

The next time you’re talking to someone, I want you to stop and think about what’s happening. Your brain has a thought. It translates that thought into a pattern of pressure waves. Then your lungs send air out of your body, but as you do that, you vibrate your vocal chords in just the right way and you move your mouth and tongue into just the right shapes that by the time the air leaves you, it’s embedded with a pattern of high- and low-pressure areas. The code in that air then spreads out to all the air in the vicinity, a little bit of which ends up in your friend’s ear, where it passes by their eardrum. When it does, it vibrates their eardrum in such a way as to pass on not only the code, but exactly where in the room it came from and the particular tone of voice it came with. The eardrum’s vibrations are transmitted through three tiny bones and into a little sac of fluid, which then transmits the information into electrical impulses and sends them up the auditory nerve and into the brain, where the information is decoded. And all of that happens in an eighth of a second, without any effort from either of you. Talking is a miracle

And so much more: “Everything You Should Know About Sound,” from @waitbutwhy.

See also: 32 Sounds

*  Since there is no real silence,
Silence will contain all the sounds,
All the words, all the languages,
All knowledge, all memory.”

Dejan Stojanović

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As we listen, we might we might recall that it was on this date in 1931 that Alam Ara was released. the first “talkie” (feature film with a sound track), it birthed the modern Indian film business, and set the high-romance, all-singing, all-dancing template for what we now know as Bollywood films (which sell more tickets worldwide than Hollywood films– though with lower grosses, as admission prices are generally lower). Sadly, no copy of Alam Ara survives; in 2017, the British Film Institute joined most Indian film scholars in declaring it the most important of all lost films produced in India.

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Written by (Roughly) Daily

March 15, 2022 at 1:00 am

Getting away with murder…

There are loopholes, and then there are loopholes…

A panel of Idaho lawmakers is recommending the Legislature ask Congress to fix a legal loophole that has some calling a portion of Yellowstone National Park the “Zone of Death,” where crimes could arguably go unprosecuted.

The vast majority of the 3,471-square-mile (8,990-square-kilometer) park sits in Wyoming, but about 3% of it stretches into Montana and 1% of the park is in eastern Idaho. When Congress created the park in 1872, the federal court in the District of Wyoming was given jurisdiction over the crimes committed within park borders.

Boise Democratic Rep. Colin Nash, an attorney, told the House Judiciary and Rules Committee on Thursday that he first learned about the “zone of death” in law school. The phrase refers to a legal theory advanced by Michigan State Law professor Brian Kalt in 2005, which says a jurisdictional loophole could force the federal government to dismiss charges against anyone accused of committing a federal crime in the Idaho portion of the park.

In an academic paper titled “The Perfect Crime,” Kalt noted the Sixth Amendment says that people charged with crimes have a right to be tried by a jury of their peers, selected from the state and region where the crime took place.

That’s a problem for Yellowstone, because the only beings living in Idaho’s roughly 50-square-mile portion of Yellowstone are grizzly bears, elk and other wildlife — and they aren’t eligible for jury duty. Kalt theorized that someone who committed a murder in Idaho’s portion of Yellowstone could get away with it, since the federal government would be unable to seat a constitutionally sound jury…

The ‘Zone of Death’: “Lawmaker wants federal fix in Yellowstone’s legal blind spot.”

[image above: source]

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As we consider the angles, we might recall that it was on this date in 1931 that Dracula— the first in a line line of “classic” monster movies– premiered in New York.  Directed by the great Tod Browning and famously starring Bela Lugosi (in what many consider still to be the definitive portrayal of the blood-thirsty Count), the film was based on the 1924 stage play Dracula by Hamilton Deane and John L. Balderston, which in turn is adapted from the 1897 novel Dracula by Bram Stoker.  The film was was both a critical and commercial success on its release, and has earned it’s way into the canon, having been selected by the Library of Congress for preservation in the National Film Registry as “culturally, historically, or aesthetically significant.”

220px-Dracula_-_1931_theatrical_poster

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Written by (Roughly) Daily

February 12, 2022 at 1:00 am

“History is humankind trying to get a grip. Obviously its not easy. But it could go better if you would pay a little more attention to certain details, like for instance your planet.”*…

A blast from the past…

In 1938, 20-year-old filmmaker Richard H. Lyford directed and starred in As the Earth Turns, a science-fiction silent movie about a mad scientist who purposely induces climate change as a way to end world violence.

