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Supplementing real dogs with digital animation produces performances that have benefits on many different levels. Firstly, they are much more effective dramatically because they can become more anthropomorphically expressive to suit the needs of the story. Economically they are less time-consuming and therefore less expensive because the performance is no longer determined by the unpredictable or intractable volition of real animals, however ‘well-trained’. The problems that arise even when working with ‘professional’ dog actors can be exasperating.
The lovely Missus B emailed to ask permission from myself and Damian Harvey. I'm not sure that she actually needed it, but it was lovely to be asked and even lovelier to listen to her reading our book.
If you have children of the right age (or just like to have a story read to you - I know I do...) then take a look.
The other night I downloaded and watched New Year Baby, Socheata Poeuv’s documentary about uncovering her family’s story in Cambodia. This movie…..this movie is something amazing.
Poeuv was born in a refugee camp in Thailand after the fall of the Khmer Rouge in 1979. She was called the “lucky one” as her parents, two sisters and brother were all subjected to life under the genocidal government and lived in labor camps until the country was liberated by the Vietnamese. Eventually, they all emigrated to the US and settled in Texas.
As she explains in the movie’s opening minutes, when she was twenty-five Poeuv went home for Christmas and her mother gathered the family together to reveal to their youngest child the big secret about how they were all really related. Her parents then decided to travel to Cambodia for a visit and Poeuv and her brother joined them with camera crew in tow. The trip became a way for Poeuv to learn about what happened to extended family members in the four years under the regime, how many relatives they lost* and how they were all able to get out of the country.
This is all incredibly emotional and inspiring (you will cry, trust me), but equally fascinating is the story of how Cambodians have buried their history in an almost national attempt to forget what happened. None of them can forget though (of course) so the official Cambodia versus the personal one are locked in a quiet and continuous battle of “let’s just not talk about it.” This is made brutally clear in the film when Poeuv’s local guide unexpectedly comes face to face with the former member of the Khmer Rouge who ran the hospital where his mother and sister died. He can not stop himself from asking what happened and his face as her utter incompetence comes through….well, his face is pretty unforgettable.
After making the movie, Socheata Poeuv founded an organization called Khmer Legacies which collects testimonies, stored at Yale University, from survivors of the Khmer Rouge. The project is set up to help preserve Cambodian history, a critical need. From the website:
…there has been no collective outlet to remember and heal for ordinary Cambodians. In fact, in Cambodia today, the history is often not taught in schools and some in the younger generation grow up believing that the genocide did not happen at all.
New Year’s Baby is family history at its best; not only did the film maker learn her family’s own true story but she is now working to preserve an entire nation’s. We all should accomplish so much in our lifetimes. I can’t recommend this film enough.
*Approximately two million Cambodians died under the Khmer Rouge.
Life was harsh for the country people who told this story to relieve the cruel reality of their daily existence.
Hansel and Gretel encounter abandonment, fear, hunger, cannibalism, and magic...they are lost in a cruel world of kill or be killed.
The children must rely on their own courage and ingenuity to survive and prevail.
Welcome to the world of the wonder tale.
Wonder Tales before the Grimms
During the reign of Louis XIV, cultural endeavors in all the arts were encouraged and highly regarded in the court of Versailles. Writers, including Moliere, Racine and Marais, were respected and often admired. Ideas were in the air in the salons of Paris and in the court itself.
Marina Warner, edited The Wonder Tales, Six French Stories of Enchantment, introducing the reader to the European birth of the fairy tale and making a case for calling then tales of wonder. Among the writers with stories included are Charles Perrault, Marie-Catherine D'Aulnoy and Henriette- Julie De Murat. Perrault was perhaps the most influential, if one considers the stories (from folk tales) he published under the title, The Tales of Mother Goose. These eight stories included Cinderella, Blue Beard, Little Red Riding hood, and the Sleeping Beauty in the Woods.
Here are excerpts from the Oxford University Press overview of the book...
"Once upon a time, in the Paris of Louis XIV, five ladies and one gentleman-- all of them aristocrats-- seized on the new enthusiasm for "Mother Goose Stories" and decided to write some of them down. Telling stories resourcefully and artfully was a key social grace, and when they recorded these elegant narratives they consciously invented the modern fairy tale as we still know it today."
Heroes and heroines are put to mischievous tests, and their quest for love is confounded when their objects of desire change into beasts or monsters. Still, true understanding and recognition of the person beneath the spell wins in the end, for after wonder comes consolation, and after strange setbacks comes a happy ending. In Wonder Tales, a magical world awaits all who dare to enter."
The illustration of Blue Beard is by Gustav Dore.
Good but Grimm Bedtime Reading
Mary Leland, in theIrish Examiner, has written a most insightful and interesting article on folktales and myths and the life and times of the Brothers Grimm. She also writes about Jack Zipes and the significance of his recent translation of the original version of Children's and Household Talesby the Brothers Grimm.
Here is an excerpt from the beginning of her excellent article:
"Many readers may argue with the poet Schiller’s assertion that ‘Deeper meaning resides in the fair tales told to me in my childhood that in the truth that is taught by life.’ Even so, perhaps those same readers will admit that the belief, quoted in Bruno Bettelheim’s master-work ‘The Uses of Enchantment’ (1976) has some validity.
They will certainly do so if they acknowledge the staying power of the fairytales told or read to them in childhood, and if they remember that strange hinterland in which mystery, search, loss, redemption and triumph still bring some imaginative consolation to the perceived injustices of the very young.
The fact is, as Jack Zipes discusses in his fascinating anthology, fairy tales incorporate the truth that is taught by life...."
The illustration of the Elves and the Shoemaker is by George Cruickshank.
The Grimm's Wonder Tales Sweep England in the Nineteenth Century
David Blamires, in a very comprehensive and rather scholarly article for Open Book Publishers, details the impact on readers in England of the Edgar Taylor translation (1823) of the Grimm's original Childrens and Household Tales. The article provides both overview and details of the English versions throughout the 18th Century. Blamires credits the illustrations by George Cruikshank as being very important to to wide popular acceptance.
"Without a shadow of doubt the single most important German contribution to world literature is the collection of traditional tales made by the Brothers Grimm and first published in two small volumes in 1812-15. It outshines Goethe’s Faust and such twentieth-century classics as Mann’s Death in Venice or Kafka’s The Trial by virtue of an infinitely greater readership. Not only have the tales been translated in whole or in part into virtually every major language in the world, but they have generated countless new editions and adaptations and become the cornerstone of the study of folktales not only in Germany, but throughout the world...
