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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/chelsea-girls-with-mary-waronov-in-person/\">\u003cbr>\nEvent Information\u003c/a>\u003c/h3>\n\u003ch4>‘Chelsea Girls’\u003c/h4>\n\u003cdiv class=\"event-desc\">Andy Warhol film screens, with Mary Waronov in person.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Nov. 6, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Castro Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/chelsea-girls-with-mary-waronov-in-person/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In 1966, \u003ci>Variety\u003c/i> called Andy Warhol’s \u003ci>Chelsea Girls\u003c/i>, now a cult classic, \u003ca href=\"http://variety.com/1966/film/reviews/the-chelsea-girls-1200421281/\" target=\"_blank\" rel=\"noopener\">“a pointless, excruciatingly dull three-and-a-half hours\u003c/a>.” \u003ci>Variety\u003c/i> isn’t entirely incorrect about the three-and-a-half hours of excruciating dullness, but it’s not fair to equate that with pointlessness. The film, which is playing at the Castro Theatre on November 6, has its place in cinema history and is not without purpose.\u003c/p>\n\u003cp>\u003ci>Chelsea Girls\u003c/i> is a collection of twelve vignettes shot in various rooms in New York’s landmark Hotel Chelsea. The “stories” — a term used loosely since most lack a traditional narrative structure — are each approximately thirty minutes long and two are projected side-by-side at all times. There is only one audio track, which always renders one vignette silent. The audio switches between the two video channels, but some vignettes are entirely devoid of sound.\u003c/p>\n\u003cfigure id=\"attachment_10144945\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Chelsea-Girls-Brigid.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144945\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Chelsea-Girls-Brigid.png\" alt=\"Brigid Polk in Chelsea Girls\" width=\"400\" height=\"315\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brigid Polk in \u003ci>Chelsea Girls\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The opening scene includes a vignette showing singer Nico combing her hair, peering into a mirror, and calmly conversing with a man and a child. The camera moves around the room without any discernible order, cueing the visual style of the following 200 minutes. On the other channel a man played by Ondine, an actor who appeared in many of Warhol’s films, chats with a character played by Ingrid Superstar in a dark room. The nature of their conversation is unknown until the audio switches to reveal Superstar’s character confessing to either a former priest or a fake priest, depending on which declaration one chooses to believe. The rambling, improvised, and confrontational confession provides the bulk of the laughs in \u003ci>Chelsea Girls\u003c/i>, as Ondine and Superstar bicker about grammar, ear piercings, deodorant, and their first sexual experiences. The vignettes grow increasingly hostile, as Warhol’s superstars fight amongst themselves, use drugs, and chew each others clothes.\u003c/p>\n\u003cp>Throughout the film, viewers must choose which channel to pay attention to and the easiest choice is the channel with accompanying audio. But with some pairings, the action in the silent channel draws the viewer’s attention across the aural barrier. As one vignette begins, two men are smoking cigarettes in bed, one is in a bathrobe and the other in his underwear. The scene is usual enough, but at some point the shot widens and there are two women in the room. The change is missed if the viewer is watching the other channel that is accompanied by sound. Later, one of the women begins tying up the man in his underwear. Without sound, and often witnessed in fractured moments of attention, the logic of the events in this vignette are never revealed. Viewers can choose to create a narrative or just take in what they see as-is.\u003c/p>\n\u003cfigure id=\"attachment_10144951\" class=\"wp-caption alignright\" style=\"max-width: 398px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Chelsea-Girls-Boys.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144951\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Chelsea-Girls-Boys.png\" alt=\"Chelsea Girls\" width=\"398\" height=\"306\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Chelsea Girls\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Having grown up at a time when Warhol was already written into art history and the surviving cast members were senior citizens, it can be difficult to intuitively feel the transgressive nature of the subject matter. I must remind myself that this was a different time, make assumptions about what was shocking to see on screen then, and place the film in historical context. On the other hand, a half century of experimental film and underground cinema doesn’t ease the blow of \u003ci>Chelsea Girls\u003c/i>‘ cinematography or structure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you find experimental film difficult or tedium pointless, this may not be the film to dig deeper with. But if you enjoy such a challenge and are interested in the history of underground cinema, \u003ci>Chelsea Girls\u003c/i> is a classic worth seeing. It is not a classic in the way \u003ci>Metropolis\u003c/i> or \u003ci>Gone with the Wind\u003c/i> are, but it is a classic nonetheless. And watching the film on a big screen and in a big crowd will undoubtedly be more enjoyable than watching it on your laptop, should you ever find a copy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Chelsea Girls\u003c/i> screens Thursday, Nov. 6, 2014, 7pm at San Francisco’s Castro Theatre. For \u003ca href=\"http://www.sfcinematheque.org/screenings/mary-woronov-warhol-superstar-the-chelsea-girls/\">more information\u003c/a> visit sfcinematheque.org.\u003c/p>\n\n",
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The audio switches between the two video channels, but some vignettes are entirely devoid of sound.\u003c/p>\n\u003cfigure id=\"attachment_10144945\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Chelsea-Girls-Brigid.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144945\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Chelsea-Girls-Brigid.png\" alt=\"Brigid Polk in Chelsea Girls\" width=\"400\" height=\"315\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brigid Polk in \u003ci>Chelsea Girls\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The opening scene includes a vignette showing singer Nico combing her hair, peering into a mirror, and calmly conversing with a man and a child. The camera moves around the room without any discernible order, cueing the visual style of the following 200 minutes. 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Viewers can choose to create a narrative or just take in what they see as-is.\u003c/p>\n\u003cfigure id=\"attachment_10144951\" class=\"wp-caption alignright\" style=\"max-width: 398px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Chelsea-Girls-Boys.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144951\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Chelsea-Girls-Boys.png\" alt=\"Chelsea Girls\" width=\"398\" height=\"306\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Chelsea Girls\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Having grown up at a time when Warhol was already written into art history and the surviving cast members were senior citizens, it can be difficult to intuitively feel the transgressive nature of the subject matter. 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"content": "\u003cp>Wine buffs have already inked their calendars for the third Thursday in November, when this year’s batch of Beaujolais nouveau will be decanted, devoured and discussed. (And priced at a hefty premium for \u003cem>vin ordinaire\u003c/em>, but never mind.) Perhaps it’s merely a curious coincidence, but this month also brings a veritable deluge of new (and vintage) French movies to the Bay Area. Francophiles certainly aren’t complaining, and neither should you. Nobody loves cinema more than the French, from fatalistic ‘50s noirs to Godardian de- and reconstructions to breezy dramas of angst-tinged yet impeccably dressed Parisian millennials. Don’t forget your raincoat, or your beret.\u003c/p>\n\u003cfigure id=\"attachment_10144859\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Kstewartfans-e1414794770904.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Kstewartfans-800x436.jpg\" alt=\"Olivier Assayas’ Clouds of Sils Maria\" width=\"800\" height=\"436\" class=\"size-medium wp-image-10144859\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Olivier Assayas’ \u003cem>Clouds of Sils Maria\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>French Cinema Now\u003c/strong> (Nov. 6-9), the San Francisco Film Society’s annual survey of contemporary Gallic movies, adopts a new venue (the Vogue Theatre) to present its trademark mix of household names and relative unknowns (at least to U.S. audiences). Superstars Juliette Binoche (playing a conflicted actress in Olivier Assayas’ \u003cem>Clouds of Sils Maria\u003c/em>, Nov. 9) and Marion Cotillard (as a desperate, newly laid-off factory worker in the Dardennes Brothers’ \u003cem>Two Days, One Night\u003c/em>, Nov. 8) light up the marquee, along with Alain Delon in the 1980 crime yarn \u003cem>Three Men to Kill\u003c/em> (Nov. 9). Those with a yen for discovery have lots of choices, including \u003cem>The Easy Way Out\u003c/em>, a brisk, bantering drama of three adult brothers navigating problematic relationships with their partners and parents. For \u003ca href=\"http://www.sffs.org/exhibition/fall-season-2014/french-cinema-now#.VFPfjChOS-8\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit sffs.org.\u003c/p>\n\u003cfigure id=\"attachment_10144860\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/vertige540.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/vertige540.jpg\" alt=\"Vertige\" width=\"640\" height=\"360\" class=\"size-full wp-image-10144860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/vertige540.