The second stop in my short trip through 2014's lesser-known genre filmmaking is James Ward Byrkit's Coherence. Which turned out to be fortuitous, as the comparison between Coherence and The One I Love revealed some interesting similarities, as well as telling differences. On the surface level, the two films feel very different--The One I Love is intimate and tightly focused, while Coherence isAdd a Comment
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Blog: Asking the Wrong Questions (Login to Add to MyJacketFlap)
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Blog: Asking the Wrong Questions (Login to Add to MyJacketFlap)
JacketFlap tags: film, shorts, Add a tag
I wrote some half dozen full-length film reviews in 2014, and looking back, almost every one of them revolves around the theme of how difficult it is to find genuinely intelligent, thoughtful SF movies. "Intelligent," in this context, means a willingness to engage with the SFnal tropes that drive a story, to explore their implications on the film's characters or even its world, instead ofAdd a Comment
Blog: The Mumpsimus (Login to Add to MyJacketFlap)
JacketFlap tags: apocalypse, culture, film, guns, Michael Haneke, morality, Writing, Add a tag
A friend pointed me toward Sigrid Nunez's New York Times review of Emily St. John Mandel's popular and award-winning novel Station Eleven. He said it expressed some of the reservations that caused me to stop reading the book, and it does — at the end of her piece, Nunez says exactly what I was thinking as I put the book down with, I'll confess, a certain amount of disgust:
If “Station Eleven” reveals little insight into the effects of extreme terror and misery on humanity, it offers comfort and hope to those who believe, or want to believe, that doomsday can be survived, that in spite of everything people will remain good at heart, and that when they start building a new world they will want what was best about the old.I don't mean this post to be about Station Eleven, because I didn't finish reading it and for all I know, if I'd finished reading it I might disagree with Nunez. I bring it up because even if, somehow, Nunez is wrong about Station Eleven, her points are important ones in this age of popular apocalypse stories.
Let me put my cards on the table. I have come to think stories that give readers hope for tolerable life after an apocalypse are not just inaccurate, but despicable.
We are living in an apocalypse. Unless massive changes are made in the next few decades, it's highly likely that the Earth's biosphere will alter drastically enough to kill off most forms of life. At the least, life in the next 100-200 years is likely to be less pleasant than life now (if you think life now is pleasant). Writing apocalypse stories that mitigate these facts lulls us into complacency. Such stories are their own form of global warming denialism. (Of course, if you are a global warming denialist, go right ahead — write and enjoy such stories!)
Tales of surviving an apocalypse give us comfort fiction, a fiction predicated on identifying with the survivors and giving the survivors something worth surviving for.
It is highly unlikely that you, I, or anybody else would be a survivor of an actual apocalypse, and it is even more unlikely that, were we to survive, the post-apocalyptic world would be worth staying alive to see. To imagine yourself as a survivor is to evade the truth and to indulge in a ridiculous fantasy. To imagine yourself as a successful survivor — someone who doesn't suffer terribly before finally, painfully dying — is even worse.
To tell stories of apocalypse that seek to be at least somewhat realistic and yet are not as painful as stories of actual, historical catastrophes is sheer escapist fantasy. Apocalypse stories that do not want to be escapist fantasies must be as harrowing and painful as the most awful stories of the Nazi Holocaust, the Khmer Rouge's atrocities in Cambodia, the Rwandan genocide.
I'd think this would be obvious, but many people ignore the fact: to tell a story of an apocalypse is to tell a story in the midst of mass death.
To tell a story of apocalypse that is not limited to a small area — to tell a story of the end of the whole world — is to tell a story about mass death on a scale far beyond the worst historical atrocities.
To tell a story of apocalypse in which people's lives are not even as difficult or painful as the lives of millions and millions of people currently alive on Earth moves beyond escapist fantasy and into the realm of idiotic irresponsibility. (This, perhaps, is why some of the better apocalypse/dystopia stories are written by people who are not middle-class white Americans.)
In Eyes Wide Open, Frederic Raphael reported Stanley Kubrick's assessment of Schindler's List: "Think that was about the Holocaust? That was about success, wasn’t it? The Holocaust is about six million people who get killed. Schindler’s List was about six hundred people who don’t."
Obviously, the appeal of such stories is that they let us indulge in the fantasy of success. We love rags-to-riches stories for the same reason. We love stories about our soldiers wiping out lots of evil enemies because we escape imagining ourselves to be the enemy in the sniper's sights.
Who is this "we"? That's a good question for any story that aims for an audience to identify with protagonists, but it's especially good to ask of apocalypse stories. Do you read Left Behind imagining yourself to be one of the good, one of the saved? Do you read Station Eleven imagining that yes, you too could find a way to make a life for yourself in this world?
Or do you imagine yourself among the diseased, the tortured, the suffering, the unsaved, the dead?
"But," you say, "such stories offer us visions of human goodness even in the face of adversity! They alleviate pessimism. They help us to hope."
And that is why they are detestable.
The popular Anne Frank statement that Nunez alludes to in her Station Eleven review — "I still believe, in spite of everything, that people are truly good at heart" — was not written in Bergen-Belsen. The story of Anne Frank is not complete until you tell the story of her and her family's suffering and slow death in a concentration camp. A survivor who claimed to have talked with Anne said she was weak, emaciated; that she suspected her parents to be dead; that she did not want to live any longer.
(If you want a happy ending, stop your story before the end.)
To write a story in which apocalypse is not especially awful — or is, even worse, somehow desireable — does nothing to help prevent the apocalypse we face, the apocalypse we live in.
Mass death should not be a self-help allegory.
The Walking Dead is popular with a lot of these folks. Step into a gun shop and you're plenty likely to hear at least one person talking about "the zombie apocalypse". It's a code phrase and an allegory: a code for the end of the boring world, an allegory for the time when the well-prepared (white, patriarchal) militia will ascend to its rightful place of honor, when the weak liberals and anti-gunners will die the sad deaths they so deserve, when it will be open season on all the zombies (read: immigrants, black people, etc.). Dreamers dream themselves among the survivors. They dream themselves into heroism. Instead of boring everyday life, they get to show their courage and strength and preparation.
Don't feel your life lets you express your inner heroism? Imagine yourself a survivor of apocalypse. Now you have a hero story.
Imagine yourself finally getting to use those tens of thousands of 5.56 rounds you stockpiled back when ammo was cheap. (You were one of the smart ones. Where are all the people who made fun of you now? They're dead, you're alive. You're the real man. Good for you. You win!)
Don't imagine yourself dying slowly, painfully. Don't imagine yourself wanting to die. Don't imagine disease, starvation, brutality.
We want stories to make us feel good about humanity, or at least about ourselves. We don't want realistic apocalypse stories.
That's what's behind so much of this dreck, isn't it? That somehow we know we're facing doom, and we don't want to feel bad about our own participation in that doom. We want doom to be on our own terms.
For the militia type, apocalypse stories are a way to imagine yourself into heroism. For the relatively wealthy and privileged, apocalypse stories are an opportunity to imagine our way out of the oppressions we benefit from.
(When I've assigned students to read Octavia Butler's Parable of the Sower, there's always been someone who says, "This doesn't feel like science fiction. This feels real." True. And it's a real that hurts. Because it should.)
If you want to tell an apocalypse story, tell a story about well-intentioned people suffering and dying. Tell a story about people like yourself not only being helpless in the face of catastrophe, but being witless progenitors of it.
(One of my favorite apocalypse stories is Wallace Shawn's The Fever. It's a story of the apocalypse of a well-intentioned man.)
Don't tell a story about how people like yourself are such great survivors. In truth, they probably aren't, and indulging in a fantasy of your own people's survival is breathtakingly arrogant in a story set amidst mass death.
(If the effects of your imagined apocalypse are less painful than the effects of Hurricane Katrina, you are writing despicable kitsch.)
I'm not saying tales of apocalypse are inevitably drivel, or even that they have to be a parade of endless horror, brutality, and suffering (though they should probably be mostly that). I'm saying we don't need apocalypse kitsch any more than we need Holocaust kitsch.
Watch the movies Grave of the Fireflies and Time of the Wolf. One is a historical film about the firebombing of Tokyo, the other is about a near-future apocalypse, its cause unknown, its effect coruscatingly clear. It's these films' affect that is most interesting to me, the ways they show disaster and the response to disaster, the ways they make you feel, and what those feelings are. These are not nihilistic stories, they don't deny human compassion and even goodness, but they also don't soft-pedal the suffering that happens with the end of a world.
Or think of it this way: If you had a time machine and could go back to Anatolia before 1915, Germany in the mid-'30s, Cambodia in the early '70s, Rwanda in the early '90s — if you could go back to those times and write stories, what sort of stories would you write? Stories of people surviving impending apocalypse?
If you want to tell stories to help prevent the extinction of the biosphere, don't tell stories that make that extinction seem bearable.
If you want to imagine the end of the world, realize what you are imagining. Add a Comment
Blog: The Open Book (Login to Add to MyJacketFlap)
JacketFlap tags: Diversity, Diversity, Race, and Representation, Lee & Low Likes, Race, African/African American Interest, Ava DuVernay, Civil Rights, David Oyelowo, film, fim review, History, Martin Luther King Jr, MLK, MLK Day, movies, Race issues, Selma, selma to montgomery marches, Voters Rights, Add a tag
In celebration of MLK Day today, we wanted to share two perspectives from Lee & Low staff members on why you should see Selma, the new movie based on the life of Martin Luther King, Jr. Much has been said about the lack of Academy Award nominations for the movie, but nevertheless moviegoers are uniformly in agreement that Selma is one of the best movies of the year. It offers a meaningful historical context for current events and a springboard for deep discussion, making it a valuable learning experience as well as a straight-up great movie.
Here’s why we think seeing Selma is one of the best ways you could spend MLK Day:
Jason Low, Publisher: The director of Selma, Ava DuVernay brings the audience a lean, gritty fight for voter rights during the civil rights movement. The depiction of Martin Luther King, Jr. is especially poignant. The name Martin Luther King, Jr. is a household name and a holiday. His name is the stuff of legend. But what many fail to realize is that Martin Luther King, Jr. was a man with faults and insecurities just like everyone else. The film does not shy away from King’s marital problems caused by his infidelities or self-doubt and indecision resulting from the battle fatigue and weight of leadership when so much is on the line. DuVernay’s King is so human that we fear for his life even during the quieter scenes because humans are vulnerable and these were dangerous times.
Conversations between President Lyndon B. Johnson and Martin Luther King, Jr. are riveting. The political needle was just as difficult to move in 1965 as it is today. The Voter Rights Bill was as messy an issue as any US president would have to face. The bill was steeped in violence and racism and Johnson’s instinct to postpone action was derailed when John Lewis and Reverend Hosea Williams tried to lead a march of six hundred protestors over the Edmund Pettus Bridge. The nonviolent protestors were savagely beaten by state police and news cameras captured a brutal, bloody war for all Americans to see.
I brought my family to see this film. Bearing witness to the bravery it takes to protest nonviolently for equal rights was (to me) the chance to see history at its most heroic. Although fifty years has passed since Selma took place, the film feels eerily current. Protests over police killings of unarmed black males are happening all over the country and continue to be front-page news. Watching a film like Selma is difficult, but all the more reason to see it. Great movies will move you, make you feel something and Selma does all of these things very deeply.
Rebecca Garcia, Marketing and Publicity Assistant: During Common’s acceptance speech for the Golden Globe for Best Original Song, he said, “Selma is now.” Even though the Selma to Montgomery Marches were fifty years ago, this film reminded me that the Civil Rights Movement was a hard battle and took a long time to take effect.
David Oyelowo does an excellent job as Dr. Martin Luther King, Jr. Dr. King in this movie struggles with self-doubt, isn’t the perfect husband, and even makes decisions that have other leaders in the Civil Rights Movement question his leadership skills. But this is the Dr. King we all need to see. He’s human and flawed, but is still inspiring and courageous.
While watching the movie, I was reminded of the many protests happening around the country in the wake of the Ferguson and Staten Island grand jury decisions. Change doesn’t happen overnight. Change is an arduous and bitterly long process. Selma serves as a reminder of what has been accomplished and what we still need to accomplish. Selma doesn’t hold back when it comes to the violence faced by protesters.
Ava DuVernay presents us with a flawed, realistic and ultimately human Dr. King. While David Oyelowo does amazing justice to Dr. King, I felt that the talented actresses in the movie (Carmen Ejobo, Oprah Winfrey, and Lorraine Toussaint to name a few) weren’t utilized to their full potential. Even so, Selma is a relevant and timely film that everyone should see. Take tissues with you.
Did you see Selma? What did you think?Display Comments Add a Comment
Blog: An Illustrator's Life For Me! (Login to Add to MyJacketFlap)
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I hope you're impressed by how well my dress coordinates with the school colours!
Blog: Barking Planet (Login to Add to MyJacketFlap)
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Folklore from Germany, Fairy Tales for the World
It was an era that began with the turmoil of the Napoleonic wars. The years that followed were marked by internal conflict and political disagreement.
Life was hard. Wealthy land owners and nobility controlled nearly all of the land. Most people were farmers, living in rural areas. Books were few and few people could read them. Serfdom kept many people poor.
This was the time of the cumbersome German Confederation, created by German princes to retain their control in a time of growing upheaval and conflict.
The shifting sands of power lay in 37 principalities and four cities. Uncertainty reigned.
Folklore and folk tales were an integral part of people's awareness. Forests played a major role in these stories. The forests were deep and often dangerous.
We know that stories -- folk tales -- were often told by country women when several
gathered together in a neighbor's farm home while sewing, weaving and cooking.This was their social life. Perhaps men told these stories in markets, or taverns, or around a campfire.
The stories that were told were collected by the Brothers Grimm and remain today the foundation of our children's fairy tale literature.
Next month, on February 24, we will see the publication in English of over 70 tales collected in Bavaria by a contempoary of the Grimm Brothers, Franz Xaver von Schönwerth. The Grimm's admired Schönwerth and his work.
The collection is now entitled The Turnip Princess, The book has been translated by Maria Tatar, author of many books on children's literature, blogger (Breezes from Wonderland), and chair of the Program on Folklore and Mythology at Harvard.
The painting is by Jean- Francois Millet. The bookcover is by Walter Crane; the translation from German is by Lucy Crane.
The Stories Never End
“It has generally been assumed that fairy tales were first created for children and are largely the domain of children. But nothing could be further from the truth.
From the very beginning, thousands of years ago, when tales were told to create communal bonds in face of the inexplicable forces of nature, to the present, when fairy tales are written and told to provide hope in a world seemingly on the brink of catastrophe, mature men and women have been the creators and cultivators of the fairy tale tradition...."
Inevitably they find their way into the forest. It is there that they lose and find themselves. It is there that they gain a sense of what is to be done. The forest is always large, immense, great and mysterious. No one ever gains power over the forest, but the forest posses the power to change lives and alter destinies....”
The illustration is by Arthur Rackham
The above quotations are by Jack Zipes, the author of many books on myths, folklore, and children's literature including The Brothers Grimm, From Enchanted Forests to the Modern World.
Recognized as a pioneer in the field of children's literature, Zipes latest publication is a translation of the first edition (1812-1815) of the The Original Folk and Fairy Tales of the Brothers Grimm (see the Guardian article below). The first edition (Volumes One and Two), of 156 tales, had previously never before been translated into English. By the time of the Grimm's final edition in 1857, "immense changes had taken place".
The original edition of the Grimm's fairy tales incorporated oral tales, legends, myths, fables and pagan beliefs. The book was intended for adult readers. This edition is illustratrd by Andrea Dezso.
Writer for the Guardian create leading edge articles on fairy tales, folklore, and children's literature. Philip Oltermann recently wrote about von Schoenwerth, The Turnip Princess and Maria Tartar. Alison Flood wrote about Jack Zipe's translation of the first edition of the Brothers Grimm fairy tales: The Original Folk and Fairy Tales of the Brothers Grimm.
Both of these books are major events in the world of folklore, fairy tales, and children's literature..
Illustration by Alexander Zwick
Here is an excerpt from Oltermann's article:Forgotten Fairytales Slay the Cinderella Stereotype...
The stash of stories compiled by the 19th-century folklorist Franz Xaver von Schönwerth – recently rediscovered in an archive in Regensburg and now to be published in English for the first time this spring – challenges preconceptions about many of the most commonly known fairytales...
Harvard academic Maria Tatar argues that they reveal the extent to which the most influential collectors of fairytales, the Brothers Grimm, often purged their stories of surreal and risque elements to make them more palatable for children.
“Here at last is a transformation that promises real change in our understanding of fairytale magic,” says Tatar, who has translated Schönwerth’s stories for a new Penguin edition called The Turnip Princess. “Suddenly we discover that the divide between passive princesses and dragon-slaying heroes may be little more than a figment of the Grimm imagination.”
Here is the headline from Alison Flood's article: Grimm Brothers’ Fairy Tales Have Blood and Horror Restored in New Translation....
The original stories, according to the academic (Zipes), are closer to the oral tradition, as well as being “more brusque, dynamic, and scintillating”. In his introduction to The Original Folk and Fairy Tales of the Brothers Grimm, in which Marina Warner says he has “redrawn the map we thought we knew”, and made the Grimms’ tales “wonderfully strange again”, Zipes writes that the originals “retain the pungent and naive flavour of the oral tradition”, and that they are “stunning narratives precisely because they are so blunt and unpretentious”, with the Grimms yet to add their “sentimental Christianity and puritanical ideology”.