When Edgar Taylor made the first translation of the Grimms into English as German Popular Stories, translated from the Kinder und Haus Märchen, collected by M.M. Grimm, from oral tradition (London: C. Baldwyn, 1823), the fairytale as a genre was very much in the grip of the French. Of course, such truly English fairytales as ’Jack the Giant-killer’, ’Whittington and his Cat’, ’Tom Hickathrift’, ’Tom Thumb’ and ’Jack and the Beanstalk’ had circulated in chapbooks, but English tales were not systematically collected until later. It was the fairytales of Charles Perrault, Madame d’Aulnoy and Madame Leprince de Beaumont that dominated the scene..." The illustrations of Rapunzel and Cinderella are by George Cruickshank.
Born Without A Tail Returns
The enhanced second edition of Born Without A Tale, by C.A. Wulff will be published later this month by Barking Planet Productions. The book is a heartwarming life journey memoir by of Wulff's never ending rescues, healings, and adventures with a melange of dogs and cats.
Here's a description of the first edition from Amazon:
When your home has a revolving door for abused and abandoned animals, keeping pets takes on a whole new dimension! Sometimes hilarious, sometimes heart-rending, Born Without a Tail chronicles the true-life adventures of two animal rescuers living with an ever-changing house full of pets. The author takes us on a journey from childhood through adulthood, sharing tales, (mis)adventures and insights garnered from a lifetime of encounters with a menagerie of twenty remarkable animals.--
And here is an abridged sample of a review...there are many more on Amazon :
"I can't say too much about this book, it's more than a 'dog book' it's a people, animals, life book. I was hooked from the first page and read it straight through... The writer has a great way of drawing you in, making you at home in her world. Anyone who's ever had a heart dog, a misfit cat, ever been touched by the love of an animal should enjoy this book. It's a keeper." -- Bookpleasures.com
Lost Wonders Found In An Immersive Theatrical Experience
Imagine walking into a warehouse converted into an environment of wonder where you find clairvoyant ravens, a runaway princess, and elves with magic powers. I discovered all of this is happening in London when I read a recent post by Kristenin her Tales of Faerieblog. Here is an excerpt...
Reviewers seem overall very impressed with the play, especially the format. Instead of an audience sitting in chairs in an auditorium, they follow the characters through a large warehouse with different sections set up as each fairy tale. Props to the creators of this play for not only staying faithful to the Grimm fairy tales, but introducing audiences to lesser known tales, such as "Faithful Johannes" and "The Three Little Men in the Woods" (which seems to be the audience favorite)."
In the words of Philip Wilson (Director & Adapter) of this theater piece:
"I love the fact that, in German, these are known as 'wonder tales' rather than the more twee term 'fairy tales': and so audiences coming to the Bargehouse will find themselves plunged into a parallel universein which extraordinary adventures happen - and the darker side of these stories will come to light..."
Paws Giving Independence (PGI) is a multi-faceted, grass roots organization, located in Peoria, Illinois, that does wonderful work in providing service dogs for people with disabilities. Their dogs serve people ranging from the Jesse Brown Veteran's Hospital in Chicago to the Peoria Children's Home Youth Farm.
The photo on the left is of Monty, who recently had his first day of school with his new friend, the young girl in the photo. They are both in fourth grade. Monty now lives with her in her home, and they go everywhere, including the school bus, together.
Monty was trained by a Bradley University student as part of the Wags for Mags program, initiated by Paws Giving Independence (photo on the right).This ongoing program of student volunteers works directly with people and training the dogs for service. Anyone with a disability can apply for a PGI service dog. Saturday, June 6, 2015, is the day for PGI's Running With The Dogs Day.
Dogs As Healers in the Planet Of The Dogs Series
In the first book in the Planet Of The Dogs we are introduced to Bella, the healer lady of Green Valley. And it is through Bella that people have their first experience with dogs as healers...the first Therapy Dogs. Here is an excerpt...
"The next morning, just as daylight brightened their home, Tomas and his family had another visitor, Bella, the healer lady. Bella helped the people of Green Valley when they were having babies, or when they were sick. She had a large garden of flowers and herbs that she used when healing people. All the people in Lake Village, including Omeg, liked her and respected her. Bella had been dreaming of the dogs and understood the reason they had come to Planet Earth.
Before Bella reached the house, Robbie and Buddy, who now slept in the barn, sensed her arrival and ran up the road to greet her. The family was happy to see her and to find that she welcomed the dogs. They were surprised that Bella was so comfortable with Buddy, who lay at her feet while she sat at the table drinking a refreshing cup of mint tea. Bella had an even bigger surprise for everyone. She said, “From my dreams, I have learned that the dogs can help me in my work. I know they have the power of love and the power to help people heal,” she said. Tomas and Sara looked at her in amazement. Daisy and Bean were not so surprised. Then Bella said, “I want to take the little dog to visit Delia, the sad one...”
For sample chaptersfrom Planet Of The Dogs, Castle In The Mist, and Snow Valley Heroes, A Christmas Tale -- and more information about all of our Barking Planet books -- visit our Planet Of The Dogs website.
Free copies of the Planet of The Dogs book series for therapy dog organizations, individual therapy dog owners, and librarians and teachers with therapy reading dog programs...simply send us an email at email@example.com.
"In PLANET OF THE DOGS, Robert McCarty weaves an enchanting story that will delight the young reader as well as the young reader's parents or grandparents. Parents and grandparents should be forewarned, however, that their young readers will be pleading with them unrlentingly for a visit to Green Valley." Warner V. Slack MD, Professor of Medicine, Harvard Medical School; Father, Grandfather ..............................
All Barking Planet Productions Books are available on the internet at Barnes & Noble, Amazon, and other booksellers -- as well as your local independent bookstore.
LitWorld and World Read Aloud Day
LitWorld brings literacy, reading, books, and empowerment to disadvantaged children.
LitWorld celebrated their annual World Read Aloud Dayon March 5th.
"World Read Aloud Day allows members of our year-round programs to invite more people into their literacy community and brings LitWorld’s messages to the rest of the world. World Read Aloud Day is now celebrated by over one million people in more than 80 countries and reaches over 31 million people online. The growth of our movement can be attributed in large part to our network of partner organizations and “WRADvocates” – a group of reading advocates and supporters taking action in their communities and on social media."
Visit their website and learn more about their wonderful work: LitWorld
The Wind In The Willows
"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, E.H. Shephard
I was drawn to read this book.
TheMotherless Child Projectis terrific and timely. The central character, Emily Amber Ross, a 16 year old girl, is bright, interesting, conflicted, and very likable. The fact that she lives in a home where there can be no mention of her mother and her childhood becomes a driving force in her life. The story builds into a suspenseful, compelling, poignant rush of events. The ending is exciting and satisfying. I would think that word of mouth will be significant. In addition to being an excellent, and meaningful read -- The Motherless Child Project would make a great YA crossover movie.