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/vertige540-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>Vertige\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003cstrong>San Francisco Dance Film Festival\u003c/strong> (Nov. 6-9) pirouettes into the Brava Theatre this weekend as well, showcasing a stunning array of movies that bring the motion to motion pictures. The French short \u003cem>Vertige\u003c/em>, with choreography by Rami Hassoun, sets the pitched emotions of a heightened love affair in the great outdoors while Mimi Cave and Casey Avaunt’s locally produced Magic Man music video \u003cem>Paris\u003c/em> (its title warrants its inclusion here) finds inspiration in unexpected Bay Area locations. For \u003ca href=\"http://www.sfdancefilmfest.org/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit sfdancefilmfest.org.\u003c/p>\n\u003cfigure id=\"attachment_10144861\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/passion.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/passion.jpg\" alt=\"Jean-Luc Godard's Passion\" width=\"640\" height=\"431\" class=\"size-full wp-image-10144861\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/passion.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/passion-400x269.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jean-Luc Godard’s \u003ci>Passion\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The latest leg in the Pacific Film Archive’s ongoing retrospective, \u003cstrong>Jean-Luc Godard: Expect Everything From Cinema\u003c/strong> (Nov. 8-Dec. 13), revisits eight gorgeously provocative films from the 1980s and ‘90s. The uncompromising enfant terrible of the Nouvelle Vague has not aged gracefully; he is as radical, political, confrontational (more than fellow European social critics Michael Haneke and Lars von Trier), pioneering and anti-American as ever. It’s easy to hate the man and love his astonishingly beautiful films, which challenge and not infrequently insult the viewer while questioning and reinventing the language, nature and purpose of cinema. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/Godard_expect_ND14\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\u003cfigure id=\"attachment_10144862\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/goodbye.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/goodbye.jpg\" alt=\"Godard's Goodbye to Language 3D\" width=\"640\" height=\"360\" class=\"size-full wp-image-10144862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/goodbye.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/goodbye-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Godard’s \u003cem>Goodbye to Language\u003c/em> \u003cem>3D\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Godard’s latest film, \u003cem>Goodbye to Language\u003c/em> \u003cem>3D\u003c/em> (\u003cem>Adieu au Language\u003c/em>) revolves around a married woman, a single man and a dog. Philosophy, nudity, the perpetual dilemma of human relationships (interpersonal and geopolitical) — ideas galore, without the comforting bourgeois convention of a “story.” In other words, a work of confounding genius whose pleasures are not the usual ones. \u003ci>Goodbye to Language\u003c/i> opens Friday, Nov. 14 exclusively at the Smith Rafael Film Center in San Rafael. For \u003ca href=\"http://rafaelfilm.cafilm.org/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit rafaelfilm.cafilm.org.\u003c/p>\n\u003cfigure id=\"attachment_10144864\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/voici.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/voici.jpg\" alt=\"Julien Duvivier’s Voici les Temps des Assassins \" width=\"640\" height=\"449\" class=\"size-full wp-image-10144864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/voici.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/voici-400x280.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Julien Duvivier’s \u003cem>Voici les Temps des Assassins\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Who can resist black-and-white melodramas with conniving (and gorgeous, and doomed) protagonists? Really? What if they’re dressed to the nines and weaving their seductively articulate webs in French? Exactly. \u003cstrong>The French Had a Name For It: Classic French Noir from the ‘40s through the ‘60s\u003c/strong> (Nov. 14-17 at the Roxie) is packed with delicious gems such as Julien Duvivier’s \u003cem>Voici les Temps des Assassins\u003c/em> (\u003cem>Deadlier Than the Male\u003c/em>, Nov. 16), a 1956 potboiler starring the marvelous Jean Gabin as an accomplished chef and restaurateur who falls for his despised ex-wife’s daughter. Danièle Delorme plays the scheming \u003cem>femme fatale\u003c/em> (the French had a word for it, alright) with enough icy, charming menace to chill Barbara Stanwyck’s blood. For \u003ca href=\"http://www.roxie.com/ai1ec_event/french-noir/?instance_id=5331\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit roxie.com.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wine buffs have already inked their calendars for the third Thursday in November, when this year’s batch of Beaujolais nouveau will be decanted, devoured and discussed. (And priced at a hefty premium for \u003cem>vin ordinaire\u003c/em>, but never mind.) Perhaps it’s merely a curious coincidence, but this month also brings a veritable deluge of new (and vintage) French movies to the Bay Area. Francophiles certainly aren’t complaining, and neither should you. Nobody loves cinema more than the French, from fatalistic ‘50s noirs to Godardian de- and reconstructions to breezy dramas of angst-tinged yet impeccably dressed Parisian millennials. Don’t forget your raincoat, or your beret.\u003c/p>\n\u003cfigure id=\"attachment_10144859\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Kstewartfans-e1414794770904.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Kstewartfans-800x436.jpg\" alt=\"Olivier Assayas’ Clouds of Sils Maria\" width=\"800\" height=\"436\" class=\"size-medium wp-image-10144859\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Olivier Assayas’ \u003cem>Clouds of Sils Maria\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>French Cinema Now\u003c/strong> (Nov. 6-9), the San Francisco Film Society’s annual survey of contemporary Gallic movies, adopts a new venue (the Vogue Theatre) to present its trademark mix of household names and relative unknowns (at least to U.S. audiences). Superstars Juliette Binoche (playing a conflicted actress in Olivier Assayas’ \u003cem>Clouds of Sils Maria\u003c/em>, Nov. 9) and Marion Cotillard (as a desperate, newly laid-off factory worker in the Dardennes Brothers’ \u003cem>Two Days, One Night\u003c/em>, Nov. 8) light up the marquee, along with Alain Delon in the 1980 crime yarn \u003cem>Three Men to Kill\u003c/em> (Nov. 9). Those with a yen for discovery have lots of choices, including \u003cem>The Easy Way Out\u003c/em>, a brisk, bantering drama of three adult brothers navigating problematic relationships with their partners and parents. For \u003ca href=\"http://www.sffs.org/exhibition/fall-season-2014/french-cinema-now#.VFPfjChOS-8\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit sffs.org.\u003c/p>\n\u003cfigure id=\"attachment_10144860\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/vertige540.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/vertige540.jpg\" alt=\"Vertige\" width=\"640\" height=\"360\" class=\"size-full wp-image-10144860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/vertige540.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/vertige540-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>Vertige\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003cstrong>San Francisco Dance Film Festival\u003c/strong> (Nov. 6-9) pirouettes into the Brava Theatre this weekend as well, showcasing a stunning array of movies that bring the motion to motion pictures. The French short \u003cem>Vertige\u003c/em>, with choreography by Rami Hassoun, sets the pitched emotions of a heightened love affair in the great outdoors while Mimi Cave and Casey Avaunt’s locally produced Magic Man music video \u003cem>Paris\u003c/em> (its title warrants its inclusion here) finds inspiration in unexpected Bay Area locations. For \u003ca href=\"http://www.sfdancefilmfest.org/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit sfdancefilmfest.org.\u003c/p>\n\u003cfigure id=\"attachment_10144861\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/passion.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/passion.jpg\" alt=\"Jean-Luc Godard's Passion\" width=\"640\" height=\"431\" class=\"size-full wp-image-10144861\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/passion.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/passion-400x269.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jean-Luc Godard’s \u003ci>Passion\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The latest leg in the Pacific Film Archive’s ongoing retrospective, \u003cstrong>Jean-Luc Godard: Expect Everything From Cinema\u003c/strong> (Nov. 8-Dec. 13), revisits eight gorgeously provocative films from the 1980s and ‘90s. The uncompromising enfant terrible of the Nouvelle Vague has not aged gracefully; he is as radical, political, confrontational (more than fellow European social critics Michael Haneke and Lars von Trier), pioneering and anti-American as ever. It’s easy to hate the man and love his astonishingly beautiful films, which challenge and not infrequently insult the viewer while questioning and reinventing the language, nature and purpose of cinema. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/Godard_expect_ND14\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\u003cfigure id=\"attachment_10144862\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/goodbye.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/goodbye.jpg\" alt=\"Godard's Goodbye to Language 3D\" width=\"640\" height=\"360\" class=\"size-full wp-image-10144862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/goodbye.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/goodbye-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Godard’s \u003cem>Goodbye to Language\u003c/em> \u003cem>3D\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Godard’s latest film, \u003cem>Goodbye to Language\u003c/em> \u003cem>3D\u003c/em> (\u003cem>Adieu au Language\u003c/em>) revolves around a married woman, a single man and a dog. Philosophy, nudity, the perpetual dilemma of human relationships (interpersonal and geopolitical) — ideas galore, without the comforting bourgeois convention of a “story.” In other words, a work of confounding genius whose pleasures are not the usual ones. \u003ci>Goodbye to Language\u003c/i> opens Friday, Nov. 14 exclusively at the Smith Rafael Film Center in San Rafael. For \u003ca href=\"http://rafaelfilm.cafilm.org/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit rafaelfilm.cafilm.org.