Ridley Scott's new film Exodus: Gods and Kings recasts the myth of Moses in typically grimdark swords-and-sandals fashion. It... ain't so good. Want something more artful? Look no further than The Prince of Egypt [alt], an underrated masterpiece of DreamWorks' traditional animation era. Directed by Brenda Chapman (a first for women in animation), scored to spectacular effect by Hans Zimmer and Stephen Schwartz, and voiced by, among others, Voldemort, Batman, and Professor X, the ambitious film features gorgeous, striking visuals and tastefully integrated CGI in nearly every scene. It also manages the improbable feat of maturing beyond cartoon clichés while humanizing the prophet's journey from carefree scion to noble (and remorseful) liberator without offending half the planet -- while still being quite a fun ride. Already seen it? Catch the making-of documentary, or click inside for more. [more inside]
For several years now, Tom Scott, a young man in Britain, has mostly done silly, entertaining things on YouTube, things like, "Two Drums and a Cymbal Fall off a Cliff," "The Matt Gray High Five Face Off," "Robocoaster Challenge: Reciting Shakespeare while attached to a giant robot arm," "Google Glasses: A New Way to Hurt Yourself," and "Welcome to Life: the singularity, ruined by lawyers" (previously). But recently, he's done a series of videos that are interesting more than they're silly: eight videos which introduce linguistic concepts like phonotactics, clusivity & evidentiality, and the contrast between descriptivism and prescriptivism (he's decidedly the former, fyi).
sonder - n. the realization that each random passerby is living a life as vivid and complex as your own (from the dictionary of obscure sorrows)
"What happens if you repeatedly run Kafka's Metamorphosis through YouTube's auto-transcription? Structure emerges!" via Sean Roberts
How To Speak Minnesotan [slyt]
"Mele Kalikimaka" (Ukelele cords) is a Hawaiian-themed Christmas song written in 1949 by Robert Alex Anderson. The phrase is borrowed directly from English but since Hawaiian has a different phonological system - Hawaiian does not have the /r/ or /s/ of English and doesn't have the phonotactic constraints to allow consonants at the end of syllables or consonant clusters - "Merry Christmas" becomes "Mele Kalikimaka". Enjoy the canonical version with Bing Crosby And The Andrew Sisters (lounge remix) or by KT Tunstall or Bette Milder or Jimmy Buffet or Gianni And Sarah or The Puppini Sisters or Reel Big Fish or Country Western style or pared down instrumental or Celtic Rock style or performed on the Metro by Pokey LaFarge or ..whatever the hell this is.
In 2005, Steven Spielberg and Dreamworks produced a 6 episode miniseries that spanned the period of expansion of the United States into the American West, from 1825 to 1890. Through fictional and historical characters, the series used two primary symbols--the wagon wheel and the Lakota medicine wheel -- to join the story of two families: one Native American, one White settlers, as they witnessed many of the 19th century's pivotal historical milestones. The award-winning Into The West can now be seen in its entirety on YouTube. [more inside]
A decade on, the Coen brothers' woefully underrated O Brother, Where Art Thou? [alt] is remembered for a lot of things: its sun-drenched, sepia-rich cinematography (a pioneer of digital color grading), its whimsical humor, fluid vernacular, and many subtle references to Homer's Odyssey. But one part of its legacy truly stands out: the music. Assembled by T-Bone Burnett, the soundtrack is a cornucopia of American folk music, exhibiting everything from cheery ballads and angelic hymns to wistful blues and chain-gang anthems. Woven into the plot of the film through radio and live performances, the songs lent the story a heartfelt, homespun feel that echoed its cultural heritage, a paean and uchronia of the Old South. Though the multiplatinum album was recently reissued, the movie's medley is best heard via famed documentarian D. A. Pennebaker's Down from the Mountain, an extraordinary yet intimate concert film focused on a night of live music by the soundtrack's stars (among them Gillian Welch, Emmylou Harris, Chris Thomas King, bluegrass legend Dr. Ralph Stanley) and wryly hosted by John Hartford, an accomplished fiddler, riverboat captain, and raconteur whose struggle with terminal cancer made this his last major performance. The film is free in its entirety on Hulu and YouTube -- click inside for individual clips, song links, and breakdowns of the set list's fascinating history. [more inside]
Unlike many cinematic exports, the Disney canon of films distinguishes itself with an impressive dedication to dubbing. Through an in-house service called Disney Character Voices International, not just dialogue but songs, too, are skillfully re-recorded, echoing the voice acting, rhythm, and rhyme scheme of the original work to an uncanny degree (while still leaving plenty of room for lyrical reinvention). The breadth of the effort is surprising, as well -- everything from Arabic to Icelandic to Zulu gets its own dub, and their latest project, The Princess and the Frog, debuted in more than forty tongues. Luckily for polyglots everywhere, the exhaustiveness of Disney's translations is thoroughly documented online in multilanguage mixes and one-line comparisons, linguistic kaleidoscopes that cast new light on old standards. Highlights: "One Jump Ahead," "Prince Ali," and "A Whole New World" (Aladdin) - "Circle of Life," "Hakuna Matata," and "Luau!" (The Lion King) - "Under the Sea" and "Poor Unfortunate Souls" (The Little Mermaid) - "Belle" and "Be Our Guest" (Beauty and the Beast) - "Just Around the Riverbend" (Pocahontas) - "One Song" and "Heigh-Ho" (Snow White) - "Bibbidi-Bobbidi-Boo" (Cinderella) - Medley (Pinocchio) - "When She Loved Me" (Toy Story 2) - Intro (Monsters, Inc.)
Corey Arcangel is perhaps the internet's most infamous hack, masher-upper, digi/net artist. His work stands for a growing culture of artists who run wildly through animated GIF landscapes populated with corrupted data-compressed bunny rabbits and tinny, MIDI renditions of Savage Garden ballads. As the Lisson Gallery, London, opens its archives to Arcangel's curatorial eye, could digi/net art be set to infect the real, fleshy world, like a rampant Conficker Worm? Has YouTube become the truest reflection of our anthropological selves? Are we destined to roam the int3erw£bs like the mythic beasts of yore, hoping, in time, that digi art can free us from the confines of this fleshy void? [...previously]
Over the years millions of children have been introduced to a foreign language by Big Muzzy [wiki], a friendly, green, clock-eating monster. Here's the complete British English version of Muzzy in Gondoland on YouTube: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20.
A Wicked Deception (youtube). A fun look at (multi) round-trip machine translation. Sadly, it is a simple fattening of Verbindungsyoutube. Of course, humans, as Jules Verne might tell you, can have problems with translations too. [more inside]