Cinema history now looks back to Georges Méliès, creator of 1902’s A Trip to the Moon and other early motion pictures previously featured here, as the medium’s first master of the fantastical. Visual effects, imagined worlds, and the seemingly impossible made seemingly real remain reliable draws for modern-day filmgoers, but so does something far simpler to produce: skin. But Méliès knew that, and he even demonstrated the extent of his knowledge in 1897’s After the Ball, viewable in all of its 19th-century titillation, and for its entire 1:06 length, here. While not the very first “adult” film — that historical honor goes to Eugène Pirou’s Bedtime for the Bride in France, and Esmé Collings’ A Victorian Lady in Her Boudoir in Britain — it must count as the earliest one by such a distinguished filmmaker. And it’s the only one of the three mentioned here you can watch online.
Michael Brooke’s Georges Méliès blog describes the action, shall we say, as follows: “A woman enters her boudoir, and her maid helps her to undress, peeling off her outer garments until she is clad in a shift and stockings. She sits down, and the maid helps remove the latter. Almost naked aside from skimpy underwear, the woman gets into a tub and the maid pours the contents of a large jug over her, drying her off with a towel afterwards. They leave the room together.” While modern-day adult filmmakers can and do continue to dine out on such premises, After the Ball’s rendition of the circumstances now looks tame enough to play freely on Youtube. Brooke adds that this film, along with Collings’ and probably Pirou’s, was “marketed as being suitable for private screenings to broad-minded bachelors.” Méliès’ contribution to this innovation must have made for a few worthwhile fin de siècle bachelor parties.
Following his retirement from filmmaking earlier this year, Steven Soderbergh has filled his time with some interesting endeavors. He tweeted an entire novella, and now he has posted a log of all the films and television shows he watched, and all the books and plays he read, in 2009.
As you will see in the log (below), Soderbergh spent much of that year in preparation for the scheduled June shoot of his adaptation of Michael Lewis’s book Moneyball, which was abruptly shut down only days before shooting was to begin, due to disagreements over revisions to Steven Zaillian’s screenplay. Soderbergh read the book for the second, third, and fourth time, as well as much of the work of baseball statistician Bill James, including every abstract James published from 1977 to 1988.
More interesting is his film and television log, which alternates between current Hollywood and indie releases and classic Hollywood titles. The list should be no surprise coming from a filmmaker repeatedly called a stylistic chameleon. Should we be surprised he follows a Ken Russell phase with The Lone Ranger? Or that he’s just like us and binge-watches Breaking Bad?
The log also sheds light on the post-production process of two of his films released in 2009, The Girlfriend Experience and The Informant, the former viewed three times, the latter four. Was his repeated viewing of Being There inspiration? Or is it simply one of his favorite films?
This is not the first time Soderbergh revealed his viewing log. In 2011, he gave Studio 360’s Kurt Anderson his 2010 log, which included twenty viewings of his film Haywire and several Raiders of the Lost Ark, in black and white.
See the full 2009 list below.
SEEN, READ 2009
All caps: MOVIE
All caps, star: TV SERIES*
All caps, italics: BOOK
Quotation marks: “Play”
1/1/09 VALKRYIE, THE GODFATHER
1/4/09 REMAINDER, Tom McCarthy
1/7/09 BURN AFTER READING
1/10/09 MADE IN USA, STATE AND MAIN
1/13/09 BEING THERE
1/14/09 THE INFORMANT, THE GIRLFRIEND EXPERIENCE
1/15/09 ARSENALS OF FOLLY, Richard Rhodes
1/24/09 THE GRAND, JAWS
1/25/09 THE HOT ROCK
1/27/09 SOLITARY MAN
1/30/09 THE APARTMENT, MONEYBALL (2) Michael Lewis
2/3/09 THE INFORMANT
2/6/09 “The Removalists”
2/7/09 “The War of the Roses, Part One”, THE GIRLFRIEND EXPERIENCE
2/8/09 THINGS I DIDN’T KNOW, Robert Hughes, FIVE EASY PIECES
2/9/09 SOLITARY MAN
2/11/09 MONEYBALL (3)
2/11/09 “The Talking Cure”, Christopher Hampton
2/14/09 HISTORICAL BASEBALL ABSTRACT, Bill James. CORALINE, W., REBECCA.
