Posts Tagged ‘film’
“a tale told by an idiot, full of sound and fury, signifying nothing”*…
Nihilism, not unlike time (according to Augustine) or porn (according to the U.S. Supreme Court), is one of those concepts that we are all pretty sure we know the meaning of unless someone asks us to define it. Nihil means “nothing.” -ism means “ideology.” Yet when we try to combine these terms, the combination seems to immediately refute itself, as the idea that nihilism is the “ideology of nothing” appears to be nonsensical. To say that this means that someone “believes in nothing” is not really much more helpful, as believing in something suggests there is something to be believed in, but if that something is nothing, then there is not something to be believed in, in which case believing in nothing is again a self-refuting idea.
It is easy therefore to fall into the trap of thinking “Everything is nihilism!” which of course leads to thinking “Nothing is nihilism!” Thus in order to preserve nihilism as a meaningful concept, it is necessary to distinguish it from concepts that are often associated with it but are nevertheless different, concepts such as pessimism, cynicism, and apathy…
The varieties of negativity: “What Nihilism Is Not.”
* Shakespeare, Macbeth
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As we dabble in the dark, we might send existentially-thrilling birthday greetings to Patricia Highsmith; she was born on this date in 1921. Dubbed “the poet of apprehension” by novelist Graham Greene, she wrote 22 novels and numerous short stories (over two dozen of which have been adapted to film) in a career that spanned five decades.
For example, her first novel, Strangers on a Train, has been adapted for stage and screen numerous times, notably by Alfred Hitchcock in 1951; her 1955 novel The Talented Mr. Ripley has been adapted several times for film, theatre, and radio. Writing under the pseudonym “Claire Morgan”, Highsmith published the first lesbian novel with a happy ending, The Price of Salt, in 1952, republished 38 years later as Carol under her own name and later adapted into a 2015 film.
“The worst gift I was given came when I got out of rehab that Christmas; a bottle of wine. It was delicious.”*…
(Roughly) Daily is headed, after this post, into it’s annual Holiday hiatus; regular service will resume on or around January 2. So, with best wishes for the New Year, these practical tips for dealing with some of the exigencies of the season…
A chemistry-themed spice rack [pictured above]: This one really knocks it out of the park. It’s designed to go on the counter, first of all, and it’s fragile, so if you have badly-behaved cats you’re going to have to stress about them shattering all or part of it. In order to use it, people have to conscientiously funnel bulk spices into teeny tiny flasks, which is a pain in the ass. Nine of the thirteen containers are test tubes with curved bottoms so you can’t put them down on the counter and have them stand upright. They have corks as tops so you need two hands to open them and there’s no shaker. Finally — this is really the icing on the cake — they come with cute chemistry-themed labels but while they look like chemical formulas they’re super wrong, like “Salt” is “Sa” instead of NaCl, so if your recipient is a chemist, it is guaranteed to annoy the hell out of them. This is bulky, difficult to use, difficult to store, and also just stupid for its intended purpose…
Just one of the handy tips in Naomi Kritzer‘s “Gifts for People You Hate, 2019.”
And lest one forget oneself, here’s all one needs to know to make a Christmas cinema classic an integral part of one’s own celebration: step-by-step instructions on “How to make your own Die Hard Christmas tree ornament.”
* Craig Ferguson
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As we check things off the list, we might recall that it was on this date in 1946 that Frank Capra’s It’s a Wonderful Life premiered. Featuring Jimmy Stewart as George Bailey, a small town banker who has given up his dreams to help others, and whose imminent suicide on Christmas Eve elicits the intervention of his guardian angel, Clarence Odbody (Henry Travers). Clarence shows George all the lives he has touched, and how different life in his community of Bedford Falls would have been had George never been born.
The film disappointed at the box office on its release; but it was nominated for five Academy Awards, and has gone on to become a classic, recognized by the American Film Institute as one of the 100 best American films ever made,
“I don’t know what I’m doing and it’s the not knowing that makes it interesting”*…
Koyaanisqatsi is a 1983 wordless documentary primarily made up of slow motion and time-lapse footage. If you haven’t seen it, you can watch the trailer here.
I wondered how easy it would be to make an internet version using random Giphy ‘gifs’ which have been tagged as slow motion or time-lapse, playing them along with the Philip Glass soundtrack…
Rico Monkeon has built a “random Koyaanisquatsi generator.”
* Philip Glass
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As we commune with the cosmic, we might send dandy birthday greetings to Sir Noël Peirce Coward; he was born on this date in 1899. A playwright, composer, director, actor, and singer, he wrote more than 50 plays from his teens onwards. Many of his works, such as Hay Fever, Private Lives, Design for Living, Present Laughter and Blithe Spirit, have remained in the regular theater repertoire. He composed hundreds of songs, in addition to well over a dozen musical theater works (including the operetta Bitter Sweet and comic revues), screenplays, poetry, several volumes of short stories, the novel Pomp and Circumstance, and a three-volume autobiography. Coward’s stage and film acting and directing career spanned six decades, during which he starred in many of his own works.