The Frog King or Iron Henry...an Excerpt from the new Jack Zipes translation of the Brothers Grimm...
"The princess became terrified when she heard this, for she was afraid of the cold frog. She didn't dare to touch him, and now he was to lie in her bed next to her. She began to weep and didn't want to comply with his wishes at all. But the king became angry and ordered her to do what she had promised, or she'd be held in disgrace. Nothing helped. She had to do what her father wanted, but she was bitterly angry in her heart. So she picked up the frog with two fingers, carried him upstairs into her room, lay down in her bed, and instead of setting him down next to her, she threw him crash! against the wall. "Now you'll leave me in peace, you nasty frog!"
"The fairy tale is in a perpetual state of becoming and alteration. To keep to one version or one translation alone is to put a robin redbreast in a cage. A fairy tale is not a text..."- Author Phillip Pullman
Wonder Tale...An alternative term for “fairytale” is “wonder tale”, from the Germanwundermärchen, which catches a quality of the genre more eloquently than “fairytale” or “folk tale” because it acknowledges the defining activity of magic in the stories. The suspension of natural physical laws produces a heightened and impossible state of reality, which leads to wonder, astonishment, the ’ajaib(astonishing things) sought in Arabic literary ideas of fairytale... An excerpt from How Fairy Tales Grew Up, by Marina Warner, author, critic, in the Guardian
"31% of New York City youth are living in poverty - often facing challenges of inadequate housing, under-performing schools, violence and fractured families. Many kids see few possibilities for the future...
A Fair Shake for Youth partners with schools and community organizations to bring therapy dog teams to disadvantaged and vulnerable middle school-aged youth...The kids discover (the) social tools and build a view of themselves that enables them to envision greater possibilities for their lives...
Hands On and a Curriculum that Resonates
The Fair Shake program can be integrated into the school day, after school, weekend or summer camp programming. The ten-week curriculum includes hands-on work with the dogs and dog-related topics covered by speakers, demonstrations"...read more about this excellent, results-oriented program at Fair Shake
Video: See Fair Shake in action when Isabella and Samantha, two young girls, tell us, in their own words, of their experiences with the dogs and the Fair Shake for Youth program.
A Fair Shake for Youth has been the recipient of a grant from the Planet Dog Foundation
The following is by librarian Liz Burns, excerpted from her outstanding blog, A Chair, A Fireplace and a Tea Cozy
"I read for fun. Not for enlightenment, not to be a better person, not to learn about the universal human experience. I read to get scared, I read to fall in love, I read to feel less alone, I read for adventure, I read for so many reasons that all fall under.... because I want to.
And if that's why I read, why shouldn't that be OK for teens and kids?
Oh, I get that just like I have things to read with a purpose for work, they have things they have to read with a purpose for school.
But that's not the only way or reason to read. And, especially outside the school environment, reading for fun, rather than reading "because", should be championed.
It shouldn't be a guilty pleasure.
It should just be ... a pleasure."
A Chair, A Fireplace & A Tea Cozy was founded on April 2, 2005 with a welcome post that set forth a mission statement: to write about "story. Because it's all about story: the stories we tell, the ones we believe, the ones we read, the ones we watch. The ones we want to believe in; the ones we're afraid of. The stories we tell because we're afraid. While the majority of my posts are about children's and young adult books, I also write about television and film, sometimes adult books, as well as publishing and library news." - Liz Burns
In the photo by Susan Purser, Chase reads with his friend, therapy dog Rose
Aesop's Fables Never End
"No author has been so intimately and extensively associated with children's literature as Aesop. His fables have been accepted as the core of childhood reading and instruction since Plato, and they have found their place in political and social satire and moral teaching throughout medieval, Renaissance, and modern cultures...
...Fables have long ago escaped the confines of the nursery and the schoolroom. Their readerships have included parents as well as children, masters as well as slaves. rulers as well as subjects..."
Seth Lerer writing on Aesop's Fables and Their Afterlives in his book, Children's Literature, A Reader's History From Aesop to Harry Potter
Ann Staub, a former vet tech, caring person, mother, and blogger on Pawsitively Pets (dedicated to all things animal), wrote a touching account of finding a lost dog, and the sad aftermath. Here is an excertpt and link:
My hopes and dreams of a spectacular reunion were destroyed with what I learned next. The family member I was helping didn't want the dog back. He "wanted his friends to adopt her from where ever she was at"...
There would be no reunion between loyal dog and not-so-loyal owner. And I find it both depressing and infuriating.
I'm not an emotional person. I don't get teary-eyed over things that most people do. Perhaps this is one of the "strengths" that allowed me to become a good veterinary technician. This, however, made me cry.
This dog was adopted from the animal shelter about 3 years ago. After about a year, those people no longer wanted her so my family member took her in. Now, he no longer wants her so someone else will take her. How many more times will she face this same situation? Will she be thrown out like trash again when she's old and sick?...This is a good dog and she deserves so much better than this.
So I guess it's up to the people who know better to educate those who don't. If you have a friend or family member that wants to get a new pet, tell them that pets are a lifelong commitment. Ask them if they are prepared to care for that animal during the entire duration of their life.
Here is a link to read the entire article and see photos...Ann Staub
Stories Never End -- If You Can Read
World Read Aloud Day is coming this year on March 5, 2015
LitWorld celebrated World Read Aloud Day with disadvantaged children in over 75 countries last year..." motivating children, teens, and adults worldwide to celebrate the power of words and creating communities of readers...showing the world that the right to literacy belongs to all people."
The photo was taken in Suriname.
"Some of the best books being published today are children’s and young adult titles, well-written and engaging books that capture the imagination. Many of us can enjoy them as adults, but more importantly, can pass along our appreciation for books to the next generation by helping parents, teachers, librarians and others to find wonderful books, promote lifelong reading, and present literacy ideas." Here is a link to Kidlitosphere.
The illustration from Planet Of The Dogs is by Stella Mustanoja-McCarty
Our story begins long, long ago, before there were dogs on Planet Earth.
There was plenty of space in those days for people to settle and grow things. Many of the places where people lived were very beautiful. There were clear lakes and cool streams with lots of fish. There were fields and woods with game to hunt. And there were rolling hills and open plains with plants growing everywhere. Many people settled in these places of abundance and prospered.
And then, invaders came. Where once there had been harmony and friendship, there was now fear, anger, and unhappiness. Something had to be done -- but what could anybody do? No one knew it at that time, but help would come from the Planet of the Dogs.
Read Sample Chapters of the Planet Of The Dogs Series.
Librarians, teachers, bookstores...Order Planet Of The Dogs, Castle In The Mist, and Snow Valley Heroes, A Christmas Tale, through Ingram with a full professional discount.
Therapy reading dog owners, librarians and teachers with therapy reading dog programs -- you can write us at email@example.com and we will send you free reader copies from the Planet of the Dogs Series...Read Dog Books to Dogs...
The map of Green Vally and the illustration of Stone City are by Stella Mustanoja-McCarty
"Any one of these books would make for a delightful—and one would assume cherished—gift for any child. All three would be an amazing reading adventure." Darlene Arden, educator, dog expert, and author of Small Dogs Big Hearts.
A Master of Childhood Dreams...His Stories never End Miyazaki Wins Again, After 11 Animated Features
What makes his films so memorable — from the great ones, like “Spirited Away,” which is a coming-of-age tale, and the ecological fables “Princess Mononoke” and “Nausicaa of the Valley of the Wind,” to less profound but still captivating works like“Kiki’s Delivery Service” and the mesmerizing “My Neighbor Totoro” — is something that’s harder to label. You know it when you feel it: the mastery of tone and emotion, embodied in every gesture, expression, movement and setting, that give the films a watchfulness, a thoughtfulness, an unaffected gravity. To watch a Miyazaki movie is to remember what it was like to be a smart and curious child..."
The Hunger Games-Mockingjay Part One
This third episode of Hunger Games is relevant to disturbing real world events. Like like the to
earlier films it is entertaining . However, this episode has more substance as Andrew Lapin writes in his excellent and thoughtful review for NPR, "all of these images have resonance in real events of this year." The film has grossed over $700 million worldwide thus far and still drawing audiences. Here is an excerpt from his Andrew Lapin's review:
"When producers were laying track for the Hunger Games series years ago, they couldn't have foreseen how discomforting author Suzanne Collins' descriptions of a war-torn authoritarian state would look on the big screen in 2014. In The Hunger Games: Mockingjay - Part One, Jennifer Lawrence witnesses and/or learns of: towns reduced to rubble, refugee camps next to mass graves, public executions of innocents with burlap sacks over their heads, law enforcement gunning down protesters in the street, and a military bombing a hospital filled with civilians. All of these images have resonance in real events of this year, generations before Collins predicted civilization would devolve into a regime that maintains control over its citizens with televised death matches..."
Here is a link to this insightful review:Andrew Lapin's review for NPR
Into The Woods:
Fairy tales are combined in this Walt Disney adaptation of Stephen Sondheim's broadway musical hit...71% of the critics (Rotten Tomatoes) wrote favorable reviews. However, there were often reservations in the reviewer's responses.
Here is an insightful excerpt from Jerry Griswold's article on Maria Tartar's Breezes from Wonderland blog:
"It is rated PG. But kids watching the film in my local theater seemed dampened by the mopey second half. They laughed at the cleverness of the first act, as well known storybook characters crossed into each other’s stories and interacted; still, it should be said that when it comes to clever fairy-tale mash-ups, “Shrek” does it better. But as for the second act’s dreary sharing of existential facts (regarding mortality, adultery, etc.), all in the name of growing-up and becoming undeceived, well, kids aren’t big on Weltschmerz. And that’s because, as James Barrie complained in “Peter Pan,” the young are gay and heartless."
Here is a link to the trailer:Into The Woods
The Hobbit: Battle of the Five Armies
Peter Jackson has had enormous box office success with films inspired by Tolkien's Middle Earth books. It seems, however, that Tolkien's ideas have again been overcome by Jackson's computer generated violence. Here is the opening of Andrew O'Hehir's review in Salon...
"Presumably everyone now understands that Peter Jackson’s bloated “Hobbit” trilogy has only an arm’s-length, tangential relationship with the classic children’s novel that J.R.R. Tolkien first published in 1937, essentially launching the epic fantasy genre that now dominates so much of popular culture...
And here is an excerpt from Nicolas Rapold's review in the New York Times....
"What this adaptation of “The Hobbit” can’t avoid by its final installment is its predictability and hollow foundations. It’s been said before, but Mr. Jackson himself is still haunted by the past: For all the craft, there’s nothing here like the unity and force of “The Lord of the Rings,” which is positively steeped in mythology and features (wonder of wonders) rounder characterization than the scheduled revelations on display here..."
Here is a link to the trailer: Five Armies
Nancy Houser, has several posts on her Way Cool Dogs blog about puppies, from "Taming Puppy Aggresion" to "Wonderful Small Puppies for Children". Here is an excerpt and link from : 6 Incredible Reasons to Get a Rescue Puppy
"When you save a rescue puppy, you are saving its life. Many shelters have to put dogs to sleep because they can’t afford to keep them. When you decide to take a rescue animal home with you, you are giving it a second chance in life. Many rescue dogs used to have owners, but their owners treated them poorly or abandoned them. Pets deserve better than that. You have a chance to make a real difference to an animal’s life, and so you should take it..."
Read more: http://www.waycooldogs.com#ixzz3OW6latfA
I haven't seen The Giver (released in theaters last year) nor read Lois Lowry's YA book, The Giver (1993). However, it was favorably cited by Jerry Griswold, Director of the National Center for the Study of Children's Literature, and author of Feeling Like a Kid, Childhood and Children's Literature. Therefore, I did some research...
I found enough information on the internet to be intrigued. The Giver is a different take on a dystopian future; relying more on concept than violence. The trailer and descriptions/synopsis provide a provocative look at a different approach to dystopia, quite at variance from the strife ridden simplicity of YA films like Divergent and the Labyrinth.
The book of The Giver was well received as a young adult book, winning a Newberry Award in 1994 as well as awards from the ALA, the NEA, and the School Library Journal. It has sold over 10,000 copies. The film, however, didn't fare well at the box office and has already been released as a DVD. Here is the Film Critics Consensus according to Rotten Tomatoes: "Phillip Noyce directs The Giver with visual grace, but the movie doesn't dig deep enough into the classic source material's thought-provoking ideas."
Here is the trailer forThe Giver...
Empowerment for Animal Advocates in C.A. Wulff's Book
How to Change the World in Thirty Seconds, is empowering...it's the internet
made easy, the internet as a tool, the internet as a dog's best friend... a book and a way to make a difference... for dog lovers, animal advocates and anyone who wants to make the world a better place.
Here is an unedited Amazon review excerpt by Johanna:"This is probably the best "how-to" book I have ever seen. It is written in a very conversational manner while being extremely educational. Along with giving step-by-step instructions on how to use each advocacy tool, Cayr gives some background on each website, organization, and group, and explains how each is set up and how the different helping processes work. She walks you through the necessary steps and gives tips...
Rocket Boy, the dog in the photo by C.A. Wulff, one of her pack of rescued dogs.
YA Book Preview of The Motherless Child Project by Janie McQeen and Robin Karr.
I don't often discuss YA books. However, I have long admired Janie McQueen's previous Magic Bookshelf books and I am currently reading (report coming in my next blog) her poignant new book The Motherless Child Project.
Meanwhile, I am posting an excerpt from Midwest Book Review:
Jingles...a book, a toy, and dog rescue
The Story of Jingles is the first book in the newly launched Operation ResCUTE series. Each Book comes with a Stuffed Animal Set. And each purchase helps to rescue a dog!
Here's the review by C.A. Wulff in the Examiner...
"The book, authored by Jingles, is 24 pages long, with full color illustrations. It comes adorably packaged in a window box with a stuffed animal of Jingles and an “I am a ResCuter!” Operation ResCute sticker for the child. The second book in the series will feature a rescue dog named Tanner. Operation ResCute has a contest underway to find a third dog and his/her story.
Kids will love the book and the toy, and parents will love the message. Giving this as a gift will make you feel great, too, because 100% of the proceeds go directly to animal rescues."
The Hugging Bears (from the Guardian)
"Inspired by the delightful statue of two bears on display in Kensington Gardens in London, "The Hugging Bears" is the story of two bear cubs, Ruggley and Teddi, who live with their mother in the wintry wilderness. A sudden and violent encounter with humankind changes the cubs' lives forever.
Told with great simplicity and much heart by Carol Butcher, and featuring charming colour illustrations by Sue Turner, "The Hugging Bears" will be enjoyed by young children everywhere. The book also has a useful message about human's often unkind treatment of wild animals."
The profits from this book will go to the charity Happy Child International, which supports the street children of Brazil.
"Fences for Fido is a group of volunteers who get together to build fences for dogs in Oregon who are currently living out their lives on a chain. They do fundraisers and accept donations in order to make this work possible. On their facebook page, Fences for Fido share many inspirational photos and videos of the building process, and especially the happy dogs taking their first off-chain run in their brand new yard- always great! I love how this organization focuses on the positive aspects of what they are doing, and come from a non-judgmental approach. I believe these two things are the key to their success so far..."
The above information is from She Speaks Bark, Kaitlin Jenkins dog-loving blog. Kaitlin wrote about this being National Unchain a Dog month; as part of the article, she wrote about Fences for Fido. I, too, much admire the work they do, having previously written about them in this blog. Here is the link to read more of her excellent post about the wonderful work of Fences For Fido: KaitlinJenkins
When Library Time Means Screen Time
Blog: Sara Dobie's Blog (Login to Add to MyJacketFlap)
JacketFlap tags: Film, Alan Turing, Benedict Cumberbatch, The Imitation Game, Add a tag
SPOILERS: If you don’t know the story of Alan Turing and want to remain completely in the dark in regards to the plot of The Imitation Game, probably don’t read this.
As a dedicated Cumberbitch, of course I had to see The Imitation Game, in which my boyfriend Benedict Cumberbatch portrays genius and father of the modern computer Alan Turing.
Turing was a British mathematician, cryptographer, and marathon runner who helped break the Nazi Enigma code to bring an early cessation to World War II. The machine he used to break the code, “Christopher,” is the precursor to technology we use everyday, whether it be a computer or smart phone.
Post-war, Turing was found guilty of gross indecency, due to his homosexuality (a crime at the time) and sentenced to two years chemical castration through oestrogen injections in order to dissolve his libido. Due perhaps to the effects of the oestrogen, he killed himself at the age of forty-one.
Turing was never ashamed of his sexuality. He died a genius and a homosexual who has since been recognized for his accomplishments and for the unfortunate turn his life took as a gay male in the super paranoid 1950s.
The film, Imitation Game, follows Turing’s entire life through flashes into his past at boarding school, his present at Bletchley Park during World War II, and into his sad, horrible future, during the process of his chemical castration when he seemed ready to lose his mind.
Cumberbatch was ideally cast in the role of this awkward genius. He brings comedy, heart, and charisma to a man whose own mother called him “an odd duck.” The supporting cast is similarly enthralling, led by Keira Knightley and Matthew Goode (and a truly heart-wrenching portrayal by lesser-known Matthew Beard).
