Search for word usage in movies and television over time.
Movies and television shows often reflect cultural trends of the time they are made in. Even movies that take place during the past or future can say something about the present through metadata or production style. Using the Bookworm platform, Benjamin Schmidt, an assistant professor of history at Northeastern University, provides a tool that lets you see trends in movie and television dialogue.
Bringing Up Nick is a show where Revision3's Adam Sessler tries to teach his younger and movie ignorant colleague Nick a thing or two about classic movies and their cultural impact. First up, James Cameron's Aliens.
Warning! The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased, entry for the United States of America
Suffice it to say, Persepolis is quite a work. It’s a testament to the power of the graphic novel. The art’s simple linework helps the story feel unpretentious and direct. Persepolis was adapted as a 2007 French animated film, written and directed by Satrapi and Vincent Paronnaud. Among other honors, it was nominated for an Academy Award. Why would someone want to ban such a book?
"Oh, Anne! With your small head and pert nose and oversized, ready smile and glossy pixie cut and squeakily tuneful speaking voice, uttering lines like “It came true!” as you gaze at your newly won Oscar with moistened doe-eyes, wearing a powder-pink Prada gown adorned with diamonds and bows: Why are you so annoying?"
"...the first decade of the 21st century can be viewed as a singularly male-dominated era in American cinema."
New York Times Magazine "Hollywood Issue": Hollywood’s Year of Heroine Worship. Accompanied by an online web series of 13 original, short films: Wide Awake, each starring an actress whose performance helped 'define the year in film.' [more inside]
After 65 Years The Hollywood Reporter addresses its role in the hollywood blacklist, including an apology from W.R. Wilkerson III, son of THR founder Billy Wilkerson whose "A Vote For Joe Stalin" editorial named writers such as Dalton Trumbo, Lester Cole, Howard Koch and John Howard Lawson as communist sympathisers.
The Vikings Of Bjornstad a "a living history and educational group, concentrating on the Viking age " reviews every viking movie ever made for its authenticity in depicting Vikings and Viking Culture. Every. single. one. [more inside]
"Fast Company’s four-hour interview with [Martin Scorsese] for their December-January cover story: How to Lead A Creative Life, was ostensibly about his career, and how he had been able to stay so creative through years of battling studios. But the Hugo director punctuated everything he said with references to movies: 85 of them, in fact." Welcome to Martin Scorsese’s Film School: The 85 Films You Need To See To Know Anything About Film [more inside]
Kirby Ferguson's fourth and final installment of Everything is a Remix: System Failure has been released. (Also on YouTube.) It covers intellectual property rights, the derivative nature of creativity, patents and copyright. Transcript. [more inside]
The Clock is a film that is also a clock. It runs for 24 consecutive hours, and is made of thousands of samples, some lasting only seconds, others minutes, from hundreds of films and videos. All of it edited into a seamless whole by video artist Christian Marclay. When it is shown, it is synchronized to the real time, so if it's 2:15 on a clock shown on-screen, it's 2:15 in real time. Harrison Ford is in it. So is John Cusack, Humphrey Bogart, Michelle Pfeiffer, Lon Chaney, Roger Moore(and all the other James Bonds), John Cleese, Peter Sellers, Orson Welles, the Beatles, Jody Foster, Gregory Peck, Nicole Kidman, Nick Cage and a few hundred others. You'll see The Simpsons and The Office. You'll see The Avengers. You'll see stuff you have no clue about. Here's what it feels like to watch all twenty four hours of it in one sitting. [more inside]
Yesterday, the Village Voice fired J. Hoberman, long-time champion of independent and experimental film (and its senior film critic of 24 years). Hoberman promises that there's a blog in his future. The Voice has an archive of his writing for them since 1998. Here are his Top 10 lists for the years 1977 to 2006, and here they are for 2007, 2008, 2009, 2010, and 2011. Here is a compilation of his advice for aspiring film critics. A critic who came of age in an era when the lines between "film critic" and "film scholar" were blurrier, Hoberman has also written books about American movies and the Cold War and the forgotton history of Yiddish cinema. Here are some interviews with him about his work.
Drew McWeeny muses at length on Muppets, Avengers, and Life In The Age Of Fanfiction.
Are small theaters punching a ticket to oblivion? Radical changes in the traditional structure of the lab processing and exhibition sides of the film industry have been filling the lives of small theater operators with uncertainty and worry for the last few years. Will filmstock be the next Kodachrome? (And what will that mean for the future of film preservation?) [more inside]
Let's Get Critical is "a new Longform.org partner site dedicated to surfacing the best cultural criticism on the web."