2/15/09 FROZEN RIVER, WHATEVER HAPPENED TO COOPERSTOWN, Bill James.
2/18/09 BEING THERE
2/20/09 THE OSCAR
2/21/09 PANIC ROOM, THE PARALLAX VIEW
2/22/09 THE BRIDE WORE BLACK
2/23/09 1977, ’78, ’79 BASEBALL ABSTRACT, Bill James.
5/24/09 DIGITAL BARBARISM, Mark Helprin, BREAKING BAD* (1 episode), TRANSSIBERIAN
5/31/09 THREE DAYS OF THE CONDOR, DRAG ME TO HELL, BREAKING BAD* (1 episode)
6/02/09 THE CULT OF THE AMATEUR, Andrew Keen
6/04/09 3 NIGHTS IN AUGUST, Buzz Bissinger
6/06/09 THE HANGOVER, MISSION: IMPOSSIBLE
6/21/09 MOON
6/23/09 THE FORTUNE COOKIE
6/26/09 THE HURT LOCKER, BARRY LYNDON
6/27/09 THE GRADUATE
6/28/09 BEING THERE
6/29/09 2001: A SPACE ODYSSEY
7/01/09 SUNSET BOULEVARD
7/02/09 CLOSE ENCOUNTERS OF THE THIRD KIND
7/03/09 PUBLIC ENEMIES
7/04/09 THE KILLING OF SISTER GEORGE
7/07/09 TWO LOVERS
7/08/09 THE EMPEROR’S NAKED ARMY MARCHES ON, THE FAILURE, James Greer.
7/09/09 HUMAN SMOKE, Nicholson Baker
7/10/09 SLAP SHOT
7/11/09 BRUNO
7/12/09 THE PRIVATE LIFE OF SHERLOCK HOLMES, PERSONA, THE CHARGE OF THE LIGHT BRIGADE (’68), ELGAR*, THE DEBUSSY FILM*, PYGMY, Chuck Palahniuk
7/14/09 ALWAYS ON SUNDAY*, ISADORA: THE BIGGEST DANCER IN THE WORLD*
7/15/09 DANTE’S INFERNO*, ALTERED STATES
7/16/09 THE LONE RANGER
7/17/09 THE LONE RANGER AND THE CITY OF LOST GOLD
7/18/09 GET SHORTY
7/26/09 ORPHAN, REPULSION
7/27/09 THE HOSPITAL
7/30/09 THE COLLECTOR (’65)
7/31/09 ZODIAC, SONG OF SUMMER*, MUSICOPHILIA, Oliver Sacks
8/01/09 A PERFECT MURDER
8/02/09 VOX, NIcholson Baker, CACHE
8/03/09 ADVISE AND CONSENT
8/05/09 THE LONG GOODBYE
8/06/09 THE RED SHOES
8/08/09 INHERENT VICE, Thomas Pynchon, UNMAN, WITTERING, AND ZIGO, ELECTRA GLIDE IN BLUE, THE ASCENT OF MONEY*, THE SHINING
8/13/09 THIEVES LIKE US, REDS (part two)
8/15/09 CHINATOWN, CITIZEN RUTH
8/16/09 DISTRICT 9, MADE MEN* (1 episode)
Justin Alvarez is the digital director of The Paris Review. His work has appeared in Ploughshares, Guernica, and Flatmancrooked’s Slim Volume of Contemporary Poetics. Follow him at @Alvarez_Justin.
