The greatest animated film of all time is this improbable masterpiece both drawn as manga and directed by Miyazaki. The 'children's version' of the much headier Princess Mononoke, Nausicaa centers around its titular Princess. Visual scales of warring ecosysytems are populated by microscopic humans who battle for extinction. The economy of storytelling is masterful as characters appear with implied backstory and warring groups enter the plot only as they penetrate the current conflict (a far cry from American storytelling where all groups are introduced early in narratives fearing audience confusion). Although ecology is a prevelant theme for Miyazaki, here the conflict's structure is sublimely rendered by extravagant biology using few metaphysical or supernatural devices or motifs. Because threat levels of its transforming ecology are so palpable (they're rendered through processes like emergency cleansings - villagers burn spores from an infected crashed vessel), the film turns the audience into participants of the biome. A miracle in celluloid. Now showing in 35MM through December 20 at NY's IFC Center. Staggered dates and times. Not just a must see, a must see again and again. Voices of Alison Lohman, Patrick Stewart, Uma Thurman and Mark Hamill.
The Wachowskis lift Matrix Revolutions's ending wholesale from Nausicaa.
Howard Odum's Environment, Power and Society is a primer for a macroscopic view of key issues facing us Earthlings. It is must reading for anyone with an interest in saving the human presence on earth. It's impossible to ignore the monstrous totality of human waste in an ecosystem that ultimately destroys species that cannot conserve.
Robert Florey was denied the right to direct Frankenstein and was handed the Poe story. His film pushed the envelope in numerous ways. 21 minutes of pre-code violence remain excised from the existing 60 minute film. Showing at the Loews Jersey City, Saturday October 27. Showing with Tod Browning's Dracula.
|Louis was a king, and our republic is established; the critical question concerning you must be decided by these words alone. Louis was dethroned by his crimes; Louis denounced the French people as rebels; he appealed to chains, to the armies of tyrants who are his brothers; the victory of the people established that Louis alone was a rebel; Louis cannot therefore be judged; he already is judged. He is condemned, or the republic cannot be absolved. To propose to have a trial of Louis XVI, in whatever manner one may, is to retrogress to royal despotism and constitutionality; it is a counter-revolutionary idea because it places the revolution itself in litigation. In effect, if Louis may still be given a trial, he may be absolved, and innocent. What am I to say? He is presumed to be so until he is judged. But if Louis is absolved, if he may be presumed innocent, what becomes of the revolution? If Louis is innocent, all the defenders of liberty become slanderers. Our enemies have been friends of the people and of truth and defenders of innocence oppressed; all the declarations of foreign courts are nothing more than the legitimate claims against an illegal faction. Even the detention that Louis has endured is, then, an unjust vexation; the fédérés, the people of Paris, all the patriots of the French Empire are guilty; and this great trial in the court of nature judging between crime and virtue, liberty and tyranny, is at last decided in favor of crime and tyranny. Citizens, take warning; you are being fooled by false notions; you confuse positive, civil rights with the principles of the rights of mankind; you confuse the relationships of citizens amongst themselves with the connections between nations and an enemy that conspires against it; you confuse the situation of a people in revolution with that of a people whose government is affirmed; you confuse a nation that punishes a public functionary to conserve its form of government, and one that destroys the government itself. We are falling back upon ideas familiar to us, in an extraordinary case that depends upon principles we have never yet applied.|
Little known fact: Children's graffiti began the Syrian Civil War. A group of boys imitated the sights of defiant Tunisians and Egyptians on their TVs and tagged their school with anti-Assad slogans. Quickly they were rounded up and tortured. The uprisings began as protests to children's torture. Le Monde Diplomatique writes about the secret wars. http://mondediplo.com/2012/09/02syria Frontline takes you on an hour through the basics of the Syrian nightmare - first a razor sharp front-line battle story, then the narrative. http://www.pbs.org/wgbh/pages/frontline/battle-for-syria/
Biggest hit of the Browning-Chaney pairings. Burned alive in a 1967 vault fire. So alluring it's been reconstructed from production stills.
The time has come to develop curricula in visual media literacy for all children K-12. For a country as media saturated as ours, it is dangerous not to teach children how images work, why we use them instead of words, how sequencing them alters their meanings, and what lies ahead for language once expression becomes liberated from the alphabet. Media is not a tool to be censored, it is a tool that must expand along every horizon to search for all knowledge yet unkown. Future modes of expression are what will elementally lead us to our next breakthroughs in the sciences and in the arts. Pivotal is the performance of violence, since its essential metaphor is the breaking down of old ways, old systems.
"The United States is the only developed nation without a national curriculum in visual literacy." Douglas Ruskoff Coercion: Why We Listen To What They Say 1999
is the Cooper Skull, a hunted bison from 10,500 B.P. whose skull was then painted with a red zig-zag and placed at the capturing point of the hunt. This predates bow and arrow. Atlatl points used here in the hunting of both Clovis and Folsom periods originate in quarries 100 miles in every direction from the site. Read Leland Bement on his unusual find, click on the interactive skull.
Top: With the Curios, Bottom: In the Studio (1909)
From the Wm Cody Collection