Screenwriter Graham Moore deserves every award possible for his flawless movement through time, choosing the moments in Alan’s life that shaped him the most. And I’d be remiss to not mention director Morten Tyldum, who guided and shaped the film into an emotional rollercoaster of joy, tragedy, and rage.
Cumberbatch has admitted he did not leave filming unscathed. During one scene, for instance, he had to portray Turing having an emotional breakdown. Surprise, surprise, Cumberbatch actually had a breakdown and couldn’t finish the scene.
He told the Los Angeles Daily News, “I just got completely lost in his tragedy. I tried to pace myself for the scene, but I could not stop crying. I could not stop keening for this guy who was wronged. It disgusted and profoundly upset me.” As an audience member, I felt the same about Turing’s fate.
The film is brilliant in execution. The performances are spot-on. More than that, though, The Imitation Game informs people of what happened to Alan Turing and what happened to so many men like him in the first half of the twentieth century.
Gay men were once the drug dealers of today. They were persecuted and imprisoned for their “crime” (sexual preference). Can you image that happening now? No, but that doesn’t mean we’re in any way out of the woods where gay rights are concerned.
A dear friend of mine was recently attacked via an online discussion board at her college. Fellow students found out she was gay and offered to help her. They wanted to take her someplace where she could be “healed.” They wanted her to know she could be fixed, but as I told her, “Honey, you can’t fix stupid.” We still live surrounded by ignorance, and no matter how well intentioned, my friend’s fellow students really hurt her feelings.
Steps have been taken to stop discrimination against gays. Gay marriage is being allowed in more and more states around the country. We’re certainly not putting people away for sodomy anymore. (Half the straight population would probably be behind bars, too.) But there is still a long way to go for more than just gays—for the rights of all races, sexes, and creeds.
The Imitation Game is really about choices: choose who you love, choose who you save, and choose who you want to be. Finally, choose to accept the way you were born.
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Blog: An Illustrator's Life For Me! (Login to Add to MyJacketFlap)
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Great job Lily and Lola!
Blog: The Mumpsimus (Login to Add to MyJacketFlap)
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Two new biographical films give viewers an opportunity to see diametrically opposite approaches not just to biography, but to film narrative itself.
A warning: I saw Mr. Turner and The Imitation Game months ago (as part of the annual Telluride at Dartmouth festival), and my thoughts here are based purely on memories that are getting ever dimmer. Nonetheless, the differences between the films are so striking that I couldn't help but keep thinking about them, to keep reading about the stories' subjects, and to keep coming back to the idea of how information is conveyed through moving pictures.
I went into both films with relatively high expectations, since I adore Mike Leigh's work and I had very much enjoyed Headhunters, the previous movie directed by Imitation Game's Morten Tyldum. And overall I did like both Mr. Turner and The Imitation Game; however, "like" is part of a broad spectrum, and for me, Mr. Turner was a powerful emotional and aesthetic experience that made it among the best movies I've seen in a long time, and The Imitation Game was an entertaining way to spend a couple hours.
The audience responses to the two films were interesting, in that The Imitation Game seemed to be a real crowd-pleaser, while Mr. Turner... Well, let's see. There was a couple behind us who didn't seem to be having a very good time, and somewhere in the distance somebody was snoring, then when we walked out to the lobby, a couple of nice young Dartmouth students working as ushers stopped me and one of my companions: "We're sorry," they said, "but we just need to know — what did you think of that?" I think my companion said she thought it was pretty but that Timothy Spall's performance was very off-putting, and I think I mumbled out something like, "Bloody genius! Overwhelming!" The students clearly found it almost an impossible film to even have an opinion of, a film that was so outside their protocols of evaluation that it might as well have been an alien object.
The Imitation Game takes very good care of its audience. It works hard to keep the viewer from confusion, it provides plenty of exposition, its score sets up emotional moments, and it simplifies the history it represents so determinedly that it is, in the most shallow sense of the word, satisfying: it fits its subject to the limitations of a limited form. It's the cinematic equivalent of a TED Talk.
Mr. Turner is not much interested in providing the viewer with exposition. Its narrative approach could be described as starting from the middle of in medias res. It doesn't explain who its characters are, what their relationships to each other are, or why they behave the way they do. As viewers, we're required to pick up on cues, like strangers in a new city or guests at a party where we don't know anybody. It's a deeply internalized narrative form, and it can feel unstructured, though it's not at all. It's vaguely akin to cinema verité, but perhaps closer to Chekhov's plays, which David Magarshack astutely described as plays of "indirect action".
Indeed, in some ways what we see with The Imitation Game and Mr. Turner is not so much an aesthetic difference between biopics, but a much deeper and older difference: that between the well-made play and realism. This is not to say that The Imitation Game works like a Scribe play, but rather that it sticks to old narrative conventions of character relations, suspense, and denouement, and it does so quite skillfully — it's no surprise that it topped the Black List of unproduced screenplays in 2011, because it shrinks the story of Alan Turing into a pleasing and recognizable form.
Mr. Turner is far less interested in fitting its tale into a familiar form. Instead, white Mike Leigh and his accomplices have done is take some of the actual history of J.M.W. Turner in his later years (mostly the last decade of his life) and roam around in it, dramatizing not only the known history but also some of the amusing tales and rumors that rose up around him (good stories, but unverifiable). The desire of the film seems to be not to teach us anything, but rather to let us hang around in some of the moments of Turner's life. It concludes with his death, but not in any satisfying way — instead, we are left with the uncomfortable sense of missed opportunities and incomplete actions that accompanies the end of even the longest of lives. For the viewer who has been able to enter into the movie's indirect approach, to feel a way into the film's feelings, it's profoundly moving. For the viewer who hasn't, the effect is bewildering, anticlimactic, and just plain odd, a mix of "That's it?" and "So what?"
For me, the narrative approach of Mr. Turner seems more honest and respectful toward the history than the approach of The Imitation Game, where a complex history is quite severely reduced so as to make it more dramatically comprehensible and familiar. It's odd that The Imitation Game has to give credit to Alan Turing: The Enigma by Andrew Hodges; it would be more accurate to credit the film as "based on a handful of sentences in a big book by Andrew Hodges and a whole lot of imagining by Graham Moore". Some people have criticized it for not depicting Turing's homosexuality enough, and there's something to that, though it's not so much a lack of attention to his sexuality as a question of emphasis and detail — the BBC film of Hugh Wheeler's play Breaking the Code is far more effective at conveying the complexities and realities of homosexuality in Turing's life. (For The Imitation Game, it seems it's the chemical castration that's the most interesting part of Turing's sexual history, since it leads to a climactic weepy moment.)
While Mr. Turner is not remotely a documentary, and admittedly adds in a few events that are likely untrue, on the whole it is remarkably faithful to what is known and what can be known about Turner's life and era. Leigh can accomplish this because he doesn't feel any need to force the film into the form of a traditional story. By abandoning the most traditional, familiar conventions of storytelling, he's free to keep things as odd and messy as they may have been in real life.
Both films are carried by their lead actor, but again the differences are sharp. Benedict Cumberbatch plays Turing as the cousin of his portrayal of Sherlock Holmes. It's a generally endearing portrayal; nobody makes this sort of character as charming and delightful as Cumberbatch, and he's in danger of typecasting. (I love his Sherlock, but am most impressed by him as an actor in Parade's End, because there he had a truly difficult acting challenge: to convey meaning and emotion while portraying someone who has deeply repressed their emotional life. It's an extraordinary acting challenge because it requires that the actor do as little "acting" as possible, and it is that sort of challenge — not the showy Oscar-bait stuff — that separates the great actors from the merely talented. I would have preferred more of that performance in Cumberbatch's Turing and less of Sherlock.) But there's also something plastic about the performance, something that seems to me more appropriate for a comedy — I sometimes thought Cumberbatch edged toward Michael Palin territory.
Timothy Spall's performance as Turner is astounding, but also, for many people, so off-putting that it makes actually watching the movie difficult. (Or so they told me.) For me, it was riveting, because though Spall snarls and growls and mutters and spits his way through the movie, it's not a grandstanding performance because the physicality is so at odds with an inner life that Turner struggles to communicate and that only fully comes out in his art. One of my favorite scenes in the film has Turner standing at a piano as a woman plays it. He is clearly moved by the music. Then, he starts singing. He's a terrible singer, of course, but he so commits himself to the song and so lets the music sink into himself that the moment is extraordinarily complex: we want to laugh, yes, because it's like watching an overgrown hamster try to sing like Pavarotti, but quickly we also can't help but see the human being within, the rough son of a barber who taught himself to appreciate so much that was considered high-class and beyond him, the great artist trapped in the man's body. It's a moment absurd, beautiful, and sad all at once. That's the strength of this film, the greatness of its art: it is absurd, beautiful, sad, horrifying, weird, funny, beguiling, and so much more all at once.
The other performances are as layered and interesting as we've come to expect from Leigh (although Joshua McGuire's portrayal of John Ruskin, while hilarious, seemed a bit too over the top in comparison to the other performances in the film). Dorothy Atkinson deserves every award out there for her performance as Turner's housekeeper, Hannah Danby — she transformed herself even more fully than Spall, but is similarly capable of conveying extraordinary amounts of emotion and information through glances, gestures, and posture. It's a performance that, like Spall's, could easily have become caricature, but rises to far greater heights.
The cinematography in Mr. Turner is also extraordinary. (I remember nothing of the cinematography of The Imitation Game.) The way that Leigh and his director of photography Dick Pope are able to set up shots and capture light is not precisely Turneresque (though a few scenes from Turner paintings are reproduced); instead, it creates the feeling of showing us the kind of light that Turner would have interpreted through paint. It allows us to imagine that we see not Turner's paintings, but what Turner painted, and what he saw in the world that inspired him toward painting. (In that sense, it reminds me of Jean Lépine's magnificent cinematography in Vincent & Theo, another great film about a great artist.)
I expect The Imitation Game will be up for more awards than Mr. Turner, because The Imitation Game is such an easy film to like — it's the nice guy you're always happy to have over for dinner because he can get along with anybody and he always has a few amusing stories to tell. But you're happy he also goes home after a couple of hours, because really he doesn't have a lot to offer. Mr. Turner is thornier, a movie that, like its subject, makes no effort to be likeable, and so in the end is something much more than likeable: a work of art that trusts its audience to catch up, to play along, to reflect and wonder, and to live with complexities of ordinary, extraordinary life.
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JacketFlap tags: Blackstones, Christmas, cinema, die hard, film, home alone, kiss, kiss kiss bang bang, lethal weapon, miracle on 34th street, movies, national lampoon's christmas vacation, operational handbook, police, watchlist, *Featured, Arts & Humanities, Editor's Picks, Law, Media, TV & Film, action, batman returns, Add a tag
In order to spread some festive cheer, Blackstone’s Policing has compiled a watchlist of some of the best criminal Christmas films. From a child inadvertently left home alone to a cop with a vested interest, and from a vigilante superhero to a degenerate pair of blaggers, it seems that (in Hollywood at least) there’s something about this time of year that calls for a special kind of policing. So let’s take a look at some of Tinseltown’s most arresting Christmas films:
1. Die Hard, directed by John McTiernan, 1988
Considered by many to be one of the greatest action/Christmas films of all time, Die Hard remains the definitive cinematic alternative to the usual saccharine cookie-cut Christmas film offering. This is the infinitely watchable story of officer John McClane’s Christmas from hell. When a trip to win back his estranged wife goes awry and he unwittingly finds himself amidst an international terrorist plot, he must find a way to save the day armed only with a few guns, a walkie talkie, and a bloodied vest. With firefights and exploding fairy lights abundant, this Bruce Willis tour de force is the undisputed paragon of policing in Christmas films.
2. Home Alone, directed by Chris Columbus, 1990
In a parental blunder tantamount to criminal neglect, the McCallister family accidentally leave their youngest member, Kevin (played by precocious child star Macaulay Culkin), ‘home alone’ to fend for himself over Christmas as two omnishambolic burglars target the McCallister household. As the Chicago Police Department work through the confusion of the situation, Kevin traverses his way through a far from silent night. Cue copious booby traps and slapstick as the imagination of an eight-year-old boy ingeniously holds the line in this family-fun classic.
3. Batman Returns, directed by Tim Burton, 1992
Gotham is a city perennially infested with arch-criminals whose seemingly endless financial resources demand that they be tackled head-on by a force who can match them pound-for-pound (or dollar-for-dollar, if you prefer). Enter Gotham’s very own Christmas miracle: billionaire Bruce Wayne and his vigilante alter ego Batman (Michael Keaton), who provides a singular justice-hungry scourge against the criminal underworld. As the Penguin (Danny DeVito) hatches a nefarious plot which threatens the city, Batman’s wholly goodwill must prove resilient. Though director Tim Burton went on to make The Nightmare Before Christmas the following year, Batman Returns itself is hardly a Christmas classic.
4. Lethal Weapon, directed by Richard Donner, 1987
With a blizzard of bullets and completely bereft of snow, LA-based Lethal Weapon lacks nearly all the usual trimmings of a Christmas film. Seasoned detective Roger Murtaugh (Danny Glover) is close to retirement when he’s paired with the young (and morose) Martin Riggs (Mel Gibson) to tackle a drug smuggling gang. As their stormy investigation progresses, Murtaugh and Riggs’ unlikely union flourishes into a double-act worthy of Donner and Blitzen (and, judging by the pair’s return in a subsequent three installments of the series, their entertaining policing partnership always leaves audiences wanting myrrh…).
5. National Lampoon’s Christmas Vacation, directed by Jeremiah Chechik, 1989
In this third installment of the Griswold family’s catastrophic holidays, Clark (Chevy Chase) navigates his way through the perils of yet another disastrous calamity, but at least this time he has his Christmas bonus to look forward to. Things take a bizarre turn for the criminal when the bonus isn’t forthcoming, resulting in a myriad of mishaps of Christmas paraphernalia and SWAT teams. As the tagline for the film attests, ‘Yule crack up!’
6. Kiss Kiss Bang Bang, directed by Shane Black, 2005
Petty thief Harry Lockhart (Robert Downey Jr.) finds himself embroiled in a series of increasingly byzantine cases of mistaken identity as both a method actor and criminal investigator. Reality cuts through when Harry is shepherded into a murder investigation involving the sister of his childhood crush, Harmony Lane (Michelle Monaghan). Perhaps one of the less christmassy films on this list, there are definitely still a few seasonal signs parceled in to this murder/mystery thriller.
“There’s something about this time of year that calls for a special kind of policing”
7. Miracle on 34th Street, directed by George Seaton, 1947
Arguably the ultimate Christmas film, Miracle on 34th Street is the classic tale of the legal battle around the sanity and freedom of a man who claims to be the real Santa Claus. This original film won three Academy Awards including Best Actor in a Supporting Role for Edmund Gwenn’s portrayal of Kris Kringle (‘the real Santa Claus’). Despite being remade in 1994 and adapted into various other forms, the 1947 version remains the quintessential Christmas film which no comprehensive watchlist could be without.
8. Bad Santa, directed by Terry Zwigoff, 2003
Dastardly duo Willie (Billy Bob Thornton) and Marcus (Tony Cox) make their criminal living by posing as Santa and his Little Helper for department stores, and then opportunistically stealing as much as they can. As the security team for their latest blag hunts them down, Willie meets a boy determined that he is the real Santa and the race is on for the degenerate pair to reform their lifestyles before they are stuffed.
What would would you add to this list? Tell us your favourite policing Christmas film in the comments section below or let us know directly on Twitter. Merry Christmas everyone!
Headline image credit: [365 Toy Project: 019/365] Batman: Scarlet Part 1. CC-BY-NC-SA-2.0 via Flickr.
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Best Wishes To All
Holiday Dogs, Biscuit and Gravy, are courtesy of Richard Bradley's website, A Rock In My SHoe
Holiday Turning Point...
It was Charles Dicken's A Christmas Carol that transformed Christmas, first in Victorian England as the industrial age was barreling ahead, and then throughout Europe. Dicken's notion that the true Christmas spirit embodied caring and generouisity -- especially for those less fortunate -- influenced the thinking of multitudes and transformed the holiday.
The ancient orgins of Christmas and of Santa Claus have been traced to many cultures including Scandanavian (especially Danish), Germanic, Dutch and British.
The legend of Santa Claus, himself, was greatly enhanced by the poem A Visit from St Nicholas, written for his children, by the American, Clement Clarke Moore, in 1823.
Images by some of the great illustrators have deeply influenced perceptions of Santa and Chistmas. This is especially true for children. However, significant impressions in the minds of adults were also made by the Dicken's illustrations of John Leech (and later by Arthur Rackham) in Great Britain, and the yearly illustrations by Thomas Nast of A Visit From St Nicholas in the USA.
With the passing of time, the spirit of Christmas has changed. The idea of gifts for children, and then others, has evolved with stories, TV, films, merchants, and ceaseless marketing into an often overwhelming distortion of the original spirit of A Christmas Carol. But the spirit does live on.
