Woody Allen Lists the Greatest Films of All Time: Includes Classics by Bergman, Truffaut & Fellini

woody allen clarinet

Image by Col­in Swan, via Wiki­me­dia Com­mons

We’ve looked this week at the favorite movies select­ed by such respect­ed film­mak­ers as Stan­ley Kubrick and Mar­tin Scors­ese. Today we round out this trio of emi­nent direc­tors with the great­est films of all time accord­ing to Woody Allen, vot­ing in the almighty Sight and Sound poll. The direc­tor of Annie Hall, Crimes and Mis­de­meanors, and Mid­night in Paris select­ed, in no par­tic­u­lar order, the fol­low­ing:

  • The 400 Blows (François Truf­faut, 1959)
  • (Fed­eri­co Felli­ni, 1963)
  • Amar­cord (Fed­eri­co Felli­ni, 1972)
  • The Bicy­cle Thieves (Vit­to­rio de Sica, 1948)
  • Cit­i­zen Kane (Orson Welles, 1941)
  • The Dis­creet Charm of the Bour­geoisie (Luis Buñuel, 1972)
  • Grand Illu­sion (Jean Renoir, 1937)
  • Paths of Glo­ry (Stan­ley Kubrick, 1957)
  • Rashomon (Aki­ra Kuro­sawa, 1950)
  • The Sev­enth Seal (Ing­mar Bergman, 1957)

It comes as no shock that Ing­mar Bergman makes the list, giv­en Allen’s well-doc­u­ment­ed and open­ly admit­ted enthu­si­asm for (and, in cas­es like Inte­ri­ors, direct imi­ta­tion of) the man who made The Sev­enth Seal. If that vote rep­re­sents Allen’s con­tem­pla­tive, moral­ly seri­ous side, then the vote for Luis Buñuel’s endur­ing­ly fun­ny sur­re­al­ist farce The Dis­creet Charm of the Bour­geoisie rep­re­sents his well-known predilec­tion for humor, often class-based, which occa­sion­al­ly melts into silli­ness.

Like Scors­ese, Allen includes Kubrick, though for his ear­ly Paths of Glo­ry rather than the more wide­ly-seen 2001. Like both Scors­ese and Kubrick, he picks a Felli­ni — two, in fact — and all three of their lists illus­trate that it would take a con­trar­i­an film­go­er indeed to deny Orson Welles’ Cit­i­zen Kane a vote. Kubrick, you’ll recall, also had great praise for Vit­to­rio de Sica and François Truf­faut, and their ear­ly pic­tures show up among Allen’s selec­tions. Take Kubrick, Scors­ese, and Allen’s lists togeth­er, and you have a few prin­ci­ples to guide your view­ing: con­cen­trate on the mid­cen­tu­ry mas­ters. Cit­i­zen Kane real­ly does mer­it all those acco­lades. And above all, make sure you watch your Felli­ni. But which films did Felli­ni love?

Relat­ed Con­tent:

Mar­tin Scors­ese Reveals His 12 Favorite Movies (and Writes a New Essay on Film Preser­va­tion)

Stan­ley Kubrick’s List of Top 10 Films (The First and Only List He Ever Cre­at­ed)

How Woody Allen Dis­cov­ered Ing­mar Bergman, and How You Can Too

Woody Allen Answers 12 Uncon­ven­tion­al Ques­tions He Has Nev­er Been Asked Before

Meetin’ WA: Jean-Luc Godard Meets Woody Allen

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­lesA Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall.

Watch Lollapalooza 2013. It’s Streaming Live on YouTube This Weekend, and It’s Free

A quick heads up: The Lol­la­palooza 2013 music fes­ti­val is get­ting going in Chica­go. And it’s stream­ing live (for free) all this week­end on YouTube. Right now, you can catch The Killers on stage. Nine Inch Nails will be per­form­ing lat­er tonight (Fri­day). You can find the line­up for Sat­ur­day and Sun­day here. Enjoy the shows.