Laura Miller, in Salon, conducted an excellent interview with Maria Tatar on the occasion of the publication of The Turnip Princess. Here is an excerpt:
What do you in particular find so compelling about this form?
"What I really love about fairy tales is that they get us talking about matters that are just so vital to us. I think about the story of Little Red Riding Hood and how originally it was about the predator-prey relationship, and then it becomes a story about innocence and seduction for us. We use that story again and again to work out these very tough issues that we have to face. My hope is that this volume will get people talking about not just the stories and the plot but the underlying issues.
Milan Kundera has this quote in “The Unbearable Lightness of Being” about painting that goes something like: Painting is an intelligible lie on the surface, but underneath is the unintelligible truth. Folktales are lies, they misrepresent things, and they seem so straightforward and so deceptively simple in a way. It’s the unintelligible truth beneath that’s so powerful, and that’s why we keep talking about them. They’re so complicated. We have a cultural compulsion about folklore. We keep retelling the stories because we can never get them right." Illustration by Lancelot Speed
"He now felt glad at having suffered sorrow and trouble, because it enabled him to enjoy so much better all the pleasure and happiness around him;”
“It is only with the heart that one can see clearly, for the most essential things are invisible to the eye.” ― Hans Christian Anderson, The Ugly Duckling
Animated Movies and Inspiration from Tales of Wonder
Last year (2014), the Oscarfor the best animated film -- Frozen -- was "inspired" by Hans Christian Anderson's classic story, The Snow Queen. In addition to substantive story changes, this Disneyfantasy removes the dark fear and danger of the original and substitutes dazzling animation, fast pacing, and romantic gloss. Frozen has a sound track of soaring romantic music. the film also won an Oscar for best song:Let It Go.
Disney achieved their goal. In addition to recognition by their peers in winning the Oscars, the film has been extremely popular and made a great deal of money, grossing $1,274,219,009. That figure represents an incredible number of children and adults experiencing the Disney version of the story.
Here is an excerpt from Anderson'soriginal Snow Queen, which, unlike the film, I find permeated by a sense of the ominous, of danger and events beyond control...
"There stood poor Gerda, without shoes, without gloves, in the midst of cold, dreary, ice-bound Finland. She ran forwards as quickly as she could, when a whole regiment of snow-flakes came round her; they did not, however, fall from the sky, which was quite clear and glittering with the northern lights. The snow-flakes ran along the ground, and the nearer they came to her, the larger they appeared. Gerda remembered how large and beautiful they looked through the burning-glass. But these were really larger, and much more terrible, for they were alive, and were the guards of the Snow Queen... but all were dazzlingly white, and all were living snow-flakes."
Hopefully, many more children, having experienced the Disney version, will be drawn to read the original.
Illustration of the original Snow Queen is by Vilhelm Pedersen.
Little Red Riding Hood...There are many versions and many interpretations in film, TV, theater and illustration of Little Red Riding Hood. The story had a major role last year in Disney'sproduction of Into The Woods, a film inspired by a popular Broadway musical.
On a more modest scale, Cale Atkinson, a talented young Canadian illustrator, created a delightful short animated version (1:37) of Red Riding Hood on Vimeo.
Disney's Big Hero
This year, Big Hero 6 , also a Disney film, has won the Oscar for best animated film. This time , inspiration for the film was inspired by a Marvel comic story. The film is a significant departure from the original. Humor, imagination and outstanding animation bring Hiro, a brilliant teenage robotics inventor, Baymax his robot, and the fantasy future world of San Fransokyo to fun-filled life.
Disney, through the collaboration between Winnie the Pooh director Don Hall, and Chris Williams,director of Bolt, succeeded in adding charm and fun to the original premise; as a result, Big Hero 6 found a large audience worldwide: $546,225,000 (this figure will grow with winning the Oscar).
Cinderellaback and, once again, has a cruel stepmother ... If Kate Blanchett was my cruel stepmother, I would be most grateful if Helena Bonham Carter was my fairy godmother -- especially if Kenneth Branagh was my director. This comment is based on watching the trailer for Cinderella - the next Disney movie.
See for yourself: Cinderella Trailer...and listen to the soaring music.
The advance reviews suggest this Cinderella will please and delight young girls and their families. Personally, I'm still marveling at the movie created by Linda Woolverton, Robert Stromberg, and Angelina Jolie in Malificent, inspired by Sleeping Beauty.
Alison Flood writes about the drop in popularity of JRR Tolkien'sbooks in the UK in an article for the Guardian. The article suggest that movies have been a primary influence in the reading choices of UK students. Perhaps Peter Jackson's Tolkien-based films don't inspire readers. Here are excerpts...
"Annual What Kids Are Reading report sees dystopian fantasy and larger-than-life comedies dominate...
JRR Tolkien’sfantasy novels have been elbowed out of the annual lineup of the most popular books for schoolchildren by a deluge of dark dystopias and urban fantasies.
The seventh What Kids Are Reading report, which analyses the reading habits of over half a million children in over 2,700 UK schools, revealed today that Tolkien’s books have dropped out of the overall most popular list for the first time since the report began six years ago. In previous years, Tolkien’s titles have featured within the chart’s top 10 places, mostly among secondary-school children.
Instead, this year in secondary schools the most popular title was John Green’s tale of a heartbreaking teenage romance, The Fault in Our Stars, followed by two dystopian stories: Suzanne Collins’s Catching Fire, from the Hunger Games series, and Veronica Roth’s Divergent, set in a world where people are classified according to their personality traits...."
Nancy Houser posted an informative article in Way Cool Dogs on Separation Anxiety in Dogs. To people who don't know dogs, this may sound a bit over the top. Dog owners, however, will appreciate this fact-filled article.
"Separation anxiety in dogs is that dreadful moment as they fall apart in front of our eyes as we walk out the door, leaving them … alone. We could be be having a medical emergency, a day of shopping, a day of hard work, an exhausting afternoon at the grocery store … or maybe even a quick trip outside to check our mail. And truthfully, it does not matter. Every situation becomes a period of hell for dogs with separation anxiety, an animal who is a social animal that needs a lot of companionship.
Where and when we go does not matter; what matters is the fact that we are gone and they are not. They are at home, and alone. Mother Teresa once said, “The most terrible poverty is loneliness, and the feeling of being unloved.” She was speaking of humanity, of course, but current dog studies are proving that dogs not only have intelligence but similar emotions and emotional disorders as we do, and should be treated as such.
What is canine separation disorder?
According to dog experts, canine anxiety is divided into three different categories:
Canine separation disorder is considered to be one of the most common causes of behavioral problems in dogs..."