A Christmas Carol
"Few works in the history of popular culture have had as much pronounced effect as Charles Dickens’s A Christmas Carol, first published in 1843. While Christmas Day had always been a sacred, solemn feast day within the Christian faith (just as the Winter Solstice had been in many pagan cultures before it), it wasn’t until the middle part of the 1800s that many began to see it less as a site of religious devotion than as a holiday to be celebrated, and to be celebrated most specifically through the act of giving. While A Christmas Carol didn’t spawn this tradition itself, it, more than any other force, popularized it throughout the western world. Through its powerful, secular story of redemption through charity and love, Dickens imparted to all that Christmas was a time to celebrate all that was worthwhile about the human race, most specifically our love for one another, and our compassion for those less fortunate."...
To read the rest of this excellent article by Jonathan Morris, the Antiscribe, follow this link It will take you to his comprehensive and instghtful article on the significance and lasting
impact of Charles Dicken's and A Christmas Carol. Morris also provides, in this article, informed reviews of multiple film and TV versions of A Christmas Carol through the years; he includes photos and video links.
This link will enable you to download/read the original version of A Christmas Carol by Charles Dickens"
This link will take you to the 1971 Annimated version of A Christmas Carol produced by Chuck Jones, directed by Richard Williams, and with the voice of Alister Sim as Ebeneezer Scrooge. This is a classic and a favorite of Jonathan Morris: Annimated Christmas Carol
The top two illustrations on the left are by John leech. The illustration, on the right, is by Thomas Nast. The illustrator of the bottom left Christmas scene is unknown.
"I don't know what to do.' cried Scrooge, laughing and crying in the same breath; and making a perfect Laocoon of himself with his stockings. `I am as light as a feather, I am as happy as an angel, I am as merry as a schoolboy. I am as giddy as a drunken man. A merry Christmas to everybody. A happy New Year to all the world. Hallo here. Whoop. Hallo.' "--
A Christmas Carol, Charles Dickens
A Foxwoods Holiday Celebration
This wonderful illustration is by Brian Fox-Patterson for a series of children's books by Brian and his wife, Cynthia. To see more of his delightful illustrations, visit Foxwood Tales Illustrations.
"Their first story was published in 1985, and seven more followed. Since then the series of eight children's books have become modern classics. Over 1.3 million copies have been sold across 18 countries." (Wikipedia)
For summaries of six of the books, visit loveReading4Kids. A compilation of four of the Tales can be found in the book, A Foxwood Treasury.
I discovered the Foxwood Tales through the illustrations. I haven't read the books, but I wanted to share the superb illustrations.
Kwanzaa- A Holiday Celebration
"The year 2014 will see the 48th annual Kwanzaa, the African American holiday celebrated from December 26 to January 1. It is estimated that some 18 million African Americans take part in Kwanzaa.
Kwanzaa is not a religious holiday, nor is it meant to replace Christmas. It was created by Dr. Maulana "Ron" Karenga, a professor of Black Studies, in 1966. At this time of great social change for African Americans, Karenga sought to design a celebration that would honor the values of ancient African cultures and inspire African Americans who were working for progress.
Kwanzaa is based on the year-end harvest festivals that have taken place throughout Africa for thousands of years."...Kwanzaa ends with a feast and gift giving... Holidays are forever
“One can never have enough socks," said Dumbledore. "Another Christmas has come and gone and I didn't get a single pair. People will insist on giving me books.”
― J.K. Rowling, Harry Potter and the Sorcerer's Stone
The Spirit of Christmas Embodied in a Therapy Dog
This is about Susan and Rose. That's Rose in the photos. It is also about the thousands of therapy dogs bringing unconditional love to young and old. Susan Purser is a retired teacher and has been working for several years with Rose in schools , hospitals, nursing homes and hospices. These are Susan's comments about working with Rose.
“I consider myself a facilitator…if my dog could drive, she would not need me. Rose seems to enjoy seeing people multiple times and developing a relationship with the people… She is a working dog by nature and she just loves these jobs. I am constantly amazed at the doors that Rose opens…she goes to places I could never get without her…reaches beyond my reach, touches a person deeper than my touch. The restless or agitated patient who is calmed by Rose’s touch...the child in the classroom who won’t settle down and get to work but when Rose sits by them, they quiet right down and the hyperactivity seems to dissipate. The child getting excited about reading to Rose every week; they wouldn’t do that for me, but they do it for Rose...
It is their touch or look that gives people that inner peace when their world is shrinking or spinning so fast they have lost control. When doors begin the final closing, there is that one last smile, nod, a hand that reaches for a dog that allows some of them to say good bye and close their eyes in peace.”
The photos of Rose are courtesy of Susan Purser.
Here is a joyous video from Litworld, celebrating the joy of reading, the joy of being somebody, the joy of hope. LitWorld gives the gift of reading to disadvantaged and at-risk children around the world...and they do this not only during the Christmas season, but throughout the year!
LitWorld supports hopes, possibilities and lives in fourteen countries around the world! This link will take you to an interactive map of where Litworld works, from Columbia to India and from Kosovo to California. Interactive Map.
Interview With Santa
Interviewer: Thanks for taking the time to answer our questions and clarifying things.
Santa: I’m happy that the story is finally coming out.
Interviewer: Is it a true story?
Interviewer: Why haven’t we known about it before?
Santa: I think it was lost in the mists of time…It took place hundreds and hundreds of years ago.
Santa: I’m sorry to say that it’s true. Until the dogs arrived.
Interviewer: The dogs?
Santa: It was a surprise to all of us in Santa Claus village. None of us, and that includes all the elves,had even heard of dogs.
Interviewer: Is that because you were so far North and rather isolated?
Santa: Well, that and the fact that dogs has just started arriving on planet earth. Prior to that time, there had been no dogs on Earth.
Interviewer: Really! Where did they come from? And how did they find you?
Santa: They had started coming down from their own planet – the Planet of the Dogs. They came down to help people. Somehow, they had heard we were in trouble, and one day, there they were, just like that...
To read all of the Interview With Santa, click this link: Interview with Santa
The illustrations from Snow Valley Heroes, A Christmas Tale, are by Stella Mustanoja McCarty
Free copies of Snow Valley Heroes, a Christmas Tale; Planet Of The Dogs; and Castle In The Mist are available for therapy dog owners and organizations, as well as librarians and teachers with therapy reading dog programs. Simply email us at firstname.lastname@example.org with your postal address.
All of the Planet Of The Dogs series of books are available through your favorite independent bookstore and online through Barnes&Noble, Amazon, and many other sources.
Here is a link to sample chapters of Snow Valley Heroes
We're on Holiday...The Beagle Freedom Project found us a new home after life in a cage as a test animal....wow!
"The Beagle Freedom Project is a mission to rescue beagles used in animal experimentation in research laboratories and give them a chance at life in a loving forever home."
This wonderful organization has several excellent, touching, videos and clear, basic information: The Beagle Freedom project
"Then the Grinch thought of something he hadn't before! What if Christmas, he thought, doesn't come from a store. What if Christmas...perhaps...means a little bit more!"
―Dr Seuss, How The Grinch Stole Christmas
"Finding Fido is a book that we believe each and every PetParent should not only read, but own. Finding Fido is a PetParent’s guide to: preventing the loss of their pets in the first place & also serves as a guide to PetParents for essential steps to recovering their pets if they ever are lost. If you’re a first time Pet Parent or a long time, seasoned Pet Parent, there are tips and tricks in here that will be helpful to you!...
As great as this book truly is, we’ve got one detail to share that completely sweetens the pot…the cherry on top if you will. All proceeds from the sale of Finding Fido are donated toward the Beagle Freedom Project " Kaitlin Jenkins- PetParent The cover design and content are by author and dog advocate C.A. Wulff
Holiday Season at the Movies
Fun stories.fantasy and imaginative annimation characterize the holiday movies for children...while dystopia, conflict and bloodshed continue to pour out of YA films.
My hope is that children will see the films intended for them, and stay away from the violence of current YA movies, designed, as Christopher Tolkien says below, as action movies for young people 15 to 25.
JRR Tolkien's son, Christopher, believes that the quest for commercial success by Peter Jackson and the movie industry has destoyed the essence of what his father wrote about the world of Middle Earth in the Hobbit books. Here are excerpts from a post regarding Christopher Tolkien's deep disappointment that appeared on Worldcrunch. The quotes by Tolkien are from an interview he gave to le Monde.
"Invited to meet Peter Jackson, the Tolkien family preferred not to. Why? 'They eviscerated the book by making it an action movie for young people aged 15 to 25,' Christopher says regretfully. 'And it seems that The Hobbit will be the same kind of film.'..
This divorce has been systematically driven by the logic of Hollywood. 'Tolkien has become a monster, devoured by his own popularity and absorbed into the absurdity of our time,' Christopher Tolkien observes sadly. 'The chasm between the beauty and seriousness of the work, and what it has become, has overwhelmed me. The commercialization has reduced the aesthetic and philosophical impact of the creation to nothing' "....
Read the full article on Worldcrunch: My Father's "Eviscerated" Work - Son Of Hobbit Scribe J.R.R. Tolkien Finally Speaks Out
The illustration,"Bilbo comes to the Huts of the Raftelves, is by JRR Tolkien.
The Hobbit, Battle of the Five Armies, opens Dec 17. Here is a link to the trailer: Five Armies:
The Hunger Games: Mockingjay1
The story of the Hunger Games continues through the Holiday Season and beyond, with Mockingjay 1. It opened in late November and is off to becoming another huge financial success. Audiences seem to like the film despite the fact that many critics were dissapointed.
Here is an excerpt from the review in the Atlantic by Christopher Orr entitled, Hunger Games: Mockingjay1, Darker, More Relentles than Ever.
"Is the film a bit baggy in places? Sure. Might it have been better if they’d squeezed the whole book into one movie? Probably. Nonetheless, Mockingjay Part 1 is a fine entertainment, shot through with moments of surprising emotional impact."
Here is a link to the Mockingjay1 trailer.
The Dystopian Formula
The dystopian story appears to be a theme for success in today's YA film market. In reviewing The Maze Runner, Jack Cole wrote that The Maze Runner doesn't separate itself from its YA dystopian bretheren. Here is the headline and an excerpt from Cole's insightful review:In 'The Maze Runner,' the maze itself is a letdown and the film presents boring explanations to the plot's mysteries. By Jake Coyle, Associated Press.
Has a cottage industry ever sprung up as fast as the YA land rush brought on by "Twilight" and "The Hunger Games"? I'd like to use a mortal instrument to put an ender to this game. Please, giver me a break.
But to be fair, there isn't anything inherently wrong with "The Maze Runner," directed by special effects-veteran Wes Ball. It's just that it does so little to find its own path separate from its dystopia brethren. All of the recent young-adult formulas are adhered to here: the teenage rebellion against tradition, the coming-of-age metaphors, the heavy sequel-baiting.
Here is a link to the trailer for The Maze Runner. The film has grossed over one hundred million dollars and continues to play. It was not expensive to produce. There will be a sequel.
Movie Violence and Children...
I believe that films with relentless violence, surround sound, fearful images and often in 3-D, will disturb children. How many children, twelve and under, are seeing the current crop of violent dyustopian films?
I presume the producers of these films, and to a lesser extent, the writers of the book series on which they are based, see violence as an important aspect of marketing and audience appeal.
Perhaps, many young adult viewers, after watching the Hunger Games, are more appreciative of the world they live in and of the fact that they are not one of the 25 million refugee children across the world.
After reading Jerry Griswold's enthusiastic comments about The Giver in the Unjournal of Children's Literature, I decided to research the movie and write about it. The film was based on a controversial, but well received book by Lois Lowry.The book was published in 1993 and the movie was released in July, 2014. The Giver had a different take on dystopia and the use of violence.
I have now decided to see the movie before writing further about The Giver. To be continued...
Into The Woods
Into the Woods, which seems to be a Disney family film for children, YA, and parents, is now opening on Christmas Day, 2014. The film's slogan, "Be careful what you wish for", relates to the witch, a central character, played by Meryl Streep. Music by Stephen Sondheim, adds to the story, as it did in the original long running Broadway production.
In the story, the witch uses her magical powers to teach lessons in living to Little Red Riding Hood, Cinderella, Rapunzel and Jack and the Beanstalk. The original production was a big hit with audiences.
Here is a link to the trailer for Into the Woods.
Opens Dec 18... Annie, a family movie, is based on the hit Broadway musical. The cast includes Jamie Fox, Quvenzhane Wallis and Cameron Diaz...Here is a summary from IMDB where you will also find more information, photos and trailers.
Annie looks joyous and entertaining in the trailer preview.
"Annie is a young, happy foster kid who's also tough enough to make her way on the streets of New York in 2014. Originally left by her parents as a baby with the promise that they'd be back for her someday, it's been a hard knock life ever since with her mean foster mom Miss Hannigan. But everything's about to change..."
Holiday Children's Movies Galore
Here are three more kid's films that look good in their trailers and have been generally well received by reviewers. I have previously posted good notices for the following recently opened movies: Box Trolls, Book of Life, and Hero of Color City --
Big Hero 6
Critics Consensus from Rotten Tomatoes : "Agreeably entertaining and brilliantly animated, Big Hero 6 is briskly-paced, action-packed, and often touching." In 3D. Now Playing. Box office: 200 million thus far. Here is the trailer for Big Hero 6 ...Looks like fun.
A Holiday treat, and a wonder to behold, the moving lights are on hundreds of sheep, running in the darkness, guided by sheepdogs...this is a classic video...Moving Lights
From Rescue to Reading...A Holiday Salute
Through the years, they have given over one million dollars; in 2014, alone, they have given over one hundred thousand dollars.
For more information, here is a link to the Planet Dog website
The photo is from Brigadoon Youth and Service Dog Programs in Bellingham,WA
Circling The Waggins at Christmas
Here is an an excerpt from the doglover's book, Circling the Waggins, by CA Wulff. The dogs seen in the ebook cover (below) are the current residents of the cabin in the woods wherein this saga of a life with rescued dogs takes place.
"I feel like we are haunted by the ghost dog of Christmas past. The season brings a million reminders of our Troll, a dog who had loved Christmas more than any other time of year. He would get excited at the first signs of holiday decorations, and his eyes would shine with a child’s wonder. On Christmas morning, he would race to be the first dog under the tree, to tear at the packages full of biscuits and rawhides. Each of the dogs would tear at a package, but Troll unwrapped with such gusto and fervor, that they would all abandon their presents to stand back and watch him, and then make off with whatever treats he had revealed."
CA Wullf also created the cover for her book.
Way Cool Dogs On Finding a Puppy That's Good for Kids
Choosing the right puppy is a critical decision...here is an excerpt from a helpful article on Way Cool Dogs.
"How do you choose a puppy that is good for your children? It is a question every parent should ask before deciding to adopt one of the small puppy breeds for their child. Toy puppies can make great companions for kids if they are chosen properly, and the child is trained to handle small puppies properly. And to be fair, a child is the only one who can keep up with the boost of energy that puppies seem to be born with!
The good news is that you have a variety of small puppy breeds to choose from: mini Yorkies, Maltese, Havanese, Cavalier King Charles Spaniel and many others. Smaller dogs seem to be less intimidating around children. If the puppies are small, it doesn’t mean that they can’t be aggressive with children. You just need to be careful when choosing a perfect small puppy for your home...
The illustration, from Planet Of The Dogs, is by Stella Mustanoja McCarty
Sunbear Squad guides good hearted people like those who sent Sunbear this post....
Are you ready for a sweet Christmas story about a little lost doggy? We were walking our two dogs a few days ago and saw a little scared pup that looked like a Shitzu/Llasa Apso mix. He was limping, his hair was shaved, he had no collar. We scooped the little guy up and brought him home with us. We drove to Petco and Petsmart to ask if they recognized him. No one did. So we had him scanned to see if he was microchipped. He wasn't. So we listed the little fella on Craigslist and a lost and found pup website also. No luck. We called around to a few vet clinics in our area ... to no avail. So we took care of this little lost boy in our home for a few days.
We named the little guy Buddy. He was so sweet. He stayed with us and my two little dogs who played and slept and ate along with him. He seemed to limp a little less as the days went by. We wondered how his life was before he met us. We wondered if he was limping because he may have been a caged dog used for breeding because he was not neutered. We wondered if he came from a loving home or an abusive home. We were getting worried after our fourth day of loving on the little guy...
Here is the link to read the complete post on Sunbear Christmas Rescue.
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Review: Sabrina Vourvoulias, "Skin In The Game," Tor.com
The first video of a black devil fish showed the creature flexing its huge jaws, the mouth gaping with needle-like teeth that cage-in a creature attracted by the phosphorescent lure dangling in the deep sea darkness from the black devil fish’s head.
In an idle flash, I thought the fish could be the model for some outer space monster only a science fiction writer could think up. Sure enough, someone has.
I don’t know if Sabrina Vourvoulias saw that marine footage, but the critter she has roaming the zombie ghetto of Philadelphia could be the devil fish’s terrestrial prima:
The taste of her fear-driven flop sweat, her death, washes over my tongue, takes the edge off the hunger that’s always nested inside me. Taste prompts image. I see the girl, face upturned as she waits for her fix, then something striking fast at her chest. Not a knife, but a mouth with scimitar teeth that pop out like double switchblades.
Monsters like that go around emptying out innards and leaving human carcasses in their wake. Blanca is a cop and her job is to identify and cleanse. Of course, things grow complicated and dangerous.
