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Tuesday, May 9, 2017

REVIEW: RISK LAURA POITRAS DOCUMENTARY OF JULIAN ASSANGE

Official Trailer

The review at Rogerebert is exceptionally good so below is the link.


"It’s a mystery to me why he trusts me, because I don’t think he likes me." Laura Poitras

Assange has already told her about his feelings when she films him with Lady Gaga's interview with him. Gaga's first question is "How do you feel?"

Assange tells her, Why do you ask how I feel? How I feel doesn't matter."

So whether he likes Poitras or not has nothing to do with why he gives her unprecedented access. He trusts her.

Why he doesn't like the film is why he doesn't like seeing himself in this film. His vulnerability is palpable. I would not like to see myself on film like that either. I would hate it, feel shamed. And yet it has made me love and admire him even more.

So much criticism of Assange himself and interpretations of his presence and performative mode for the camera. When will critics heed Baudrillard and understand that WHENEVER the camera is filming, those being filmed are performing. The subject and the object cannot be divorced, separated, perceived separately. Forget it. This is true of the animal abuses on youtube DONE FOR THE CAMERA to torture the viewers, to force them to click and accuse them and try to ban them, apprehend them, stop them, shame them and all that happens is that the notoriety they desire has been bestowed on them.

Assange is absolutely aware of the camera. It has been noted that he and his associates hate this film. Well if I were Assange I would hate it after watching myself in it. Poitras has captured Assange in so many big screen close ups that he is revealed. But only if you yourself can read him.The critics have distanced themselves from him to critique him, then accused him of egotism, manipulation, etc. Denounced him for his outburst at PC Feminists for the accusations of rape in Sweden at him. It has since been leaked that these women were pretty much forced to bear witness against him. One can imagine the consequences if they refused. So they caved.When the US government couldn't get anything serious on a member of the Mafia they always resorted to Income Tax Evasion to put them behind bars. Nowadays the go to crime is raping a woman, sexual misconduct, and or pedophile activities somewhere in the present or past. I imagine sometimes it is true, but WHEN YOU CRY WOLF you wear out your accusations.

As Poitras focuses her camera on Assange blown up to full screen, all I can see is his tender mouth. It has a slight tremor to it, like a child holding back tears displays. When questioned he answers as he thinks out the reply he wishes to make considering the camera will record it forever. He does not use cliches, sound bites, rhetoric, but tries to be clear, unemotional while feeling very emotional,and yes, this is a performance. But how could it be otherwise?

And as the time sequence follows from 2010 to the 2016 election, sometimes out of joint to me, we see the early Assange in a lovely home in the UK answering a question by using the metaphor of a personal garden. Has he read Kosinski's Being There with Chauncey Gardiner's aphoristic garden replies?

You have a garden and when there are weeds you want to get rid of them so your garden can be healthy and grow. That is your perception of your garden. My perception is the world. 

And that is his tragedy and any of us who feel the same about our world, our planet. The refugees, starving children, the sickening fate of animals being tortured, brutally slaughtered willfully or for food as it really doesn't matter what reason they are made to suffer so by the brutality of humans who have been so brutalized themselves they know not what they do. All this is inscribed on the face of Julian Assange. And this is my reading of Poitras's film. 

There is a major difference between Assange and Snowden and Chelsea Manning in how their revelations were meant to be revealed. Manning just sent them to wikileaks.Snowden wanted Greenwald to handle their "careful" dissemination. To protect us? In other words Snowden wished some sort of control on how they would surface, be read, be understood. Greenwald has controlled the careful and rather slow publishing of them. Still there is a treasure trove we have not seen and at this point in time does anyone really care? 

Assange trusts the public. He DUMPS them in a heap on us. We read them out of sequence, each one as an EVENT, the way the world is accoring to Foucault and the Continental Philosophers. The impact of the Podesta, Hillary, Campaign manager leaks were far more violent on us than Snowden's. We knew we were being under surveillance, we just got the proof. But those emails were so violent, so unbelievable that political leaders of the US could stoop to such sickening high school pernicious, destructive antics that they never seemed real to me. And yet I did not doubt them for a minute. How is it possible that adults are so unconsciously corrupt they can play at this in a real game for control of the world.  And how is it possible so many can deny their validity and blame Russia for interfering in our election when we have interfered in elections for decades and decades? 