The article continues to analyze of canine anxiety disorders; Read more:Separation Anxiety. The illustration is by Nancy Houser
The Wonders of Reading for Children
An excerpt from Neil Gaimon's impassioned presentation on the importance of libraries, books and reading:
"There are no bad authors for children, that children like and want to read and seek out, because every child is different. They can find the stories they need to, and they bring themselves to stories. A hackneyed, worn-out idea isn't hackneyed and worn out to them. This is the first time the child has encountered it. Do not discourage children from reading because you feel they are reading the wrong thing. Fiction you do not like is a route to other books you may prefer. And not everyone has the same taste as you.
Well-meaning adults can easily destroy a child's love of reading: stop them reading what they enjoy, or give them worthy-but-dull books that you like, the 21st-century equivalents of Victorian "improving" literature. You'll wind up with a generation convinced that reading is uncool and worse, unpleasant..."
This link, Neil Gaimon, will take you to all of this excellent presentation as reprinted in the Guardian. Illustration of Tom Thumb by Alexander Zick.
“We read books to find out who we are. What other people, real or imaginary, do and think and feel... is an essential guide to our understanding of what we ourselves are and may become.” ― Ursula K. Le Guin
How To Greet A Dog...and How Not To Greet A Dog (or cat)....
Unlearn polite human greeting behaviors … greet a dog or cat safely...Here is an excerpt and link to an article by Anna Nirva...
Yesterday at the shelter where I volunteer, a group of new volunteers were being led through the dog kennel room as part of a shelter volunteer orientation tour. I was returning a dog to a kennel after a walk, and several of the volunteers left the group to investigate the dog as I was leading him toward his enclosure. Two well-meaning people quickly approached the young dog straight-on, with hands outstretched, staring directly into the eyes of the shelter dog. Chief, the dog, a young, sensitive coonhound mix, feeling threatened, immediately moved through the open gate to the back of the kennel with his tail tucked and head lowered. “What’s wrong with him?” one of the new volunteers asked.
I had just found the topic for my weekly post...
In the western world, we are taught at an early age to greet new people by approaching them with upright posture, looking directly into their eyes and offering a hand to shake or squeeze. It becomes second nature to us, so as a result, many of us animal lovers greet every living thing–except bugs–using those same “good manners.”...
We must UNLEARN that set of social rules to avoid frightening dogs, cats, and other animals... read it all on SunBear Squad
The illustration from Snow Valley Heroes, A Christmas Tale is by Stella Mustanoja-McCarty
" You think dogs will not be in heaven? I tell you, they will be there long before any of us." -- Robert Louis Stevenson
It's been less than a year since Tasha Robinson coined the phrase "Trinity syndrome," and yet it's already become one of the most useful terms in pop culture criticism. Named for the female lead in Lana and Andy Wachowski's The Matrix, Trinity syndrome refers to a movie in which a female character is depicted as cool, competent, and badass, but always and inexplicably in the service of a much
After what feels like a year's worth of buzz, publicity, predictions, and celebrity gossip, the 87th Academy Award ceremony is upon us. I dug into the entries available in the alphabetized categories of The Dictionary of Film Studies-- and added some of my own trivia -- to highlight 26 key concepts in the elements of cinema and the history surrounding the Oscars.
Warning: While not overly explicit, this blog does acknowledge the existence of, and briefly discuss, sex. If you’re not keen to read a blog about such things, I suggest you temporarily avert your eyes. I couldn’t attend the Fifty Shades of Grey preview, so fronted up for the 10am session on the day of the […]
The photo is of a statue of a woman who could recite (sing) 32,000 verses of poetry from the Kalevala, the Finnish national epic. Her name was Larin Paraske (1833-1904), one of the last Finnish Rune singer-storytellers. During the Finnish renaisance of the nineteenth century , artists, writers, and composers (including Jean Sibelius) listened to her interpretation of the Kalevala. The Kalevala was passed on for centuries by rune singers. In earlier times, there were hundreds of Rune singers in this land of lakes and forests.
Cinderfellas: The Long-Lost Fairy Tales
Here are excerpts from an excellent article about the soon to be published (February 24), The Turnip Princess. The article is a preview from the New Yorker of Franz Xaver von Schönwerth's "Lost" Fairy Tales. It was written by Maria Tatar, who also wrote the English translation of the new book.
..."Schönwerth’s tales have a compositional fierceness and energy rarely seen in stories gathered by the Brothers Grimm or Charles Perrault, collectors who gave us relatively tame versions of “Little Red Riding Hood,” “Snow White,” “Cinderella,” and “Rapunzel.” Schönwerth gives us a harsher dose of reality than most collections. His Cinderella is a woodcutter’s daughter who uses golden slippers to recover her beloved from beyond the moon and the sun. His miller’s daughter wields an ax and uses it to disenchant a prince by chopping off the tail of a gigantic black cat. The stories remain untouched by literary sensibilities. No throat-clearing for Schönwerth, who begins in medias res, with “A princess was ill” or “A prince was lost in the woods,” rather than “Once upon a time…”
This fascinating article continues, describing the cultural shifts that resulted in the softening of these folk stories, and noting many instances where stories that were originally about boys, became stories about girls.
" ...Boy heroes clearly had a hard time surviving the nineteenth-century migration of fairy tales from the communal hearth into the nursery, when oral storytelling traditions, under the pressures of urbanization and industrialization, lost their cross-generational appeal. Once mothers, nannies, and domestics were in charge of telling stories at bedtime; it seems they favored tales with female heroines."
Tatar offers several examples of these changes. Here is her summary of a change in role that struck me as a vivid example, a precurser of the Princess and the Frog...
"Equally charming is the story about Jodl, a boy who overcomes his revulsion to a female frog and, after bathing her, joins her under the covers. In the morning, he awakens to find himself in a sunlit castle with a wondrously beautiful princess..."
Greater Understanding of Fairy Tale Magic
...Here at last is a transformation that promises real change in our understanding of fairy-tale magic, for suddenly we discover that the divide between passive princesses and dragon-slaying heroes may be little more than a figment of the Grimm imagination."
The illustration of Snow White is by Franz Juttner. The illustration of the Prince and the Frog is by Maxfield Parrish.
Tales Told by People
"...Von Schönwerthspent decades asking country folk, labourers and servants about local habits, traditions, customs and history, and putting down on paper what had only been passed on by word of mouth. In 1885, Jacob Grimm said this about him: "Nowhere in the whole of Germany is anyone collecting [folklore] so accurately, thoroughly and with such a sensitive ear." Grimm went so far as to tell King Maximilian II of Bavaria that the only person who could replace him in his and his brother's work was Von Schönwerth."
This excerpt is from an early Guardian article by Victoria Sussens-Messerer reporting on the discovery of a trove of "new Fairy tales" by Franz Xaver von Schönwerth
The illustration of Snow White is by Walter Crane.
