Tuesday, August 15, 2017

Pariah (USA: Dee Rees, 2011)




Pariah (USA: Dee Rees, 2011: 86 mins)

Archer, Ina Diane. "Pariah." Film Comment (November/December 2011)

Barber-Plentie, Grace. "Why Dee Rees Pariah is More than the Female Moonlight." BFI (June 13, 2017)

"Dee Rees delivers moving, powerful acceptance speech for the 2017 Sundance Institute Vanguard Award." Shadow and Act (August 15, 2017)

Dolan, Jill. "Pariah." The Feminist Spectator (February 3, 2012)

Ebert, Roger. "Pariah." Chicago Sun-Times (January 4, 2012)

Holden, Stephen. "A Brooklyn Girl Who's Just Not Frilly." The New York Times (December 27, 2011)

Leonard, David. "Refusing Invisibility: Pariah Challenges Social and Religious Norms." Urban Cusp (January 9, 2012)

Mumin, Nilja. "The Visual Aesthetic of Pariah – An Interview w/ Cinematographer Bradford Young." IndieWire (August 17, 2015)

"Pariah." Cinemacked (August 22, 2015)

Serwer, Adam. "Pariah and the Untold Stories in Black Cinema." Mother Jones (December 28, 2011)

Taylor, Ella. "A Good Daughter, but a Pariah Among Her Own." NPR (December 29, 2011)

Thomas, Dori. "The Defiance and Optimism of Dee Ree's Pariah." Words on Film (October 13, 2014)

Young, Bradford. "The Philosophy of Cinematography." The Film Stage (November 5, 2015) [Cinematographer for the films Selma (2014); A Most Violent Year (2014); Ain't Them Bodies Saints (2013); Middle of Nowhere (2012); Pariah (2011)]























Friday, August 11, 2017

Slurring Bee 4

Also need 15 absurd/quirky warm up questions

1st Round: warm-up question followed by a word
2nd Round: 3 words in succession for each contestant
3rd Round: Round-robin until we have a winner (keep track of last three - the order they come in)
3 mispelled words and a contestant is out

Pronouncer Information 1. Read carefully the Judges, Recorders, Spellers and Audiences information that is included in the Scripps pronouncers’ guide. 2. Familiarize yourself with all words on the confidential word list. Pronunciation is important. A meeting with the judges to insure pronunciation of words and procedures will be scheduled prior to the Bee beginning. 3. Speak clearly for contestants, judges and audience alike. Grant all requests to repeat a word until the judges agree that the word has been made reasonably clear to the speller. You may request the speller to speak more clearly or louder. 4. “Pace” yourself. You need time to focus attention on the pronunciation of the new word and the judges need a few moments between each contestant to do their tasks.



Speller’s Information 1. Each speller needs to focus on the Pronouncer, to aid his or her hearing and understanding of the context of the word. A speller may ask for the word to be repeated, for its use in a sentence, for a definition, for the part of speech, and for the language of origin. 2. Each speller should pronounce the word before and after spelling it. If the speller fails to pronounce the word after spelling it, the judge may ask if they are finished. If they say yes, the judge will remind the speller to remember to repeat the word the next time. (No speller will be eliminated for failing to pronounce a word.) 3. When a speller is at the podium spelling, the next speller should be standing at a marked location ready to proceed to the podium.



128) grommet

129) abysmal

130) munificent

131) scurrilous

132) animus

133) luscious

134) epicurean

135) duende

136) epigenetics

137) microbiome

138) perspicuous

139) bilious

140) lachrymal

141) kakistocracy

142) calumny

143) poltroon

144) dithyramb

145) indigenous

146) genuflect

147) onerous

148) mumpsimus

149) celluloid

150) copacetic

151) luscious

152) edacious


















Saturday, August 5, 2017

Short Films and Videos (Ongoing Archive)



A Juice Box Afternoon (USA: Lily Baldwin, 2014: 8 mins)

Animals by Ghost of a Sabre Tooth Tiger (USA: Rich Ragsdale, 2014: 5 mins)

Formation by Beyonce (USA: Melina Matsoukas, 2016: 3 mins and 26 secs)