\u003c/p>\n\u003cfigure id=\"attachment_10144864\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/voici.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/voici.jpg\" alt=\"Julien Duvivier’s Voici les Temps des Assassins \" width=\"640\" height=\"449\" class=\"size-full wp-image-10144864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/voici.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/voici-400x280.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Julien Duvivier’s \u003cem>Voici les Temps des Assassins\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Who can resist black-and-white melodramas with conniving (and gorgeous, and doomed) protagonists? Really? What if they’re dressed to the nines and weaving their seductively articulate webs in French? Exactly. \u003cstrong>The French Had a Name For It: Classic French Noir from the ‘40s through the ‘60s\u003c/strong> (Nov. 14-17 at the Roxie) is packed with delicious gems such as Julien Duvivier’s \u003cem>Voici les Temps des Assassins\u003c/em> (\u003cem>Deadlier Than the Male\u003c/em>, Nov. 16), a 1956 potboiler starring the marvelous Jean Gabin as an accomplished chef and restaurateur who falls for his despised ex-wife’s daughter. Danièle Delorme plays the scheming \u003cem>femme fatale\u003c/em> (the French had a word for it, alright) with enough icy, charming menace to chill Barbara Stanwyck’s blood. For \u003ca href=\"http://www.roxie.com/ai1ec_event/french-noir/?instance_id=5331\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit roxie.com.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the \u003ci>All Things Considered\u003c/i> story.\u003c/h4>\n\u003cp>http://pd.npr.org/anon.npr-mp3/npr/atc/2014/10/20141030_atc_halloween_horrorthons_and_all_night_fright_fests_a_remembrance_.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Halloween’s rolled around again and yeah, yeah, it’s a dark and stormy night. The road’s washed out, phone’s gone dead, the mystic’s reading her ouija board, and zombies are popping through doorways left open by a demented kewpie doll.\u003c/p>\n\u003cp>Been there. Seen that. Got the t-shirt.\u003c/p>\n\u003cp>In fact, I very nearly designed a t-shirt for this sort of stuff back in the 1970s, before I was a movie critic. My first gig out of college was doing publicity for Roth Theaters, a mid-size, DC-based theater chain that got gobbled up in the ’80s by a bigger circuit. My boss was Paul Roth, an old-school movie guy who by the time I met him had probably forgotten more about showmanship than I’ll ever know.\u003c/p>\n\u003cp>We staged weddings in the aisle for a movie called \u003cem>The Bride\u003c/em> (patrons threw popcorn instead of rice). We dressed a verrrry short usher one December as \u003cem>E.T.\u003c/em>, and then added a beard and tasseled red hat so he could be Santa’s Helper. And for the opening of \u003cem>Airplane!\u003c/em>, an usher and I climbed up on a marquee to attach the back half of a plane fuselage I’d found at a junkyard so it looked like it had crashed into the theater. We knew we were getting the look right when a passing motorist screeched to a halt, leapt from his car, and yelled “is everyone okay?”\u003c/p>\n\u003cp>But the most fun we had was promoting Roth’s drive-in theaters, especially when audiences dwindled as the weather turned cold. Halloween was both a challenge and an opportunity for drive-ins: Obviously the right place for scares, but hard to find new films for when there was a chill in the air. So Paul dug deep in the B-movie horror vaults, and showed me how to sell the sizzle, not the steak.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s the kind of ad copy he favored (writing it was the first radio writing I ever did). Imagine a booming voice with lots of echo effects, thunder crashes and screams between phrases.\u003c/p>\n\u003cp>“Friday Night at the Ranch Drive In: Our Dusk-to-Dawn Halloween Horrorthon! An all-night fright-fest with Five — count-’em FIVE(!) — full-length features. Shuddering spectres guaranteed to scare you shout-less! Films so terrifying we can’t reveal the titles. But we can say this: No one with a heart condition will be admitted. We’ll have nurses in attendance … and a hearse standing by.”\u003c/p>\n\u003cp>Man, I used to \u003cem>love\u003c/em> writing copy like that. Years later, when John Goodman played a ’60s horror guy in the movie \u003cem>Matinee\u003c/em>, wiring theater seats to deliver electric shocks at scary moments, I felt like I was watching my boss.\u003c/p>\n\u003cp>These days, when you go to a scary movie, you see a scary movie. And no question, the scares are scarier now. It’s all up there on screen. But the old horror-thons (and terror-ramas, which were horror-thons, but sexy) had their charms, too.\u003c/p>\n\u003cp>I still remember Paul showing me how a little red food coloring in the popcorn oil could turn a bucket of popcorn into a BUCKET OF BLOOD.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kinda gross, right? But the point was to scare the “yell” out of you, and for the most part, we did. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+All+Night+Fright+Fests+And+Halloween+Horrorthons&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the \u003ci>All Things Considered\u003c/i> story.\u003c/h4>\n\u003cp>http://pd.npr.org/anon.npr-mp3/npr/atc/2014/10/20141030_atc_halloween_horrorthons_and_all_night_fright_fests_a_remembrance_.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Halloween’s rolled around again and yeah, yeah, it’s a dark and stormy night. The road’s washed out, phone’s gone dead, the mystic’s reading her ouija board, and zombies are popping through doorways left open by a demented kewpie doll.\u003c/p>\n\u003cp>Been there. Seen that. Got the t-shirt.\u003c/p>\n\u003cp>In fact, I very nearly designed a t-shirt for this sort of stuff back in the 1970s, before I was a movie critic. My first gig out of college was doing publicity for Roth Theaters, a mid-size, DC-based theater chain that got gobbled up in the ’80s by a bigger circuit. My boss was Paul Roth, an old-school movie guy who by the time I met him had probably forgotten more about showmanship than I’ll ever know.\u003c/p>\n\u003cp>We staged weddings in the aisle for a movie called \u003cem>The Bride\u003c/em> (patrons threw popcorn instead of rice). We dressed a verrrry short usher one December as \u003cem>E.T.\u003c/em>, and then added a beard and tasseled red hat so he could be Santa’s Helper. And for the opening of \u003cem>Airplane!\u003c/em>, an usher and I climbed up on a marquee to attach the back half of a plane fuselage I’d found at a junkyard so it looked like it had crashed into the theater. We knew we were getting the look right when a passing motorist screeched to a halt, leapt from his car, and yelled “is everyone okay?”\u003c/p>\n\u003cp>But the most fun we had was promoting Roth’s drive-in theaters, especially when audiences dwindled as the weather turned cold. Halloween was both a challenge and an opportunity for drive-ins: Obviously the right place for scares, but hard to find new films for when there was a chill in the air. So Paul dug deep in the B-movie horror vaults, and showed me how to sell the sizzle, not the steak.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "‘Nightcrawler’ Jake Gyllenhaal: We’re All Complicit In ‘If It Bleeds, It Leads’ | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to \u003ci>All Things Considered\u003c/i> interview.\u003c/h4>\n\u003cp>http://pd.npr.org/anon.npr-mp3/npr/atc/2014/10/20141030_atc_nightcrawler_jake_gyllenhaal_were_all_complicit_in_if_it_bleeds_it_leads.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The last time NPR’s Audie Cornish spoke with Jake Gyllenhaal it was \u003ca href=\"http://www.npr.org/2013/11/08/243777022/jake-gyllenhaal-going-after-whats-real\" target=\"_blank\" rel=\"noopener\">in the fall of 2013\u003c/a>. They met on the set of the film \u003cem>Nightcrawler, \u003c/em>and at the time, the tabloids were talking about how much weight he’d lost for the role. Cornish remembers he was gaunt, his blue eyes were sunken in — and he didn’t blink.\u003c/p>\n\u003cp>“When you met me I was not wholly aware of how I was behaving,” he tells Cornish a year later. “Probably because I had put myself through certain things. In a weird way thought I was normal, but according to you — not so much.”\u003c/p>\n\u003cp>http://youtu.be/u1uP_8VJkDQ\u003c/p>\n\u003cp>Once you see \u003cem>Nightcrawler,\u003c/em> that makes a lot of sense. In it, Gyllenhaal plays Lou Bloom — hungry and prowling the lamp-lit streets of Los Angeles. He stumbles on work as a freelance cameraman for a TV station with an “if it bleeds, it leads” ethos.\u003c/p>\n\u003cp>Gyllenhaal says what sticks with him is the way that his character deploys the cheery language of self-help guides even as he tries to break into a business built on misery. Gyllenhaal says he memorized the script and it’s now ingrained in his memory. He easily recites the film’s first speech:\u003c/p>\n\u003cblockquote>\n\u003cp>“Excuse me, sir. I’m looking for a job. In fact, I’ve made my mind up to find a career that I can learn and grow into. Who am I? I’m a hard worker, I set high goals and I’ve been told that I’m persistent. Now I’m not feeling myself, sir. Having been raised with the self-esteem movement so popular in schools, I used to expect my needs to be considered. But I know that today’s work culture no longer caters to the job loyalty that could be promised to earlier generations.”\u003c/p>\n\u003c/blockquote>\n\u003cp>On paper it doesn’t look so bad, “but out in the world — taking a few morals out of the equation — it can be pretty dangerous,” Gyllenhaal says. “He speaks like a real entrepreneur; he speaks like a very successful entrepreneur. I mean, there is nothing he says in this movie that I don’t agree with. I agree with everything this character says in one way or another. It’s what he does that I don’t necessarily agree with.