The Original Tales of the Brothers Grimm
Jack Zipes has translated into English, for the first time, the original volumes (1812-1815) of folk and fairy tales collected by the Brothers Grimm.
Zipes, a pioneering scholar and prolific author of books relating to folk tales, fairy tales, legends and myths, has also written an insightful and informative article on the Brother's Grimm, their motivation, methodology, and the world in which they lived and worked. The article, The Forgotten Tales of the Brothers Grimm, was published in the The Public Domain Review. Here are excerpts...
"...Turning to the tales of the first edition the first thing a reader might notice is that many of the stories...were deleted in the following editions for various reasons, not because they were poorly told but because they did not meet some of the requirements of the Grimms...
...The second thing a reader might notice about the tales in the first edition is that most of them are shorter and strikingly different than the same tales edited in the later collections. They smack of orality and raw contents. For instance, Rapunzel reveals that she has become impregnated by the prince; Snow White’s mother, not her stepmother, wants to kill the beautiful girl out of envy...
...The literacy of the informants, however, did not diminish the folk essence of the tales that, as the Grimms and other folklorists were to discover, were widespread throughout Europe and told more often than not in dialect. The tales came to the tellers from othertellers, or they read tales, digested them, and made them their own. Indeed, we always make tales our own and then send them off to other tellers with the hope that they will continue to disseminate their stories...
And yet, the Grimms, as collectors, cultivators, editors, translators, and mediators, are to be thanked for endeavoring to do the impossible and to work collectively with numerous people and their sources to keep traditional stories and storytelling alive. In this respect their little known first edition deserves to be rediscovered, for it is a testimony to forgotten voices that are actually deep within us. Hence, the irresistibility of the Grimms’ tales that are really not theirs, but ours. "
The illustration of the wolf about to eat Little Red Riding Hood's grandmother is by Gustav Dore.
Grimm Legacies: The Magic Power of the Grimms' Folk and Fairy TalesbyJack Zipes was published in December, 2014 (Princeton University Press) as a complement to his translation of the Original Fairy Fairy Tales(above). Here is a review:
"In this landmark work of fairy-tale scholarship, Jack Zipes comes to grips with the multiple legacies of the Brothers Grimm in German and Anglo-American cultures. With nuance and inexhaustible insight, Zipes shows how mythmaking, marketing, hype, Americanization, the appeal of collective action, and utopian longing have sustained 'the magic spell' of the Grimms' tales throughout two centuries of use and abuse. Anyone seeking to understand the popularity of the Grimms' fairy tales or their richly diverse reception will do well to begin here."--Donald Haase, editor of The Greenwood Encyclopedia of Folktales and Fairy Tales
The Rune Singer Storyteller begins Poem 1 of the Kalevala...
"It is my desire, it is my wish to set out to sing, to begin to recite, to let a song of our clan glide on, to sing a family lay, The words are melting in my mouth, utterances dropping out, coming to my tongue, being scattered about on my teeth."
Translation by Francis Magoun from the Kalevala poems compiled by Elias Lonnrot (1802-1804)
The illustration is from a painting by Akseli Gallen-Kallela
Paws 4 Autism is "helping families help their kids connect to the world 4 Paws at a time."
The following excerpt is from the Planet Dog Foundation (PDF) which provided a Grant to help Paws 4 Autism fulfill their mission.
"Paws 4 Autism utilizes specially trained dogs to help children with autism and their families. The PDF grant will specifically fund the Canine Assisted Social Skills in Education Program (CASSIE) which provides social and communication skills training for individuals aged 6-14 who have autism...Paws 4 Autism is 100% staffed by volunteers."
World Read Aloud Day is LitWorld's Celebration of reading. In 2014, over 75 countries participated.
This photo is from Nepal
Every year, on the first Wednesday of March, World Read Aloud Day calls global attention to the importance of reading aloud and sharing stories.
"World Read Aloud Daymotivates children, teens, and adults worldwide to celebrate the power of words and creates a community of readers taking action to show the world that the right to literacy belongs to all people. By raising our voices together on this day we show the world’s children that we support their futures: that they have the right to read, to write, and to share their stories.
World Read Aloud Day allows members of our year-round programs to invite more people into their literacy community and brings LitWorld’s messages to the rest of the world. World Read Aloud Day is now celebrated by over one million people in more than 80 countries and reaches over 31 million people online. The growth of our movement can be attributed in large part to our network of partner organizations and “WRADvocates” – a group of reading advocates and supporters taking action in their communities and on social media. "
Here is the link for more information or to be a part of this wonderful event, LitWorld.
The photo on the lower left is from a World Read Aloud Day group in the Phillipines.
"When I examine myself and my methods of thought, I come to the conclusion that the gift of fantasy has meant more to me that any talent for abstract, positive thinking. Albert Einstein~(1879-1955)
The International Children's Digital Library (ICDL)
Free Children's Books on the Internet in a huge digital library. Many of them appear to be from another era. From their site...
"The ICDL has been visited by over three million unique visitors since our launch in November, 2002.
The ICDL collection includes 4619 books in 59 languages.
Our users come from 228 different countries.
Free access to high-quality digital books from around the world. Browse by age, genre, book length, character types, or even the color of a book's cover."
SurLaLune , Heidi Anne Heimer's website for Fairy Tales and Folklore is a veritable constellation of fairy tale books, information, annotations, illustrations, and links. Here is a excerpt from an article she posted on folklore, fairy tales and the oral tradition of storytelling.
"...Then there is the whole explanation of how folklore comes from oral storytelling tradition. Be aware that this website and most fairy tale studies deal with literary fairy tales, tales that are once removed from oral tradition, set down on paper by one or more authors. Once the story is written down, it becomes static in that version. It is no longer only folklore, but part of the world's body of literature. In contrast, the beauty of storytelling is how the same story is slightly different each time it is told, even by the same storyteller. Oral fairy tales are elusive creatures that folklorists study, record and try to trace through history. It is an invigorating field of study, but not the one I have pursued on SurLaLune. Note that sometimes the literary fairy tale came first and was then absorbed back into oral tradition, such as with 'Beauty and the Beast.'"...
The illustration of Rapunzel is by George Cruickshank. .....................
The Planet of the Dogs, as the Story Was First Told
Daisy and Bean,who lived on a farm near Lake Falls Village (on planet Earth), found themselves on the Planet of the Dogs. They were the first humans to be there. This was long, ago, before there were dogs on planet Earth.
They had been chosen as emissaries, to help with a transition -- the dogs had decided to come to earth to help people learn again about loyalty, courage and love. And they needed to learn how non-violent solutions could turn back invaders. .
