Posts tagged ‘film’

Henry Fool

Yesterday I wrote a poem
And I got 26 new followers
In Henry Fool a man writes a poem
And gets over a million
Is genius not in practice Mr. Hartley 🙂 ?

September 28, 2013 at 2:52 pm Leave a comment

The fallible and the other Japanese ends of the world

In Neon Genesis Evangelion we never actually arrive at the knowable. The entire series runs on a series of unknowables that are never revealed, rather their strangeness becomes a force. The plot is perturbed by amongst other things polymorphic balls, crucified aliens, masked invaders, the series enemies are never quite knowable, they refuse to speak, and the plot line we get from them is so incomprehensible it may as well be surrealism. The feel genuinely alien. In Shingeki no Kyojin, settlers in a medieval village are facing inexplicable giants, when their science team comes back defeated, the tone is grim. A woman hysterically grand at them asking about her son, they hand her a solemn bloody cloth which she unwraps to reveal an arm, she immediately screams did he did defending their country, to which the sergeant replies of course before breaking down to admit, they don’t understand the titans, and they have been sacrificing men in vain. The Titans then proceed to tear down the walls.

The Japanese have consistently set up apocalypses of the inscrutable. The characters face a world alien from what we know, and are incapable of comprehending it. Powers far stronger than mankind make strangely realistic whims which often destroy huge swathes of human culture. In American the world is ending films we often find the protagonist with an exact idea of what is coming: a virus, an alien invasion, a zombie, or simply environmental collapse. Eva and SNK are unique in their use of the other as a apocalyptic device and it is peculiarly Japanese see a foreign invading culture that is not a mirror of ourselves. In Independence Day, for example, we discover the aliens have never discovered sustainable strategies for maintaing life on earth, hence they are like us: parasites who might have to leave home. In World War Z the enemies are Zombies, which as Sam Raimi famously once wrote: “they’re us!”. The apocalypse in Hollywood cinema is always familiar, it is never cultural, and it is often mundane. The reason the world ends it seems is to prove the masculinity of the hero, it’s a chance for a few brace men to mine an asteroid in faster, a fighter jet to take on an alien armada, or a Doctor to fend off the last vestiges of humanity from annihilation. A cure is always at hand or at least a rock to break a Zombie’s skull. What sets the Japanese apart is that they aren’t afraid to be humbled by the end of the world.

The scientists in Neon Genesis Evangelion never discover what makes the angels tick. They never figure out where they come from or why. Like the researchers in Shingeki no Kyojin, they are at a loss. Like the poor mother devoured by Titans in Shingeki no Kyojin, we feel as if the Eva pilots can sincerely fail, and they do. These films don’t see the apocalypse as predictable, neither is it empowering, the stories here disempower their characters to infantilism and then build them back up again. The apocalypse renders the world unlivable, but not by knowable forces, but rather by the whims of an alien culture. In this sense Evangelion can be seen as a post-colonial narrative, an undertow of colonial holocaust the author happened to unearth in Japanese culture, Hiroshima as coke machine and American inquest. However for it’s American fans Eva works as a metaphor for trauma, for all the bruises we acquire at the hand of others.

Shingeki no Kyojin is hardly the first Japanese work to introduce a new innovation on horror, the ring of course found demons in our video tapes and electronics. However, it is one of the few to realize how much pop culture needs disempowerment. Towards the end of his life J.G. Ballard predicted malls based on attrition and the worst of our needs. In Japan at least the stations seem to have already received the message, and we are being fed the anti-hope we require, the exact destructive fantasies the id needs to remake itself, just as the resident of Eva and Shingeki no Kyojin must remake their worlds too.


July 6, 2013 at 6:20 pm Leave a comment

Impressions: Django Unchained

Westerns are usually known more for their dramatic back drops than their in depth conversation. Character can often be conveyed in a glance or something as simple as a gun fight. The problem Tarantino faces is that Inglorious Basterds and even Reservoir Dogs proved, he very strongly loves character and conversation, but the problem is film is a love of space and spectacle two things the Western usually excels at. While he is to “high brow” to give into spectacle, he has at least given us space in Jackie Brown and Pulp Fiction. Basterds was a particularly bad film on this front, it genuinely felt like theater while it was supposed to be a war picture. If Tarantino is consciously deceiving our preconceptions in his films is another question. I am not overly familiar with Westerns, but Django seems to do a good job of avoiding their tropes via homage and irony as much as Basterds did the war film. The problem becomes is this consistent subversion actually doing anything? In Basterds I would argue not a lot, in Django it does help to show the mythic bones behind the Western genre, but at times his consistent need to pull on Greek source material, comes at odds with the Western. Django is not the German myth of Broomhilda is it much more Orpheus in the under world. Taratino’s somewhat understated pairing of the underworld and the voyage into the Candy land plantation does a rather amazing job of equating slavery with depictions of flogging in hell (the slave eaten by dogs next to the tree is reminiscent of Bosch and the scene in general reminds of Buddhist depictions of the 9 hells). However the fact that Django allows what happens there serves as an indicator of both his fidelity to his wife and Tarantino signally this is more a myth from here on out. Slavery in other words becomes a means of bringing the underworld to our hero and less another lesson in the evils of American history. I stopped around there and have yet to resume. Before I go any further, Tarantino is a much bigger fan of film than I will ever be, in all probability the dentist is pulled from another picture as much as Candy is. Pulp Fiction took two characters from Straight to Hell a long with their briefcase and made art out of it, where Unchained pulls from is less known to me, but is quite affective.


July 4, 2013 at 2:23 am 1 comment

Christian Marclay The Clock

If you keep up with the art world you probably already know that Christian Marclay was working on a piece where in a film is a clock. My initial response to the idea was… that sounds stupid, but people far more intelligent than I think it’s sublime. Of course like anything by Marclay the more you think about it, the cleverer it becomes, a film that’s more than a film, it probably has a tie in to Deluezean film theory that it’s to early in the morning for me to see, but anyway people are pirating film works online these days, so enjoy these youtube clips below. As Zadie Smith noted, the film is actually quite good, and that’s perhaps the biggest surprise of The Clock, when I heard about it I thought it would end up like one of Warhol’s experiments conceptually necessary, but boring on the screen, but Ms. Smith is quite correct the work is actually captivating.

I would add some commentary, but click that first link and Zadie Smith will startle you with her commentary, thank you pirates of New York for digi-caming this for us. I had read the film was being streamed online somewhere, but am unable to find that stream… then again I woke up like 3 minutes ago…

p.s. it’s now later in the day and my critical functions are working, but I haven’t come to any conclusions beyond what Smith got to in her article. Essentially the film operates in clock time ala Bergson, but presents us with a variety of subjective time states ala film. I like that for Smith Paul Newman is his own time zone, and that in film a day can last 2 hours or a second, time argues Deleuze is the means that cinema produces meaning, by cutting according to clock time Marclay has cut across subjectivities, but in the resulting work time slows and crawls, speeds up, speeds the time-image decimates clock to the point that one loses track of the work’s functional ability to operate as a clock… maybe clock time is more complicated than Bergson thought?

I love the way it subverts the idea of a clock as an accurate keeper of time in lieu of the reality of how time actually exists, as subjective, varied, differing.


p.s. new yoker apparently has a revelation or two watch’n it too, but sadly such content is behind dollar’s bars.

April 8, 2011 at 1:47 am Leave a comment


January 2021

Posts by Month

Posts by Category