Vourvoulias’ story, “Skin In The Game” will hit the streets in the December 2 issue of Tor.com. It’s not to be missed. “Skin In the Game” holds the reader’s interest with a fast-moving first-person story and a collective of interesting personages. The author’s use of short thematic paragraphs set the pace. Cultural materials inform the story's logic with linguistic, orthographic, nicknaming, and food datos that add richness but without complexity that could confuse exogenous readers.
The story’s notable for its raza characters and setting. Boricuas, Dominicans for instance. The central character is a Mexicana cop-of-sorts from South Philly. The City of Brotherly Love suffers a terminal case of advanced irony. Social services have all gone to hell. Cop uniforms include heavy-soled boots to guard against discarded hypodermic needles that pave the sidewalks of this barrio.
Vourvoulias writes an arresting story with an eye-opening surprise that adds dimensions to the character’s personality while confirming suspicious the author cleverly plants like a sneeze in a greek tragedy. The author passes along matter-of-fact information about cultura. Tamaleras use platano and maíz hojas. Mejor, the Tamágicos have herbal concoctions that help people make good decisions and love one another. That's soul food of the first order.
Without making a big deal of her characters' latinidad, Sabrina Vourvoulious shows how diversity in specific should work. “Skin In the Game” is one of those subversive stories science-fiction is noted for, helping people see with new eyes, to notice diversity but not make a big deal of the natural order of things, even if things are all dystopic.
Mark Vallen Eulogy for Richard Duardo
QEPD Richard Duardo. Artist and serigraphy master, Duardo played a key role in the technology of art.
Mark Vallen's recent eulogy for his contemporary offers a critical appreciation for Duardo and his influence in United States arte. Click here for Vallen's essay. Don't miss Vallen's essay on the 43 missing from Azotzinapa.
Before it Goes to Video
Producer Richard Montoya reminds, via email that this Los Angeles-area showing "will be one of the final opportunities to see W&P the way it was meant to be seen and heard - big screen and projected from the DCP drives - not high-def or blue ray but deeply saturated picture ingested into the projection system - the purest form and great sound."
Montoya invites you to share news of this special program. Find the details and link to the tug event in Monterey Park at this link.
Gifting Season: Books Always Reliably Welcome
Arte Publico Press makes buying holiday presents thirty-five percent easier with an offer every book-lover may want to consider, especially with Christmas a month away. Visit Arte Publico's website for their catalog. The offer via telephone ordering expires on the 19th.
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One of the more interesting recent developments in film studies is the recognition that what has seemed to be separate histories — documentary filmmaking and avant-garde filmmaking — are, once again, converging. I say “once again” because the interplay between documentary and avant-garde film has long been more significant than seems generally understood.
An intersection of an avant-garde artistic practice and a documentary impulse helped to instigate the dawn of cinema itself. When Eadweard Muybridge and Etienne-Jules Marey were discovering and exploring the possibilities of photographic motion study, they were the photographic avant-garde of that moment. And their subject was the documentation of the motion of animals, birds, and human beings, presumably so that we could know, more fully, the truth about this motion. And at the moment when W. K. L. Dickson perfected the Kinetograph and Kinetoscope and the Lumière Brothers perfected the Cinématographe and the projected motion picture, they in turn became the photographic avant-garde; and their primary fascination, too, was the documentation of motion, specifically human activity, first, in the world around them and soon, in the case of the Lumières, across the globe.
Flaherty’s Nanook (1922) was both a breakthrough documentary and an avant-garde experiment in collaborative filmmaking; and the City Symphonies that emerged in the 1920s (Berlin: Symphony of a Big City, 1926, e.g., and The Man with a Movie Camera, 1929) were documentary interpretations of reality and avant-garde experiments.
During the 1940s, the most important development for independent cinema in the United States was the emergence of a full-fledged film society movement. The leading contributor was Cinema 16, founded by Amos and Marcia Vogel in New York City in 1947. At its height, Cinema 16 had 7,000 members, and filled a 1,500-seat auditorium twice a night for monthly screenings. Cinema 16’s programming was an inventive mixture of documentary and avant-garde film.
The development of light-weight cameras and tape recorders, more flexible microphones, and faster film stocks during the late 1950s created additional options that in one sense, drove documentary filmmaking and avant-garde filmmaking apart, but in another sense, created a different kind of intersection between them. Sync-sound shooting expanded the options available to filmmakers committed to documentary, instigating forms of cinematic entertainment that functioned as critiques of Hollywood filmmaking and early television. Drew Associates, D. A. Pennebaker, Frederick Wiseman, and the Maysles Brothers fashioned engaging melodrama out of real life in Crisis: Behind a Presidential Commitment (1963), Don’t Look Back (1967), Hospital (1968), and Salesman (1968).
During the same decade, avant-garde filmmakers were producing very different forms of documentary, often by abjuring sound altogether. Stan Brakhage was committed to the idea of cinema as a visual art, and created remarkable—silent—confrontations of visual taboo such as Window Water Baby Moving (1959) and The Act of Seeing with One’s Own Eyes (1972)—now recognized as canonical documentaries. These films could hardly have been more different from the cinema verite films, but we can now see that Brakhage shared the mission of the cinema verite documentarians: the cinematic confrontation of convention-bound commercial media.
In 1955, Francis Flaherty, Robert Flaherty’s widow, established a symposium to honor her husband’s filmmaking oeuvre and to promote his commitment to filmmaking “without preconceptions.” In recent decades “the Flaherty,” as the symposium has come to be called, has attracted dozens of filmmakers, programmers, teachers, students, and other cine-aficionados for week-long immersions in programs of screenings and discussions. Modern Flaherty seminars have often been driven by an implicit debate about what the correct balance between documentary and avant-garde film should be at the seminar.
Since the 1940s, avant-garde filmmakers have found ways of exploring the personal, first by psycho-dramatizing their inner disturbances (Maya Deren’s Meshes of the Afternoon and Kenneth Anger’s Fireworks are landmark instances), and later by filming the particulars of their personal lives. Brakhage documented dimensions of his personal life in many films, as did Carolee Schneemann, in Fuses (1967), and Jonas Mekas, in Walden (1969) and Lost Lost Lost (1976). And during the 1980s, avant-garde filmmakers Su Friedrich (in The Ties that Bind, 1984; and Sink or Swim, 1990) and Alan Berliner (in Intimate Stranger, 1991; and Nobody’s Business, 1996), used experimental techniques learned from other avant-garde filmmakers to directly engage their family histories.
What has come to be called “personal documentary” (basically, the use of sync-sound to explore personal issues) was instigated in the early 1970s by Ed Pincus’s Diaries (filmed from 1971-1976; completed in 1981), Miriam Weinstein’s Living with Peter (1973), Amalie Rothschild’s Nana, Mom and Me (1974), Alfred Guzzetti’s Family Portrait Sittings (1975). By the 1980s, several of Pincus’s students at MIT were contributing to this approach, among them Ross McElwee, whose films, including Sherman’s March (1986), Time Indefinite (1994), and Photographic Memory (2011) are an on-going personal saga.
Globalization and the standardization of so many dimensions of modern life, along with threats to the environment, have created a desire on the part of many filmmakers to pay a deeper attention to the particulars of Place. Since the early 1970s, contemplations of Place have been produced by avant-garde filmmakers Larry Gottheim (Fog Line, 1970; Horizons, 1973), Nathaniel Dorsky (Hours for Jerome, 1982), James Benning (13 Lakes, 2004), Peter Hutton (Landscape (for Manon), 1987; At Sea, 2007), Sharon Lockhart (Double Tide, 2009) and many others. A fascination with Place, or more precisely, people-in-place, also characterizes the documentaries coming out of Harvard’s Sensory Ethnography Lab (SEL), including Ilisa Barbash and Lucien Castaing-Taylor’s Sweetgrass (2009), Castaing-Taylor and Véréna Paravel’s Leviathan (2013), and Stephanie Spray and Pacho Velez’s Manakamana (2014). Indeed, the films of Hutton, Benning, and Lockhart, in particular, have been shown regularly at the SEL.
The interviewees in Avant-Doc reveal a wide range of ways in which their own work and the work of colleagues function creatively within the liminal zone between documentary and avant-garde and the ways in which the intersections between these histories have played into their work.
Headline image credit: Camera. Public domain via Pixabay.
The post Intersections of documentary and avant-garde filmmaking appeared first on OUPblog.
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I attended a screening of Rainer Werner Fassbinder's 1980 film Lili Marleen at the Fassbinder: Romantic Anarchist series at Lincoln Center last weekend, and it was an extraordinary experience. This is one of Fassbinder's weirdest and in some ways most problematic films, a movie for which he had a relatively giant budget and got lots of publicity, but which has since become among the most hard-to-find Fassbinder films (which is really saying something!). Despite a lot of searching, I didn't come upon a reasonably-priced copy of it until I recently discovered an Australian DVD (seemingly out of print now) that was a library discard.
The story of Lili Marleen is relatively simple, and is very loosely based on the wartime experiences of Lale Andersen, whose performance of the title song was immensely popular, and whose book Der Himmel hat viele Farben is credited in the film. A mildly talented Berlin cabaret singer named Willie (Hannah Schygulla) falls in love with a Jewish musician named Robert (Giancarlo Giannini), whose father (Mel Ferrer) is head of a powerful resistance organization based in Switzerland, and who does not approve of the love affair or Robert's proposal of marriage. A Nazi officer (Karl Heinz von Hassel) hears Willie perform one night, is captivated by her, and guides her into recording the song "Lili Marleen", which unexpectedly becomes a song beloved of all soldiers everywhere on Earth. Willie becomes a rich and famous star, summoned even by Hitler himself, while Robert continues to work for the resistance and ends up marrying someone else. By the end of the war, Robert is a great musician and conductor and Willie seems mostly forgotten, many of her friends dead or imprisoned, and Robert lost to her. She had no convictions aside from her love of Robert, but that love was not enough. (I should note here that there are interesting overlaps between the film and Kurt Vonnegut's great novel Mother Night. But that's a topic for another day...)
I was surprised to find that Lincoln Center was using the German dub of the film rather than the English-language original (it was a multinational production, so English was the lingua franca, and, given the dominance of English-language film, presumably made it easier to market). It was interesting to see Lili Marleen in German, but unfortunately the print did not come subtitled, and so Lincoln Center added subtitles by apparently having someone click on prepared blocks of text. The effect was bizarre: not only were the subtitles sometimes too light to read, but they were often off from what the actors were saying, and when the subtitler would get behind, they would simply click through whole paragraphs of text to catch up. My German's not great, but I was familiar with the film and can pick up enough German to know what was going on and where the subtitles belonged, but I missed plenty of details. The effect was to render the film more dreamlike and far less coherent in terms of plot and character relations than it actually is. Not a bad experience, though, as it heightened a lot of the effects Fassbinder seemed to be going for.
Afterward, I said to my companion, "That was like watching an anti-Nazi movie made in the style of Nazi movies." I'd vaguely had a similar feeling when I first watched the DVD, but it wasn't so vivid for me as when we watched the German version with terrible subtitling — my first experience of Nazi films was of unsubtitled 16mm prints and videotapes my WWII-obsessed father watched when I was a kid.
When I got home, I started looking through some of the critical writings on the film, and came across Laura J. Heins's contribution to A Companion to Rainer Werner Fassbinder: "Two Kinds of Excess: Fassbinder and Veit Harlan", which interestingly compares Lili Marleen to the aesthetics of one of the most prominent of Nazi filmmakers (and a relative-by-marriage of Stanley Kubrick).
Lili Marleen was controversial when it was released, not only because it is probably Fassbinder's most over-the-top melodrama, a film that defies both the expectations of good taste and of mainstream storytelling, but also because it arrived at a time when what Susan Sontag dubbed (in February 1975) "fascinating fascism" was on the wane (The Damned was 1969, Ilsa: She Wolf of the SS was October 1975, as if to bring everything Sontag described to an absurd climax) while interest in earnest representations of the Nazis and the Holocaust was on the rise (Holocaust 1978, The Tin Drum 1979, The Last Metro 1980, Playing for Time 1980, Mephisto 1981, Sophie's Choice 1982, The Winds of War 1983, etc.). Lili Marleen is much closer to The Damned (a film Fassbinder loved) in its effect than to the films with similar subject matter released in the years around it, and so its contrast from the prevailing aesthetic regime was stark, leading to what seems to have been in some critics utter revulsion. It's notable that Mephisto, a film with very similar themes* and a significantly different aesthetic, could win an Oscar, but though Germany submitted Lili Marleen to the Academy, it was not nominated — and I'd bet few people were surprised it was not.
Even though it exudes the signs of a pop culture aesthetic, Lili Marleen can't actually be assimilated into the popular culture it was released into, partly because the aesthetic it's drawing from is passé and partly because it is deliberately at odds with conventional expectations. In a chapter on Lili Marleen in Fassbinder's Germany, Thomas Elsaesser writes that "coincidence and dramatic irony are presented as terrible anticlimaxes. With its asymmetries and non-equivalences, the film disturbs the formal closure of popular narrative, while still retaining all the elements of popular story-telling."
At the time of its release, there was much handwringing about the ability of works of art to create a desire or nostalgia for fascism in audiences, and Lili Marleen became Exhibit A. Heins quotes Brigitte Peucker: "One wonders whether, in Lili Marleen, Fassbinder’s parodistic style is not unrecognizable as parody to most spectators, and whether his central alienation effect, the song itself, does not instead run the danger of drawing us in." This is absurd. Fassbinder's style is parodistic, but it's also much more than that — it is multimodal in its excess — and I have about as much ability to imagine an audience member getting a good ol' nostalgic lump in the throat and tear in the eye while watching it as I have the ability to imagine someone watching Inglourious Bastards and mistaking it for Night and Fog.
Heins paraphrases Peucker as apparently thinking that "the often repeated title song may ultimately generate more sentimental affect than irritation". I can't believe that, either. For those of us who are not especially misty-eyed about the long lost days of the 1,000-year Reich, the song becomes as grating as it does for the character of Robert (Giancarlo Giannini), who gets locked in a cell with a couple lines of the song playing over and over and over again. What begins as sentimentality becomes, through repetition, torture.
The song is repeated so much that even if it doesn't irritate, it is stripped of meaning, and that's central to the point of the story, as Elsaesser describes:
When Willie says, "I only sing", she is not as politically naive or powerless as she may appear. Just as her love survives because she withdraws it from all possible objects and objectifications, so her song, through its very circularity, becomes impervious to the powers and structures in which it is implicated. Love and song are both, by the end of the film, empty signs. This is their strength, their saving grace, their redemptive innocence, allowing Fassbinder to acknowledge the degree to which his own film is inscribed within a system (of production, distribution and reception) already in place, waiting to be filled by an individual, who lends the enterprise the appearance of intentionality, design and desire for self-expression.One of the things I love about Lili Marleen is that its mode is utter and obvious kitsch, undeniable kitsch. It highlights the kitschiness not only of the Nazi aesthetic (which plenty of people have done, not least, though unintentionally, the Nazis themselves), but to some extent also of many movies about the Nazis. (I kept thinking of the awful TV mini-series Holocaust while watching it this time, and Elsaesser makes that connection as well.) We love to use the Nazis and the Holocaust for sentimental purposes, and representations of the Nazis and Holocaust often unintentionally veer off into poshlost. To intentionally do so is dangerous, even as critique, because it is too easy to fall into parody and render fascism as something absurd and ridiculous, but not insidious. The genius of Lili Marleen is that the insidiousness remains. It's what nags at us afterward, what lingers beneath the occasional laughter at the excess. There is a discomfort to this film, and it's not just the discomfort of undeniable parody — it is the discomfort of realizing how easily we can be drawn in to the structures being parodied: the suspense, the action, the breathless and improbable love story, the twists and turns, the pageantry, the displays of wealth and power. Our desires are easily teased, our expectations set like booby traps, and again and again those desires and expectations are frustrated and mercilessly mocked.
It's worth thinking about the place of anti-Semitism in Lili Marleen (and Fassbinder's work generally), because this was also part of the uproar over the film, an uproar that was really a continuity of the complaints about Fassbinder's extremely controversial play Garbage, the City, and Death. While not as brazenly playing with anti-Semitic imagery and language, Lili Marleen does give us a very powerful Jewish patriarch in Robert's father, played by Mel Ferrer, a character that can be seen in a variety of ways — certainly, he is an impediment to Robert and Willie's romance (clearly wanting his son to marry a nice Jewish girl), but I also think that Ferrer's performance gives him some warmth and grace that the Nazi characters lack. Nonetheless, while Lili Marleen is very obviously an anti-Nazi film, it's not so obviously an anti-anti-Semitic film (though there is a quick shot of a concentration camp, and Willie redeems herself by sneaking evidence of the camps out of Poland). Heins writes:
It cannot, of course, be concluded that the Absent One of all of Fassbinder’s films is The Jew, or that the sense of danger created by an unseen presence is racialized or nationalized, as it is in Harlan’s film [Jud Süss]. The malevolent other of Fassbinder’s films is more properly patriarchy and the police state, acting in the service of a repressive bourgeois order. In the case of Lili Marleen, however, we must conclude that Fassbinder did fail to effectively counteract the Harlanesque paranoid delusion of total Jewish power, if only because The Jew in this film is described as capitalist patriarchy’s main representative.That point is astute, though for me it highlight the (sometimes dangerous) complexity of Lili Marleen: by employing certain features of Nazi storytelling, by putting clichés (aesthetic, narrative, political) at the center of his technique, and by seeking to wed this to the sort of anti-capitalist, anti-normative-family ideas common to his work from the beginning, Fassbinder ends up in a bind, one that forces him to trust that the various opposing forces render all the clichés hollow enough that performing and representing them does not give them new validity or justification — that the paranoia and delusion remain legible as paranoia and delusion. I think they do, but I feel less certain of that than the certainty I feel against the old accusations of glamourizing Nazism.