This cannot be fixed.  Sadly so many critics wish to focus on the psychological personality of Assange. Why don't they know that interpretation is over, dead, finished along with the Dominating Discourse of the Dialectic of Thesis and Antithesis..

Friday, February 24, 2017

JOHN WICK 2 - Not a Dick - reading through JARMUSCH'S GHOST DOG

To deconstruct John Wick 2 requires a number of screenings. The action is so fast, the scenes fly by, that you cannot contemplate any of it until it is over, so see it again is all you can do if you want to say anything intelligent about it. I am up to 6 times and I am still seeing something new each time that I missed.

For a detailed reading review of this film at RogerEbert : Angelica Jade Bastien 
Another beautiful reading of John Wick 2 by John Bloner echoes Jarmusch's Ghost Dog. I am indebted to him for nudging my memory on Jarmusch.



First they killed his dog,then stole his Mustang, then they bombed his house He's Back!
But not as a contract killer. John Wick is back in the  Symbolic Order of VENGEANCE.

1. The screenplay is brilliant.I believe it to be intuitive rather than consciously intentional. It is CAMP. It is more CAMP than CAMP, "WORSE" than CAMP as Nietzsche would say. HYPER-CAMP as Baudrillard might. The images also are SUPER-CAMP. More REAL than REAL as Deleuze suggests as our way out.The NOIR influences are deep and the slivery footnotes are perfect.

John Wick: "I'm not that guy anymore.
Santino:"You're always that guy, John"

Winston:There are only 2 rules:
Winston:All markers must be honored.
Winston:No business on Continental grounds.


And it is right here that we see the gold coins again. The first time is in Tarasov's garage in the boxes - they are closed though and we can't see except by thinking backwards - and beside stacks of paper money a dolly is pulling,then being loaded into the trunk of a vehicle.  Winston  is supervising their perfectly designed and executed imprint.
Paper money is used to buy gold bullion;gold bullion is stamped into gold coins of value.
We will see John Wick, Cassian pay SPECIAL OTHERS with these gold coins, a wave to Ayn Rand's John Galt whose followers pay with gold coins whenever they observe excellence in the decaying world.
In John Wick it has more sinister implications as Winston says, "Put them into circulation."

Gresham's Law: Bad money drives good money into hoarding.
People spend bad money and save - hide - good money.
A way to destroy the paper currency of a State making it worthless.
A way to take over the financial machine of the State.

Fishburne:Will someone please get this man a gun!
"Give this man a gun!  Dalton Trumbo’s Johnny Got His Gun
Or the recent Jane Got a Gun

Fishburne:Don't forget you owe me.
John Wick:You don't want me owing you.

I am especially fond of the use of the word ENJOY !
It's use in this film is PURE ZIZEKIAN
The SUPER-EGO command that you ENJOY!
Tarasov:ENJOY your retirement Mr. Wick.
Julius:ENJOY your stay here.
Julius:ENJOY yourself.
Tailor:Mr. Wick, Do ENJOY your party. 
Gianna:Are you ENJOYING the party Mr. Akoni
Gianna: GO. ENJOY  the festivities Mr. Akoni

Cassian:Are you working tonight? 
John Wick:Nods.
Cassian:Are you having a good night?
John Wick:Fraid so.
Shoot out begins.

Cassian:You killed my ward.Someone I was close to.
Cassian:An eye for an eye John. You know that.
 This is Sharia Law in the Symbolic Order of the Sacred

SHARIA LAW is popularly understood as adulterous women getting stoned to death. Sharia Law is Old Testament Law: An eye for an eye, a tooth for a tooth.

The opening sequence with Buster Keaton projected on the building wall was stolen by the director from student work at NYU by his own admission. He makes no mention of Orson Welles when discussing the mirror scenes. Maybe they have just become naturalized, institutionalized into hyper mirror shoot out scenes. 
This one is gorgeous.




2. The PLOT follows Jim Jarmusch's GHOST DOG.The SAMURAI warrior of mastery and integrity.

It is what I call a Love Letter to Jim Jarmusch's wondrous film with Forrest Whittaker. Included are a dog and pigeons on the roof and a lonely character. You can rent it for 2.99 on youtube so now would be an excellent time to see it.