But the 45-minute film became “lost,” only to resurface 80 years later, in 2018, when Lyford’s grandniece, Kim Lyford Bishop, discovered it. (After creating the film, Lyford went on to work at Disney and earn an Oscar for the 1950 documentary “The Titan: Story of Michelangelo.”)

Bishop then asked music composer Ed Hartman, who was her daughter’s percussions teacher, to score it.

Although “As the Earth Turns” was finally released in 2019 and took part in 123 film festivals, it will finally premiere on television on Halloween night, this Sunday on Turner Classic Movies at 9pm PST…

From The Seattle Times:

… “As the Earth Turns is the work of an exuberant, ambitious young man: Lyford wrote, directed and shot the film, and managed to corral a stable of actors and crew to capture his vision. You can see his fascination with the craft of filmmaking: Lyford experiments with miniatures and models (then used in Hollywood films, and a remarkable accomplishment for a barely-out-of-his-teens hobbyist), explosions, earthquakes and special makeup effects, all on a budget of next to nothing.”

A 1938 sci-fi film about climate change was lost. It’s making its TV debut 83 years later,” from Carla Sinclair (@Carla_Sinclair) and @BoingBoing.

* Kim Stanley Robinson, New York 2140

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As we ponder prescience, we might recall that it was on this date in 2012 that Hurricane Sandy (AKA Superstorm Sandy) hit the east coast of the United States, killing 148 directly and 138 indirectly, wreaking nearly $70 billion in damages, and causing major power outages. In New York City streets, tunnels, and subway lines were flooded.

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“Some people worry that artificial intelligence will make us feel inferior, but then, anybody in his right mind should have an inferiority complex every time he looks at a flower”*…

Humor is said to be the quintessential humor capacity, last thing that AI could– will?– conquer…

New Yorker cartoons are inextricably woven into the fabric of American visual culture. With an instantly recognizable formula — usually, a black-and-white drawing of an imagined scenario followed by a quippy caption in sleek Caslon Pro Italic — the daily gags are delightful satires of our shared human experience, riffing on everything from cats and produce shopping to climate change and the COVID-19 pandemic. The New Yorker‘s famous Cartoon Caption Contest, which asks readers to submit their wittiest one-liners, gets an average 5,732 entries each week, and the magazine receives thousands of drawings every month from hopeful artists.

What if a computer tried its hand at the iconic comics?

Playing on their ubiquity and familiarity, comics artist Ilan Manouach and AI engineer Ioannis [or Yiannis] Siglidis developed the Neural Yorker, an artificial intelligence (AI) engine that posts computer-generated cartoons on Twitter. The project consists of image-and-caption combinations produced by a generative adversarial network (GAN), a deep-learning-based model. The network is trained using a database of punchlines and images of cartoons found online and then “learns” to create new gags in the New Yorker‘s iconic style, with hilarious (and sometimes unsettling) results…

Comics artist Ilan Manouach (@IlanManouach) and AI engineer Yiannis Siglidis created The Neural Yorker: “Computer-Generated New Yorker Cartoons Are Delightfully Weird.”

For comparison’s sake, see “142 Of The Funniest New Yorker Cartoons Ever.”

Alan Kay

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As we go for the guffaw, we might recall that it was on this date in 1922 that the first chapter in Walt Disney’s career as an animator came to a close when he released the 7th and next-to-last “Laugh-O-Gram” cartoon adaption of a fairy tale, “Jack the Giant Killer.”

Disney’s first animated films began in 1920 as after-work projects when Disney was a commercial artist for an advertising company in Kansas City. He made these cartoons by himself and with the help of a few friends.

He started by persuading Frank Newman, Kansas City’s leading exhibitor, to include short snippets of animation in the series of weekly newsreels Newman produced for his chain of three theaters. Tactfully called “Newman Laugh-O-grams,” Disney’s footage was meant to mix advertising with topical humor…

The Laugh-O-grams were a hit, leading to commissions for animated intermission fillers and coming attractions slides for Newman’s theaters. Spurred by his success, the 19-year-old Disney decided to try something more ambitious: animated fairy tales. Influenced by New York animator Paul Terry’s spoofs of Aesop’s Fables, which had premiered in June 1920, Disney decided not only to parody fairy-tale classics but also to modernize them by having them playing off recent events. With the help of high school student Rudy Ising, who later co-founded the Warner Brothers and MGM cartoon studios, and other local would-be cartoonists, Disney [made 7 animated shorts, of which “Jack, the Giant Killer” was the penultimate].