In addition to the title song, Lili Marleen includes an ostentatiously schmaltzy score by Fassbinder's frequent collaborator Peer Raben. It's schmaltzy, but also very sly — as Roger Hillman points out on the Australian DVD commentary, Raben includes brief homages to composers and works that the Nazis would not have looked fondly on, such as Saint-Saëns' Samson and Delilah. This technique is similar to the film's entire strategy: to booby-trap what on the surface is an overwrought deployment of old tropes.
Finally, a note on the acting: sticking with the concept of the film as a whole, the acting is generally a bit off: sometimes wooden, sometimes unconvincingly emotional. (It's acting a la Brecht via Sirk via Fassbinder.) The more I watch it, though, the more taken I am by Hannah Schygulla's performance. On the surface, it's an appropriately "bad" performance, one redolent of the acting style of melodramas in general and Nazi melodramas in particular. And yet Schygulla's great achievement is to find nuance within that — hers is not a parodic performance, though it easily could have veered into that. Instead, while abiding by the terms of melodramatic acting, it also gives us a transformation: Willie starts out awkward, not particularly talented, a sort of country bumpkin ... and she becomes a poised, distant, sculpted icon ... and then a refugee from all she has ever known and loved. There's still a sense of possibility at the end, though, and one Schygulla's performance is vital for: a sense that Willie may reinvent herself, may find, in this newly ruined world, a path toward new life.
Elsaesser suggests that Lili Marleen can be seen within the context of some of the other films Fassbinder made around it:
the three films of the BRD trilogy — shot out of sequence — are held together by the possibility that they form sequels. If we add the film that was made between Maria Braun and Lola, namely Lili Marleen which clearly has key themes in common with the trilogy, then Lili Marleen's status in the series might be that of a "prequel" chronologically: 1938-1946 Lili Marleen, 1945-1954 Maria Braun, 1956 Veronika Voss, 1957 Lola. Four women, four love stories, four ambiguous gestures of complicity and resistance.It could be a tagline for so many of Fassbinder's films, not the least Lili Marleen: Ambiguous gestures of complicity and resistance. For a world entering the era of Thatcher, Kohl, and (especially) Reagan, Lili Marleen was a most appropriate foil.
*In one scene of Fassbinder's film, Willie looks through a magazine and we quickly glance a picture of Gustaf Gründgens as Mephistopheles. Add a Comment
Blog: Keith Mansfield (Login to Add to MyJacketFlap)
JacketFlap tags: Aliens, Cinema, Film, Science, space, Adam Rutherford, bfi, Brian Cox, Carl Sagan, Add a tag
It’s not a short film, but no one in the packed audience minded that the Q&A preceding it, with Professor Brian Cox and Dr Adam Rutherford, took over an hour. Huge credit to my former employers, the British Film Institute, for not making it token, but giving us the chance for a meaty discussion on what many think is the most important question facing science: where is everybody?
This was the question posed to colleagues over lunch one day (in 1950) by physicist Enrico Fermi. It has become known as the “Fermi paradox”. The “everybody” in question are aliens … extraterrestrials.
Why should we care?
Many people think the fundamental moment in the history of Western science was when Copernicus said Earth orbited the Sun rather than the other way around. This wasn’t simply a convenient coordinate shift. It was saying Earth is not the centre of the Universe. We inhabit just one of many planets. We have no privileged position in the cosmos. We are ordinary. The same “laws of nature” that apply on and around Earth apply equally in the rest of the Universe. This has become known as the “Copernican principle” and it is the foundation of scientific thought.
We have a problem. Look out at night – look further through our telescopes (and we can look so very far) and the Universe is vast. There are hundreds of billions of galaxies, like our own Milky Way. Just within ours, there are maybe 400 billion stars, most with planets. Conservative estimates, as Brian Cox told the audience (these are based on Kepler findings) hold that one in ten stars will have habitable planets in orbits that allow liquid water on their surface.
Further, at 4.5 billion years, Earth and our solar system are relatively young. The Milky War is far, far older. inally, mathematical models show it’s perfectly possible to colonize the entire galaxy in a brief time – say, 10 million years. Yet when we look skywards, we see not the slightest evidence if any intelligence in the entire Universe, other than what we find here on Earth. This suggests we are very special indeed – the polar opposite to the fundamental principle of science.
Sagan pondered this question long and hard. In his early, pioneering days of SETI, they were actively trying to communicate with extraterrestrials and before the movie, Cox and Rutherford were sitting in front of a radio message intentionally broadcast to the stars.
Sagan also helped designed messages added to the Voyager deep space probes (Voyager 1 is now over 18 light hours away, carrying a gold record with sounds of Earth and a map of how to find its inhabitants). Since those heady days, we think more about “existential risk” – things that potentially threated our survival as a species. One such risk is contact with alien races, so we’ve become more circumspect.
Looking back, I think the novel, Contact, was important for me as both a writer and publisher. I loved the story. It combined so many elements that I’m passionate about and, foolishly at the time I thought I could have told it better! Of course that’s not true, but I would nowadays have been a good editor for Sagan, had he let me. It certainly made me realize I was capable of being a good storyteller, and my current work-in-progress is a novel that revisits this same territory. I find it unfathomable now that I asked Sagan to sign my copy of Cosmos, which he kindly did, but not my copy of Contact – what was I thinking?
The film’s good, but there’s so much more in the book that anyone who likes the movie would get a lot from reading the novel. It was commented that Contact is a little overlooked as a science fiction film. Very true, but with my screenwriting hat on I think that’s because there’s so much to cram in, the narrative is very linear and straightforward. And Sagan’s thoughtful climax may have been unsatistfactory for mainstream audiences used to a different style of alien encounter.
In the movie, scientist Ellie Arroway (played by Jodie Foster and the character Cox and Rutherford said was the best depiction of a scientist on screen) detects a message from aliens, using radio telescopes. This was how Sagan and fellow SETI pioneer Frank Drake expected our first contact with extraterrestrials would go, and the film describes how things might unfold after receipt – the message is written in mathematics, the only universal language. There’s still an old-school SETI community working in this area, but increasingly scientists are thinking of alternative ways to identify evidence of aliens, often in the form of (very) large scale engineering projects such as Dyson spheres or matter-antimatter burners. We’re still looking.
If you’ve not seen the movie, you really should. Here’s the trailer to whet your appetite:
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Blog: Writer's Digest Questions and Quandaries (Login to Add to MyJacketFlap)
JacketFlap tags: General, Guest Post, Interviews, There Are No Rules Blog by the Editors of Writer's Digest, author interviews, film, horror, interview, joe hill, screenplay, Add a tag
BY DREW TURNEY
Author Joe Hill worked as a writer for nearly a decade before revealing his relationship to legendary horror author Stephen King. (For the uninitiated, Hill is King’s son.) Hill has stated that he wanted to prove himself on his own terms, and so chose to work under a semi-pseudonym. His three novels—Heart-Shaped Box, Horns and NOS4A2 (pronounced Nosferatu)—are all bestsellers, and his collection of short fiction, 20th Century Ghosts, won the Bram Stoker Award for Best Fiction Collection in 2005. And now his novel Horns is a movie starring Daniel Radcliffe, and his latest release is his bestselling book yet.
Here, Hill talks about his family, his writing, and what it’s like to step back and let someone make a film from your book.
Are you ready to write an engrossing thriller that readers can’t put down? In this series, bestselling authors share their firsthand experience and techniques both in writing thrillers and in getting their careers established. Get the inside scoop on the changing publishing industry, explore strategies for portraying point of view and pacing your story appropriately, examine the ins and outs of writing villainous characters, authenticating your story with psychological details and using forensic evidence. With help from these experienced authors, you’ll be ready to create edge-of-your-seat suspense and complete a thriller novel that agents can’t resist.
DT: How involved were you with writing the screenplay for Horns?
JH: I spent about three years writing Horns, and after that length of time I was ready to be done with it. Mandalay optioned it and wanted to make a film, and they asked if I had any interest in writing the script. I said ‘Not really,’ so they passed it onto Keith Bunin, who did a wonderful, wonderful job.
In terms of my contributions, we had a lot of great conversations when Keith was working on the script including Keith and I, Cathy Schulman who is a producer at Mandalay, and Adam Stone who’s also a producer on the film. And eventually Alexandre Aja when he came onboard.
We had lively arguments and broke the story down a dozen times and built it back up. It was a lot of fun. When Alex actually began filming, I viewed my role as to not get under foot and not to create trouble so I showed up on set for a couple of days to goof off and watch what people were doing and then I made myself scarce again. I came back in on the end to talk about editing, as they put the film together and I had some suggestions and some ideas. But at the end of the day, I felt like the film could only work if it was Alexandra Aja’s version of the story.
I told my version; it was time for him to tell his. I hoped that he would be true to the spirit of the characters and he was. Daniel Radcliffe and Juno Temple made sure of that. But beyond that I wanted Alex to feel free to have fun and to make a movie that lived on the screen, not something that was trying so hard to be faithful it just kind of plods along. I think he found a nice balance.
You know the thing about the film and about Alexandre Aja, he has a very light touch. And I know that’s a strange thing to say about the guy who directed The Hills Have Eyes, but he does have a very light touch. The film has this kind of lush romanticism to it. You know, I think that Alex has a romantic heart, and that’s sort of wonderful. It comes through in the film even in the most painful scenes.
DT: Do you have the distance yourself from it to some extent because it’s someone else’s baby?
JH: Yes, this is why I didn’t write the screenplay, too. I have written screenplays and I have fun doing that but I’ve never tried to adapt my own work. I don’t think I’d be a good collaborator if I were the screenwriter of something I spent three or four or five years writing as a novel because after I’ve spent three or four years meditating on a set of characters and on the situation, I’ve really got to have it my way. I just don’t think I could be flexible. I don’t think I could adapt.
I can do that if that’s my starting point. I wrote a pilot for a TV show called “Dark Side,” which is a reboot of an 80s TV show, “Tales from the Dark Side.” My version’s pretty different. But I had no trouble taking notes and collaborating and working with the network on that. It was fun and exciting. And I liked the challenge—if something’s not working, coming up with a fresh set of ideas. But there my starting point was the screenplay; however, with Horns I [had] just spent so much time with those characters and situations. Best to stay out of the way in a situation like that.
DT: Is it tricky to keep that distance?
JH: Yeah, it is. I always feel uncomfortable saying this. I was in so much pain when I wrote it. And you always find people like that annoying, right? Because it’s like they sound so self-important, so full of themselves and so full of their own sense of drama, you just want to smack them up the side of the head. But I kind of understand. I was in a really bad place mentally when I wrote Horns.
It’s a really unhappy and paranoid book by a really unhappy and paranoid man. That’s not to say I’m not very proud of the book—I think it’s a lot of fun, I think readers enjoy it. But I have a hard time revisiting it. And so for me, it’s actually easier to enjoy it as a film than it is to enjoy it as a book. I just don’t like thinking about where I was mentally when I wrote the story. … But it all turned out okay at the end.
My first novel was Heart-Shaped Box and it was a tremendous success. And I know it’s a cliché, but fell into that second-book trap and at one point I had 400 pages of a novel called The Surrealist Glass and every scene was terrible. Everything about it was bad. I was 50 pages from the ending and I threw the whole thing away. I just couldn’t stand it and I remember thinking, Forget it, I’m done. If there’s never another book, there’s never another book. I don’t want to be a guy who wrote a crappy book just to have a follow up. I’d rather just be a one-book writer.
And so I stopped the writing for a little while. And then at some point after I stopped writing, the mental fist came unclenched. I started thinking about what I needed to make a story work. I decided that what I needed was the devil. Stories always come to life when the devil walks on stage, a character to tempt people into sin and to reveal secrets and that was sort of the starting point of Horns.
DT: Were you afraid that the rich inner lives of your characters wouldn’t translate to the screen?
JH: Well, it is hard, but that’s the challenge—that’s an actor’s challenge. One of the things I’ve said over and over again is that, in the course of the story, Perrish (the hero) covers this enormous emotional terrain. He experiences grief and loss and rage and madness and delirious joy. He goes from innocence to experience, and a lot of that is internal. Daniel Radcliffe was able to bring all those emotions to the screen and make it look easy, make it look effortless. I always think that whenever you see an artist do something that’s difficult and make it look easy, you’re seeing someone who’s worked incredibly hard. I do think that Dan is a really remarkable young actor, and with every role he shows more range and an almost athletic range of skills. We were just so lucky that he wanted to play the part.
DT: So do you have any plans or action on movies of any of your other books?
JH: Some good things have happened with a short story called “Best New Horror.” Some interesting things have happened with my novel NOS4A2 that I’m not allowed to talk about yet, but they’re sort of trucking along in an interesting way. Universal is waist-deep in the preliminary work on adapting Locke & Key as a film trilogy. My understanding is they have a pretty big chunk of the script that they’re all really happy with. My tendency is not to say too much about any possible film or TV stuff until the cameras are actually rolling because until then I don’t really believe in it.
DT: Have you ever thought about acting?
JH: Well, I’m a former child actor. I was in Creepshow. I was the little kid with the voodoo doll. My feeling is that that particular performance was gold, and so perfect that there’s really no reason to return.
I explored everything there is to explore in the field of acting with that film and there’s no reason to tarnish the greatness of that initial performance with another role. I view myself as very much like Daniel Day-Lewis, you know—years and years between parts. Daniel Day-Lewis and I are almost exactly the same guy.
DT: You definitely showed some incredible range in that role.
JH: I think so. It was right there. Way better, way better than those, way better than those second-rate child actors who worked on Harry Potter. Oh my God, blew that right out of the water!
DT: That Daniel Day-Lewis guy, what’s he got on you really?
JH: Nothing. He’s got longer hair.
DT: You and your father seem happy for the worlds of your books to cross paths a little. So it seems that you don’t want to be too disconnected from his work.
Well, not so much anymore. When I was a younger guy, I was really insecure. I was afraid if I wrote as Joseph King that publishers would publish a lousy work because they saw a chance to make a quick buck in the last name. I was afraid of that. So I decided to write as Joe Hill. I was able to keep it a secret for about a decade.
In the course of that time, I made my mistakes in private—which is where you’re supposed to make them. I worked my craft and learned the things I needed to learn and, eventually, when I did sell my first book of stories, I sold it to a small press in England. I felt like it sold for the right reasons because the publisher didn’t know anything about my dad. He didn’t know anything about my family. He just really liked those stories. Each of the short stories sold individually for the same reason, in little magazines where the editor said ‘This is great, we really like this story. We’d be happy to publish it.’
I desperately needed that encouragement. I needed to feel like I was succeeding on my own merits, not because my dad was someone famous. I’m a little bit more secure now, and in many ways NOS4R2 has a lot of joking references to Stephen King novels in it. In some ways, NOS4R2 is a book about Stephen King novels. It is a kind of response to my dad’s book It, which I loved as a kid. If you scratch the surface, it’s possible to see that NOS4R2 and It share the same underlying structure.
A brain isn’t very big. It’s just a few pounds of gray matter stuck in a very small living space. You’ve only got so much space to move around in, and so you are stuck writing about the facts of your own life. You may be inventing fiction, but you’re stuck using your own childhood and your own experiences and your own emotional responses to things. So it’s really impossible to have a lifelong career as a novelist and not write stuff that is occasionally reflective on my parents.
Far off lands set among the stars. Creatures that go thump-bump-crash in the night. Stories you can’t wait to sink your teeth into. With this exclusive collection from Writer’s Digest, you will be on your way to being the next Isaac Asimov, Stephen King or Charlaine Harris.
Drew Turney is a filmgoer, movie industry watcher, technology expert and books and publishing reporter with more than ten years experience. He writes about everything from the latest mobile phones to special effects to book reviews to author profiles, and everything in between. Find more at drewturney.com and filmism.net.Add a Comment
Blog: An Awfully Big Blog Adventure (Login to Add to MyJacketFlap)
JacketFlap tags: adaptations, film, Paddington Bear, Postman Pat, villains, Add a tag
On Monday, Nicholas Barber gave me pause for thought, in this Guardian piece, arguing that movie adaptations of childhood classics for young readers like Paddington or Postman Pat, are traducing the spirit of the original in one very specific way.
Villains. Really mean ones at that.
|Mr Curry - the nearest thing in the Paddington books to a baddie|
Barber argues that the icy blast of cruelty, megalomania and high stakes jeopardy which comes whirling onto the screen with these inserted characters is a far remove from the gentle, charming storytelling which made the original books so popular with young children and their parents. He also gives a compelling example of his six year old daughter being squeamish at anything too scary in the movies - from sharks in Finding Nemo to evil queens in Snow White, never mind a psychopathic Nicole Kidman.
