Archive for the ‘Cross Cultural’ Category

From David Bordwell:

“From Tehran comes the shocking news that Jafar Panahi, one of the finest of Iranian filmmakers, has been sentenced to six years in prison. The sentence also bans him from filmmaking for twenty years, forbids him to leave the country, and forbids him from giving interviews to the press, foreign or domestic. Panahi’s collaborator Muhammad Rasoulof was also sentenced to six years in jail.”

Read Bordwell’s entire piece here.

Visit ‘Free Jafar Panahi’ on Facebook, here.

Please let your voice be heard, so that Iran and the rest of the world aren’t deprived of Panahi’s.

Posted by Såladin.


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I’m digesting the film tonight and later on during a stroll with morpheus. More on the film’s delicious casse toi to our glass bourgoiserie tomorrow, along with a discussion of that most overrated of all narrative and aesthetic tropes – catharsis, and what it really means in the inverse.

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The surrealists André Breton and Paul Éluard used to enter movie theaters at random and stay only a little while, until the plot became clear to them and the films’ images were drained of their power. In the Cineplex you can do the same thing all in one building. I did that one day this summer. What I saw was not excerpts from ten different movies, but one movie made up of ten interchangeable parts—the imperial power of Hollywood, still alive and well, surviving postmodern fragmentation and resisting détournement.

Nicholas Rombes. A discovery. Impressionist with a chisel. Find the whole delirious journey here. Posted by Såladin and Owen. Thanks to Paul Sas via Tyler Cowen.

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Thanks to Jean-Sebastien Monzani. Posted by Såladin & Jim Swift.

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Jeff Gomez, blogging on Cosmic Streetcorner at Kidscreen.com sets out some solid guidelines for ‘transmedia’ storytelling (the scare quotes will drop away automatically when the term’s been used in 1,000 additional posts).

Here’s an excerpt:

“…transmedia properties aren’t hatched overnight and require long-term planning both on the content creation and media/product rollout sides. So how can high standards of quality and consistency be maintained over an entire story world while constantly expanding it and adding new creators and content along the way? I’ve managed to distill the construction of a transmedia world into four key steps.

“* Prepare for multi-platform by expanding the story world

“* Maintain the IP with transmedia planning

“* Maximize value by assembling a franchise clearinghouse

“* Build brand equity by validating audience participation”

[Ed. To these solid guidelines, I would add:]

* Say goodbye to the three act screenplay, the 10k word short story, the five panel Sunday comic, the thirty minute sitcom, the radio show foley artist, and five act tragedy. Weave your narratives explicitly to match the spatial, temporal, enduring, transient, physical, digital, performative, architectural and design properties of the various media – collectively – that  you choose to present your ideas.

Read Jeff Gomez’s entire manifesto after the fold. Posted by Såladin. Thanks to Siobhan O’Flynn.


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I spent a couple of sleepless nights in a rainy, fogbound Paris half a lifetime ago. It felt a little like this.

Video by Arev Manoukian.

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