House of Cards by Radiohead (Directed by James Frost, 2007: 4 mins and 32 seconds) ["These ephemeral bursts emanate from the 2008 music video for Radiohead’s “House of Cards” by director James Frost and technology director Aaron Koblin. The ethereal video holds a special place in music video history as the first to be created using high-tech scanning and laser systems to capture and then visualize chunks of 3-D information. Scanners, including the Lidar scanner used by Frost and Koblin, work by sending light pulses across a surface area and then measuring the time it takes for the light to return to the scanner. Each pulse of light that is emitted and then returned is placed within a representation known as a point cloud. Together, the points create a trace of the surface that they have measured. Frost and Koblin worked with scientists and technology experts from UCLA to make the video, inaugurating, whether they intended to or not, a shift in cinematic practice. The video’s point-cloud aesthetic eschews human perception and photographic representation as its foundation, turning instead to processes of scanning, tracing, and layering that relinquish the human body as their measure, and that forgo light as their foundation." - source Holly Willis (August 13, 2017)]

Just by Radiohead (Directed by Jamie Thraves, 1995: 4 mins and 15 seconds)

La jetée (France: Chris Marker, 1962: 28 mins)

Meshes of the Afternoon (USA: Maya Deren and Alexander Hammid, 1943: 14 mins)

Un Chien Andalou (France: Luis Buñuel, 1929: 16 mins)

The Suburbs (USA: Spike Jonze, 2010: 5 mins and 47 secs)




Monday, July 24, 2017

The Beguiled (USA: Sofia Coppola, 2017)




The Beguiled (USA: Sofia Coppola, 2017: 94 mins)

I really enjoyed Sofia Coppola’s THE BEGUILED (even if it's not my favorite of her films: that would be THE BLING RING)—and would love to hear what others thought of it. A few observations: (1) The best thing about the whole experience is the very radical and productive contrast with the 1971 original (by Don Siegel, with Clint Eastwood). Each film would be diminished without the other. While the Siegel is pulpy, feverish, expressionist, the Coppola is sly, calm, detailed, precisely controlled; (3) J. Hoberman is right in calling the Coppola a “dark comedy of manners”—although he’s wrong in claiming that the Siegel original is unqualifiedly misogynistic (it’s a more ambiguous and complicated film than that); (4) The host of detail that Coppola carefully builds up in order to signify refinement, containment, and repression (from the high-necked dresses to the French and music lessons, penmanship, embroidery, and all the period décor—so much of this rendered in close-ups of surfaces) is wonderful—and too easily overlooked/underappreciated; (5) The “whitewashing” of the new film (by omitting the fiery character of Hallie, the slave) is unfortunate, disappointing, unforgivable—but I’m not ready to write off/dismiss the entire film because of it…. -- Girish Shambu (Posted on Facebook: July 10, 2017)

The Beguiled Critics Round Up (Ongoing Archive)

Bunch, Sonny. "Of course Sofia Coppola’s The Beguiled differs from the original. That’s what makes it great." The Washington Post (July 6, 2017)

Coppola, Sofia. "Sofia Coppola Responds to The Beguiled Backlash — Exclusive." IndieWire (July 15, 2017)

Ferdinand, Marilyn. "The Beguiled (2017)." Ferdy on Films (July 9, 2017)

Huber, Sam. "Yawn with the Wind." The Los Angeles Review of Books (July 14, 2017)

Hudson, David. "Cannes 2017: Sofia Coppola's The Beguiled." Current (May 24, 2017)

Lennon, Elaine. "Sofia Coppola: A Cinema of Girlhood." Offscreen 21.6 (June 2017)
Moore, Booth. The Story Behind the Sweet (and Sinister) Costumes in Sofia Coppola's The Beguiled." The Hollywood Reporter (June 15, 2017)

Morgan, Kim. "Sofia Coppola's The Beguiled." Sunset Gun (June 15, 2017)

Rao, Sonia. "Sofia Coppola’s The Beguiled criticized for leaving out a slave narrative from the Confederate South." The Washington Post (June 22, 2017)

Rickey, Carrie. "Sofia Coppola’s The Beguiled: Why Some Critics Brought Out the Knives." IndieWire (July 14, 2017)

Rogers, Anna. "Great Directors: Sofia Coppola." Senses of Cinema (November 2007)

Scholes, Lucy. "The Beguiled." Another Gaze (July 19, 2017)

Scott, A.O. "The Beguiled, Sofia Coppola's Civil War Cocoon." The New York Times (June 22, 2017)

Sims, David. "The Beguiled is a Steamy but Restrained Thriller." The Atlantic (June 23, 2017)



































Tuesday, June 20, 2017

American Honey (UK/USA: Andrea Arnold, 2016)




American Honey  (UK/USA: Andrea Arnold, 2016: 163 mins)

American Honey Critics Round Up (Ongoing Archive)