Charon welcomes guests into the Continental and he arrives at Wick's burned property at the end to escort him back to Winston who meets him in the park.Charon is the dog who waits by the River Styx at the Gates of Hades. Cassian/Cassius is an enemy of Caesar. Julius is the Rome manager of the Continental where Winston rules. Winston is the main character of 1984. Ares is the God of War. John Wick's wife is Helen whose beauty and treachery began the Trojan War.It is possible to go on with this.
The tattoo on John Wick's back

fortis Fortuna adiuvat Fortune Favors the Brave - Pliny, Cicero.

And lest we forget The Boogeyman
Boogeyman is a 2005 New Zealand-American supernatural horror filmdirected by Stephen T. Kay
In the 1940's we children were scared by our mothers about the Boogeyman. We feared he was under our beds at night or in the closet so we wanted the door shut.Strange it should resurface in recent times.

This film nods to mythology,film, art, The Vatican with its fabulous art collection in the scenes displaying the culture these assassins, thugs, high table gangsters display.

John Wick, the man, the myth, the legend


The Samurai with his Master, his rules, values, discipline, art, style and disciplined skill.The lonely life of the assassin who is to become the prey and hunted.
The scene with Lawrence on the roof with his pigeons a great salute to Jim Jarmusch, his independent probably lonely fight to make his own films in his own way to limited release.
The White Dove thrown to the sky and followed by the other multi colored pigeons, a visual metaphor of the white man as substitute target for the man of color.
Nice reversal.
Fishburne's last scene a mirror of Ghost Dog

Now the assassin is to be assassinated.



This is the MANUFACTURE of the FATWA !.  Khomeini in issuing the FATWA on Salmon Rushdie put the entire western civilized machine into scarlet alert with no way to defend against it, only to hide Rushdie in safe house after safe house for a few years, destroying his life. We saw a Foucauldian CUT in this ultimate surveillance and capture by the US STATE with SNOWDEN under The Obama. When the personal presidential plane of Evo Morales,the President of Bolivia, is forced down in Portugal because "it is reported" that Snowden is aboard and escaping - and no allies will permit it to land on their soil. We see international SHARIA LAW morphing into the ORDER OF PRODUCTION having left the SYMBOLIC ORDER OF THE FATWA. And this occurs at the end of John Wick 2 as in his hour of grace running to get away, he sees every eye turned toward him as a potential assassin against him. They are too numerous to count and all will want to kill him.

Enter Bob Fagles' modern classic translation of Homer's Odyssey. Odysseus has come home in disguise. Only his old dog Argus recognizes him and instantly dies, having waited 20 years for him - just living to see his Master again - another Ghost Dog. Odysseus faces the same impossible dilemma as John Wick at the end. He must kill all the suitors as Athena tells him to do, with her help. But his reply to her is in his words,

We had the same English teacher

"There's another worry," he tells her
"that haunts me even more,
What if I kill them -thanks to you and Zeus -
how do I run from their avengers?
Show me the way I ask you." - 20.43-45 - Fagles translation

This is what Sharia Law means. All your family and progeny will be annihilated. As justice is in the Order of Production, Sharia Law is in the Symbolic Order of the Sacred.

 Khomeini issued a FATWA on Salmon Rushdie for his portrayal of the Prophet Muhammad in his Satanic Verses.As Baudrillard said, "... there he sat in his small house, sitting on a blanket and paralyzed the entire western world into a state of fear. The West had no way to respond to this kind of power."

This is the power of the Symbolic Order.
As Baudrillard tells us: in referring to 9-11 as a GIFT in which the US has not been able to return the COUNTER-GIFT. So the US must suicide if it cannot. Seems like it is right now huh.


$1.98 for used one at Amazon as I write this.
Baudrillard sees the power of the terrorists as lying in the symbolism of slaughter – not merely the reality of death, but in a sacrifice that challenges the whole system. Where previously the old revolutionary sought to conduct a struggle between real forces in the context of ideology and politics, the new terrorist mounts a powerful symbolic challenge which, when combined with high-tech resources, constitutes an unprecedented assault on an over-sophisticated and vulnerable West. This new edition is up-dated with the essays ‘Hypotheses on Terrorism’ and ‘Violence of the Global’.