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the business of real “night crawlers”\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I think [the business of being a freelancer is] maybe more robust than ever. I went on the streets of LA with two brothers — they’re called stringers, really, who do this job — spent a number of nights with them. …\u003c/p>\n\u003cp>What I saw was — and this is why I think the idea of blame, or whatever, on who does the job or what it is doesn’t make sense to me — because what I saw was a great innocence, kind of childlike play. And that was a key for me in finding the character.\u003c/p>\n\u003cp>\u003cstrong>On what it’s like to be the first to arrive at the scene of an accident\u003c/strong>\u003c/p>\n\u003cp>It does get dangerous here. … Being a young kid — going out in the backyard, climbing trees, setting fires — is not a very different feeling to what you feel when you’re with these guys. There’s a thrill, particularly on the way to the unknown. As you venture with them into the night and then you get a call, you don’t know what you’re going to be seeing. And there’s a terror there. But you can feel from them an excitement, too.\u003c/p>\n\u003cp>\u003cstrong>On the audience voyeurism fueling the demand for this type of footage\u003c/strong>\u003c/p>\n\u003cp>I really feel like there’s something very primal about the slowing down at an accident scene. And it’s in those feelings that some people find great success in the work and Lou happens to be one of those people. But I think he’s enabled by Rene Russo’s character, Nina, who is editing and buying his footage. And she is then, in turn, enabled by the station heads and they are enabled by us [the audience].\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because you can blame anybody, but I think, really, there is no blame; we’re all complicit. And a lot of people leave the movie saying, “Wow, what a ride.” And there are a whole slew, a whole spectrum of response to it — all of which, kind of leading back to oneself and how complicit the individual is in creating someone like Lou. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Nightcrawler%27+Jake+Gyllenhaal%3A+We%27re+All+Complicit+In+%27If+It+Bleeds%2C+It+Leads%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to \u003ci>All Things Considered\u003c/i> interview.\u003c/h4>\n\u003cp>http://pd.npr.org/anon.npr-mp3/npr/atc/2014/10/20141030_atc_nightcrawler_jake_gyllenhaal_were_all_complicit_in_if_it_bleeds_it_leads.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The last time NPR’s Audie Cornish spoke with Jake Gyllenhaal it was \u003ca href=\"http://www.npr.org/2013/11/08/243777022/jake-gyllenhaal-going-after-whats-real\" target=\"_blank\" rel=\"noopener\">in the fall of 2013\u003c/a>. They met on the set of the film \u003cem>Nightcrawler, \u003c/em>and at the time, the tabloids were talking about how much weight he’d lost for the role. Cornish remembers he was gaunt, his blue eyes were sunken in — and he didn’t blink.\u003c/p>\n\u003cp>“When you met me I was not wholly aware of how I was behaving,” he tells Cornish a year later. “Probably because I had put myself through certain things. In a weird way thought I was normal, but according to you — not so much.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/u1uP_8VJkDQ'\n title='//www.youtube.com/embed/u1uP_8VJkDQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Once you see \u003cem>Nightcrawler,\u003c/em> that makes a lot of sense. In it, Gyllenhaal plays Lou Bloom — hungry and prowling the lamp-lit streets of Los Angeles. He stumbles on work as a freelance cameraman for a TV station with an “if it bleeds, it leads” ethos.\u003c/p>\n\u003cp>Gyllenhaal says what sticks with him is the way that his character deploys the cheery language of self-help guides even as he tries to break into a business built on misery. Gyllenhaal says he memorized the script and it’s now ingrained in his memory. He easily recites the film’s first speech:\u003c/p>\n\u003cblockquote>\n\u003cp>“Excuse me, sir. I’m looking for a job. In fact, I’ve made my mind up to find a career that I can learn and grow into. Who am I? I’m a hard worker, I set high goals and I’ve been told that I’m persistent. Now I’m not feeling myself, sir. Having been raised with the self-esteem movement so popular in schools, I used to expect my needs to be considered. But I know that today’s work culture no longer caters to the job loyalty that could be promised to earlier generations.”\u003c/p>\n\u003c/blockquote>\n\u003cp>On paper it doesn’t look so bad, “but out in the world — taking a few morals out of the equation — it can be pretty dangerous,” Gyllenhaal says. “He speaks like a real entrepreneur; he speaks like a very successful entrepreneur. I mean, there is nothing he says in this movie that I don’t agree with. I agree with everything this character says in one way or another. It’s what he does that I don’t necessarily agree with.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the business of real “night crawlers”\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think [the business of being a freelancer is] maybe more robust than ever. I went on the streets of LA with two brothers — they’re called stringers, really, who do this job — spent a number of nights with them. …\u003c/p>\n\u003cp>What I saw was — and this is why I think the idea of blame, or whatever, on who does the job or what it is doesn’t make sense to me — because what I saw was a great innocence, kind of childlike play. And that was a key for me in finding the character.\u003c/p>\n\u003cp>\u003cstrong>On what it’s like to be the first to arrive at the scene of an accident\u003c/strong>\u003c/p>\n\u003cp>It does get dangerous here. … Being a young kid — going out in the backyard, climbing trees, setting fires — is not a very different feeling to what you feel when you’re with these guys. There’s a thrill, particularly on the way to the unknown. As you venture with them into the night and then you get a call, you don’t know what you’re going to be seeing. And there’s a terror there. But you can feel from them an excitement, too.\u003c/p>\n\u003cp>\u003cstrong>On the audience voyeurism fueling the demand for this type of footage\u003c/strong>\u003c/p>\n\u003cp>I really feel like there’s something very primal about the slowing down at an accident scene. And it’s in those feelings that some people find great success in the work and Lou happens to be one of those people. But I think he’s enabled by Rene Russo’s character, Nina, who is editing and buying his footage. And she is then, in turn, enabled by the station heads and they are enabled by us [the audience].\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because you can blame anybody, but I think, really, there is no blame; we’re all complicit. And a lot of people leave the movie saying, “Wow, what a ride.” And there are a whole slew, a whole spectrum of response to it — all of which, kind of leading back to oneself and how complicit the individual is in creating someone like Lou. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Nightcrawler%27+Jake+Gyllenhaal%3A+We%27re+All+Complicit+In+%27If+It+Bleeds%2C+It+Leads%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Scariest Moments You Won't Find in a Horror Movie",
"title": "The Scariest Moments You Won't Find in a Horror Movie",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp class=\"p1\">\u003cstrong>\u003cspan class=\"s1\">By Matthew Jent\u003c/span>\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">I have enough nerdy tendencies of my own -- comics, role-playing games, Prince’s complete discography -- that, when someone asks if I like horror movies, I’m a little grateful that I can say no. I \u003ci>do\u003c/i> like monsters, but that’s never what they mean when someone asks if you’re a horror fan. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">What they mean is, do you like movies with blood and guts and fakeout scares and \u003ca href=\"http://hopkinscinemaddicts.typepad.com/hopkinscinemaddicts/2010/02/fairytales-of-a-darker-nature-slasher-films-as-morality-tales.html\">\u003cspan class=\"s2\">the black and white morality of slasher films\u003c/span>\u003c/a>? \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">But I’m not really frightened by the idea of a masked man who stalks and murders teenagers to punish them for partying or having sex. I’m not afraid of demons or gates to hell. That’s all fiction. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">What scares me -- and I do like being scared -- is when the unknown comes calling on an otherwise normal world. When death, real death, upsets the ordinary world. These are the scariest moments you won’t find in a horror movie.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>Large Marge -- \u003ci>Pee-Wee’s Big Adventure.\u003c/i>\u003c/b> \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">For a few months in the mid 1980s, my parents had HBO. My dad bought a VCR and recorded tons and tons of movies during our free premium cable trial period, two or three of them on each six hour tape. Those were the movies I watched over and over again as I grew up, and it was always more jarring when horror crept into an otherwise not-scary story.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s2\">\u003ca href=\"https://en.wikipedia.org/wiki/Pee-wee%27s_Big_Adventure\">\u003ci>Pee-Wee’s Big Adventure\u003c/i>\u003c/a>\u003c/span>\u003cspan class=\"s1\">\u003ci> \u003c/i>is one of the movies I watched again and again. It’s a picaresque journey (as if you don’t already know this) of an iconoclastic man-child’s road trip to recover his lost bicycle. In the end, he finds the bike (spoiler alert!) and invites all of his newfound friends to the drive-in to watch a Hollywood adaptation of his journey. But there’s one person he encounters on the road who isn’t in that final scene, even though she drives her own big rig.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">You know who I’m talking about. You know the story. It started on this very night, ten years ago, on this same stretch of road…\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lPMSGTfK4Aw\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">After meeting Large Marge, Pee-Wee gets out of her truck and continues his journey. Plot-wise, you could clip this scene out of the picture and it wouldn’t make much of a difference. But it introduces an underlying feeling of discomfort and dread that’s impossible to shake.