All 4 entries tagged General Crap
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January 04, 2009
Some Sunday links to tide you over. Built like my ideal newspaper.
2009 Resolutions for Film Criticism - Aaron Hillis et al - Hillis has taken over GreenCine Daily, and is employing a quality over quantity approach. This is a podcast featuring him, and three other critics from New York. There's nothing revelatory in it but it's interesting and entertaining (although the fact that they keep talking over each other might imply one thing that is wrong with film criticism, and all human discourse).
New New World: An Exchange, A Conversation, An Epigraph - Ryland Walker Knight & Keith Uhlich - Haven't listened to the podcast yet, but the exchanges about Malick's The New World are quite wonderful.
PS In A Podcast - I haven't listened to it yet, but my friends Pete Smith and Paul Savage are both funny and have a new podcast
Preview: Sengoku Seventh Battle - Jordan Breen - The sport section. Entertaining event, and Breen as always got me psyched up. Read this, and then find the fights on YouTube.
And, things to do this week: The University Drama Society are putting on 'Elephant's Graveyard' by U.S playwright George Brant at the Arts Centre Weds to Sat. It's a new play that hasn't been performed in Europe before, which is unusual for the drama society but makes it all the more exciting.
And, the last couple of days, I've seen listening to The Skints self-titled e.p, 'Come All You Madmen' by The Briggs, and 'Sketches of Spain' by Miles Davis & Gil Evans.
Have a good Sunday.
May 14, 2008
I haven't written recently because, over the past 10 days, I've done little else but tried to finish the first draft of this digital video chapter. I can see the end now, and some main ideas have finally formed in my head. I might note some of them down here when I'm done.
Here's some second-draft advice from Neil Gaiman. I think there are many similarities between fiction writing and academic writing. And if there are not many similarities, I think that there should be more, for the sake of making academia more comprehensible:
The second draft is where the fun is. In a first draft, you get to explode. The objective (at least for me) is to get it down on paper, somehow. Battle through the laziness and the not-enough-time and the this-is-rubbish and everything else, and just get it written. Whatever it takes. The second draft is where you go and gather together the fragments of the explosion and figure out what it is you did, and make it look like that was what you always meant to do.
So you write it. Then you put it aside. Not for months, but perhaps for a week or so. Even a few days. Do other things. Then set aside some uninterrupted time to read, and pull it out, and pretend you have never read it before -- clear it out of your head, and sit and read it. (I'd suggest you do this on a print-out, so you can scribble on it as you go. )
When you get to the end you should have a much better idea of what it was about than you did when you started. (I knew The Graveyard Book would be about a boy who lived in a graveyard when I started it. I didn't know that it would be about how we make our families, though: that's a theme that made itself apparent while the book was being written.)
And then, on the second and subsequent drafts, you do four things. 1) You fix the things that didn't work as best you can (if you don't like the climactic Rock City scene in American Gods, trust me, the first draft was so much worse). 2) You reinforce the themes, whether they were there from the beginning or whether they grew like Topsy on the way. You take out the stuff that undercuts those themes. 3) You worry about the title. 4) At some point in the revision process you will probably need to remind yourself that you could keep polishing it infinitely, that perfection is not an attribute of humankind, and really, shouldn't you get on with the next thing now?
April 16, 2008
I just read a pretty decent interview with Richard Linklater, conducted by Kevin John Bozelka, that was published in the latest issue of The Velvet Light Trap (it's a subscription journal - but Warwick library has a subscription for all students and staff if you're based in these parts). As always, Linklater is enlightening about the subject of getting movies made in the contemporary era (the interview is not about the aesthetics of film, but rather about the economics of filmmaking) - his work in several different paradigms of moviemaking (sequels, adaptations, remakes etc) mean that he is well-versed in many modes of procedure. There's also at least one quotation that will function as a wonderful epigraph for some part of my project.
Just wanted to quote him here on the subject of human nature, and the phenomenon of 'it was better in the old days'. Linklater is very well-read, and is eloquent on these type of issues. This plugs into something that I think about often, and gives me hope that not everybody is obsessively fixated on the negative.
You know that's the joke about Austin. I use a song in Slacker, the last song, the Ed Hall song, and the line in it was "things were so much better before you were here." Whenever you showed up in Austin, pick a year, whenever you got here, you just missed it. This club just closed and this just happened. It's all behind us. You run into someone who is a certain age and it's "it all died with the Armadillo [World Headquarters]." You run into certain people who say it all died when the Beach closed or when Liberty Lunch closed. Usually it's music venues. It takes a kind of gene we all share about being perpetually dissatisfied. But around 2000 I got to know the city government at the time because we were getting the Film Society to take over the old airport and make a studio out of a few hangars there. And I appreciated the government leadership. [Mayor] Kirk Watson was a good leader at that moment, so the ship didn't totally go in the wrong direction. There was a lot of smart urban planning and thought that went into it. It could be a lot worse, is what I'm saying, had there been no oversight. I think there was some good leadership at some crucial moments that kept us from going completely off the rails. But that's completely unappreciated. (Velvet Light Trap 61 (2008), pp. 55-56, my emphasis).
What a hero.