3. The reflecting mirror shoot out is an enhanced CGI from Orson Welles Lady From Shanghai. The superbly generous Orson would have been thrilled to see his very first experimental mirror shoot out taken to these extremes.


The last shoot out scene takes place in rooms that are composed of an infinity of reflecting mirrors all colored by lights: blues, reds, golds just incredible CGI. But this almost final scene and the last big shoot out is a marvelous tribute to the great Orson Welles who first did reflecting mirrors in Citizen Kane and then a shoot out in Lady From Shanghai where Rita Hayworth gets shot dead and Orson's character leaves her to die for all her betrayals. It is magnificent.





At the end John Wick 2 is waving hello to Mel Gibson's Mad Max. A dead wife and a dog traveling with him into dystopia, 21st Century style.  Wick is in the "dystopia" of the Deterritorialized Corporate Global World of International Thuggery of the present




Keanu Reeves is once again the FLAT character.
And in John Wick 2 Reeves is the FLAT character who is the main character.
Keanu Reeves has been criticized for his acting talent NOT. Reeves always has his own persona in every part. Humphrey Bogart was/did the same. He is what E.M.Forster has called a FLAT CHARACTER. The ones around him change but he does not.
But actually John Wick 2 is not a character driven movie. None of them change. All are FLAT in Forster's description, but are drawn excessively. We see why Gianna's father chose her to sit at the High Table instead of her brother. We see why her brother was not chosen to inherit that place of authority.



A "flat" character does not mean a "boring" character. It's a technical term in literary theory popularized by the novelist E. M. Forster in his monograph on writing titled "Aspects of the Novel." According to Forster, a "flat" character is a kind of token: his or her psychology and values do not grow, change, evolve, or come to any kind of crisis during the course of the narrative because characters — like plot points — have functions within the story; it is simply not the function of a flat character to steal attention away from the main character(s) — the protagonist(s) and the antagonist(s) — by growing, changing, evolving, or reaching any sort of "crisis" within the story in which they must exercise his or her will, and come to a decision — or initiate an action — that would be surprising, i.e., a new pattern of behavior inconsistent with their previous pattern. "Flat" characters remain who they were throughout the entire course of the story, because they are there simply to provide a particular kind of obstacle (or point of affinity) for the main characters. They are part of the stock-in-trade of every playwright, screenwriter, short-story writer, and novelist. They are a particular kind of narrative tool

So Reeves as the FLAT character is among a stellar collection of FLAT characters who are not changing psychologically. Their character's change would have little to do with the plot- hence the end of interpretation The dead dog is a Ghost Dog and the one he has now has no name. He is a Ghost Dog also just following Wick like a shadow. 

He is always the Keanu we love to watch. He never changes. His vulnerability, presence, integrity and values are always there in the Inscription of His Body/Face and in the parts he plays. Reeves embraces the feminine in his maleness which is physically awesome without posing as macho. This is his undeniable erotic charisma and at 52 in John Wick 2, Reeves, an assassin, is a Samurai with a plot turn mapped over Ghost Dog updated to THE DETERRITORIALIZED CORPORATE CAPITALIST MACHINE  which far surpasses Coppola's GODFATHER series in its world scope.

4. This movie moves in and out of the Symbolic Order and the Order of Production. As a contract assassin John Wick is a professional killer. He is paid for this. The opening scene obliterates  that as he enters the Symbolic Order of the Sacred.

Tarasov:It is not just a car.
It is John Wick's car.
Assistant:Why not just give it back?
Tarasov:He killed my nephew and my brother!
(And he knows John Wick is not yet finished with returning the COUNTER-GIFT.)
Tarasov:And over a car and a puppy!
Wick has received the GIFT of DEATH
And the COUNTER-GIFT must be returned.
It must be greater than the GIFT in the SYMBOLIC ORDER.

John Wick is not a Dick. Wick is not wicked. 
Lacanian word play in action!
HEARING WHAT IS NOT SPOKEN.

As Cassian says to John Wick in the Continental Bar after hearing about the Marker as the reason he kills Gianna
In response to Wick's explanation for his freedom,
John Wick:Am I?
Cassian: not at all
You killed my ward. Someone I was close to.
An eye for an eye John. You know that. 