Watch as Van Gogh’s Famous Self-Portrait Morphs Into a Photograph

It’s a real­i­ty of big city liv­ing that one occa­sion­al­ly stum­bles upon some famous per­son behav­ing like a mere civil­ian, out walk­ing the dog, buy­ing a lat­te, or tak­ing the kids to some child-cen­tric event. I’m bad at rec­og­niz­ing these lumi­nar­ies out of con­text, which may be why I’m great at mis­tak­en­ly believ­ing some ran­dom cit­i­zen stand­ing beside me at an inter­sec­tion is in fact a not­ed author or beloved char­ac­ter actor. I have thus far nev­er labored under the delu­sion that the guy across the aisle on the F train to Brook­lyn is a one-eared Dutch post-Impres­sion­ist who died over a hun­dred years ago, but that could change.

van gogh portrait photo

Or not. Accord­ing to Lithuan­ian archi­tect and pho­tog­ra­ph­er Tadao Cern, the friend who served as the mod­el for his dig­i­tal recre­ation of Vin­cent Van Gogh’s icon­ic self-por­trait does­n’t resem­ble the painter all that much beyond his gin­ger hair and beard. After tak­ing his pic­ture, Cern devot­ed a day to adjust­ing col­ors and expo­sure in Light­room and fine tun­ing a host of details in Pho­to­shop. Sud­den­ly, the sim­i­lar­i­ties were uncan­ny.

vg Self-PortraitAnd since every Franken­stein needs a bride, Cern has cob­bled togeth­er a Mona Lisa to keep Van Gogh com­pa­ny.

via The Atlantic

Relat­ed Con­tent:

Mor­ph­ing Van Gogh Por­traits

Simon Schama Presents Van Gogh and the Begin­ning of Mod­ern Art

Ayun Hal­l­i­day is post­ing from the wilds of Cape Cod, where she once spot­ted John Waters rid­ing his bicy­cle to Safe­way in a yel­low slick­er and match­ing all-weath­er pants. Fol­low her @AyunHalliday

George Saunders Extols the Virtues of Kindness in 2013 Speech to Syracuse University Grads

George_Saunders_by_David_Shankbone

Full dis­clo­sure: I love George Saun­ders. Can I say that? Can I say that George Saun­ders rekin­dled my faith in con­tem­po­rary fic­tion? Is that too fawn­ing? Obse­quious, but true! Oh, how bored I had become with fourth-hand deriv­a­tive Carv­er, cheap­ened Cheev­er, some­times the sad approx­i­ma­tions of Chuck Palah­niuk. So bor­ing. It had got­ten so all I could read was Philip K. Dick, over and over and over. And Alice Walk­er. And Wuther­ing Heights. And Thomas Hardy. Do you see the pass I’d come to? Then Saun­ders. In a writ­ing class I took, with one of Gor­don Lish’s acolytes (no names), I read Saun­ders. I read Wells Tow­ers, Pad­gett Pow­ell, Aimee Bender—a host of mod­ern writ­ers who were doing some­thing new, in short, some­times very short, forms, but explo­sive!

What is it about George Saun­ders that grips? He has mas­tered friv­o­li­ty, turned it into an art of dia­mond-like com­pres­sion. And for this, he gets a MacArthur Fel­low­ship? Well, yes. Because what he does is bril­liant, in its shock­ing­ly unaf­fect­ed obser­va­tions of human­i­ty. George Saun­ders is an accom­plished writer who puts lit­tle store in his accom­plish­ments. Instead, he val­ues kind­ness most of all, and gen­eros­i­ty. These are the qual­i­ties he extols, in his typ­i­cal­ly droll man­ner, in a grad­u­a­tion speech he deliv­ered to the 2013 grad­u­at­ing class at Syra­cuse Uni­ver­si­ty. Kind­ness: a lit­tle virtue, you might say. The New York Times has pub­lished his speech, and I urge you to read it in full. I’m going to give you half, below, and chal­lenge you to find George Saun­ders want­i­ng.

Down through the ages, a tra­di­tion­al form has evolved for this type of speech, which is: Some old fart, his best years behind him, who, over the course of his life, has made a series of dread­ful mis­takes (that would be me), gives heart­felt advice to a group of shin­ing, ener­getic young peo­ple, with all of their best years ahead of them (that would be you).

And I intend to respect that tra­di­tion.

Now, one use­ful thing you can do with an old per­son, in addi­tion to bor­row­ing mon­ey from them, or ask­ing them to do one of their old-time “dances,” so you can watch, while laugh­ing, is ask: “Look­ing back, what do you regret?”  And they’ll tell you.  Some­times, as you know, they’ll tell you even if you haven’t asked.  Some­times, even when you’ve specif­i­cal­ly request­ed they not tell you, they’ll tell you.