Anderson, Barry, et al. "The Andrea Arnold Connection (2006 - 2016)." Illusion Travels by Streetcar #131 (January 4, 2017)

Arnold, Andrea. "American Honey." IndieWire Filmmaker Toolkit (September 2016)

---. "On American Honey and Preserving Mystery in Film." Fresh Air (September 29, 2016)

Brody, Richard. "American Honey's Silent Youth." The New Yorker (October 5, 2016)

Chang, Justin. "Andrea Arnold's American Honey is an Indelible Epic of the Open Road." The Los Angeles Times (September 29, 2016)

Gleiberman, Owen. "What American Honey Catches (Beautifully) About the Kids: They’re Not All Right." Variety (October 23, 2016)

Kermode, Mark. "American Honey: A Magical Mystery Tour of the US." The Guardian (October 16, 2016)

Koski, Genevieve, et al. "My Own Private Idaho / American Honey (Pt. 1)." The Next Picture Show #49 (November 1, 2016)  ["This week, we’ve all come to look for America, and we’re looking for it in a pair of road movies about underprivileged outsiders and the dreams that keep them hustling from place to place. Inspired by Andrea Arnold's sprawling new AMERICAN HONEY, we look back at Gus Van Sant's 1991 indie-punk-surrealist-fantasy-coming-of-age mishmash MY OWN PRIVATE IDAHO. In this half, we attempt to wrangle IDAHO's many moving parts, admire and mourn its central performances, and share some crazy (or not so crazy??) fan theories."]

---. "My Own Private Idaho / American Honey (Pt. 2)." The Next Picture Show #50 (November 3, 2016) ["We return to the road in our two-part exploration of America and self, jumping to the current day with Andrea Arnold's sprawling, music-packed AMERICAN HONEY, a film with some of the same concerns as MY OWN PRIVATE IDAHO, but a much different stylistic approach. In this half, we talk over how the two films handle matters of poverty, style, infatuation, and "the other America."]

McGoff, Jessica. "Andrea Arnold's Women in Landscapes." (Posted on Vimeo: September 2016)

Robey, Tim. "American Honey - Shia LaBeouf has never looked worse or acted better." The Telegraph (October 13, 2016)

Scott, A.O. "Youthful Recklessness Finds Adventure on the Road in American Honey." The New York Times (September 29, 2016)

Sims, David. "American Honey is a New Indie Classic." The Atlantic (September 29, 2016)

Suzanne-Mayer, Dominick. "American Honey: Andrea Arnold's Tale of Wandering Youth is Striking and Immediate." Consequence of Sound (September 28, 2016)

Tallerico, Brian. "American Honey." Roger Ebert (September 30, 2016)

Whitehouse, Matthew. "Andrea Arnold: How We Cast American Honey." i-D (October 17, 2016)












The Fits (USA: Anna Rose Holmer, 2015)




The Fits (USA: Anna Rose Holmer, 2015: 72 mins)

Dargis, Manohla. "In The Fits, A Graceful Tale of a Girl Who Follows Her Own Beat." The New York Times (June 2, 2016)

Davis, Saela, et al. "The Fits and The Witness." The Close-Up (June 1, 2016) 

DiRosso, Jason. "The Fits - review and interview with director Anna Rose Homer." The Final Cut (May 20, 2016)

Esposito, Scott. "Some Thoughts on Anna Rose Holmer's The Fits." Conversational Reading (May 29, 2017)

The Fits Critics Round Up (Ongoing Archive)

"The Fits (Anna Rose Holmer interview) // Andrzej Zulawski's Cosmos." The Playlist (July 2016)

Judah, Tara. "The Fits: Gender, Sports, and Stereotypes - Standing Out and Fitting In." BFI (February 27, 2017) ["An 11-year-old girl toys with swapping rounds in the ring for synchonised dancing in Anna Rose Holmer’s debut film, which explores how our ideas of our gender are formed as we grow up."]

Kempenaar, Adam and Josh Larsen. "2016 Golden Brock Preview Special." Filmspotting (November 17, 2016)

Lizmchege. "The Fits : A coming of age meditation on belonging and Black female freedom." Come the Revolution (March 16, 2017)

McAmis, John. "The Fits (2016) by Anna Rose Holmer." The Cinematary (August 12, 2016)

Schager, Nick. "Sundance Review: The Fits." Variety (January 19, 2016)

White, Patricia. "Bodies That Matter: Black Girlhood in The Fits." Film Quarterly 70.3 (Spring 2017)