Now the assassin is to be assassinated as in Ghost Dog



We see the MANUFACTURE of the FATWA !.  Khomeini in issuing the FATWA on Salmon Rushdie put the entire western civilized machine into scarlet alert with no way to defend against it, only to hide Rushdie in safe house after safe house for a few years, destroying his life. We saw a Foucauldian CUT in this ultimate surveillance and capture by the US STATE with SNOWDEN under The Obama. The personal presidential plane of Evo Morales,the President of Bolivia, is forced down in Portugal because "it is reported" that Snowden is aboard and escaping - and no allies will permit it to land on their soil. We see international SHARIA LAW moving into the ORDER OF PRODUCTION having left the SYMBOLIC ORDER OF THE FATWA. And this occurs at the end of John Wick 2 as in his hour of grace to get away, he sees every eye turned toward him as a potential assassin against him. They are too numerous to count and all will want to kill him. His bounty is up to 14 million.


Lawrence Fishburne's final scene is holding the white dove on the rooftop and uplifting it to fly. Then all the varied colored ones fly up after her. It is quite beautiful and a metaphor for John Wick running away at the end to escape the International Assassins League coming after him at the end of the hour, He is the scapegoat to be annihilated after the 60 minutes period of grace given to him. The white man fleeing from the multi colored peoples of the world, saving the homeless and the darker skinned people in the subway tunnels.

This is the MANUFACTURED PRODUCTION OF THE FATWA. The computerized text message and the code of 11 -11-1 goes out and we see the code replicating down the SCREEN as all members are put on alert. No place in the world will be safe for him. Everyone will be after him and he can only know by his feeling, by a sixth sense of awareness, who is an assassin. It sets up the 3rd chapter of John Wick 3.


John Wick is not a Dick
I have only to mention TIME to begin another reading of this film. The women "secretaries" setting up "FATWAS", EXCOMMUNICATING members after Winston has pronounced EXCOMMUNICADO on John Wick taking  from him the protection and privileges of The CONTINENTAL. The dial telephones used for this. So they can't be recorded and archived like digital ones? The technological savvy in use, the emphasis on old ancient traditions of the church and its blessing of new high table coronations. I began to get unglued as to what century I was in, so beautifully integrated the ancient was with the incredible sophistication of weapons, weapon purchases, clothes, sculpture and paintings of exquisite curation. Gianna's Roman bath, her Roman preferred method of suicide. This is a complex movie and one that foreshadows an imminent future that perhaps is already here.








Friday, January 13, 2017

Divergent Review: Why Jeanine Is Correct In Trying To Destroy Abnegation

Abnegation, if left unchecked,will destroy the faction system.
Jeanine is absolutely correct. Any Divergent can choose Abnegation and hide safely there. Abnegation children raised in Selflessness may choose other factions to experience difference.

But why is she correct?

The Quaker Society of Friends is very close to Abnegation in clothes, demeanor, choice of food, and ideals in their way of life.

It is the Quakers who brought down slavery in the colonies and ultimately the states. They were the first Abolitionists. Beginning in Virginia in 1760. 100 years before the start of the Civil War the stones were laid as foundation to destroy slavery.

The Society of Friends have been active in every anti war movement since they arrived in North America. They were particularly influential during the Viet Nam War and the formal and informal Resistance to it.

Gandhi's non-violent resistance brought down the British Empire's control and occupation of India. His open attack on the caste system stuck a deep wedge in it. Castes were worse than factions as you were born into them and could never leave. Your caste determined your entire life, how much education you would receive, what kind of work you would be allowed to do.

Jeanine Matthews perceives all this as coming from the future and she attempts to forestall it. The divergent population, the transferring to other factions will result in the breaking down of the faction system little by little over time. It is inevitable and Jeanine sees this. She is taking what measures she thinks will avoid it however expertly she implements it, she cannot stop it.

Thursday, January 7, 2016

MOLLY LAICH'S REVIEW OF TARANTINO'S THE HATEFULL8

A Pair to Witness
Going into the latest film from Quentin Tarantino, there was basically no chance I wasn't going to like it. Out of his self-proclaimed eight features (Kill Bill's Vol. 1 and 2 have merged in this count) there isn't one I would give a negative review. 2007's Death Proof comes the closest to being a bad movie, with its uneven two-part structure and only occasionally correct guesses at what women are like, but even then, it's still pretty good.

This is only the first paragraph.