So: What do I regret?  Being poor from time to time?  Not real­ly.  Work­ing ter­ri­ble jobs, like “knuck­le-puller in a slaugh­ter­house?”  (And don’t even ASK what that entails.)  No.  I don’t regret that.  Skin­ny-dip­ping in a riv­er in Suma­tra, a lit­tle buzzed, and look­ing up and see­ing like 300 mon­keys sit­ting on a pipeline, poop­ing down into the riv­er, the riv­er in which I was swim­ming, with my mouth open, naked?  And get­ting death­ly ill after­wards, and stay­ing sick for the next sev­en months?  Not so much.  Do I regret the occa­sion­al humil­i­a­tion?  Like once, play­ing hock­ey in front of a big crowd, includ­ing this girl I real­ly liked, I some­how man­aged, while falling and emit­ting this weird whoop­ing noise, to score on my own goalie, while also send­ing my stick fly­ing into the crowd, near­ly hit­ting that girl?  No.  I don’t even regret that.

But here’s some­thing I do regret:

In sev­enth grade, this new kid joined our class.  In the inter­est of con­fi­den­tial­i­ty, her Con­vo­ca­tion Speech name will be “ELLEN.”  ELLEN was small, shy.  She wore these blue cat’s‑eye glass­es that, at the time, only old ladies wore.  When ner­vous, which was pret­ty much always, she had a habit of tak­ing a strand of hair into her mouth and chew­ing on it.

So she came to our school and our neigh­bor­hood, and was most­ly ignored, occa­sion­al­ly teased (“Your hair taste good?” – that sort of thing).  I could see this hurt her.  I still remem­ber the way she’d look after such an insult: eyes cast down, a lit­tle gut-kicked, as if, hav­ing just been remind­ed of her place in things, she was try­ing, as much as pos­si­ble, to dis­ap­pear.  After awhile she’d drift away, hair-strand still in her mouth.  At home, I imag­ined, after school, her moth­er would say, you know: “How was your day, sweet­ie?” and she’d say, “Oh, fine.”  And her moth­er would say, “Mak­ing any friends?” and she’d go, “Sure, lots.”

Some­times I’d see her hang­ing around alone in her front yard, as if afraid to leave it.

And then – they moved.  That was it.  No tragedy, no big final haz­ing.

One day she was there, next day she wasn’t.

End of sto­ry.

Now, why do I regret that?  Why, forty-two years lat­er, am I still think­ing about it?  Rel­a­tive to most of the oth­er kids, I was actu­al­ly pret­ty nice to her.  I nev­er said an unkind word to her.  In fact, I some­times even (mild­ly) defend­ed her.

But still.  It both­ers me.

So here’s some­thing I know to be true, although it’s a lit­tle corny, and I don’t quite know what to do with it:

What I regret most in my life are fail­ures of kind­ness. 

Those moments when anoth­er human being was there, in front of me, suf­fer­ing, and I responded…sensibly.  Reserved­ly.  Mild­ly.

Or, to look at it from the oth­er end of the tele­scope:  Who, in your life, do you remem­ber most fond­ly, with the most unde­ni­able feel­ings of warmth?

Those who were kind­est to you, I bet.

It’s a lit­tle facile, maybe, and cer­tain­ly hard to imple­ment, but I’d say, as a goal in life, you could do worse than: Try to be kinder.

Read the rest of Saun­ders’ speech here, and be moved. Try not to be.

Relat­ed Con­tent:

10 Free Sto­ries by George Saun­ders, Author of Tenth of Decem­ber, “The Best Book You’ll Read This Year”

Oprah Winfrey’s Har­vard Com­mence­ment Speech: Fail­ure is Just Part of Mov­ing Through Life

David Byrne’s Grad­u­a­tion Speech Offers Trou­bling and Encour­ag­ing Advice for Stu­dents in the Arts

Josh Jones is a writer and musi­cian based in Wash­ing­ton, DC. Fol­low him at @jdmagness