For all that, he may be best remembered for his persona, for his wit, flamboyance– and for what Time magazine called “a sense of personal style, a combination of cheek and chic, pose and poise.”
“Life is a tragedy when seen in close-up, but a comedy in long-shot”*…
Before Edgar Wright and Wes Anderson, before Chuck Jones and Jackie Chan, there was Buster Keaton, one of the founding fathers of visual comedy. And nearly 100 years after he first appeared onscreen, we’re still learning from him…
Lessons from the best: “Buster Keaton- The Art of the Gag.”
* Charlie Chaplin
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As we mix marvel with mirth, we might recall that it was on this date in 1850 that photographer Frederick Langenheim was issued U.S. Patent #7,784 for “Improvement in photographic pictures on glass,” a process of rendering photographic images on glass plates– magic lantern slides.
Prior to 1850, most magic lantern slides were hand-painted on glass, or created using a transfer method to reproduce many copies of a single etching or print; the development of photographic slides created entirely new uses for the magic lantern, from university lectures to amateur family photo shows… to “Coming Attractions” advertisements in theaters in the silent film era.
“Here’s to alcohol: the cause of, and solution to, all of life’s problems”*…
Of all the substances people intoxicate themselves with, alcohol is the least restricted and causes the most harm. Many illegal drugs are more dangerous to those who use them, but are relatively hard to obtain, which limits their impact. In contrast, alcohol is omnipresent, so far more people suffer from its adverse effects. In 2010 a group of drug experts scored the total harm in Britain caused by 20 common intoxicants and concluded that alcohol inflicted the greatest cost, mostly because of the damage it does to non-consumers such as the victims of drunk drivers…
No Western country has banned alcohol since America repealed Prohibition in 1933. It is popular and easy to produce. Making it illegal enriches criminals and starts turf wars. In recent years governments have begun legalising other drugs. Instead, to limit the harm caused by alcohol, states have tried to dissuade people from drinking, using taxes, awareness campaigns and limits on where, when and to whom booze is sold.
The alcohol industry has pitched itself as part of the solution. In Britain more than 100 producers and retailers have signed a “responsibility deal” and promised to “help people to drink within guidelines”, mostly by buying ads promoting moderation. However, if these campaigns were effective, they would ruin their sponsors’ finances. According to researchers from the Institute of Alcohol Studies, a think-tank, and the University of Sheffield, some two-fifths of alcohol consumed in Britain is in excess of the recommended weekly maximum of 14 units (about one glass of wine per day). Industry executives say they want the public to “drink less, but drink better”, meaning fewer, fancier tipples. But people would need to pay 22-98% more per drink to make up for the revenue loss that such a steep drop in consumption would cause.
Health officials have taken note of such arithmetic. Some now wonder if Big Booze is sincere in its efforts to discourage boozing. In 2018 America’s National Institutes of Health stopped a $100m study of moderate drinking, which was partly funded by alcohol firms, because its design was biased in their products’ favour. And this year the World Health Organisation and England’s public-health authority banned their staff from working with the industry…
Governments are growing more suspicious of Big Booze: “Alcohol firms promote moderate drinking, but it would ruin them.”
See also “How much beer does your state drink? In the thirstiest, about 40 gallons a year per person,” source of the image at top.
* Homer Simpson
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As we muse on moderation, we might recall that it was on this date in 1944 that Harvey, a play by Mary Chase, opened on Broadway. It ran for 1,775 performances and won the (1945) Pulitzer prize for Drama. The story of a care-free dipsomaniac named Elwood P. Dowd, whose best friend was a “pooka” (an imaginary rabbit named Harvey), it was directed by Antoinette Perry– the actress, director, and co-founder of the American Theater Wing, for whom the Tony Awards are named. It’s been regularly revived on-stage, and was adapted into an Oscar-winning film that starred Jimmy Stewart as Elwood.
“Why should things be easy to understand?”*…
The universe is kind of an impossible object. It has an inside but no outside; it’s a one-sided coin. This Möbius architecture presents a unique challenge for cosmologists, who find themselves in the awkward position of being stuck inside the very system they’re trying to comprehend.
It’s a situation that Lee Smolin has been thinking about for most of his career. A physicist at the Perimeter Institute for Theoretical Physics in Waterloo, Canada, Smolin works at the knotty intersection of quantum mechanics, relativity and cosmology. Don’t let his soft voice and quiet demeanor fool you — he’s known as a rebellious thinker and has always followed his own path. In the 1960s Smolin dropped out of high school, played in a rock band called Ideoplastos, and published an underground newspaper. Wanting to build geodesic domes like R. Buckminster Fuller, Smolin taught himself advanced mathematics — the same kind of math, it turned out, that you need to play with Einstein’s equations of general relativity. The moment he realized this was the moment he became a physicist. He studied at Harvard University and took a position at the Institute for Advanced Study in Princeton, New Jersey, eventually becoming a founding faculty member at the Perimeter Institute.