MORE HERE http://missoulanews.bigskypress.com/missoula/eight-is-enough/Content?oid=2623037

I think I"m getting lazy since Molly Laich is so very good.

Wednesday, December 16, 2015

Reading Trumbo/Trump Through Hitler's Fascist Empire

Trumbo the man and the movie
This is a film well worth seeing. It is not great although it has great performances. It is a bio but not the typical Hollywood kind, so give it a pass on that. It is really about clarifying what happens when people get inflamed about persecuting others for not holding the same opinions and beliefs. Just a substitute for age old religious wars that nowadays are not so age old anymore.

The persecution of the Muslims - by those who know not the difference between Muslims and Islamists - is reminiscent of the early days of Hitler's storm troopers known as the Brownshirts who began by trashing the property of the Jews building up into Kristallnacht

Only it was Trumbo's swimming pool that got trashed by his next door neighbor
We have here Foucault's GRID of power/knowledge/capital/normality: how normality is enforced locally in the smallest of ways, tightening the grid, leaving less and less wiggle room every day. This is fascism at work, observing and surveilling you, making sure you conform and present the image of normality.

But it is the same mentality, the same cultural attributes of both fascist Germany and fascist US that leads to this persecution that intensifies into cold blooded killing. Trump is a "brownshirt leader" drumming up business for persecution the way Hitler did to get even more control of the government and the German people. Easy as pie. The same thing works over and over and over again because people never change within a system that promotes competition. That is, the now insidious DETERRITORIALIZED CORPORATE CAPITALISTIC SYSTEM.


A truly beautiful work of art.

Today Muslim stores are having their windows smashed and their stores trashed. Are we still calling the US the land of the FREE! Nietzsche has told us to beware of whom we choose as enemies for we will become like them. We have. We are now full fledged fascists and Hitler has won his war.

This is the message of Trumbo. His treatment at the hands of the justice system was so much more benign in the 1950's than it would or is the rule today. So sad. Fascism becomes institutionalized as it becomes natural. That's the way it works. That is its danger. Our world is stolen from us in homeopathic doses. THE PERFECT CRIME. No body, no criminal, no crime scene, no justice, no punishment, nada.


Very short and readable

Wednesday, November 11, 2015

READING EVEREST THROUGH JEAN BAUDRILLARD

Climbing Everest Porn or Hero Porn
This is a good bio movie with fine performances. So let's get that out of the way. It has just the right number of good cliche scenes for the chicks who stay at home while hubbies buy their way into hero porn for 65 THOUSAND DOLLARS Or lead the expedition for 65 thousand a pop. It's true. And many died on this trip, and still freeze away on the mountain.

What is of importance though is watching the moving image of assembly line manufactured capitalistic romantic climbing of the highest mountain PORN! All the romance is gone however as the leader leads his merry band of bonding men who have no more wars to fight as tek does all that now, in a line worthy of a sargent into battle. Follow me! And they follow holding a rope as they go to keep them together, just like kindergarten plus kids out on a school trip.

They are cattle plodding along to maybe their death as they clump their way through the snow, avalanches to the heights of the top - or death. Imagine the first ones to do this. The long years of preparation, the solitary partnerships your life depended upon, the exaltation of achieving it, the risk of death. All taking place in the Symbolic Order of the Sacred:risk, reversibility, event, sacred, life, living, passion and then compare that with this film so wonderfully showing you this supposed event turned into the Order of Production:irreversibility, survival, continuity, accumulation, capital, fascination - in fact into the Production of Porn mountain climbing where if you pay enough you will do it and be guided back to safety. How's that!

The bonding of the men to each other in some drinking, buddying, back slapping, encouragement, out for a trek in the wilderness to show our stuff. No more wars to die for. No Christendom to spread, Nazis to kill, fascism to destroy before it destroys our freedom. Nope. So the successful ones who have the money or who scrape it together to LIVE THEIR DREAM! BECAUSE IT'S THERE!To fulfill the ideology they still believe. Wonderful!

We see our entire western world of DETERRITORIALIZED CORPORATE CAPITALISM monetizing an EVENT by replicating it with cell phones, high tech weather reports, group tourists going mountain climbing, the new eco type tourism. To see the hoards of people at the base camps, all the leaders of tourist groups squeezing in that window of opportune time for climbing to the peak.

