Monthly Archives: October 2012
We at film-cycle like to shine a light on film news that we believe is worthy of your time. Every week we showcase a new collection of articles and websites that provide only the most articulate and mature film journalism (with some levity thrown in as well). You will encounter film news that will leave you stimulated, provoked, challenged, enlightened and ultimately hopeful about film and the interesting pathways it’s taking.
Linda Holmes of NPR has written a very in-depth article that examines the birth and evolution of the regan era working woman in contemporary 80’s cinema as examined through two films: Baby Boom and Fatal Attraction. Good Stuff. http://www.npr.org/blogs/monkeysee/2012/10/14/162895778/two-very-different-working-women-at-the-movies-25-years-ago-this-week
Different shades of Hitchcock. The genius’ at the Movie Morlocks blog over at TCM attemt to trace the stylistic influence of Rear Window throughout a myriad of different films both classic and contemporary. Do they succeed? Find out for yourself. http://moviemorlocks.com/2012/10/20/rear-windows-for-everyone/#more-56283
Give the Movie Geeks credit. Unlike most of their contemporaries in the movie podcast realm, they actually try to delve deep into cinema by covering a variety of different subjects ranging from Kubrick to De Palma (although I think they’ve beat the whole 80’s thing to death). Their latest challenge has been the seemingly impossible task of decifering the cinematic process of David Lynch. I give em credit for even trying to do this at all. Give a listen. http://www.moviegeeksunited.net/lynchseries.htm
I feel sorry for what has become of Stan Lee. What once was probably a very astute pop personality has been relegated to a sort of theme park attraction monstrosity I see him in interview after interview, asked the same asinine questions over and over, poked and prodded into saying the most grating of catchphrases (excelsior!!!). I appreciate all he has done just as much as the next guy, but isn’t there more to his process and genius than red tights and web shooters. I’ve always thought so, and apparently so does Turner Classic Movies. Check out an interview Stan does with Scott Mcgee of Turner Classic where he talks about the influence classic cinema had on his creative process. http://www.tcm.com/this-month/podcast.html
Forget Christmas, film is the most commercialized entity in america. We’re at a place now where even the teaser trailer isn’t enough anymore. We have teases of teasers.
The hype surrounding the release of a new superhero movie is usually ridiculous (especially if you consider the inferior end product). Fanboys and internet film nerds (the kind who give cinema a bad name) clamor in front of their computers waiting for the tiniest morsel of info about the latest toy commerc…..I mean superhero film on the horizon. They’ve gone from patrons of the cinematic arts to product testers. The only questions they have about a new superhero film is how cool will the footage be, how shiny are the suits, and will their favorite hero will get a cameo. Rarely, if not at all, do you find people wanting to know more about the ideas and themes of a superhero film (or film in general). You don’t see people on the Imdb message boards talking about The Avengers as cinematic art in relation to their humanity, but rather as product and how well it follows comic books continuity. I remember a time where movie producers would ask audiences to believe a man can fly or simply be brave enough to save his city. Not anymore. Now they want to us to be excited to the point of frenzy so that we are blindly caught up in the hype for their new product. At that point you hand over your money just to see what all the fuss is about, and not because you want to see a great film. Sadder still is the modern day audience which complies dutifully with the commercial empty headed commands of this modern movie production hype machine.
But I guess it doesn’t matter if the machine is shiny.