He is, of course, absolutely right on two fronts. Those characters are nothing to do with the world of the books. Paddington needs marmalade, not murderers, to bring him to life. And we all know, and quite possibly once were, young children who frighten very easily at any sign of on-screen darkness or scariness - especially, perhaps, if they weren't expecting it in such a warm and honey coloured world. Like finding a Heffalump when you really weren't expecting one....
But at the same time, these are all movies.
The books don't need those extra lashings of evil and drama. But once a book becomes adapted into a film, it becomes something else, not just a different medium but a different genre too. A genre with different rules and demands. A movie, even one for young children, requires big stories and big characters to fill the scree and sustain not only young minds but their adult minders for ninety minutes plus.
And I genuinely feel for his daughter. I remember being terrified by so much - Maleficent turning into a dragon in Sleeping Beauty or the horrific Garthim in Dark Crystal.
Somehow I seem to have survived it all, though, bar the odd nightmare. I think the key to these villains is that they are often as comic as they are villainous. Moreover, they can often be safely filed under the category of 'genre archetype' - even if unconsciously. Unlike the recent 'Missy' on Doctor Who - who I thought was brilliant but disturbingly vicious for a family show - evil queens, mad scientists, corrupt developers, emotionless robots - these caricatured characters have their roots in often quite non-scary cartoons and comics rather than any real life basis. (Ironically, the irritable next door neighbour as typified by Mr. Curry from the Paddington books is far more likely to be a real life concern for young children.)
I don't think your average child has met enough crazy taxidermists to be truly checking under the bed for them, and witches and wizards really can be safely banished to fairytale land. In fact, these comic book denizens are by and large safe ways to introduce young children to flashes of the dark side of human nature, without creating undue anxiety or fear.
They almost all meet grizzly and overblown ends too, which is part of the panto fun.
Barber is right that not every child's narrative needs these big bullies, certainly not every book or TV programme. Children's stories may be one of the best ways to address grief and pain for developing minds; that of course doesn't make them obliged to.
But to keep small ones focused and not wriggly in the cinema, I can think of few better ways than a larger than life baddie with arched eyebrows and a maniacal laugh, coming after the young and innocent hero of the hour.
Piers "Cruella de" Torday
www.pierstorday.co.uk Add a Comment
Blog: Asking the Wrong Questions (Login to Add to MyJacketFlap)
JacketFlap tags: christopher nolan, essays, film, Add a tag
For several days now, I've been debating with myself whether Interstellar is a bad film that does several things quite well, or a good film that has had the misfortune of having to shoulder, and justify, its creator's reputation. At some point in the last half-decade, popular culture decided--erroneously, if you ask me--that Christopher Nolan is a purveyor of Deep, Serious entertainments. AndAdd a Comment
Blog: Sara Dobie's Blog (Login to Add to MyJacketFlap)
JacketFlap tags: Film, Publishing, Sara Dobie Bauer, Writing, don't ball the boss, don't ball the boss sara dobie bauer, stoneslide corrective, Add a tag
“Don’t Ball the Boss” is a whopper of a good time. If you’re offended by homosexuality, cussing, or super hot British actors, do not read. This hilarious and irreverent short story is featured in The Stoneslide Corrective today, and I dedicate every word to the adoring Cumber Collective and/or my Cumberbitches (depending on how you identify). Definitely rated R.
Don’t Ball the Boss
by Sara Dobie Bauer
Rule number one: don’t fuck the boss. Even if he is doing that thing he does when he’s nervous. He pulls on the cuffs of his dress shirt. I don’t think he even knows he does it, and the movement makes me want to rip that Dolce and Gabbana shirt right off. I pretend not to watch.
There are five of us in his hotel room. His driver is in the restroom; then, there’s his tailor and me. His blond agent sits on the edge of his bed with her smart phone. She’s talking to someone and says, “Not her. Don’t make him sit next to her at the premiere.” I can tell she’s eating this up, the way America is eating him up, the way I would love—Jesus, I’m fucking starving.
I give myself permission to look at him when he addresses me.
The tailor, an old dude with glasses like Olivier in Marathon Man, drapes a tuxedo coat over his shoulders.
“How’s the fit?”
I casually address six feet of British politeness and fold my hands over my crotch. “Perfect, sir.”
“I keep telling you not to call me sir. Call me Nicholas.”
Not Nick. I’ve noticed no one calls him Nick. And tonight is his night.
A friend called a week ago and asked if I was looking for work. In Hollywood, shit, we’re always looking for work. I’m a personal assistant to the stars, and I’m real good—like Meryl Streep at Oscar time good. They say I’m discreet and subservient; stars like that.
So my pal calls up and tells me there’s this up and coming British star on his way over for a movie premiere. The film is huge, the kind that makes back its budget in a night, and this Brit plays the bad guy. He’s never been to Hollywood. He needs someone who knows the right barbers, tailors, call girls …
That’s where I come in: David Baron, assistant to the stars. And I’m not given to flights of fancy.
I’ve assisted maybe a hundred newbie celebs over the years and felt not a twitch in my pants. I took one look at Nicholas Pike and thought about quitting because PA’s don’t fuck the client. In the business, we tell stories about PA’s who did. They end up as homeless hookers.
We’re standing around, waiting to leave for his big movie premiere, and his agent won’t shut up. God, I hate her, been listening to her ever since Nicholas got here. She’s too blond, fake blond, and her British accent isn’t like his. Nicholas is all Oxford-sounding; she’s like the wenches in Oliver Twist. She has terrible style, too—wears pink lipstick, and nobody outside 1985 wears pink lipstick.
She’s giving Nicholas the time breakdown for tonight’s movie premiere, and he’s rubbing the space between his neck and shoulder. He’s been doing that a lot, but unlike the cuff pulling, this isn’t a nervous twitch. He injured his neck doing a stunt for a film he’s making in England. I know this because he told me. He tells me a lot of things.
He’s never once in his life considered smoking a bad habit.
Without a stylist, he would have no idea how to dress himself.
Finally, he believes his sudden and newly realized status as a sex symbol makes no sense. (Quote: “I’ve had the same face since I was twenty!”)
I explained to him days ago it’s all about the role. A role can make somebody, and although I haven’t seen him play the villain, I have no doubt: he’s made it. He’s been doing appearances all week, me at his side, and when we step outside the limo, it’s mania. Women are everywhere, screaming his name, waving pictures for him to sign, and he does sign them. We’ve been late to every single appearance this week, because he loves signing things, having his picture taken. He loves his fans, and I wonder if this is a British thing. He has more manners than an auditorium full of nuns.
I’m his assistant, yet he makes sure I order first at restaurants. He holds the door—for me. He smiles at me in crowds, apparently to make sure I’m all right, and it’s his manners that do it. The manners make me want to fuck him, just shove him against a wall somewhere and swallow his protests with hot, sloppy kisses.
How do things end up for David and Nicholas?
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Blog: An Illustrator's Life For Me! (Login to Add to MyJacketFlap)
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This summer saw the release of Hercules (Radical Studios, dir. Brett Ratner). Dwayne “The Rock” Johnson took his place in the long line of strongmen to portray Greece’s most enduring icon. It was a lot of fun, and you should go see it. But, as one might expect from a Hollywood piece, the film takes a revisionist approach to the world of Greek myth, especially to its titular hero. A man of enormous sexual appetite, sacker of cities, and murderer of his own family, Hercules is glossed over here as a seeker of justice, characterized by his humanity and humility. And it is once again Hercules, not Heracles: the Romanized version loses the irony of the Greek, “Glory of Hera.”
This is neither the Hercules of ancient myth, nor is it the Hercules of Steve Moore’s graphic novel, Hercules: The Thracian Wars (Radical Comics, 2008), on which the film is loosely based. It is perhaps not surprising then that Moore fought to have his name removed from the project, at least according to long-time friend Alan Moore. Steve Moore died earlier this year and buried deep in the closing credits of the film is a dedication in his memory.
When he wrote his comic, Moore strove to fit his story into the world of Greek myth in a “realistic” way. Though the story (and that of its sequel, The Knives of Kush) is original, the characters and setting are consistent with the pseudo-historic Bronze Age of Greek legend. The film jettisons much of this careful integration for little narrative gain. I am never opposed to revisions to the myth (myth, after all, can be defined by its malleability), but why, for instance, set the opening of the film in Macedonia in 358 BCE instead of 1200? It adds nothing to the story, but confuses anyone with even a passing knowledge of Greek history — our heroes should be rubbing elbows with Philip II of Macedon, Alexander the Great’s father. The answer to this question, I suspect, is a sort of Wikipedial historicity: Hercules and his companions are hired by a fictional King Cotys, a name chosen by Moore as suitably Thracian — and there was a historical Cotys in 358.
The Thracian Wars is set well after Hercules has completed his twelve labors: in the loose chronology of Greek myth, we are somewhere between the Calydonian Boar Hunt and the battle of the Seven Against Thebes. Hercules arrives in Thrace as a mercenary, along with his companions Iolaus, Tydeus, Autolycus, Amphiarus, Atalanta, Meleager, and Meneus, the only character made up by Moore. (The Hollywood film production jettisons those characters who might have LGBT overtones: Meneus is Hercules’s male lover, and Meleager is constantly frustrated by and therefore exposes Atalanta’s lesbianism.) Though no story of Greek myth involves all these characters, they all belong to roughly the same generation — the generation before the Trojan War. These characters could have interacted in untold stories.
But they don’t interact well. As Moore notes in the afterword to the trade paperback, “Hercules was a murderer, a rapist, a womanizer, subject to catastrophic rages and plainly bisexual…I wouldn’t have wanted to spend much time in his company.” The rest of the band is not much better. Where the film presents a band of brothers, faithful to each other to the death, in the comic these characters loathe each other and are clearly bound not by love of each other but the need to earn a living. They are mercenaries, with little interest in the morality of their actions.
Legendary Greece, then, is without a moral center. Violence and bloodshed are never far away. Sexual activity is fueled only by deceit or lust. The Greek characters speak of their Thracian surroundings as barbaric, but we are never shown any better. The art of the comic articulates this grim reality. Eyes are frequently lost in shadow, for instance, dehumanizing the characters further. Throughout, artist Admira Wijaya deploys a somber color palette of greys, browns, and muted reds to convey a bleak world.
This, then, is the great disconnect of Greek myth with the modern world. In our times, our heroes of popular culture must be morally pure; only black and white values can be understood. So-called “anti-heroes” are occasionally tolerated in marginal media, but even here their transgressions are typically mitigated somehow (think of the recent television series Dexter, in which the serial killer is validated by his targeting of other serial killers — the real bad guys). The heroes of Greek legend — the word “hero” itself only denoted those who performed memorable or noteworthy deeds, without a moral element — often existed solely because they were transgressors. Tantalus, Oedipus, Orestes: their stories are of broken taboos, stories of cannibalism, incest, kin-slaying. Later authors may have complicated their stories, but violation is at the core of their being.
Sure, the common people of ancient Greece benefited from Hercules’s actions as a slayer of monsters, but none of his actions were motivated by altruism. Rather, it was shame at best that moved him: in most tellings, his famous twelve labors were penance for the death of his family at his own hands. Many of his other deeds were motivated by hunger, lust, or just boredom. In the film, Johnson’s Hercules finds a sort of absolution for his past crimes. In the comic, redemption is not an objective; in fact, Hercules doesn’t even seem to recognize the concept.
Hercules is a figure of strength and power, a conqueror of the unknown, a slayer of dragons (and giant boars and lions). The Hercules of Hollywood shows us strength. The Hercules of myth — and of Moore’s comic — shows us the consequences of that strength when it’s not carefully contained. There is a primal energy there, a reflection of that part of our souls that is fascinated with, even desires, transgression. As healthy, moral humans, most of us conquer that fascination. But myth is our reminder that it always, always bears watching. Hollywood isn’t going to help you do that.
Featured image: An engraving from The Labours of Hercules by Hans Sebald Beham, c. 1545. Public domain via Wikimedia Commons.
Blog: An Illustrator's Life For Me! (Login to Add to MyJacketFlap)
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The forecast was iffy (it's Sheffield after all), so we carried rain gear and big coats, but in the end it was a gloriously sunny day. Maybe that's why an extra 1000 people turned up, so that over 3000 of us set off together, not to mention a varied assortment of kids and dogs (some dogs also wore the T-shirts: very funny, wish I'd got a picture).
The Rother Valley Country Park is a series of lakes, old gravel pits I think, now alive with ducks and swans and geese, so it was a really pretty walk. I took my sketchbook of course. Because we were so many, we were walking pretty slowly at the beginning, so I was able to draw while I was still on the go. Look what was posted to my Facebook page that evening:
It took a two and a half hours to complete the circuit. When we crossed the finishing line, John and I took a selfie to celebrate:
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Lena Dunham discussed a wide array of topics with writer and author Ariel Levy during the 15th annual New Yorker Festival on Friday night, including her aspirations to turn Karen Cushman’s “Catherine, Called Birdy” into a feature film….”It’s a really interesting examination of sort of like coming of age and what’s expected of teenage girls,” Dunham said. “I’m going to adapt it and hopefully direct it, I just need to find someone who wants to fund a PG-13 medieval movie.”
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Is Middle Earth the past?
Is Panem modeled after ruthless dictatorships of the past?
Is the harsh world of the Grimm's more than a reflection of the past?
Does children's literature, in books and movies, bring the past into the present?
Can childhood stories open the doors of the mind to the present -- and the future?
High Stakes of YA Dystopia.
In earlier eras, there were adult works of literature set in dystopian milieus... they includeThe Trial, Brave New World, Animal Farm, 1984, Childhood's End, The Quiet Ameriican, The Naked and the Dead, A Rumor of War, The Unbearable Lightness of Being, Farenheit 451, All Quiet On the Western Front, The Spy Who Came In From The Cold and many more.
To one degree or another, these books are classics. And like children's and young adult (YA) books of our current era, many were reinvented as theatre and movies.
Today, we seem to have a run of dystopian-centered books and films for young adults (YA). Many are in the form of a series and are followed by films -- also in series. The books, although some may be well written, do not pretend to be literature. Rather, the books, like the films, seem primarily designed to be popular and succeed in the marketplace.
Crossover. I don't know if the term YA, and the definition (12-18 year olds) came from marketeers or librarians, or both. I do know that the lines have been blurred, with children and adults both crossing over into the realm of YA.
I doubt that there will be clear lines in the future. The finacial stakes are too high. YA books and movies are a multi -billion dollar business.
Personally, I don't care if adults read YA books. Hopefully, they do so with discernment.
I do care about the amount of over-the-top violence that children are subjected to in YA movies.
For any child, there is a huge difference in the impact found in the brief mention of Gretel pushing the murderous witch into the oven, when compared to the long, unrelenting, realistic, hardcore violence (supported by thunderous sound and music) of the Ring movies.
Hopefully, Alice In Wonderland, Winnie-the-Pooh, Snow White, His Dark Materials, Tales from the Brothers Grimm, and other classics -- themselves often fraught with danger, fear, and violent events -- will continue as the main source for bringing the past -- or the future -- into Children's minds.
Dystopia and the Grimms
The world of the Grimm's fairy tales is filled with fearful events, dark forests, curses by evil witches, and cruelty -- dystopia, but always relieved by magic, marvels, courage, beauty and happy endings...
"The unsparing savegry of stories like the Robber Bridegroom is a sharp reminder that fairy tales belong to the childhood of culture as much as the culture of childhood...they capture anxieties and fantasies that have deep roots in childhood experience"- Maria Tatar,The Grimm Reader: Classic Tales of the Brothers Grimm.
"It is worth noting that the lives of all people in the land of the Grimm's was in was in constant turmoil and change during the time that the Grimm's collected, wrote, and published their books." - Seth Lerer, Children's Literature, A Reader's History from Aesop to Harry Potter.
The illustration from The Robber Bridegroom is by John B. Gruelle
"'Well, dear little children. How in the world did you get here? Just come right in, and you can stay with me. You will come to no harm in my house.' She took them by the hand and led them into her house...The old woman had only pretended to be kind." - Hansel and Gretel meet the Wicked Witch
"For children in their most impressionable years, there is in fantasy, the highest of stimulating and educational powers." -Arthur Rackham
Kaitlin Jenkin's has two blogs, She Speaks Bark and Pet Parent. Kaitlin has a background of working in many dog related jobs, including foster care and 7 years as a shelter worker. She has two adopted dogs (seen on the left), Bear and Scooter. She recently wrote an excellent and informative review of C.A. Wulff and A.A. Weddle's book for dog owners, Finding Fido. Here are excerpts...
"The thought of Bear or Scooter going missing, or being stolen is one that I don’t let my mind entertain. To say I’d be devastated doesn’t even begin to cover it, and I know you all feel the same about your pets! Would you know what to do if your pet suddenly went missing? Where to begin? What to do first?
Finding Fido is essentially a Pet Parent’s guide to preventing the loss of a pet, as well as a guide on
exactly what steps to take should that awful moment ever happen to you. Authors C.A Wulff and A.A. Weddle are the administrators of the Lost & Found Ohio Pets service and they collaborated on this helpful guide in order to address the sad reality of so many lost pets in America....
If our pets were to become lost, it would be absolutely devastating. We may not even be able to think logically in order to act effectively to work towards their return. That’s why this book is great- it’s literally a step by step guide to finding your lost pet. Full of resources for Pet Parents to utilize, and all at the turn of a page.