This is not exploring how to get to the top. This is replicating the map of how to get to the top. Desiring to reach the top of Everest by being led there by a more experienced person. A teacher, one who leads. And they blindly follow.


Passion of Exploring the South Pole,Northwest Passage
In these essays Connell has recounted the extreme passion, desire,preparation and gamble these men went through to go there first without a map, just raw courage and dedication. The incredible hardships, the incredible death experiences are riveting. This is no account of a tourist guided trip but a REAL experience, felt with all their soul. Their exploration is not a COMMODITY to buy and do. NOT a trophy to tell about.

This is akin to Dr. Walter Palmer's killing of the great too domesticated sanctuary lion, Cecil. 
Cecil was not a wild lion but one used to being fed by humans from time to time I guess. He was lured with a bloody kill to be killed.
A Canned Hunt - A Trophy Killing without Risk

Another assembly line manufactured trophy porn SPECTACLE. Maybe they will want to climb Everest next. Would that be too dangerous for them? With a very experienced guide? 
All this is HERO PORN manufactured like Warhol's Campbell Soup Cans. The hero and his ordeal have been monetized by DETERRITORIALIZED CORPORATE CAPITALISM.
HOW DO YOU ALL LIKE YOUR WORLD?
How do you like your world?








Monday, November 2, 2015

Laurie Anderson's Heart of a Dog Interview/Review by Gary Kramer

Laurie Anderson's Heart of a Dog

Laurie Anderson’s wistful, elegiac film, Heart of a Dog, uses animation, video, home movie clips, and dream sequences to chronicle not just her life with Lolabelle, her rat terrier, but more generally how humans and animals communicate, their shared sense of companionship, and our processes of death, grief, and coping with trauma.


A Clip from Youtube of Heart of a Dog





GMK You once described language as a virus from outer space. You get political in Heart of a Dog when you discuss the homeland security advisement, “If you see something, say something. Hopefully, it’s nothing.” You also talk about Lolabelle understanding 500 words and the speech a vet gives when he suggests putting an animal down. Then there’s mention of Wittgenstein’s notion that “language has the power to create the world.” What are your thoughts on the power of language, which has been such an important theme in your work and in this film?

LA I think it’s never very satisfying to share your dreams with someone else. In fact, when somebody goes, “I had this dream…” I go, “Oh please, don’t tell me your dream, please!” No! It’s not a film you saw! It’s something like a hallucination that only you have a code for. Now that is a wonderful thing—stories only you appreciate, only you value, and only you understand. That is a really underrated thing in our culture. You have this wonderful dream world that’s only for you. Let’s keep it that way. Don’t try to tell other people what’s going on. It’s like when only you think something is funny. That’s really great. But why do we share stories? Because otherwise, life is too lonely, you know? 

GMK I interpret it such that you are telling these things to me. It’s episodic, and therefore it doesn’t feel like a monologue. As a viewer, you get into some stories, and sometimes you just watch, but I made all these connections and took it all in. I could see the film again and have a totally different response.

LA I think I was exploring this idea: Does language help you in a situation like that? The Tibetans would say it does, because they wrote a whole book about it. They are expressions of grief. The no crying thing is about trying to understand what is going on not with your own emotions, but to pay attention to what’s going on with the drama of the person who is dying and dead. Their idea is to focus on their transition, which will also be used when you die. But it’s to focus on their death, not your reaction to it.

GMK You mention in the film about your mother loving you unconditionally. When did you love Lolabelle unconditionally?
LA It’s different with a dog or an animal. They don’t have the same conditions that humans do. They have a default mode of unconditional love. I don’t know why they love us—we are sources of food, and we are alphas, and to some extent we protect them and give them rides in cars. Cats do not want rides in cars. That’s a really fundamental difference! I think that using an animal to talk about love is a different kind of relationship. For me, dogs represent a kind of purity that isn’t often found in human relationship, which are more complicated. Very few people will have the joy that dogs do when running to the door to say hello. They’re very openhearted.
Heart of a Dog is currently playing at Film Forum in New York through November 3, 2015.
Gary M. Kramer is the author of Independent Queer Cinema: Reviews and Interviews and the co-editor of Directory of World Cinema: Argentina.
Excerpts from Gary Kramer's Interview/Review of Heart of a Dog. I know I shall love it.