132 Years of Global Warming Visualized in 26 Dramatically Animated Seconds

Cour­tesy of NASA comes a visu­al­iza­tion show­ing how glob­al tem­per­a­tures have changed since 1880. Accord­ing to NASA’s web site, this “col­or-cod­ed map shows a pro­gres­sion of chang­ing glob­al sur­face tem­per­a­tures from 1884 to 2012. Dark blue indi­cates areas cool­er than aver­age. Dark red indi­cates areas warmer than aver­age.”  And the dif­fer­ence between dark blue and dark red is about 7.2 degrees fahren­heit. NASA sci­en­tists note that “2012 was the ninth warmest of any year since 1880, con­tin­u­ing a long-term trend of ris­ing glob­al tem­per­a­tures. With the excep­tion of 1998, the nine warmest years in the 132-year record all have occurred since 2000, with 2010 and 2005 rank­ing as the hottest years on record.” Copies of the video above and still shots can be freely down­loaded from the NASA web site. To deep­en your under­stand­ing of cli­mate change, spend some time with Glob­al Warm­ing, a free online course from the Uni­ver­si­ty of Chica­go. 

via @SteveSilberman/Wash­Po

Relat­ed Con­tent:

A Song of Our Warm­ing Plan­et: Cel­list Turns 130 Years of Cli­mate Change Data into Music

Glob­al Warm­ing: A Free Course from UChica­go Explains Cli­mate Change

Per­pet­u­al Ocean: A Van Gogh-Like Visu­al­iza­tion of our Ocean Cur­rents

Sal­ly Ride Warns Against Glob­al Warm­ing; Won­ders If Tech­nol­o­gy Can Save Us From Our­selves

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The Origins Project Brings Together Neil DeGrasse Tyson, Richard Dawkins, Lawrence Krauss, Bill Nye, Ira Flatow, and More on One Stage

It often seems, at least to me, that our cul­ture is slow­ly slid­ing back­ward when it comes to sci­ence edu­ca­tion. As a human­i­ties per­son, my obser­va­tions may not count for much, but I do find myself get­ting nos­tal­gic for pop­u­lar sci­ence com­mu­ni­ca­tors like Carl Sagan and Richard Feyn­man; peo­ple who could appear in America’s liv­ing room and enthrall even the most hard­ened and recal­ci­trant of minds. Sagan’s influ­ence peaked at the dawn of the cul­ture wars, and it doesn’t seem like any­one could fill his shoes.

But sev­er­al influ­en­tial sci­ence com­mu­ni­ca­tors have made sig­nif­i­cant strides in bring­ing sci­ence to a pop­u­lar audi­ence in the past few decades. Among them is the very affa­ble astro­physi­cist Neil DeGrasse Tyson, who takes Sagan’s man­tle in the Cos­mos reboot on Fox next year. There are media fig­ures like NPR’s Ira Fla­tow, Bill Nye the Sci­ence Guy, sci-fi author Neal Stephen­son, and Emmy-award-win­ning Tra­cy Day, co-founder of the World Sci­ence Fes­ti­val. Physi­cist and pop­u­lar sci­ence writer Bri­an Greene has done excel­lent work for NOVA, and sci­en­tif­ic heavy­weights Lawrence Krauss and Richard Dawkins reach mil­lions with pop­u­lar books and media appear­ances.

Now imag­ine all these peo­ple on the same stage togeth­er, trad­ing sto­ries, jam­ming, riff­ing like great jazz musi­cians, like some Jus­tice League of 21st cen­tu­ry sci­ence lovers. Well, you don’t have to, because this hap­pened, not on prime­time tele­vi­sion (alas), but at Ari­zona State Uni­ver­si­ty under the aegis of their “Ori­gins Project,” whose mis­sion is to fos­ter inter­dis­ci­pli­nary research, build sci­en­tif­ic part­ner­ships, and “raise the pro­file of ori­gins-relat­ed issues and broad­en sci­en­tif­ic lit­er­a­cy.” Ori­gins Project direc­tor Lawrence Krauss MC’ed the March 30th event, and the pan­el filled a 3,000-seat audi­to­ri­um for a two-hour ses­sion that focus­es on “the sto­ry­telling of sci­ence” (part one at top, part two above).