... I think that Finding Fido is a great read for all Pet Parents and pet lovers. If you’re a first time Pet Parent or a long time, seasoned Pet Parent, there are tips and tricks in here that will be helpful to you! Everyone should read the sections entitled ‘Before You Lose A Pet‘" ...
Adults Continue to Cross the Borders of Imagination Into Y.A.
As part of a post that I wrote in our September blog about the trend of adults reading Y.A. books, I quoted journalist (Atlantic, Wall Street Journal, Boston Globe) Ruth Graham's article in Slate with this headline: "Read whatever you want. But you should be embarrassed when what you're reading was written for children."
Graham's article provoked substantial controversy including a very thoughtful rebuttal, in Hairpin, by journalist and author(Save The Date ) Jen Doll: The Trouble With Reader-Shaming: A Y.A.Book List
Here are excerpts from Jen Doll's rebuttal:
"The great debate over whether grownups should read young adult literature—and further, what the nature of reading should be—has come up again, thanks to a piece in Slate telling adults they should feel ashamed about reading books for kids...
"What the piece itself rails against—that Y.A. offers pat, easy or at the very least "satisfying" solutions aimed at kids and doesn’t make adults think—could be said for the very type of internet writing it embodies. Here, precisely, is how you should feel, it says. Here are the answers, tied up in a bow: You be embarrassed for wasting your time reading Y.A., because Y.A. is not for adults, and you should be reading something appropriate to your age. It is easy and not challenging. You should not be "substituting maudlin teen dramas for the complexity of great adult literature." This is an argument that speaks from a place of truth and rightness, or at least, intends to; there is little room for nuance.
Yet, nuance persists. There are many, many factors that go into what makes something complex, great, or "appropriate to one's age," and most of all this depends on who is reading it—not based in age, because age categorizations do not always match prescribed reading levels; just ask any kid sneaking illicit tomes off her parents' bookshelf because all "her" books have already been devoured—but based in who that person is, what they want, and what they bring to the table..."
Update: Jen Doll is now writing a column of YA book reviews for the venerable New York Times: "Y.A. Crossover". The Times they are a changing. Congratulations, Jen Doll.
The Photo is of Ms Doll. The two books pictured are from Ms Doll's Y.A. Book List.
KidLitosphere is the best source that I have found for locating children's literature blogs. KidLitosphere has helped many readers find their way to these pages. Here is an excerpt form their home page..."Some of the best books being published today are children’s and young adult titles, well-written and engaging books that capture the imagination. Many of us can enjoy them as adults, but more importantly, can pass along our appreciation for books to the next generation by helping parents, teachers, librarians and others to find wonderful books, promote lifelong reading, and present literacy ideas."
Geno is retiring. An 8 year old German Shepherd, Geno is highly regarded by the Kane County Sheriff's Office for his loyalty, courage and intelligence. Here are excerpts from his bio as posted by the Sheriff's Office:
"Geno has served with the KCSO since 2009. Deputy Bill Gatske, Geno’s handler, has served with the KCSO for 15 years and Geno will continue to live with Gatske and his family in retirement. Over his career, Geno has... performed numerous dignitary and presidential protective sweeps and participated in sweeps before games at Soldier Field in Chicago along with conducting countless explosive detection searches, suspect apprehensions and missing person searches.
Geno may be most remembered, though, for his appearances with local area children where he taught the value of policing and reinforced the fact that law enforcement officers exists to serve their community"...
The cost of replacing Gino with his special skills in explosives detection, tracking, missing person searches, and more is very expensive. Once again, Planet Dog Foundation is providing support for a service dog. They have come together with the Spirit of Blue Foundation to award the Kane County Sherrif’s Office a $12,500 grant to acquire and train a new explosives detection K9 to replace the very special Geno.
The Planet Dog Foundation has awarded over a million dollars in funding to support dogs helping people in need.
“We dogs are happy and help each other because love is the most important part of our lives. When you give love,” she said, “You bring out love in others. If we come to Planet Earth, and people spend time with us, there will be fewer lonely people and more happy people.”
- Miss Merrie, Queen of the Dogs
“But Mole stood still a moment, held in thought. As one wakened suddenly from a beautiful dream, who struggles to recall it, but can recapture nothing but a dim sense of the beauty in it, the beauty! Till that, too, fades away in its turn, and the dreamer bitterly accepts the hard, cold waking and all its penalties.” -- Kenneth Grahame, The Wind in the Willows Illustration by E.H. Shepherd
Snow Valley Heroes, A Christmas Tale at the Independent Publishers of New England Exhibits (IPNE)
If you are a New England librarian and headed to Boxborough, MA, for the NELA Convention (October19-21), we invite you to visit the Independent Publishers of New England (IPNE) exhibit where you will find Snow Valley Heroes, A Christmas Tale.
If you are a New England book lover and are headed to the Boston Book Festival (BFF) 0n October 25, we invite you to the Independent Publishers of New England (IPNE) exhibit where you will also find Snow Valley Heroes, A Christmas Tale.
Saturday, November 1, 2014, 2PM, Stephen A. Schwarzman Building, South Court Auditorium...Speaker: Howard Scherry...Hosted by Elizabeth Bird
Margaret Wise Brown & Antoine de Saint-Exupery: Parallels in Their Life, Comparison in Their Literature...free admission
The Past is Always Present
UPDATE: Y.A. Distopian Movies Keep Coming -- And Making Money...Variations and Reinterpretations of Books of the Past by Movies are Omnipresent ...
No one is safe...not family, nor friends, nor any of the good folks in Katniss' "hometown" -- District 12. Empire. Oppression, and teen warriors again prevail as the Hunger Games story of resistance and survival continues.
Dystopia will mean box office dollars when this third episode (there will be one more) of the Hunger Games, Mockingjay-Part1, opens in theaters worldwide, starting on November 19 -- November 21 in the USA.
Here is a trailer for Mockingjay Part 1
For some perspective on the Hunger Games series, take a look at this review from Salon by Andrew O'Hehir "Whose Revolution Is It It?"
"Much of the genius of the “Hunger Games” franchise lies in its portrayal of a dystopian future society that lacks any specific ideological character. Panem, the deep-future dictatorship that has apparently replaced present-day America after an unspecified combination of civil war, social meltdown and ecological catastrophe, has the semiotic appearance of fascism – white-helmeted storm troopers and barbed-wire walls – but is really more like an old-fashioned feudal society, concerned entirely with maintaining its internal order. In reviewing the first “Hunger Games” movie, I observed that the relentless media onslaught of the Information Age has been rolled back, in author Suzanne Collins’ fictional universe, to one TV network and one reality show. Politics has been stripped down too: There is nothing except Empire and Resistance."
The Hunger Games Films have thus far grossed over 1.5 billion dollars
The critics were generally hard on Divergent, but the Box office has been excellent - over 288 million dollars thus far - and two sequels will follow. Based on a very popular Y.A. series by Veronica Roth. Here is an excerpt from a review by Brad Keefe in ColumbusAlive.
... “Divergent” is an adaptation of a popular young adult fiction trilogy featuring a smart, underdog heroine who fights against a corrupt power system in a dystopian future.
If you haven’t read the books, you’ll see “Divergent” as a convoluted “Hunger Games” knock-off. If you have, you’ll find the production values and performances are solid. But the movie is still convoluted.
In the crumbling ruins of a near-future Chicago, a post-war society has established peace by creating five “factions” of the population based on character traits (brains, brawn, compassion, etc.). Teens are tested for their aptitude in these fields, but they can choose their own faction (as long as they don’t mind leaving their family).
It’s like society based on a high-school clique system, so it resonates with teens (along with themes of non-conformity). And our heroine Tris (Shailene Woodley) embodies that moment of 'what do I do with my life' confusion."
Earlier this Fall, we had The Maze Runner, another YA movie set in a YA Dystopia. In less than a month, the Maze Runner has grossed over 83 Million dollars.
Also based on a successful book series (by James Dasher), it was described by Ben Kienigsberg in the International New York Times as a "perfectly serviceable entry in the young-adult dystopian sweepstakes. It combines elements of “Lord of the Flies” with the Minotaur and Orpheus myths, but it plays as something closer to “The Hunger Games” experienced through a dissociative fog. Much suspense comes from wondering which favored Hollywood twist the movie will employ...."
Even if one adjusted the figures for inflation etc, I doubt if the combined monies made by the books of Anderson, Dodson, St. Exuprey, the Brothers Grimm et al could compare with the box office receipts of these Y.A. movies.
More violence arrives in time for Christmas. The Hobbit, Battle of the 5 Armies opens on December 17. Here is a link to the trailer: Battle
If you've had enough of YA Dystopian Violence there is good news for children's films...
Boxtrolls is doing well and the Tale of Princess Kaguya, from Ghibli Studios is coming. Advance reports on Princess Kaguya suggest another outstanding film from the studio that gave us Howl's Moving Castle and Spirited Away.
Building Blocks in the past...Minecraft today and tomorrow
In case you were unaware of the scope of Minecraft, here is the opening of the excellent and comprehensive article by Stuart Dredge in the Guardian. The article is entitled: Minecraft movie will be 'large-budget' but unlikely to arrive before 2017. The article also contains videos that will take you into the digital world of Minecraft.
"What is Minecraft? It’s a game, obviously: one that its developer Mojang has sold nearly 54m copies of across computers, consoles and mobile devices so far.
It’s a series of books published by Egmont that sold more than 1.3m copies in the UK alone in the first eight months of 2014. It’s a range of Lego kits that have been selling out rapidly, as well as the source for a line of plush toys, hoodies and other products sold from Mojang’s online store.
But Minecraft is also an educational tool in schools through the MinecraftEduinitiative, and the driver for Block by Block, a partnership with the United Nations Human Settlements Programme to get young people involved in planning public urban spaces, starting with a pilot in Kenya.
Minecraft is also one of YouTube’s most popular video categories – right up there with music – fuelling hugely popular channels..."
Read it all: Stuart Dredge
Power, money, books, writers and control are all involved as this battlle continues...Here are excerpts from a New York Times article by David Streitfeld.
"Amazon is at war with Hachette, and it sometimes seems as if it has always been that way.
As a negotiating tool in the battle, which is over the price of e-books, Amazon is discouraging its customers from buying the publisher’s printed books. After six months of being largely cut off from what is by far the largest bookstore in the country, many Hachette writers are fearful and angry. So...they are trying a new tactic to get the
ir work unshackled.
Authors United, a group of Hachette writers and their allies, is appealing directly to Amazon’s board. It is warning the board that the reputation of the retailer, and of the directors themselves, is at risk.
'Efforts to impede or block the sale of books have a long and ugly history,' reads a letter being posted to the group’s website on Monday morning. 'Do you, personally, want to be associated with this?'
The letter warns the directors that the discontent might spread...'if this is how Amazon continues to treat the literary community, how long will the company’s fine reputation last?'”
Here is the Link to read it all: New York Times
UPDATE...This battle has expanded to include many prominent writers who are not published by Hachette. David Streifeld continues his coverage in what has become a series in the New York Times.
Here is an updated excerpt...
"Now, hundreds of other writers, including some of the world’s most distinguished, are joining the coalition. Few if any are published by Hachette. And they have goals far broader than freeing up the Hachette titles. They want the Justice Department to investigate Amazon for illegal monopoly tactics..."
This film opened in early October to mediocre reviews, but very young kids seem to like it.You be the judge. Here is the trailer: Hero of Color City
Complimentary Holiday Dog Books for Therapy Reading Dogs…
Christmas is coming and Barking Planet Productions is sending complimentary reader copies of our holiday book, Snow Valley Heroes, A Christmas Tale, Volume 3 in the Planet of the Dogs series, to libraries and teachers participating in therapy reading dog programs and to therapy reading dogs owners and organizations.
To receive your copy, email us at email@example.com
Snow Valley Heroes, A Christmas Tale, is an illustrated first chapter fantasy-adventure book for children 6-12 and dog lovers of all ages.
Long, long ago, there were no dogs on planet Earth. It was during that time that two of Santa’s reindeer went missing and there could be no Christmas.
Far out in space is the Planet of the Dogs. Dogs have always lived there in peace and happiness.
When the dogs learned that there would be no more Christmas, they came down to planet earth to challenge the King of the North, free the reindeer from the Ice Castle, and save Christmas for children everywhere.
To read sample chapters, visit: www.planetofthedogs.net.
Insights on Visual Storytelling
Ms. Burns is also a dedicated Librarian and Author (Pop Goes the Library).
She usually reviews YA books and strongly supports those she likes. I'm interested in younger readers, however, I find her YA reviews to be insightful and very lively reading.
I have excerpted comments on her emotional response to the Y.A. book and movie, If I Stay, and her insights into visual storytelling...
"Here is the thing. I cried at the trailers for this film. I cried when I read the book. I knew all the plot points. There were no surprises. And yet...I cries through the whole film.
Because sometimes, it's not what happens. It's the emotional journey. And no matter how many times you go on that journey, it remains heart wrenching...
One thing I like about visual storytelling is it can show me things, reveal things, that I may not have picked up in the book. And yes, sometimes this is because of changes in the adaptation, but i t's often about staying true to the spirit of the book if not the text. So, for me, the movie made me understand more how Mia viewed her father leaving his band to pursue a job that was more stable as something he did because of her younger brother, Teddy -- never realizing it was also for her.
The movie is true to the book, but something happened at one point where I both feared and hoped that a change had been made and I said to myself, please please please even though there was no way, no way, and it was just like in the book BUT STILL MY FOOLISH HEART, IT HOPED...."
Here the link to her review/article of If I Stay. When she isn't blogging, Elizabeth Burns is the Youth Services Librarian for the New Jersey State Library Talking Book and Braille Center. Here is a link to her blog.
Here is a Link to the If I Stay movie trailer.
Nancy Houser has another excellent article that solves questions about feeding dogs and taking into account breed, age, health condition -- and she's not selling dog food, not pushing a brand. Here is an excerpt and a link:Add a Comment
Blog: Sara Dobie's Blog (Login to Add to MyJacketFlap)
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There’s a secret I hide. Few people know this secret, and they have kept quiet for the past twelve years. They can now break their silence, as I make this astounding announcement: I used to be an actress.
When writer pal Rasheda Poe asked me to be in her short film, I hedged. I was vague. I told her I wasn’t “actually an actress.” This is untrue. In high school, I was Theater Student of the Year as a senior. I earned my varsity letter as a thespian. In college, I minored in acting. My last stage show was in 2002, and I haven’t acted since.
Historically, I was cast as the bitch. I don’t know why. I’m not a bitch. I’m actually quite nice, but perhaps my snark comes across as bitchy. Perhaps men see me as bitchy (since I was always cast by men).
Rasheda saw the bitch in me, too. Well, the bitch and the psychopath. Her short film, entitled “Urban Midnight,” is about a seductive murderess. Rasheda wrote the role of Fiona with me in mind. It’s highly complimentary when one of your best friends thinks you’d make a perfect murderer, right? I think so.
Monday night, we spent five hours filming. I have a semi-photographic memory, which makes me super annoying to other actors. (I’m always correcting people.) I knew I could memorize the lines, but could I deliver them?
I arrived to the “set” (an extended stay hotel) and found myself surrounded by about ten film geek dudes. Yeah, Rasheda and I were the only girls, and I was in nothing but a robe. We joked about how the hotel probably thought we were filming porn, and yeah, I may have busted out the Old School line, “I’m here for the gang bang.”Playing Fiona was like playing Hannibal Lecter: a lot of stillness with very little facial expression. My favorite part was when the boys covered me in chocolate syrup for fake blood (it’s what Hitchcock used for Psycho). Since the film was in black and white, this worked perfectly.
How did it feel to have the acting boots on again? I guess we should take a quick trip back to 2002 first.
In 2002, I was a sophomore at Ohio University, an acting major. I’d just been cast as the overbearing, bitchy older sister in a dark comedy about one man returning home for his father’s funeral. I had one scene in particular where it was just me in the center of the stage, giving my father’s eulogy, and finally breaking down. I physically ached after every performance.
It was reminiscent of when I starred in “To Absent Friends” in high school: a short play in which the viewer realizes, only at the end, that all the characters are dead. My friend, Emily, had to be escorted out of the theater by her boyfriend because she was so distraught by the shocking conclusion.
During my “actor days,” I understood the power of theater. I’m a movie buff to this day. In fact, I’m a movie snob and trivia expert. But in 2002, I realized I loved what actors did … but I hated acting. I switched to creative writing. Haven’t looked back since.
That said, since I’m a huge proponent of doing things that scare the shit out of me, I agreed to act in Rasheda’s short film, and I did have fun. I liked playing a sociopath, and the process was interesting: all the camera angles, the sound stuff, and “getting into character” with the help of my awesome costars. I slid back into it like a hand in a glove.
So shall I announce my victorious return to acting? Um, no. Making “Urban Midnight” was fun, but acting (although once my thing) is a very small part of my introverted, writer brain. Just like singing (something I can do but don’t really enjoy), acting will be one of those skills I keep in my back pocket in case Ben Cumberbatch calls and wants me to play his romantic lead.
Until then, I’ll tuck Fiona away but thank her (and Rasheda) for reminding me how fun it is to step outside my comfort zone for a couple hours and do something truly unique.
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