Ollie Johnston, who was one of the principal animators in Disney's classic era of feature pictures, died on Monday. I read a lot about him when I was writing about American animation for my MA, so this is sad to hear. Cartoon Brew have collected a brilliant amount of tributes and obituaries - do read some if you get the chance, as they are a glimpse into a fascinating period of filmmaking.
I couldn't sleep last night so I watched the first six innings or so of the Marlins. They won 4-0, with another really great performance by Scott Olsen (who has become the most reliable starting pitcher they have - the other contender to that throne, Mark Hendricksen, starts tonight). I just found this excellent article, 'Marlins look good, but attendance doesn't' by Greg Cote - which is worth a read if you want to get interested in baseball with me.
And if you haven't seen the new Bjork video yet, you really should because it's amazing.
April 02, 2008
I'm only about half-way through the writing I need to do today, but wanted to stop by and share some things on here. The chapter isn't going badly (thanks for asking), so far I've written: an introductory anecdote, an explanation of 'the science of digital video', a long methodological consideration, and an orientation to films that have been filmed on digital video. I was worried, and voiced this concern to JZ last night, that this was all ground-clearing guff.
After thinking about it more today, it actually makes a fair amount of headway into the chapter and case study. I'm so used to the way I used to write as an undergraduate (and Masters student, I think): 'introductory paragraph, discuss something someone else has written about this film, extended textual analysis to disprove aforementioned someone else, conclusion'. If I haven't started writing up analysis of a primary text, then I still feel like I haven't even started the chapter. On the contrary, I guess that 6000 words worth of 'ground-clearing guff' must actually be quite important to scholarship - otherwise there wouldn't be 6000 words worth of things to be said. If the reader has no idea about the types of films that have been filmed on digital video, then the 'orientating map' is necessary and actually is primary (and preliminary) work and analysis. I would take this as a sign that my work and writing is maturing - but instead I'm going to think of it as something that I'm doing wrong.
I'm casually reading 'Movie Mutations: The Changing Face of World Cinephilia', an edited collection by Jonathan Rosenbaum and Adrian Martin, at the moment. I'll study it more intensely as my work returns more generally to the topic of cinephilia, but right now I'm just reading passages every now and then (the form of the book actually lends itself to this). I came across a couple of paragraphs by Martin, and thought that maybe they rhyme with my past 'on cinema for the sake of it' entry.
Because what is democratic in this video culture is precisely the capacity (or at least the potential) to suspend normative judgement about cinema - reminding me of one of my all-time favourite critical mottoes, the attitude attributed by Louis Seguin to Ado Kyrou of seeking 'surprise rather than satisfaction' and preferring 'discovery to certainty'. (7)
There is a recourse to the high moral ground - and to a certain lamentable purism - in a lot of film criticism today, even some of the most advanced. We read or hear far too often that there are only half a dozed directors working today who fulfil - or might one day fulfil, if we're all lucky - the potential, the promise of this dazzling medium...As heretical as it sounds, even within this very cabal, I like the sentiment of Deleuze's casual prefatory remark in Cinema I: The Movement-Image: 'The cinema is always as perfect as it can be'. Meaning that its potentiality, its virtuality is, in some way, right here now - if we know where to look for it, how to maximise it, why it matters, and how to make it dance, for us and in us, like Rouch's privileged, shamanic figure of the dancing Socrates. (7-8)
I'm not sure I would interpret the Deleuze quotation in exactly the same way (and I don't understand what he means by 'virtuality' here), but I don't know the Deleuze text so it is just an aphorism to me. I like it though, and I didn't think I'd ever say that about a Deleuze quotation.
Some other things:
I had a nice time at my friend James' birthday party yesterday, although because of work and an impending cold I wasn't on particularly amazing form.
I was pointed towards The Big Think today, which looks like an interesting project. Like YouTube with intellectual (and slightly elitist) leanings. I haven't had time to look through it yet, but the one video I did watch was interesting and clear.
The Marlins beat the Mets 5-4 in extra innings last night although Vanden Hurk was pulled in the 4th inning (he'd already made 76 pitches!!!) which isn't particularly promising.
My friend Mike wrote a couple of nice entries yesterday: 'The Pre-Socratics were totally awesome.' (“This world neither any god nor man made, but it always was and is and will be, an ever-living fire, kindling in measures and being extinguished in measures.” - Heraclitus) and 'Roving sample robot' ("And I love the idea of a simple thing like this, the sole purpose of which is to rove about and find sounds and make rhythms, and treat it like its the most important thing in the world.") Tell him I sent you.
I've made a couple of bets on UFC Fight Night this evening: Din Thomas (-183) over Josh Neer, Frank Edgar (-207) over Gray Maynard, and Kurt Pellegrino (+132) over Nate Diaz. I always seem to bet for Din Thomas, and against Nate Diaz. I really like the Lauzon vs Florian main event as well, it's two guys who seem awesome. There's a fantastic article about Kenny Florian at Sherdog: 'Highbrow brutality' by Joe Hall.
On the note of UFC, if anyone is geeky enough to get it, this post at Fightlinker is mean but hilarious: 'The most awesome thing EVER'
Go look at the new releases by Fantagraphics and buy something! If I do enough work today, I'm going to treat myself to the new softcover edition of 'Safe Area Gorazde' by Joe Sacco and 'Ganges #2' by Kevin Huizenga. Only if I do enough work though, yeah?
On that note, I need to get back to work. I'm on my fifth cup of coffee...