The event har­ness­es the slick, enter­tain­ing for­mat of TED Talks to demon­strate how cut­ting-edge research can reach a wide audi­ence eager for a fuller under­stand­ing of the phys­i­cal uni­verse. The first video up top opens with a quote from Michael Sher­mer: “Humans are pat­tern-seek­ing sto­ry-telling ani­mals, and we are quite adept at telling sto­ries about pat­terns, whether they exist or not.” The sto­ries that the mem­bers of this excit­ing pan­el dis­cus­sion tell are con­nect­ed to phys­i­cal real­i­ty through sci­en­tif­ic evi­dence that—without art­ful and com­pelling narrative—can seem bewil­der­ing­ly com­plex.

Relat­ed Con­tent:

Neil deGrasse Tyson Unveils a Daz­zling Pre­view of the New Cos­mos

Richard Dawkins Makes the Case for Evo­lu­tion in the 1987 Doc­u­men­tary, The Blind Watch­mak­er

The Unbe­liev­ers, A New Film Star­ring Richard Dawkins, Lawrence Krauss, Wern­er Her­zog, Woody Allen, & Cor­mac McCarthy

Bill Nye, The Sci­ence Guy, Says Cre­ation­ism is Bad for Kids and America’s Future

Josh Jones is a writer and musi­cian based in Wash­ing­ton, DC. Fol­low him at @jdmagness

The Masterful Polaroid Pictures Taken by Filmmaker Andrei Tarkovsky

Tarkovskypol1

Today, dig­i­tal­ly empow­ered to take, view, and share a pho­to­graph in the span of sec­onds, we think noth­ing of the phrase “ïnstant cam­era.” But to cel­e­brat­ed Russ­ian film­mak­er Andrei Tarkovsky, who died in 1986 after liv­ing almost his entire life in the Sovi­et Union, the tech­nol­o­gy came as a rev­e­la­tion. He had, of course, to use a prim­i­tive Polaroid cam­era, but, Tarkovsky being Tarkovsky, his aes­thet­ic sense still came through its lit­tle square, self-devel­op­ing frames loud and clear — or rather, it came through, rich, pen­sive, solemn, and autum­nal.

tark photo

In 2006, Thames & Hud­son pub­lished Instant Light, a book col­lect­ing “a selec­tion of col­or Polaroids the film­mak­er took from 1979 to 1984 of his home, fam­i­ly, and friends in Rus­sia and of places he vis­it­ed in Italy,” and you can see some of these images on the blog Poe­mas del río Wang, or on this Face­book page.

Tarkovskypol2

The post quotes Tarkovsky’s friend Toni­no Guer­ra, remem­ber­ing the auteur’s Polaroid peri­od: “In 1977, on my wed­ding cer­e­mo­ny in Moscow, Tarkovsky appeared with a Polaroid cam­era. He had just short­ly dis­cov­ered this instru­ment and used it with great plea­sure among us. [ … ] Tarkovsky thought a lot about the ‘flight’ of time and want­ed to do only one thing: to stop it — even if only for a moment, on the pic­tures of the Polaroid cam­era.”

tark photo2

Now that we find our­selves in a new wave of Polaroidism — you can even buy the cam­eras and their film at Urban Out­fit­ters — we’d do well to study these pic­tures tak­en by a man who mas­tered their form just as thor­ough­ly as he mas­tered cin­e­ma. And if you want evi­dence of the lat­ter, look no fur­ther than our col­lec­tion of Tarkovsky films free online.

Tarkovskypol3

Relat­ed Con­tent:

Tarkovsky’s Advice to Young Film­mak­ers: Sac­ri­fice Your­self for Cin­e­ma

Tarkovsky’s Solaris Revis­it­ed

Andrei Tarkovsky’s Very First Films: Three Stu­dent Films, 1956–1960

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­lesA Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall.

100 Great Sci-Fi Stories by Women Writers (Read 20 for Free Online)

Image by Frankie Fougan­thin, via Wiki­me­dia Com­mons

Since 2009, the orga­ni­za­tion VIDA: Women in the Lit­er­ary Arts has sought to bring bal­ance to the rep­re­sen­ta­tion of female authors in the lit­er­ary world. As revealed by the 2010 con­tro­ver­sy begun by author Jodi Picoult over the gush­ing treat­ment Jonathan Franzen’s Free­dom received in the New York Times, the dis­par­i­ty, and the bias, are real. Author Jen­nifer Wein­er chimed in as well, writ­ing: “when a man writes about fam­i­ly and feel­ings, it’s lit­er­a­ture with a cap­i­tal L, but when a woman con­sid­ers the same top­ics, it’s romance, or a beach book.” This fracas—involving a num­ber of most­ly New York literati and the death of the term “chick lit”—didn’t split even­ly down gen­der lines. Both male and female writ­ers lined up to defend Picoult and Franzen, but it did open up legit­i­mate ques­tions about the old (most­ly white) boys club that claims the upper ech­e­lons of lit­er­ary fic­tion and the brass ring that is the New York Times book review.