For some time now, Slavoj Žižek has been showing up as an author and editor of theology texts alongside orthodox thinkers whose ideas he thoroughly naturalizes and reads through his Marxist lens. Take, for example, an essay titled, after the Catholic G.K. Chesterton, “The ‘Thrilling Romance of Orthodoxy’ ” in the 2005 volume, partly edited by Žižek, Theology and the Political: The New Debate. In Chesterton’s defense of Christian orthodoxy, Žižek sees “the elementary matrix of the Hegelian dialectical process.” While “the pseudo-revolutionary critics of religion” eventually sacrifice their very freedom for “the atheist radical universe, deprived of religious reference… the gray universe of egalitarian terror and tyranny,” the same paradox holds for the fundamentalists. Those “fanatical defenders of religion started with ferociously attacking the contemporary secular culture and ended up forsaking religion itself (losing any meaningful religious experience).”
For Žižek, a middle way between these two extremes emerges, but it is not Chesterton’s way. Through his method of teasing paradox and allegory from the cultural artifacts produced by Western religious and secular ideologies—supplementing dry Marxist analysis with the juicy voyeurism of psychoanalysis—Žižek finds that Christianity subverts the very theology its interpreters espouse. He draws a conclusion that is very Chestertonian in its ironical reversal: “The only way to be an atheist is through Christianity.” This is the argument Žižek makes in his latest film, The Pervert’s Guide to Ideology. In the clip above, over footage from Scorsese’s The Last Temptation of Christ, Žižek claims:
Christianity is much more atheist than the usual atheism, which can claim there is no God and so on, but nonetheless it retains a certain trust into the Big Other. This Big Other can be called natural necessity, evolution, or whatever. We humans are nonetheless reduced to a position within the harmonious whole of evolution, whatever, but the difficult thing to accept is again that there is no Big Other, no point of reference which guarantees meaning.
The charge that Christianity is a kind of atheism is not new, of course. It was levied against the early members of the sect by Romans, who also used the word as a term of abuse for Jews and others who did not believe their pagan pantheon. But Žižek means something entirely different. Rather than using atheism as a term of abuse or making a deliberate attempt to shock or inflame, Žižek attempts to show how Christianity differs from Judaism in its rejection of “the big other God” who hides his true desires and intentions, causing immense anxiety among his followers (illustrated, says Žižek, by the book of Job). This is then resolved by Christianity in an act of love, a “resolution of radical anxiety.”
And yet, says Žižek, this act—the crucifixion—does not reinstate the metaphysical certainties of ethical monotheism or populist paganism. “The death of Christ,” says Žižek, “is not any kind of redemption… it’s simply the disintegration of the God which guarantees the meaning of our lives.” It’s a provocative, if not particularly original, argument that many post-Nietzschean theologians have arrived at by other means. Žižek’s reading of Christianity in The Pervert’s Guide to Ideology—alongside his copious writing and lecturing on the subject—constitutes a challenge not only to traditional theistic orthodoxies but also to secular humanism, with its quasi-religious faith in progress and empirical science. Of course, his critique of the vulgar certainties of orthodoxy should also apply to orthodox Marxism, something Žižek’s critics are always quick to point out. Whether or not he’s sufficiently critical of his communist vision of reality, or has anything coherent to say at all, is a point I leave you to debate.
Despite being the paragon of imperturbable masculinity of his time, Ernest Hemingway had a highly sensitive artistic temperament. Nowhere did he exhibit this more than when discussing his writing. Papa did not suffer fools gladly, and literary critics tended to fare even worse. After Max Eastman dared to write, “Come out from behind that false hair on your chest, Ernest. We all know you,” Hemingway was reported to have slapped him with a book. When Orson Welles—a cinematic firebrand in his own right—decided to chide Hemingway about his script, the author took a swing.
In this YouTube clip, the critic seems to have gotten away with merely a verbal wallop. Although there is no video, the audio is clear, and we hear Hemingway’s measured baritone reading, then commenting on, an Irish critic’s review that he had received in 1931:
‘Your book lies upon my table. I have finished reading it, and I eye it dubiously.’ You’ve got a nice eye, boy!