The following excerpt takes place following a huge gathering of the dogs,who had come to hear the decision, by Miss Merrie, Queen of the dogs, and the Dog Council, about helping people on earth....
"Rex, a big shaggy dog -- bigger than Buddy, and very old -- then spoke. 'You must not tell anyone about visiting the Planet of the Dogs. People won’t believe you, and they’ll think that you aren’t telling the truth, or that it was just something you imagined. And some will become frightened and tell false stories about you. And this will interfere with our efforts to help people. You must keep your visit here a secret. Can you do that?' ”
Therapy reading dog owners, librarians and teachers with therapy reading dog programs -- If you email us at firstname.lastname@example.org , we will send you free readercopies from the Planet of the Dogs Series...Read dog books to kids and dogs.
The photo is of therapy reading dog Jezebell, seen here with a reading student friend. They were part of teacher Julie Hauck's pioneering Pages for Preston reading program for second and third graders in the Longfellow Elementary School, Sheboygan, WI.
Up On the Woof
"I’ve been accused of treating my dogs like children, but I honestly see that as more of a badge of honor than a criticism. After all, the more science learns about dogs, the more apparent it is that they are like children. They are as bright as any toddler, and because they are completely dependent on us, it means they stay babies all their lives. That means it’s our responsibility as pet parents to make sure their physical (food, water, shelter, safety, hygiene, play, medical) and emotional (love, encouragement, comfort) needs are met. It means teaching them, and seeing that their lives are enriched and that they are intellectually stimulated."
The excerpt above is by C.A. Wulff, from her Up On The Woofblog. Wulff is a dog loving animal advocate/activist; book reviewer and columnist (Examiner); yelodoggie artist; author of dog world books; and associate publisher at Barking Planet Productions.
In the Spring, Barking Planet Productions will publish an updated and revised edition of Wulff's fascinating memoir, Born Without a Tale.
Your off to great places,
Today is your day!
Your mountain is waiting,
So...get on your way! -Dr.Seuss
New Cinderella from Disney opens March 13.
Cinderella returns..Will it be Sugar Coated Survival Skills or will the spirit of Malificent return?
After the success of Frozen, which glossed over Hans Christian Anderson's Snow Queen, it's no telling. However, the director (Kenneth Branagh) is excellent, as is the cast (Kate Blanchett, Lily James, Helen Bonham Carter, Richard Madden).
Frozen, with its romantic music and sugar coated romance, is a favorite to win an Academy Award (February 22).
Lizzy Burns wrote a caring, thoughtful, and very lively blog defending little girls who like playing princess. Here is an excerpt...
"There is nothing wrong -- absolutely nothing wrong -- with your young child liking princesses. Any princess...I get annoyed at the gendering of toys and books -- Legos and science are for boys, feelings and dress up are for girls -- but that is because Legos and science and feelings and dress up are for any child, boy or girl, and problematic messages are sent by calling one "boy" and one "girl."
Princesses (especially pink sparkly princesses) can be problematic not because they are pink sparkly princesses but because what it means to be a princess, to want to be a princess, and how society views that, along with misunderstandings about the nature of play and imagination (and I'd add, that goes for children, teens, and grown ups.)
I'm not the first person to talk about princesses, what they mean, what they don't mean, and the depth and substance that is needed for the "princess talk..."
The Tin Man Returns in a theatrical perfomance piece invoving actors, puppets, a musical soundscape and innovative staging. Here is an excerpt from the New York Times Review by Laura Collins Hughes...
Led by a Tender Heart, Before It Is Ripped Out
‘The Woodsman’ Tells the Tin Man’s Tale
"Using words is dangerous in this eastern corner of Oz, yet sound is everywhere: the mournful music of a violin, the rasp of a witch, the spooky wind of the woods.
A movement piece with puppets, James Ortiz’s “The Woodsman” is an elemental reimagining of L. Frank Baum’s world of Oz. The spectacle is handmade, infused with breath and light... This is the Tin Man’s back story: how a regular human named Nick Chopper (Mr. Ortiz) came to be a rusting pile of metal in need of a heart. The story, laid out in a spare spoken prologue in this largely wordless piece, involves the witch who rules this part of Oz. Her only apparent vulnerability is an aversion to sunlight..."
"The Divergent series has sold 5 million booksand is regularly called 'the next Hunger Games' or 'the next next Twilight.'Interested in writing the next next next teen franchise? Here’s a step-by-step guide.
1. Start a blog. Early online readers got to watch Roth write Divergent, find an agent, and sell it to HarperCollins—all in real time on her website. By the time the book was published, “she was already a social-media phenomenon,” says editor Katherine Tegen.
Pro tip: Blog about lots of things! A list of non-writing topics mentioned on Veronica Roth’s blog: dead raccoons, traffic lanes, sweet-potato soup, spiders, a OneRepublic CD.
2. Don’t be afraid to be trendy. The Hunger Games was big at that point, but there were a couple other books that were on the cusp of the dystopian-sci-fi trend—Matched and The Maze Runner. But the timing just worked so that Divergent ended up...Read it all: Amanda Dobbins
"How to find the best vet for your poochis about providing the best care for your dog. Dogs have a way of working their way into our heart and becoming more than just an everyday pet. If you have a pet dog then the chances are that they have become a firm member of your family. For this reason alone you are going to want to make sure that they receive the best veterinary care, which involves the best choice of vet. You probably wouldn’t visit a doctor with a bad reputation, and you will want the same for your dog..."
Read more on Nancy Hauser's Way Cool Dogs: Best Vet
Motherless Child Project.
The voice of Emily Amber, a 16 year old girl in South Carolina, pulls you in. I rarely read YA books and I'm still in the process of reading The Motherless Child Project. However, I can report that a compellingmomentum drives this story. Here is an excerpt from early on in the book...
"...In my house, no one talks about anything concerning my mother, not dad, not Jon, Nicky nor me. The best way I can explain it is like this - when it's a fact in your life that your mother is MIA, and you know you'll never get anywhere by asking where she is because you tried numerous times with bad or worse results, you just move on with your life. What else can you do?..."
On Jan 29, Kaitlin Jenkins, posted an article on her blog, She Speaks Bark, about National Seeing Eye Dog Day. I found her article to be warm-hearted and informative. Here is an excerpt...
"Guide Dogs, or Seeing Eye Dogs as they’re often called, provide support and independence to visually impaired individuals. Often, the companionship of the seeing eye dogs allows a visually impaired person to take many of their daily tasks back into their own hands. Suddenly a world that was always limiting a person is once again re-opened, and they’ve got a constant companion who is looking out for them at all times. The partnership between a trained guide dog and their person is something to behold, and it’s something I’ve always found incredibly powerful and fascinating."