What received no notice in the pop­u­lar media dur­ing all this chat­ter was the place of women writ­ers in genre fic­tion, which most­ly lives out­side the gates and rarely gets much notice from the crit­ics (with the excep­tion of a hand­ful of “seri­ous” writ­ers and the Young Adult mar­ket). Well, there is a dis­cus­sion about gen­der par­i­ty in the sci­ence fic­tion world tak­ing place now on the blog of sci-fi crit­ic and writer Ian Sales. Sales curates SF Mis­tress­works—a blog for women sci-fi writers—and after review­ing a 1975 anthol­o­gy called Women of Won­der, he asked read­ers over at his blog to sub­mit their favorite short fic­tion by women writ­ers. His goal? To col­lect 100 sto­ries and novel­las as a counter to the clas­sic, and almost whol­ly male-dom­i­nat­ed col­lec­tion, 100 Great Sci­ence Fic­tion Short Short Sto­ries, edit­ed by Isaac Asi­mov. You can read the full list of 100 over at Sales’ blog. Below, we’ve excerpt­ed those sto­ries that are freely avail­able online. If you’re a sci­ence fic­tion fan and find your­self unable to name more than one or two female authors in the genre (every­one knows, for exam­ple, the fab­u­lous Ursu­la K. Le Guin and Mar­garet Atwood, pic­tured above), you might want to take a look at some of the great work you’ve missed out on.

Sales’ list spans sev­er­al decades and, as he writes, demon­strates “a good spread of styles and themes and approach­es across the genre.”

1 ‘The Fate of the Posei­do­nia’, Clare Winger Har­ris (1927, short sto­ry) online here

12 ‘The New You’, Kit Reed (1962, short sto­ry) online here

13 ‘The Put­nam Tra­di­tion’, Sonya Dor­man (1963, short sto­ry) online here

16 ‘The Heat Death of the Uni­verse’, Pamela Zoline (1967, short sto­ry) online here

24 ‘The Violet’s Embryo’, Angéli­ca Gorodis­ch­er (1973, nov­el­ette) online here (excerpt)

28 ‘The View from End­less Scarp’, Mar­ta Ran­dall (1978, short sto­ry) online here

51 ‘The Road to Jerusalem’, Mary Gen­tle (1991, short sto­ry) online here

71 ‘Cap­tive Girl’, Jen­nifer Pel­land (2006, short sto­ry) online here

79 ‘Spi­der the Artist’, Nne­di Okrafor (2008, short sto­ry) online here

81 ‘Eros, Phil­ia, Agape’, Rachel Swirsky (2009, nov­el­ette) online here

82 ‘Non-Zero Prob­a­bil­i­ties’, NK Jemisin (2009, short sto­ry) online here

85 ‘Blood, Blood’, Abbey Mei Otis (2010, short sto­ry) online here and here

88 ‘Amaryl­lis’, Car­rie Vaughn (2010, short sto­ry) online here

89 ‘I’m Alive, I Love You, I’ll See You in Reno’, Vylar Kaf­tan (2010, short sto­ry) online here

91 ‘Six Months, Three Days’, Char­lie Jane Anders (2011, short sto­ry) online here

93 ‘The Car­tog­ra­ph­er Bees and the Anar­chist Wasps’, E Lily Yu (2011, short sto­ry) online here

94 ‘Silent­ly and Very Fast’, Cath­erynne M Valente (2011, novel­la) online here, here and here

96 ‘A Vec­tor Alpha­bet of Inter­stel­lar Trav­el’, Yoon Ha Lee (2011, short sto­ry) online here

97 ‘Immer­sion’, Aliette de Bodard (2012, short sto­ry) online here

98 ‘The Lady Astro­naut of Mars’, Mary Robi­nette Kow­al (2012, nov­el­ette) online here