‘The pages are cut rather unevenly.’ Nice work, you’re in there.
‘The stiff covers and the binding are normal, I think.’ Who are you, kid?
‘The signature on the cover is stamped in gold, or what looks like gold. There is nothing printed on the back side of the jacket.’ Your own backside.
The reviewer, one Walter H. McKay, fails to probe beyond the book’s binding, and Hemingway, in his typical style, tersely rips him a new one (bonus points if you noticed Hem’s Joycean turn of phrase).
Ilia Blinderman is a Montreal-based culture writer. Follow him at @iliablinderman
A Pacific Northwest artist becomes infatuated with the process of laser engraving wood and hatches a plan for a stop motion animation featuring hundreds of engraved maple blocks that can later be mailed as rewards to his project’s Kickstarter donors.
Fans of the television show Portlandia may find themselves experiencing a false sense of deja vu. Remarkably, Nando Costa is not the invention of comedian Fred Armisen. He’s a real person, and two years ago, whilst living in Portland, he gleefully embarked on what proved to be a very ambitious and time-consuming project.
The sort of project a guy with his skills and experience could have knocked out in a couple of months had the chosen materials been magic markers or clay.
Two years and some 800 wood blocks later, The New America is finally available for viewing, all two minutes and 37 seconds of it. Costa describes the abstract storyline as “a union between concepts and experiments born during the Situationist movement and real life events experienced during the last few years in American society. Particularly the duality between the economic downturn and the shift in values and beliefs of many citizens.”
For now, Costa is content to focus on a new job and settling into a new house after a recent move to Seattle. After that, perhaps an animation that would involve laser-cut paper, but that, he says, would require research.
The 80s saw a number of hits by mostly UK synth-pop and new wave bands with prominent gay members (whether their fans knew it or not) like Culture Club, Soft Cell, Frankie Goes to Hollywood, and Wham!. One of the most impressively talented singers on this burgeoning 80s dance scene was Scottish musician Jimmy Somerville who defined the tremulous falsetto disco sound of bands like Bronski Beat and the Communards. Somerville’s first hit, 1984’s “Smalltown Boy,” was something of an early “It Gets Better” message coupled with a hard-edged dance-pop sound and a very autobiographical video (below). The song, writes Allmusic, dealt openly with Somerville’s sexuality, “a recurring theme [in his work] that met with surprisingly little commercial resistance.”
Today, Somerville lives in Berlin with his dog, and he’s still got that tremendous set of pipes. A Berlin street musician found this out recently while busking “Smalltown Boy” on an acoustic guitar, and bystanders happened to catch it on video (at top). As the young street performer hits the chorus, up walks Somerville to casually join in. The singer starts over and they finish the song in harmony. The more cynical corners of the internet swear the whole thing’s staged, perhaps for a Somerville comeback, but I like to think it’s genuine serendipity, especially at the end as the German busker suddenly has a flash of recognition: “it’s you?” he asks. “It’s me,” says Somerville, “it’s a hit.”
Dr. Martin Luther King, Jr.’s death could not have been more devastating to African American communities across the country hoping to see the civil rights leader live to build on the successes of the movement. Despite King’s painfully prophetic “I’ve Been to the Mountaintop” speech the day before his assassination in Memphis Tennessee, most people hoped to see him finish the work he’d begun. Those hopes were dashed on April, 4 1968. After King’s death, embittered and embattled minorities in cities North and South erupted in rioting. Boston—a city of de facto segregation to rival Birmingham’s—seemed poised to blow up as well in the Spring of ’68, its “race relations… already on a short fuse.” As public radio program Weekend America describes the conditions:
The tension had been escalating in the mid-60s as the city began to desegregate its public schools. The mayoral race in 1967 pitted a liberal reformer, Kevin White, against Louise Day Hicks, an opponent of desegregation. Hicks ran under the evasive slogan “You know where I stand.” White won the race by less than 12,000 votes.