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>“U Really Got A Hold On Me” -- \u003ci>Sesame Street\u003c/i>\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Speaking of impossible to shake, \u003ca href=\"http://www.sesamestreet.org/\">\u003cspan class=\"s2\">\u003ci>Sesame Street\u003c/i>\u003c/span>\u003c/a> is probably the source for more half-remembered, fever dream moments than any other television show in America -- I still can’t make a grocery list without wanting to add \u003cspan class=\"s2\">\u003ci>\u003ca href=\"http://youtu.be/Im4GwUD1UY8\">a loaf of bread, a container of milk, and a stick of butter\u003c/a> -- \u003c/i>\u003c/span>but there are few muppets more terrifying than the one that just \u003ci>would not leave Smokey Robinson alone\u003c/i>.\u003c/span>\u003c/p>\n\u003cp>http://youtu.be/ws_vnXup7so\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">The quiet persistence, the crazy eyes, the black background. Is Smokey trapped in Limbo? Purgatory? Is he \u003ci>still there today? \u003c/i>It all adds up to a barely-anthropomorphized letter U that will not take no for an answer. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>Tami & David -- \u003ci>The Real World: Los Angeles\u003c/i>\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">The second season of \u003ca href=\"http://en.wikipedia.org/wiki/The_Real_World\">\u003cspan class=\"s2\">MTV’s \u003ci>The Real World\u003c/i>\u003c/span>\u003c/a> aired in 1993, and while the first season wasn’t all flowers and sunshine, the Los Angeles cast took the “stop being polite” part of the show’s intro pretty seriously. There was a lot more bickering and a lot more unspoken tension, which peaked in episode six when stand-up comedian David forcibly pulled a blanket off of singer and AIDS care specialist Tami, ultimately resulting in David being evicted from the house.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003ci>Trigger Warning:\u003c/i> this is an actual scene between actual people, and it’s not pleasant to watch. The video quality isn’t great, and the audio is worse -- there’s a constant clicking that will drive your blood pressure up. There’s screaming, there’s laughing, and it’s intercut with confessionals of the other housemates saying things like, “It started out as a joke… When she was laying on the floor, she didn’t have time to think about all that. When she was in the bathroom, trying to find something to put on, I think she really had time to think about how much it bothered her.”\u003c/span>\u003c/p>\n\u003cp>http://youtu.be/6pa0pqNDzp0\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">This is scary to watch, even 20+ years later, because it’s a moment of raw emotion and confusion. Most of the other housemates are seen standing and walking around Tami and David as the event unfolds, with most of them doing nothing except smile awkwardly. David winds up hiding in a closet afterward, and housemate Irene, who was a Los Angeles County Deputy Marshall, said, “It sounded like they were messing around, then it sounded serious, then it sounded like they were messing around.” \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Maybe worst of all, there was no real resolution or cathartic moment here. David was asked to leave, and he did. It remains a hard scene to watch. It’s scariest because it’s hard to understand, \u003ci>what would I have done if I were there? Would I have understood that this wasn’t a joke? \u003c/i>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>Michael Skupin Falls in the Fire -- \u003ci>Survivor: The Australian Outback\u003c/i>\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">What \u003ci>do\u003c/i> you do in the moment when things turn from normal to scary? In \u003ca href=\"http://www.cbs.com/shows/survivor/\">\u003cspan class=\"s2\">\u003ci>Survivor\u003c/i>’s\u003c/span>\u003c/a> second season in 2001, Michael Skupin was airlifted from the game after he passed out and fell into his tribe’s campfire, burning his hands. The actual fall isn’t seen on camera, but a tensely edited scene reveals the accident’s confusing aftermath.\u003c/span>\u003c/p>\n\u003cp>http://youtu.be/e3ltfAsU9c4\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">We see a shot of a bird. We hear Skupin’s wordless screams as he holds his hands in front of him. We see him run for the water. He starts to talk -- he starts to \u003ci>babble\u003c/i> -- “Look at these things -- I can’t decide if I should keep trying to \u003ci>bend them or not\u003c/i>. It keeps intensifying -- \u003ci>they’re stiffening up\u003c/i>.” \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">His tribemates comfort and talk to him, but we also hear Roger whisper to himself, “His hands are \u003ci>bad\u003c/i>,” all underscored by a persistent \u003ca href=\"http://en.wikipedia.org/wiki/Didgeridoo\">\u003cspan class=\"s2\">didgeridoo\u003c/span>\u003c/a>, the creepiest of all … woodwinds? \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Skupin was evacuated and eventually recovered, and he even returned to play again more than ten years later. But I feel like his screams of pain and confusion are still echoing across the Outback.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>Pink Elephants on Parade -- \u003ci>Dumbo\u003c/i>\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">How do you make elephants scary in an animated movie about elephants? It’s all about the eyeballs. \u003c/span>\u003c/p>\n\u003cp>http://youtu.be/-wR8FL_2gwI\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Disney animators in their heyday were masters of warning against the effects of intoxication. Here, Dumbo and Timothy Q. Mouse have accidentally gotten drunk on champagne, resulting in black-eyed, rubber-faced elephants that dance, transform, and hypnotize. Horror sequences are a trademark of the classic Disney period, and this list could be basically be taken over outright \u003ca href=\"http://youtu.be/PKlr_dE7u9U\">\u003cspan class=\"s2\">by creepy Disney sequences\u003c/span>\u003c/a>, but what makes Pink Elephants a standout is that Dumbo is purely an innocent, and he’s \u003ci>already\u003c/i> suffering from low self-esteem. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>Mrs. Brisby Meets the Great Owl -- \u003ci>The Secret of NIMH\u003c/i>\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003ci>Scary\u003c/i> doesn’t always mean horror and dread. It can be terrifying to take the first step into a larger world, as Mrs. Brisby (Frisby, if you’re a book-stickler) learns when she meets the Great Owl…\u003c/span>\u003c/p>\n\u003cp>http://youtu.be/CCAiKsLLprU\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">... WHOSE HEAD IS UPSIDE-DOWN. Yes, there are shadows and spooky music and spiders, but sweet lord in heaven, \u003ci>his head is upside down\u003c/i> and he \u003ci>turns it rightside up\u003c/i> before he says hello. All Mrs. Brisby wants to do is move into a new house, and this is the cray-cray she has to deal with.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>The Air Conditioner’s End -- \u003ci>The Brave Little Toaster\u003c/i>\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Death is a tricky thing to deal with in children’s fiction. It’s sad when \u003ca href=\"http://youtu.be/JTZPMJj-X9M\">\u003cspan class=\"s2\">Bambi’s mother dies\u003c/span>\u003c/a> (spoiler alert!), but it sends Bambi off on his own adventure of growing up. In \u003ca href=\"https://en.wikipedia.org/wiki/The_Brave_Little_Toaster\">\u003cspan class=\"s2\">\u003ci>The Brave Little Toaster\u003c/i>\u003c/span>\u003c/a>\u003ci>, \u003c/i>the Toaster and his appliance friends are faced with feelings of abandonment when their family moves away. The various appliances still believe “The Master” -- a little boy named Rob -- will still come home one day, but the Air Conditioner has a more cynical point of view.\u003c/span>\u003c/p>\n\u003cp>http://youtu.be/NLJvDadSfns\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Okay … I mean … holy smokes, guys.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">There’s probably a half dozen reasons why this scene is scarier than most slasher movies put together. Fire. Possible suicide. Hope is lost. But maybe worst of all? The Air Conditioner, a very normal and helpful appliance, turns on his friends and \u003ci>blows himself up\u003c/i>.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>David’s Terrible, Horrible, No Good, Very Bad Day -- \u003ci>Six Feet Under\u003c/i>\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Normal things going awry is a major source for terror and tension. HBO’s \u003ca href=\"http://en.wikipedia.org/wiki/Six_Feet_Under_%28TV_series%29\">\u003cspan class=\"s2\">\u003ci>Six Feet Under\u003c/i>\u003c/span>\u003c/a>, for being a show about death, drying, and grief, isn’t very scary -- but then there’s the season four episode “\u003ca href=\"http://www.avclub.com/tvclub/six-feet-under-s-my-dog-206986\">\u003cspan class=\"s2\">That’s My Dog\u003c/span>\u003c/a>.” David offers to give a stranger a ride, and it becomes a hinge point in his personal story -- and his life. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Personally, I binge-watched \u003ci>Six Feet Under\u003c/i> after moving, alone, to a new city, so I watched this incredibly stress-inducing episode some lazy Sunday morning, on my iPad, unwilling to get out of bed, unaware that I was getting myself into one of the tensest hours of television I’ve ever seen. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Perhaps endearingly, there are a lot of scenes floating around YouTube of David and his boyfriend Keith, but there aren’t many out-of-context clips of David’s trip through the rabbit hole with Jake, his tormentor. The entire episode is available for purchase, but you’re better off -- as with anything in this list, really -- experiencing “That’s My Dog” as one part of its whole.\u003c/span>\u003c/p>\n\u003cp>http://youtu.be/8dmguJG5uqc\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>Clark Kent Beats Up A Guy -- \u003ci>Superman II\u003c/i>\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Most of the things on this list are intended to be scary or unsettling. This scene, on the other hand, is intended to be a celebratory moment of comeuppance for Truth, Justice, and the American Way.