Her article led me to Guide Dogs for the Blind. This outstanding organization, located in San Rafael, CA, and Boring, OR, offers a lifetime of support to visually impaired people. In their own words...
"We are a passionate community that serves the visually impaired. With exceptional client services and a robust network of trainers, puppy raisers, donors and volunteers, we prepare highly qualified guide dogs to serve and empower individuals who are blind or have low vision. All of our services are provided free of charge; we receive no government funding."
Here is a link to their humorous guide to Blindness Etiquette video...I smiled, laughed and learned.
The photo of the woman and her dog is courtesy of Guide Dogs for the Blind
"She was made to work like a slave from morning to night. She had to get up at daybreak, carry water from the well, clean the fireplace and the fires, cook all the food and wash all the dishes. But that wasn't all, because the sisters did everything they could to make things worse for the poor girl...And when she was done at the end of the day, could she look forward to a comfortable bed? Not a bit of it. She had to sleep on the hearth, in among the ashes and the cinders..."
Cinderella - from Philip Pullman's Fairy Tales from the Brothers Grimm
A Dog's Life, Outside and Inside
Anna Nirva,in her Sunbear Squad blog, discusses how dogs are social animals who are happier, and usually healthier, when they live inside. There, they can be part of a pack (people are also members of their pack). Often, however, dog owners choose to keep their dogs outside and this can necessitate -- if humane conditions are to prevail -- the need for a proper doghouse. Here is a brief excerpt:
"If you must keep your dog outdoors, construct an excellent dog house and kennel based on considerations of your dog’s breed, age, health status, your climate and environment, and safety and health features. Schedule daily activities so that your dog doesn’t become depressed or frustrated, leading to difficult behaviors. Never chain your dog..."
Anna offers detailed, comprehensive, information and considerations ranging from the dog's physical limitations and the local environment to design features that will help the dog to stay safe and healthy. Here is a link to read it all: the Humane Dog House.
The illustration by Stella Mustanoja-McCarty is from Snow Valley Heroes, A Christmas Tale.
A man may smile and bid you hail Yet wish you to the devil; But when a good dog wags his tail, You know he's on the level. --Author unknown
It's been two days since I saw Alejandro González Iñárritu's Birdman and I'm still feeling exhilarated. On the most basic level, this film is like nothing else I've seen in a movie theater in a long time, possibly forever, and I urge you to see it simply for the experience (and ideally in a movie theater, since this is a work worth being immersed in). It's also a hard movie to write about, with
This time the fuss is about already critically acclaimed (The New York Times critic in residence, AO Scott, called it “a triumph of efficient, emphatic cinematic storytelling”) biopic Selma, starring David Oyelowo as the Rev Dr Martin Luther King, Jr.
The film starts with King’s acceptance of the Nobel Peace Prize in December 1964 and focuses on the three 1965 marches in Alabama that eventually led to the adoption of the Voting Rights Act later that year.
The King estate has not expressly objected to the making of this film. However, back in 2009 the same estate had granted DreamWorks and Warner Bros a licence to reproduce King’s speeches in a film that Steven Spielberg is set to produce but has yet to see the light. Apparently Selma producers attempted in vain to get permission to reproduce King’s speeches in their film. What happened in the end was that the authors of the script had to convey the same meaning of King’s speeches without using the actual words he had employed.
Put it otherwise: Selma is a film about Martin Luther King that does not feature any actual extracts from his historic speeches.
Still in his NYT review, AO Scott wrote that “Dr. King’s heirs did not grant permission for his speeches to be quoted in “Selma,” and while this may be a blow to the film’s authenticity, [the film director] turns it into an advantage, a chance to see and hear him afresh.”
Indeed, the problem of authenticity has been raised by some commentators who have argued that, because of copyright constraints, historical accuracy has been negatively affected.
But is this all copyright’s fault? Is it really true that if you are not granted permission to reproduce a copyright-protected work, you cannot quote from it?
“The social benefit in having a truthful depiction of King’s actual words would be much greater than the copyright owners’ loss.”
Well, probably not. Copyright may have many faults and flaws, but certainly does not prevent one from quoting from a work, provided that use of the quotation can be considered a fair use (to borrow from US copyright language) of, or fair dealing (to borrow from other jurisdictions, e.g. UK) with such work. Let’s consider the approach to quotation in the country of origin, i.e. the United States.
§107 of the US Copyright Act states that the fair use of a work is not an infringement of copyright. As the US Supreme Court stated in the landmark Campbell decision, the fair use doctrine “permits and requires courts to avoid rigid application of the copyright statute when, on occasion, it would stifle the very creativity that the law is designed to foster.”
Factors to consider to determine whether a certain use of a work is fair include:
the purpose and character of the use, including whether the use is commercial or for nonprofit educational purposes (the fact that a use is commercial is not per se a bar from a finding of fair use though);
the nature of the copyright-protected work, e.g. if it is published or unpublished;
amount and substantiality of the taking; and
the effect upon the potential market for or value of the copyright-protected work.
There is fairly abundant case law on fair use as applied to biographies. With particular regard to the re-creation of copyright-protected works (as it would have been the case of Selma, should Oyelowo/King had reproduced actual extracts from King’s speeches), it is worth recalling the recent (2014) decision of the US District Court for the Southern District of New York in Arrow Productions v The Weinstein Company.
This case concerned Deep Throat‘s Linda Lovelace biopic, starring Amanda Seyfried. The holders of the rights to the “famous  pornographic film replete with explicit sexual scenes and sophomoric humor” claimed that the 2013 film infringed – among other things – their copyright because three scenes from Deep Throat had been recreated without permission. In particular, the claimants argued that the defendants had reproduced dialogue from these scenes word for word, positioned the actors identically or nearly identically, recreated camera angles and lighting, and reproduced costumes and settings.
The court found in favour of the defendants, holding that unauthorised reproduction of Deep Throat scenes was fair use of this work, also stressing that critical biographical works (as are both Lovelace and Selma) are “entitled to a presumption of fair use”.
In my opinion reproduction of extracts from Martin Luther King’s speeches would not necessarily need a licence. It is true that the fourth fair use factor might weigh against a finding of fair use (this is because the Martin Luther King estate has actually engaged in the practice of licensing use of his speeches). However the social benefit in having a truthful depiction of King’s actual words would be much greater than the copyright owners’ loss. Also, it is not required that all four fair use factors weigh in favour of a finding of fair use, as recent judgments, e.g. Cariou v Princeor Seltzer v Green Day, demonstrate. Additionally, in the context of a film like Selma in which Martin Luther King is played by an actor (not incorporating the filmed speeches actually delivered by King), it is arguable that the use of extracts would be considered highly transformative.