In this starkly divided city, James Brown went onstage to perform the day after King’s death, and it seems, whether that impression is historically accurate or not, that Brown single-handedly quelled Boston’s unrest before it spilled over into rioting.
The city’s politicians may have had something to do with it as well. Before Brown took the microphone, the narrowly-elected Mayor White addressed the restless crowd (top), asking them to pledge that “no matter what any other community might do, here in Boston, we will honor Dr. King’s legacy in peace.” After Councilor Tom Atkin’s lengthy introduction and the mayor’s short speech, the audience seems receptive, if eager to get the show on.
The archival footage was shot by Boston’s WGBH, who broadcast Brown’s performance that night. (The clip comes from a VH1 “rockumentary” called, fittingly, “The Night James Brown Saved Boston.”) Not long after the band kicked in, the scene became chaotic after a Boston police officer shoved a young man off the stage. Brown intervened, calming the cops and the crowd. His drummer John Starks remembers it this way: “It was almost at a point where something bad was going to happen. And he said [to the police] ‘Let me talk to them.’ He had that power.” In the clip above, watch concertgoers and other bandmembers describe their impressions of Brown’s “power” to reach the crowd.
Brown’s calming effect went beyond this particular gig. See him in the footage above address an audience in Washington, D.C. two days after King’s death. “Education is the answer,” he says, and sets up his own exceptional boostrapping rise from poverty as a model to emulate (“today, I own that radio station”). And WFMU’s Beware of the Blog brings us the audio below, from the year before King’s death—a time still fraught with sporadic riots and nationwide unrest against a system increasingly perceived as oppressive, corrupt, and beyond reform.
On the record, which was “probably distributed to radio stations only,” Brown makes an impassioned plea for “black people, poor people” to “organize” against their conditions, rather than riot. While the message from “Soul Brother Number One”—a title he accepts with humility above—failed to douse the flames in cities like Washington, DC, Detroit, Chicago, and Louisville, KY, and over 100 others after King’s murder, in Boston, the audience at his concert and the people watching at home on television seemed to heed his calls for nonviolence. “Boston,” writes Weekend America, “remained quiet.”
Sure, you enjoyed hearing the way Ancient Greek music actually sounded last week, but what about the way Ancient Greek poetry actually sounded? We can find fewer finer or more recognizable examples of the stuff than Homer’s Iliad, and above you can hear a reading of a section of the Iliad (Book 23, Lines 62–107 ) in the original Ancient Greek language.
It comes from what may strike you as an unlikely source: Stanley Lombardo, a University of Kansas classicist (and also, as it happens, a Zen Buddhist) best known for his translations of the Iliad, the Odyssey, and Virgil’s Aeneid into contemporary-sounding English. “Sounding less like aristocratic warriors than like American G.I.‘s, perhaps,” writes classics-steeped critic Daniel Mendelsohn in the New York Times review of Lombardo’s Iliad, “his epic heroes ‘badmouth’ and ‘beat the daylights out of one another and witheringly call one another ‘trash’ and ‘pansy.’ ”
But Lombardo knows thoroughly the material he adapts. Even those of us who never learned Ancient Greek — if I may speak for this presumably large group of readers — can get a feel for Homer’s tale of the Trojan War and the soldiers’ long return home by listening to the professor’s delivery alone. Just above, you can see him give a reading from his English translation. It won’t surprise you to learn that he also reads the audio books. “We listened spellbound to the incantatory waves of Professor Stanley Lombardo’s voice telling the stories of Odysseus and his Odyssey and then those of the Trojan heroes of The Illiad,” writes Andrei Codrescu in an article on them for the Villager. “Professor Lombardo translated anew the immortal epics and immersed himself so deeply in their world his voice sounded as believable as the hills and valleys we crossed. His voice knows the tales and their enduring charms, and sounds for all the world like an ancient bard’s. Homer himself couldn’t have done better. In English no less, millennia later.”
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