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Early in 1980’s \u003ca href=\"http://en.wikipedia.org/wiki/Superman_II\">\u003cspan class=\"s2\">\u003ci>Superman II\u003c/i>\u003c/span>\u003c/a>\u003ci>, \u003c/i>Superman gives up his powers. It’s an overly complicated plot device, but it \u003ci>does\u003c/i> result in an interesting scene where Clark Kent -- for the first time -- gets bullied in a diner and he can’t do anything about it. Clark \u003ci>really is\u003c/i> the helpless weakling he’s always assumed to be. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">But by the end of the movie, the status quo is re-established and he’s Superman again! He is Kal-El, Last Son of Krypton, indisputably the most powerful being on the planet. So what does he do?\u003c/span>\u003c/p>\n\u003cp>http://youtu.be/1nu3CLQm-SI\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">He goes back to the diner where he was pushed around and, as Clark Kent, thoroughly trashes the bully who pushed him around. He smashes property and shows off his invulnerability. We’re intended to think, \u003ci>Yeah! Take that, bully!\u003c/i> But I remember being kind of creeped out watching this as a kid, and not really knowing why. Seeing it as an adult, I can put a finer point on it: Superman’s not supposed to act this way. \u003ca href=\"http://www.foxnews.com/story/2006/06/13/superman-is-christ-figure-to-some/\">\u003cspan class=\"s2\">He’s supposed to turn the other cheek\u003c/span>\u003c/a> and lead by example, not exact petty vengeance on (admittedly deserving) jerks. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">It’s not exactly out of character -- \u003ca href=\"http://superdickery.tumblr.com/\">\u003cspan class=\"s2\">Superman has a well documented history of dickery\u003c/span>\u003c/a> -- but it’s still kind of scary.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>I’ll Show You the Life of the Mind -- \u003ci>Barton Fink\u003c/i>\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“Tell us where the heads are.” The Coen Brothers’ \u003ca href=\"http://en.wikipedia.org/wiki/Barton_Fink\">\u003cspan class=\"s2\">\u003ci>Barton Fink\u003c/i>\u003c/span>\u003c/a> is ostensibly the story of a struggling screenwriter in the early days of Hollywood. But more than that, it’s a heat-filled, spring-loaded film of wonderfully increasing tension. Described on YouTube as “Barton Fink -- The Key Scene,” this is where the spring comes unspring, the heat ignites into hellfire, and the dread becomes terror.\u003c/span>\u003c/p>\n\u003cp>http://youtu.be/Y7gLnyKevR0\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">What makes the scene (and much of the film’s increasing dread) is Charlie, played with rapturous terror by John Goodman. Goodman is capable of playing sweetly adorable, but what’s more terrifying than such a bear racing down a long, burning hallway, demanding that you \u003ci>Look upon me! I’ll show you the life of the mind!\u003c/i>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Fear comes from many different directions, but at its core, something scares us because it reinforces what we’re already worried about. Death, loneliness, the unknown -- it’s all that much worse when it comes from an unexpected source, or the guise of a beloved character facing an unexpected doom, like that time \u003ca href=\"http://www.retrojunk.com/article/show/417/the-death-of-garfield\">\u003cspan class=\"s2\">Garfield was left to die, alone and starving, in an abandoned house\u003c/span>\u003c/a>. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">So this Halloween -- or any time you want to feel a cold chill run up your spine -- don’t just turn to the ghosts and goblins you know are there. Think about at the times you’ve \u003ci>really\u003c/i> felt scared. Real terror comes when you least expect it.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">(Oh, and one last SPOILER ALERT, for real this time -- if you want to give yourself goosebumps, try reading about \u003ca href=\"http://creepypasta.wikia.com/wiki/The_Pixar_Universe\">\u003cspan class=\"s2\">the Pixar Theory\u003c/span>\u003c/a>. The most beloved movie studio/series of films in recent years might actually be telling a story about the end of the world.)\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Happy Halloween!\u003c/span>\u003c/p>\n\n",
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"excerpt": "Frightening moments from unexpected places like Dumbo, The Brave Little Toaster, and Sesame Street.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"p1\">\u003cstrong>\u003cspan class=\"s1\">By Matthew Jent\u003c/span>\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">I have enough nerdy tendencies of my own -- comics, role-playing games, Prince’s complete discography -- that, when someone asks if I like horror movies, I’m a little grateful that I can say no. I \u003ci>do\u003c/i> like monsters, but that’s never what they mean when someone asks if you’re a horror fan. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">What they mean is, do you like movies with blood and guts and fakeout scares and \u003ca href=\"http://hopkinscinemaddicts.typepad.com/hopkinscinemaddicts/2010/02/fairytales-of-a-darker-nature-slasher-films-as-morality-tales.html\">\u003cspan class=\"s2\">the black and white morality of slasher films\u003c/span>\u003c/a>? \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">But I’m not really frightened by the idea of a masked man who stalks and murders teenagers to punish them for partying or having sex. I’m not afraid of demons or gates to hell. That’s all fiction. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">What scares me -- and I do like being scared -- is when the unknown comes calling on an otherwise normal world. When death, real death, upsets the ordinary world. These are the scariest moments you won’t find in a horror movie.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>Large Marge -- \u003ci>Pee-Wee’s Big Adventure.\u003c/i>\u003c/b> \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">For a few months in the mid 1980s, my parents had HBO. My dad bought a VCR and recorded tons and tons of movies during our free premium cable trial period, two or three of them on each six hour tape. Those were the movies I watched over and over again as I grew up, and it was always more jarring when horror crept into an otherwise not-scary story.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s2\">\u003ca href=\"https://en.wikipedia.org/wiki/Pee-wee%27s_Big_Adventure\">\u003ci>Pee-Wee’s Big Adventure\u003c/i>\u003c/a>\u003c/span>\u003cspan class=\"s1\">\u003ci> \u003c/i>is one of the movies I watched again and again. It’s a picaresque journey (as if you don’t already know this) of an iconoclastic man-child’s road trip to recover his lost bicycle. In the end, he finds the bike (spoiler alert!) and invites all of his newfound friends to the drive-in to watch a Hollywood adaptation of his journey. But there’s one person he encounters on the road who isn’t in that final scene, even though she drives her own big rig.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">You know who I’m talking about. You know the story. It started on this very night, ten years ago, on this same stretch of road…\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lPMSGTfK4Aw'\n title='//www.youtube.com/embed/lPMSGTfK4Aw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">\u003cspan class=\"s1\">After meeting Large Marge, Pee-Wee gets out of her truck and continues his journey. Plot-wise, you could clip this scene out of the picture and it wouldn’t make much of a difference. But it introduces an underlying feeling of discomfort and dread that’s impossible to shake.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>“U Really Got A Hold On Me” -- \u003ci>Sesame Street\u003c/i>\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Speaking of impossible to shake, \u003ca href=\"http://www.sesamestreet.org/\">\u003cspan class=\"s2\">\u003ci>Sesame Street\u003c/i>\u003c/span>\u003c/a> is probably the source for more half-remembered, fever dream moments than any other television show in America -- I still can’t make a grocery list without wanting to add \u003cspan class=\"s2\">\u003ci>\u003ca href=\"http://youtu.be/Im4GwUD1UY8\">a loaf of bread, a container of milk, and a stick of butter\u003c/a> -- \u003c/i>\u003c/span>but there are few muppets more terrifying than the one that just \u003ci>would not leave Smokey Robinson alone\u003c/i>.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ws_vnXup7so'\n title='//www.youtube.com/embed/ws_vnXup7so'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">\u003cspan class=\"s1\">The quiet persistence, the crazy eyes, the black background. Is Smokey trapped in Limbo? Purgatory? Is he \u003ci>still there today? \u003c/i>It all adds up to a barely-anthropomorphized letter U that will not take no for an answer. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>Tami & David -- \u003ci>The Real World: Los Angeles\u003c/i>\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">The second season of \u003ca href=\"http://en.wikipedia.org/wiki/The_Real_World\">\u003cspan class=\"s2\">MTV’s \u003ci>The Real World\u003c/i>\u003c/span>\u003c/a> aired in 1993, and while the first season wasn’t all flowers and sunshine, the Los Angeles cast took the “stop being polite” part of the show’s intro pretty seriously. There was a lot more bickering and a lot more unspoken tension, which peaked in episode six when stand-up comedian David forcibly pulled a blanket off of singer and AIDS care specialist Tami, ultimately resulting in David being evicted from the house.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003ci>Trigger Warning:\u003c/i> this is an actual scene between actual people, and it’s not pleasant to watch. The video quality isn’t great, and the audio is worse -- there’s a constant clicking that will drive your blood pressure up. There’s screaming, there’s laughing, and it’s intercut with confessionals of the other housemates saying things like, “It started out as a joke… When she was laying on the floor, she didn’t have time to think about all that. When she was in the bathroom, trying to find something to put on, I think she really had time to think about how much it bothered her.”