“Perimeter,” in fact, is the perfect word to describe Smolin’s place near the boundary of mainstream physics. When most physicists dived headfirst into string theory, Smolin played a key role in working out the competing theory of loop quantum gravity. When most physicists said that the laws of physics are immutable, he said they evolve according to a kind of cosmic Darwinism. When most physicists said that time is an illusion, Smolin insisted that it’s real.
Smolin often finds himself inspired by conversations with biologists, economists, sculptors, playwrights, musicians and political theorists. But he finds his biggest inspiration, perhaps, in philosophy — particularly in the work of the German philosopher Gottfried Leibniz, active in the 17th and 18th centuries, who along with Isaac Newton invented calculus. Leibniz argued (against Newton) that there’s no fixed backdrop to the universe, no “stuff” of space; space is just a handy way of describing relationships. This relational framework captured Smolin’s imagination, as did Leibniz’s enigmatic text The Monadology, in which Leibniz suggests that the world’s fundamental ingredient is the “monad,” a kind of atom of reality, with each monad representing a unique view of the whole universe. It’s a concept that informs Smolin’s latest work as he attempts to build reality out of viewpoints, each one a partial perspective on a dynamically evolving universe. A universe as seen from the inside…
Lee Smolin explains his radical idea for how to understand an object with no exterior–imagine it built bit-by-bit from relationships between events: “How to Understand the Universe When You’re Stuck Inside of It.”
* Thomas Pynchon
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As we muse on monads, we might send delightful birthday greetings to Fernando Arrabal Terán; he was born on this date in 1932. A playwright, screenwriter, film director, novelist, and poet, Arrabal co-founded the Panic Movement with Alejandro Jodorowsky and Roland Topor (inspired by the god Pan).
Early in his career, he spent three years as a member of André Breton’s surrealist group and was a friend of Andy Warhol and Tristan Tzara. Later (in 1990), he was elected Transcendent Satrap of the Collège de ‘pataphysique (following such predecessors as Marcel Duchamp, Eugène Ionesco, Man Ray, Boris Vian, Dario Fo, Umberto Eco, and Jean Baudrillard).
And throughout, he was very productive: Arrabal has directed seven full-length feature films and has published over 100 plays; 14 novels; 800 poetry collections, chapbooks, and artists’ books; several essays; and his notorious “Letter to General Franco” during the dictator’s lifetime. His complete plays have been published, in multiple languages, in a two-volume edition totaling over two thousand pages. The New York Times‘ theater critic Mel Gussow has called Arrabal the last survivor among the “three avatars of modernism.”
“The act of a pro is to make it look easy. Fred Astaire doesn’t grunt when he dances to let you know how hard it is. If you’re good at it, you leave no fingerprints.”*…
Lillian Ross was a journalist and author who was a staff writer at The New Yorker for seven decades. Her novelistic reporting and writing style, apparent in early stories about Ernest Hemingway and John Huston, is widely understood to have been a primary influence on what would later be called “literary journalism” or “new journalism.”
Novelist– and one-time Ross friend– Andrew O’Hagan offers a remembrance on the occasion of the republication of Ross’s Picture, her account of the making of John Huston’s screen adaptation of Stephen Crane’s The Red Badge of Courage [she’s pictured above, at work on the piece]…
I’ve never met anybody who hated as many people as Lillian Ross did. She would count their names off on her fingers, regularly within spitting distance of them, and her voice wasn’t quiet and she wasn’t shy. Bending back each digit and making a face, she’d offer a defining word after each name:
Gloria Steinem – phoney
Janet Malcolm – pretentious
Renata Adler – crackpot
Susan Sontag – nobody
Nora Ephron – liarOther hand:
Kenneth Tynan – creep
Truman Capote – leech
George Plimpton – slick
Tom Wolfe – talentless
Philip Roth – jerkIt was a mercy she only had two hands…
Great reporting isn’t usually harmed by the reporter having a poor character. It may even be improved by it. Lillian just happened to be hard-bitten in the right way. Her pieces relied on a ruthlessness, sometimes a viciousness, that she didn’t try to hide and that other people liked to comment on. She talked a lot about not being egotistical and so on, but reporters who talk a great deal about not obtruding on the reporting are usually quite aware, at some level, that objectivity is probably a fiction, and that they are most present when imagining they’re invisible. (Lillian was in at least two minds about this, possibly six. One minute she’d say a reporter had to let the story be the story, the next she’d say it was ridiculous: a reporter is ‘chemically’ involved in the story she is writing.)…
More on the complicated question of character and and the work that it produces at “Not Enough Delilahs.”
{Image above: source]
* Lillian Ross
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As we consider the source, we might send delightful birthday greetings to Sir Tom Stoppard; he was born on this date in 1937. A playwright and screenwriter, he has written prolifically for TV, radio, film and stage, earning acclaim for such plays such as Arcadia, The Coast of Utopia, Every Good Boy Deserves Favour, Professional Foul, The Real Thing, The Invention of Love, and Rosencrantz and Guildenstern Are Dead, and for the screenplays for Brazil, The Russia House, and Shakespeare in Love; he has received an Academy Award and four Tony Awards.