* Please note: an ear­li­er ver­sion of this post was titled “The 100 Best Sci-Fi Sto­ries by Women Writ­ers (Read 20 for Free Online).” As this list’s cura­tor, Ian Sales, points out unequiv­o­cal­ly below, this is not meant to be a defin­i­tive “best of” in any sense. Our apolo­gies for mis­read­ing his inten­tions. 

via Metafil­ter

Relat­ed Con­tent:

Free Sci­ence Fic­tion Clas­sics on the Web: Hux­ley, Orwell, Asi­mov, Gaiman & Beyond

Free Philip K. Dick: Down­load 11 Great Sci­ence Fic­tion Sto­ries

Isaac Asi­mov Recalls the Gold­en Age of Sci­ence Fic­tion (1937–1950)

425 Free eBooks: Down­load to Kin­dle, iPad/iPhone & Nook

Josh Jones is a writer and musi­cian based in Wash­ing­ton, DC. Fol­low him at @jdmagness

A Subway Ride Through New York City: Watch Vintage Footage from 1905


If you’re a New York­er, you know this stretch of sub­way inside and out. You’ve schlepped from Union Square to Grand Cen­tral Sta­tion on the 4, 5, or 6 trains how many times? Prob­a­bly more than you care to count. But don’t wor­ry, you’re in good com­pa­ny. New York­ers have been mak­ing this jour­ney since 1904, and here we have some vin­tage video to prove it. Shot on May 21, 1905, sev­en months after the IRT sub­way line opened, the video shows a train mov­ing uptown. And then, dur­ing the last minute, you can see the New York­ers exit­ing the train, svelte and dressed to the nines.

If you’re won­der­ing how this clip was shot, let me add this: A cam­era was mount­ed on a sub­way train fol­low­ing anoth­er train on the same track. Light­ing was pro­vid­ed by a spe­cial­ly con­struct­ed work car on a par­al­lel track.

This pub­lic domain film can be found in the Library of Con­gress’ Ear­ly Motion Pic­ture Col­lec­tion. The video itself comes to us via the New York Dai­ly News, where you can see maps and pic­tures of the ear­ly 20th cen­tu­ry sub­way sys­tem.

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Relat­ed Con­tent:

The World’s First Mobile Phone Shown on 1922 Vin­tage Film

Berlin Street Scenes Beau­ti­ful­ly Caught on Film (1900–1914)

1927 Lon­don Shown in Mov­ing Col­or

Rare Col­or Footage of the 1939 World Series: Yan­kees v. Reds

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Martin Scorsese Reveals His 12 Favorite Movies

kubrick listCin­e­ma as we’ve almost always known it — “Edi­son, the Lumière broth­ers, Méliès, Porter, all the way through Grif­fith and on to Kubrick”  — has “real­ly almost gone.” So writes Mar­tin Scors­ese in his recent essay for the New York Review of Books, “The Per­sist­ing Vision: Read­ing the Lan­guage of Cin­e­ma.” He argues that tra­di­tion­al film forms have “been over­whelmed by mov­ing images com­ing at us all the time and absolute­ly every­where, even faster than the visions com­ing at the astro­naut” in Kubrick­’s 2001: A Space Odyssey. “We have no choice but to treat all these mov­ing images com­ing at us as a lan­guage. We need to be able to under­stand what we’re see­ing and find the tools to sort it all out.” Only nat­ur­al that Scors­ese, as one of the best-known, high­est-pro­file auteurs alive, would ref­er­ence Kubrick, his gen­er­a­tional pre­de­ces­sor in the untir­ing fur­ther­ance of cin­e­mat­ic vision and craft.

We just yes­ter­day fea­tured a post about Kubrick­’s 1963 list of ten favorite films. Scors­ese, for his part, has impressed many as one of the most enthu­si­as­ti­cal­ly cinephilic direc­tors work­ing in Amer­i­ca today: his essays about and appear­ances on the DVDs of his favorite movies stand as evi­dence for the sur­pris­ing breadth of his appre­ci­a­tion. Today, why not have a look at Scors­ese’s list, which he put togeth­er for Sight and Sound mag­a­zine, and which begins with the Kubrick selec­tion you might expect:

In “The Per­sist­ing Vision,” he cham­pi­ons com­pre­hen­sive film preser­va­tion, cit­ing the case of Hitch­cock­’s Ver­ti­go, the final entry on his list, now named the great­est film of all time by Sight and Sound’s crit­ics poll. “When the film came out some peo­ple liked it, some didn’t, and then it just went away.” When, after decades of obscu­ri­ty, Ver­ti­go came back into cir­cu­la­tion,  the col­or was com­plete­ly wrong,” and “the ele­ments — the orig­i­nal pic­ture and sound neg­a­tives — need­ed seri­ous atten­tion.” A restora­tion of the “decay­ing and severe­ly dam­aged” film even­tu­al­ly hap­pened, and “more and more peo­ple saw Ver­ti­go and came to appre­ci­ate its hyp­not­ic beau­ty and very strange, obses­sive focus.” I, per­son­al­ly, could­n’t imag­ine the world of cin­e­ma with­out it — nor with­out any of the oth­er pic­tures Scors­ese calls his favorites.

Relat­ed Con­tent:

Mar­tin Scors­ese Makes a List of 85 Films Every Aspir­ing Film­mak­er Needs to See

Mar­tin Scors­ese Cre­ates a List of 39 Essen­tial For­eign Films for a Young Film­mak­er

Revis­it Mar­tin Scorsese’s Hand-Drawn Sto­ry­boards for Taxi Dri­ver

Mar­tin Scorsese’s Very First Films: Three Imag­i­na­tive Short Works

Mar­tin Scors­ese Brings “Lost” Hitch­cock Film to Screen in Short Faux Doc­u­men­tary

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­lesA Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall.

New Archive Reveals How Scientists Finally Solved the Vexing “Longitude Problem” During the 1700s

For cen­turies, sea­far­ing explor­ers and mer­chants reck­oned with the lon­gi­tude prob­lem. It was rel­a­tive­ly easy to fig­ure out a ship’s loca­tion on a north-south axis, but near­ly impos­si­ble to deter­mine how far east or west it was. And the stakes were high. Sail too far astray and your ship (and men) could end up so far afield that get­ting home before the food and water ran out might be impos­si­ble. The sail­ing world need­ed bet­ter tools to deter­mine loca­tion at sea.

In 1714 the British gov­ern­ment estab­lished the Board of Lon­gi­tude, offer­ing a cash prize to any­one who could fig­ure out how to detect how far east or west a ship was at sea. The Board was abol­ished in 1828, but only after fos­ter­ing inno­v­a­tive tech­niques that would for­ev­er change the nature of marine nav­i­ga­tion.

Cam­bridge Uni­ver­si­ty and the Nation­al Mar­itime Muse­um at Green­wich recent­ly released an archive mak­ing all of the let­ters, objects, and doc­u­ments relat­ed to the Board’s work avail­able, along with a spiffy set of videos that brings the Board’s his­to­ry and achieve­ments to life.

Dur­ing the Board’s tenure, clock­mak­er John Har­ri­son fig­ured out that sailors could find out their loca­tion if they knew local time at sea and com­pared that to the time at a com­mon ref­er­ence point. The moon was seen as a giant clock, and its posi­tion rel­a­tive to stars was record­ed in the Nau­ti­cal Almanac, giv­ing sailors the data to com­pare against the time at sea. One of the inno­va­tions vet­ted by the Board of Lon­gi­tude is John Harrison’s Sea Clock. Also dur­ing that time, Green­wich became the prime merid­i­an.

All of this work led to more accu­rate maps. The Board spon­sored jour­neys, includ­ing some aboard Cap­tain Cook’s ships with portable obser­va­to­ries for map­mak­ers to sketch and use tri­an­gu­la­tion to deter­mine accu­rate loca­tion on voy­ages, includ­ing one to the North­west­ern Unit­ed States.

You can start rum­mag­ing through the fas­ci­nat­ing archive here.

Relat­ed Con­tent:

Caught Map­ping: A Cin­e­mat­ic Ride Through the Nit­ty Grit­ty World of Vin­tage Car­tog­ra­phy

Play Cae­sar: Trav­el Ancient Rome with Stanford’s Inter­ac­tive Map

Cut­ting-Edge Tech­nol­o­gy Recon­structs the Bat­tle of Get­tys­burg 150 Years Lat­er

Kate Rix writes about edu­ca­tion and dig­i­tal media. Fol­low her on Twit­ter @mskaterix or vis­it her on the web at .


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