Part 3 of the Everything is a Remix video series has been released, by New York filmmaker Kirby Ferguson. Previously on MeFi. See the entire series on Vimeo: Parts One, Two and Three. (YouTube versions and transcripts inside.) Official Site. [more inside]
The AV Club feature Gateways to Geekery is all about the best places to start on some of pop culture's most complex and nuanced artists and genres, including Randy Newman, The Who, Monty Python, steampunk, Sherlock Holmes and 90 others. [more inside]
Have you ever gotten lost in the Myst-inspired architecture of Anthology Film Archives’ website, or struggled awkwardly with the Chinese puzzle box-construction of BAMcinematek’s calendars? Have you ever circled the block at Lincoln Plaza in search of the secret entrance to the fabled Walter Reade Theater? (Hint: look behind the waterfall.) Have you found yourself asking time and again, “What the fuck is Union Docs?”The brainchild of critic Paul Brunick, Alt Screen is a new site billed as "a comprehensive digital resource covering film exhibitions and related special events in the New York City area." The contributing editors include blogger Jim Emerson, Ignatiy Vishnevetsky [previously] and Nathan Lee (apparently coming out of retirement).
Everything is a Remix Part 2: Movies Mind-blowing cuts of how previous films influenced pretty much all of Hollywood's output today. Previously this series examined music in much the same way.
"The Japanese Tradition" was a series of nine short, parody "How To" videos that gently mocked the formality of Japanese culture, from comedy duo Rahmens (ラーメンズ) and Japan Culture Lab. They're available on DVD, but nearly all of them can be seen on YouTube, including Sushi and Ocha (tea). [more inside]
Asian Horror Movies.com. 100's of free, streaming video, full movies, which have English subtitles. Index of titles updated regularly. Japanese, Korean, Thai. Includes a wide variety of films from an eccentric fantasy like 100% Wool to a psychological thriller like Angel Dust. [more inside]
In defense of suburbs: "Revolutionary Road," based on Richard Yates's 1961 novel of the same name, is the latest entry in a long stream of art that portrays the American suburbs as the physical correlative to spiritual and mental death.
Home Movies. A 1975 documentary by a young academic folklorist, exploring what it was that people were doing when they made home movies: remembering selectively, creating a "golden age." [more inside]
In 1974, Martin Scorsese interviewed his parents on film, prompting them to discuss their life together as well as their Sicilian ancestry. The resultant documentary was entitled Italianamerican. Parts 1, 2, 3, 4, 5. [Inspired by...]
Fandom is, at the core, neither good or bad. It simply is. [+]
The Mitchell and Kenyon collection consists of 800 rolls of nitrate film documenting scenes of everyday life in England between 1900 and 1913. This extraordinary archive, now painstakingly restored by the British Film Institute, includes footage of trams, soup kitchens, factory gates, football matches, seaside holidays and much else besides. Here are some sample images and a short clip of workers at a Lancashire colliery, all astonishingly evocative and reminiscent (to me) of Philip Larkin's poem MCMXIV: 'The crowns of hats, the sun / On moustachioed archaic faces / Grinning as if it were all / An August Bank Holiday lark .. Never such innocence, / Never before or since .. Never such innocence again.'
The Toronto International Film Festival begins Thursday. The 2004 program is one of the best they've had in years (certainly the best since the 90s). Planning on attending? If so, you may appreciate TIFF Reviews - "the online meeting place for fans of TIFF 2004". Since TIFF is the the largest film festival in the world, most attendees (myself included) find it very difficult to pick their films. Once the fest starts, members of the TIFF Reviews forum are encouraged to leave reviews of what they've been watching in the hopes that it'll help other people plan their 10 days in the dark.
This column (NYT/reg. req) gets my vote for Stupidest Theory of the Day. Basically, he says that movies are more memorable and stay with us longer than TV shows. Huh?! He's kidding, right? (more inside).
Yeah, but will Madonna sing the theme as well as Shirley Bassey? In a surprising turn of events, it looks like the third Austin Powers movie will indeed get to use the name "Goldmember", a spoof of the 1964 007 flick named "Goldfinger" (follow-up to this thread).
French politicians polish cultural credentials. France's presidential hopefuls have begun pledging to defend the country's cherished culture, hoping to drum up support from artists worried that American films and music will steamroll finer French productions. This rhetoric makes it sound like American films are picking up guns to massacre poor defenseless French culture. Maybe American films are so successful because they give people something that the "finer French productions" don't, and if so, then is that such a horrible thing? After all, we are just giving the people what they want, right? And if that takes money away from more artsy productions, then whose fault is that anyway?
Will a changing world change film? Will the Sept. 11th tragedy instill a new social or political significance to contempoary art? Does this mark the end of irony? How do you think these recent events are going to shape film, art and comedy?