\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6pa0pqNDzp0'\n title='//www.youtube.com/embed/6pa0pqNDzp0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">\u003cspan class=\"s1\">This is scary to watch, even 20+ years later, because it’s a moment of raw emotion and confusion. Most of the other housemates are seen standing and walking around Tami and David as the event unfolds, with most of them doing nothing except smile awkwardly. David winds up hiding in a closet afterward, and housemate Irene, who was a Los Angeles County Deputy Marshall, said, “It sounded like they were messing around, then it sounded serious, then it sounded like they were messing around.” \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Maybe worst of all, there was no real resolution or cathartic moment here. David was asked to leave, and he did. It remains a hard scene to watch. It’s scariest because it’s hard to understand, \u003ci>what would I have done if I were there? Would I have understood that this wasn’t a joke? \u003c/i>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>Michael Skupin Falls in the Fire -- \u003ci>Survivor: The Australian Outback\u003c/i>\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">What \u003ci>do\u003c/i> you do in the moment when things turn from normal to scary? In \u003ca href=\"http://www.cbs.com/shows/survivor/\">\u003cspan class=\"s2\">\u003ci>Survivor\u003c/i>’s\u003c/span>\u003c/a> second season in 2001, Michael Skupin was airlifted from the game after he passed out and fell into his tribe’s campfire, burning his hands. The actual fall isn’t seen on camera, but a tensely edited scene reveals the accident’s confusing aftermath.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/e3ltfAsU9c4'\n title='//www.youtube.com/embed/e3ltfAsU9c4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">\u003cspan class=\"s1\">We see a shot of a bird. We hear Skupin’s wordless screams as he holds his hands in front of him. We see him run for the water. He starts to talk -- he starts to \u003ci>babble\u003c/i> -- “Look at these things -- I can’t decide if I should keep trying to \u003ci>bend them or not\u003c/i>. It keeps intensifying -- \u003ci>they’re stiffening up\u003c/i>.” \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">His tribemates comfort and talk to him, but we also hear Roger whisper to himself, “His hands are \u003ci>bad\u003c/i>,” all underscored by a persistent \u003ca href=\"http://en.wikipedia.org/wiki/Didgeridoo\">\u003cspan class=\"s2\">didgeridoo\u003c/span>\u003c/a>, the creepiest of all … woodwinds? \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Skupin was evacuated and eventually recovered, and he even returned to play again more than ten years later. But I feel like his screams of pain and confusion are still echoing across the Outback.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>Pink Elephants on Parade -- \u003ci>Dumbo\u003c/i>\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">How do you make elephants scary in an animated movie about elephants? It’s all about the eyeballs. \u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-wR8FL_2gwI'\n title='//www.youtube.com/embed/-wR8FL_2gwI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">\u003cspan class=\"s1\">Disney animators in their heyday were masters of warning against the effects of intoxication. Here, Dumbo and Timothy Q. Mouse have accidentally gotten drunk on champagne, resulting in black-eyed, rubber-faced elephants that dance, transform, and hypnotize. Horror sequences are a trademark of the classic Disney period, and this list could be basically be taken over outright \u003ca href=\"http://youtu.be/PKlr_dE7u9U\">\u003cspan class=\"s2\">by creepy Disney sequences\u003c/span>\u003c/a>, but what makes Pink Elephants a standout is that Dumbo is purely an innocent, and he’s \u003ci>already\u003c/i> suffering from low self-esteem. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>Mrs. Brisby Meets the Great Owl -- \u003ci>The Secret of NIMH\u003c/i>\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003ci>Scary\u003c/i> doesn’t always mean horror and dread. It can be terrifying to take the first step into a larger world, as Mrs. Brisby (Frisby, if you’re a book-stickler) learns when she meets the Great Owl…\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CCAiKsLLprU'\n title='//www.youtube.com/embed/CCAiKsLLprU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">\u003cspan class=\"s1\">... WHOSE HEAD IS UPSIDE-DOWN. Yes, there are shadows and spooky music and spiders, but sweet lord in heaven, \u003ci>his head is upside down\u003c/i> and he \u003ci>turns it rightside up\u003c/i> before he says hello. All Mrs. Brisby wants to do is move into a new house, and this is the cray-cray she has to deal with.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>The Air Conditioner’s End -- \u003ci>The Brave Little Toaster\u003c/i>\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Death is a tricky thing to deal with in children’s fiction. It’s sad when \u003ca href=\"http://youtu.be/JTZPMJj-X9M\">\u003cspan class=\"s2\">Bambi’s mother dies\u003c/span>\u003c/a> (spoiler alert!), but it sends Bambi off on his own adventure of growing up. In \u003ca href=\"https://en.wikipedia.org/wiki/The_Brave_Little_Toaster\">\u003cspan class=\"s2\">\u003ci>The Brave Little Toaster\u003c/i>\u003c/span>\u003c/a>\u003ci>, \u003c/i>the Toaster and his appliance friends are faced with feelings of abandonment when their family moves away. The various appliances still believe “The Master” -- a little boy named Rob -- will still come home one day, but the Air Conditioner has a more cynical point of view.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/NLJvDadSfns'\n title='//www.youtube.com/embed/NLJvDadSfns'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">\u003cspan class=\"s1\">Okay … I mean … holy smokes, guys.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">There’s probably a half dozen reasons why this scene is scarier than most slasher movies put together. Fire. Possible suicide. Hope is lost. But maybe worst of all? The Air Conditioner, a very normal and helpful appliance, turns on his friends and \u003ci>blows himself up\u003c/i>.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>David’s Terrible, Horrible, No Good, Very Bad Day -- \u003ci>Six Feet Under\u003c/i>\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Normal things going awry is a major source for terror and tension. HBO’s \u003ca href=\"http://en.wikipedia.org/wiki/Six_Feet_Under_%28TV_series%29\">\u003cspan class=\"s2\">\u003ci>Six Feet Under\u003c/i>\u003c/span>\u003c/a>, for being a show about death, drying, and grief, isn’t very scary -- but then there’s the season four episode “\u003ca href=\"http://www.avclub.com/tvclub/six-feet-under-s-my-dog-206986\">\u003cspan class=\"s2\">That’s My Dog\u003c/span>\u003c/a>.” David offers to give a stranger a ride, and it becomes a hinge point in his personal story -- and his life. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Personally, I binge-watched \u003ci>Six Feet Under\u003c/i> after moving, alone, to a new city, so I watched this incredibly stress-inducing episode some lazy Sunday morning, on my iPad, unwilling to get out of bed, unaware that I was getting myself into one of the tensest hours of television I’ve ever seen. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Perhaps endearingly, there are a lot of scenes floating around YouTube of David and his boyfriend Keith, but there aren’t many out-of-context clips of David’s trip through the rabbit hole with Jake, his tormentor. The entire episode is available for purchase, but you’re better off -- as with anything in this list, really -- experiencing “That’s My Dog” as one part of its whole.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8dmguJG5uqc'\n title='//www.youtube.com/embed/8dmguJG5uqc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>Clark Kent Beats Up A Guy -- \u003ci>Superman II\u003c/i>\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Most of the things on this list are intended to be scary or unsettling. This scene, on the other hand, is intended to be a celebratory moment of comeuppance for Truth, Justice, and the American Way.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Early in 1980’s \u003ca href=\"http://en.wikipedia.org/wiki/Superman_II\">\u003cspan class=\"s2\">\u003ci>Superman II\u003c/i>\u003c/span>\u003c/a>\u003ci>, \u003c/i>Superman gives up his powers. It’s an overly complicated plot device, but it \u003ci>does\u003c/i> result in an interesting scene where Clark Kent -- for the first time -- gets bullied in a diner and he can’t do anything about it. Clark \u003ci>really is\u003c/i> the helpless weakling he’s always assumed to be. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">But by the end of the movie, the status quo is re-established and he’s Superman again! He is Kal-El, Last Son of Krypton, indisputably the most powerful being on the planet. So what does he do?\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1nu3CLQm-SI'\n title='//www.youtube.com/embed/1nu3CLQm-SI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">\u003cspan class=\"s1\">He goes back to the diner where he was pushed around and, as Clark Kent, thoroughly trashes the bully who pushed him around. He smashes property and shows off his invulnerability. We’re intended to think, \u003ci>Yeah! Take that, bully!\u003c/i> But I remember being kind of creeped out watching this as a kid, and not really knowing why. Seeing it as an adult, I can put a finer point on it: Superman’s not supposed to act this way. \u003ca href=\"http://www.foxnews.com/story/2006/06/13/superman-is-christ-figure-to-some/\">\u003cspan class=\"s2\">He’s supposed to turn the other cheek\u003c/span>\u003c/a> and lead by example, not exact petty vengeance on (admittedly deserving) jerks. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">It’s not exactly out of character -- \u003ca href=\"http://superdickery.tumblr.com/\">\u003cspan class=\"s2\">Superman has a well documented history of dickery\u003c/span>\u003c/a> -- but it’s still kind of scary.