In conclusion, it would seem that in principle that US law would not be against the reproduction of actual extracts from copyright-protected works (speeches) for the sake of creating a new work (a biographic film).
This article originally appeared on The IPKat in a slightly different format on Monday 12 January 2015.
Featured image credit: Dr. Martin Luther King speaking against war in Vietnam, St. Paul Campus, University of Minnesota, by St. Paul Pioneer Press. Minnesota Historical Society. CC-BY-2.0 via Flickr.
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 is
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 of
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.
I may feel so strongly about this because I grew up amidst (and still live around) militia culture, and militia cultists love to fantasize about the end of the world. They don't just dream; they try to live it. They stockpile food, ammo, weapons. They build shelters. They imagine all the ways they'll be heroes when the end comes. For some, it's literally a dream of The Rapture; for the less Christian fundamentalist among them, it's a kind of Rapture allegory, providing the same pleasures, the same confirmation of your own correctness. Apocalypse becomes not a horror but the opportunity to create the best of all possible worlds. Genocidaires always think their violent dreams are necessary, justified, virtuous.
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!)
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.
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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.
The school visits kicked off really early this year. My first event was immediately after New Year: I was the guest of honour, opening the gorgeous new library at St Andrew's C of E Infants. I got to cut the ribbon and everything.
I hope you're impressed by how well my dress coordinates with the school colours!
The children in the photo are members of the School Council, so also rather important. After the ceremony, I sat and signed some books for the library and they gathered round to watch. They were so excited and amazingly cute. Listen to them chatting to me while I draw a warthog in a copy of Stinky!:
The rest of the day was a series of storytelling sessions. It was such a lovely school. The children were a delight and lots of parents came along to sit in.
Teachers filmed a lot of the sessions. Here I am playing my usual flipchart guessing game with one class, seeing how long it takes them to work out what I am drawing:
It's a shame that the teacher is filming from the wrong side really, but you can still tell how great the kids were. There is another, really brilliant film of me doing my Bears on the Stairs poem with another group, but it was emailed in two halves, so I'll post it up a bit later, once we have stitched it back together. It's really funny, so well worth waiting for.
Another fun game I play at the flipchart is drawing the anaconda from Class Two at the Zoo, and letting the children decide who will be in the snake's mouth. Sometimes they nominate a teacher, sometimes I get volunteers. This time it was Namory who got gobbled up:
I am so lucky to have a job which lets me share such lovely times with children (and then pays me for the privilege!)
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 cumbersomeGerman 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 byJack Zipes, theauthor 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 Princessand 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 andFairy 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
A Fair Shake for Youth... uses therapy dogs to help disadvantaged children "build empathy, self-esteem and reduce bullying...
"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 readingand 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 onAesop's Fables and Their Afterlives in his book,Children's Literature, A Reader's History From Aesop to Harry Potter
The Loyal Dog and Her Not-So-Loyal Owner
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
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.
KidLitosphere has helped many readers find their way to these pages. Here is an excerpt from 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."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.
Our books are available through your favorite independent bookstore or via Barnes & Noble, Amazon, Powell's and many more...
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 youfree 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
Hayao Miyazaki was given an honorary Oscar on Nov. 8 at the Governors Awards ceremony, one that he can put on the shelf next to the statuette he won in 2003 when his masterpiece, “Spirited Away,” was named best animated feature...
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..."
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.
"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."
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..."
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..."
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."
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:
"To say that The Motherless Child Project is a book about change and self-discovery would be doing it an injustice: it's so much more... Any teen reader looking for a powerful, compelling story--especially those who are motherless themselves, whatever the reason--will find The Motherless Child Project a powerful saga worthy of attention and acclaim."--
D. Donovan, eBook Reviewer, Midwest Book Review
Jingles...a book, a toy, and dog rescue
The Story of Jinglesis 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 ResCUTE books and stuffed animals are not available in retail stores, but can be purchased on amazon and through the organization’s website."
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 Fidois 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
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.
As part of their brilliant science fiction season, last night BFI Southbank saw a special screening of Contact, a movie based on the novel by SETI pioneer, Carl Sagan.
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.
The Arecibo message
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:
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.
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.
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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.
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.
In the best of all possible cinema worlds, word of mouth would have ignited a frenzy of ticket-buying that snowballed enthusiasm to a point a major exhibition chain would pick up the title and just like that, chicano film would earn a place as a filmic investment vehicle.
Instead, like the Cesar Chávez biopic earlier in the year, the film faded after a short burst of enthusiasm.
The producers are showcasing the film at select theaters, using an internet-based ticketing service, tugg. It's a method of assuring a seat for the audience while reassuring theater owners of a likelihood of selling tickets, popcorn, and candy. But there's much more.
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."
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.
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 Nicholasin 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 AChristmas 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, theAntiscribe, 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 ChristmasCarolthrough the years; he includes photos and video links.
This link will enable you to download/read the original version of A Christmas Carolby Charles Dickens"
This link will take you to the 1971 Annimated version of A ChristmasCarol 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.
"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.
“No matter who you are or why you do pet therapy, it is the dog that opens the door…doors that would otherwise be closed to a well meaning human...
“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.
The Gift of Reading from LitWorld
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 readingto 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
This interview was conducted as part of a program to determine the truth behind the incredible story of The Snow Valley Heroes....
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.
Interviewer: Is it true that there was to be no more Christmas?
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...
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 Mistare 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 Dogsseries of books are available through your favorite independent bookstore and online through Barnes&Noble, Amazon, and many other sources.
"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 for Doglovers
"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' "....
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."
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 Giverhad 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.
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.
Paddington Review...Here is an excerpt from the 3 star review by Xan Brooks in the Guardian
"Paddington, directed by Paul King from the original Michael Bond stories, spins the tale of a small bear (voiced very ably by Ben Whishaw) weaned on marmalade jars and idealised notions of England. The film is as warm as an eiderdown and as fluffy as its feathers. Cast out of his forest home, Paddington hops a cargo ship and comes to London, where his decorous dreams bump up against modern reality"
Opening December 12. Here is the trailer: Paddington Adopted from a classic children's book.
Critics Consensus from Rotten Tomatoes: "Penguins of Madagascar is fast and brightly colored enough to entertain small children, but too frantically silly to offer real filmgoing fun for the whole family."
Christmas Lights Moving Through the Hills
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
We Salute the Planet Dog Foundation for their years of support for "the exemplary work of non-profit organizations training and placing dogs working to help people in need all over the country."
Through the years, they have given over one million dollars; in 2014, alone, they have given over one hundred thousand dollars.
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....
Christmas Rescue of a Lost Rescue Dog
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...
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.
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 enjoyedHeadhunters, the previous movie directed by Imitation Game'sMorten 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.