Walt Disney’s Laugh-O-grams

“Something can always go wrong”*…

Blood Simple

When what’s old is new again…

When Dennis Lehane joked in 2011 that the only real difference between Greek tragedy and noir was that in the former characters fall from great heights and in the latter they drop from the curb, he was pinpointing something simultaneously mythic and fatalistic about the American crime fiction tradition: the idea of cautionary tales being told at street level. “Whichever way you turn,” broods the antihero of Edgar G. Ulmer’s axiomatic Detour (1945), “fate sticks out a foot to trip you.” The same anxious malaise inflecting detective stories of Depression-era novelists like Dashiell Hammett and Raymond Chandler—whose twisty plots doubled as picaresque guided tours through a newfangled urban wilderness—would manifest in the flow of postwar thrillers that either literally adapted their contents or else reconfigured their themes for a visual medium. Stories set in moral grey zones and gritty environments were transformed into cinematic shadow plays by filmmakers who recognized and exploited the material’s expressionist potential. A movie like Fritz Lang’s wonderfully wicked The Woman in the Window (1944) sutures the seams between the elegant, sinister poeticism of Weimar-era horror and the hard-driving, irrepressible energy of pre-Code American crime pictures, an unholy matrimony yielding plenty of significant offspring. In 1946, writing about a group of American movies previously banned in France during the Nazi occupation—mostly signed by European émigrés like Lang who’d fled for the Hollywood Hills—critic Nino Frank evocatively referred to them as “dark films,” a coinage whose actual originality has been debated but proved lingeringly evocative. The description was taken as a workable industrial template for decades by Hollywood studios and insurgent independents alike.

Though noir was and remains an amorphous concept, it does have a few instantly identifiable features: like any genuinely red-blooded and pleasurable entertainment, you know it when you see it. The commercial appeal of noir lay primarily in its natural conduciveness to sex and violence, both always lurking and often intertwined in defiance of everyday moralism and official censorship, while its critical viability owed to its existential dimension, a spectrum broad enough to accommodate a muckraker like James M. Cain alongside Albert Camus. The latter famously said that Cain’s 1934 novel The Postman Always Rings Twice was a deep influence on his own 1942 L’étranger; in both books, outwardly mild-mannered protagonists momentarily get away with murder, imagining themselves privy in the act’s aftermath to some secret knowledge about what Camus’s narrator calls “benign indifference of the world.” Or, as a pair of noir addicts put it in The Man Who Wasn’t There (2001), a movie branded with the mark of Cain: “it’s hard to explain, but seeing it whole gives you some peace.”…

The Same Old Song: A Guide to NeonoirAdam Nayman (@brofromanother) leads us from Point Blank and Chinatown through Blood Simple and Night Moves to The Last Seduction and Momento.

* “Visser” (M. Emmet Walsh), Blood Simple

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As we get dark, we might send thrilling birthday greetings to Arthur Zwerling; he was born on this date in 1914. Better known by his professional name, Jeff Corey, he was a stage and screen actor and director (whose work included noirs like The Man Who Wouldn’t Die and the radio series The Adventures of Philip Marlowe).

Corey’s career was interrupted when he was blackilisted in the early 1950s, so he turned to teaching– and became one of the most influential acting coaches in Hollywood. His students, at various times, included Robert Blake, James Coburn, Richard Chamberlain, James Dean, Jane Fonda, Peter Fonda, Michael Forest, James Hong, Luana Anders, Sally Kellerman, Shirley Knight, Bruce Lee, Penny Marshall, Jack Nicholson, Roger Corman, Darrell M. Smith, Diane Varsi, Sharon Tate, Rita Moreno, Leonard Nimoy, Sally Forrest, Anthony Perkins, Rob Reiner, Robert Towne, Barbra Streisand, and Robin Williams. He resumed his acting career in the the 60s.

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Written by (Roughly) Daily

August 10, 2021 at 1:00 am

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