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003cb>I’ll Show You the Life of the Mind -- \u003ci>Barton Fink\u003c/i>\u003c/b>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“Tell us where the heads are.” The Coen Brothers’ \u003ca href=\"http://en.wikipedia.org/wiki/Barton_Fink\">\u003cspan class=\"s2\">\u003ci>Barton Fink\u003c/i>\u003c/span>\u003c/a> is ostensibly the story of a struggling screenwriter in the early days of Hollywood. But more than that, it’s a heat-filled, spring-loaded film of wonderfully increasing tension. Described on YouTube as “Barton Fink -- The Key Scene,” this is where the spring comes unspring, the heat ignites into hellfire, and the dread becomes terror.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Y7gLnyKevR0'\n title='//www.youtube.com/embed/Y7gLnyKevR0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">\u003cspan class=\"s1\">What makes the scene (and much of the film’s increasing dread) is Charlie, played with rapturous terror by John Goodman. Goodman is capable of playing sweetly adorable, but what’s more terrifying than such a bear racing down a long, burning hallway, demanding that you \u003ci>Look upon me! I’ll show you the life of the mind!\u003c/i>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Fear comes from many different directions, but at its core, something scares us because it reinforces what we’re already worried about. Death, loneliness, the unknown -- it’s all that much worse when it comes from an unexpected source, or the guise of a beloved character facing an unexpected doom, like that time \u003ca href=\"http://www.retrojunk.com/article/show/417/the-death-of-garfield\">\u003cspan class=\"s2\">Garfield was left to die, alone and starving, in an abandoned house\u003c/span>\u003c/a>. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">So this Halloween -- or any time you want to feel a cold chill run up your spine -- don’t just turn to the ghosts and goblins you know are there. Think about at the times you’ve \u003ci>really\u003c/i> felt scared. Real terror comes when you least expect it.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">(Oh, and one last SPOILER ALERT, for real this time -- if you want to give yourself goosebumps, try reading about \u003ca href=\"http://creepypasta.wikia.com/wiki/The_Pixar_Universe\">\u003cspan class=\"s2\">the Pixar Theory\u003c/span>\u003c/a>. The most beloved movie studio/series of films in recent years might actually be telling a story about the end of the world.)\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In 2002, the ASIFA (International Animated Film Association) proclaimed October 28 as International Animation Day and the main global event to celebrate the form. Can animation transcend Disney princesses and falling anvils?\u003c/p>\n\u003cp>Judge for yourself. At three minutes, the stunningly minimal Student Academy Award-winning Will is a stark examination of the unstoppable nature of time. Set during the attacks of 9/11, the film asks how we choose to remember incomprehensible trauma.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "An Unforgettable Film, 'Purgatorio' Delves into Life and Death on the U.S.-Mexico Border",
"headTitle": "An Unforgettable Film, ‘Purgatorio’ Delves into Life and Death on the U.S.-Mexico Border | KQED",
"content": "\u003cp>Here’s what you see when you see Rodrigo Reyes’ \u003cem>Purgatorio\u003c/em>, his documentary about lives that connect and criss-cross the U.S-Mexican border:\u003c/p>\n\u003cul>\n\u003cli>A Guatemalan on the Mexican side who says he’s determined to climb the border’s physical barrier and find work in the United States so he can send money to his family.\u003c/li>\n\u003cli>A Mexican boy playing with a simple toy airplane, as if he’s found the greatest gift ever.\u003c/li>\n\u003cli>The wall itself — shown from above as it punctures landscape that is among the most beautiful in the world.\u003c/li>\n\u003cli>An American extremist who patrols the border, wants to curtail undocumented immigrants, and says hunting people is like hunting animals: “Some people hunt game. If you hunt an individual, that’s an even greater thrill.”\u003c/li>\n\u003cli>A U.S. mortician who tries to find dignity in the skulls and bones he collects on the border’s American side.\u003c/li>\n\u003c/ul>\n\u003cp>Death and dignity. These are two recurring themes in \u003cem>Purgatorio\u003c/em>, which is screening three times in the Bay Area — Sunday, Oct. 26 at the Roxie, Tuesday, Oct. 28 at the New Parkway in Oakland, and Wednesday, Oct. 29 at Second Act in San Francisco. The director will speak at all three screenings. Reyes — who was born in Mexico, moved to the United States at age 6, moved back and forth between Mexico and California, and now lives in Merced — brings an ideal perspective to his film: That of a curious dual citizen who gives people a chance to articulate their views about immigration and the rewards and dangers of crossing closed borders. Reyes puts his own views into \u003cem>Purgatorio\u003c/em>, questioning the need for man-made dividing lines, and admitting that, “I feel angry and lost.”\u003c/p>\n\u003cfigure id=\"attachment_10144062\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Filmmaker-RR-13.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Filmmaker-RR-13.jpg\" alt=\"Rodrigo Reyes\" width=\"450\" height=\"448\" class=\"size-full wp-image-10144062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Filmmaker-RR-13.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Filmmaker-RR-13-400x398.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Filmmaker-RR-13-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Filmmaker-RR-13-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Filmmaker-RR-13-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Filmmaker-RR-13-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Filmmaker-RR-13-75x75.jpg 75w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rodrigo Reyes\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Purgatorio\u003c/em> is equal parts essay, art film and documentary. Its poetic scenes, haunting and stirring music, and the extended time it gives its subjects elevate the U.S-Mexican border into a complex ecosystem of beauty and hell. Reyes looked to Dante Alighieri’s 14th-century masterpiece for a title that would capture that complexity. He looked to his own life for the motivation to make the film.\u003c/p>\n\u003cp>“It wasn’t until I came to the U.S. that my Mexican identity became an issue that gets dealt with every day, for better and for worse,” Reyes tells me in a phone interview from Merced. “I didn’t realize that some people thought being Mexican was really negative. Part of that identity struggle, part of that identity politics, is what led me to want to discover the border. Because when you’re an immigrant, especially in the U.S., where we’re constantly debating race and ethnicity, and we can’t seem to figure out how to get along in a stable way, you always feel a border behind you.”\u003c/p>\n\u003cp>The humungous barrier we see in the film, that Reyes experienced up close, becomes a symbol of American political and physical power. The barrier, though, exaggerates the issue of Mexican border-crossings, Reyes says: “Whether you’re on the left or the right, you have this image of a wall, and people crossing the wall and invading like barbarians. It overwhelms political discussion. Most of the undocumented immigrants to the U.S. are coming with visas. They’re here legally for a while. But it’s not as exciting to say, ‘People are coming on a 747, and watched movies all the way over here.’ It doesn’t get people riled up.”\u003c/p>\n\u003cfigure id=\"attachment_10144059\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Purgatorio-Migrant.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Purgatorio-Migrant.jpg\" alt=\"Guatemalan immigrant trying to cross the border.\" width=\"550\" height=\"309\" class=\"size-full wp-image-10144059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Purgatorio-Migrant.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Purgatorio-Migrant-400x224.jpg 400w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Guatemalan immigrant trying to cross the border.\u003c/figcaption>\u003c/figure>\n\u003cp>Last year, based on the release of \u003cem>Purgatorio\u003c/em>, \u003cem>Filmmaker\u003c/em> magazine named Reyes one of its “\u003ca href=\"http://filmmakermagazine.com/series/25-new-faces-of-2013/#.VECimefTaB4\" target=\"_blank\" rel=\"noopener\">25 New Faces of Independent Film\u003c/a>.” Reyes, who is 31, works as a Spanish-language interpreter at Merced Superior Court. In \u003cem>Purgatorio\u003c/em>, he gets people like the Guatemalan immigrant to talk deeply about their lives even as they’re on the verge of stressful, life-changing situations. “I have a job that isn’t in filmmaking, but it gives me an opportunity to engage with people who are in really extreme situations. So I wasn’t intimidated (by the subjects in \u003cem>Purgatorio\u003c/em>). I was able to look at the human behind whatever was going on. Because that’s what I do at work, to treat everyone equally. And I found that people on the border were very open to the idea of someone just asking them about life, instead of asking them to do something. Migrants are being told what to do all the time. The Mexican government tells them what to do. The U.S. government tells them what to do. And even people who help them tell them. And we come along and say, ‘We just want you to share your experience, and just tell us what you’re going through right now.’ And nobody had really asked them that.”\u003c/p>\n\u003cfigure id=\"attachment_10144396\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Purgatorio_04_560_265_c1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Purgatorio_04_560_265_c1.jpg\" alt=\"A Mexican child with his toy airplane\" width=\"640\" height=\"303\" class=\"size-full wp-image-10144396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Purgatorio_04_560_265_c1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Purgatorio_04_560_265_c1-400x189.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Mexican child with his toy airplane\u003c/figcaption>\u003c/figure>\n\u003cp>So, while Reyes shot the footage for \u003cem>Purgatorio\u003c/em> in just four weeks, he managed to get intimate interviews with people who are often left out of the debate about the U.S-Mexican border. In the United States, politicians often get the most air time about immigration. Typical: The Ebola crisis prompted Scott Brown, the New Hampshire Republican Senate candidate, to \u003ca href=\"http://www.washingtonpost.com/blogs/plum-line/wp/2014/10/14/scott-brown-anyone-with-ebola-can-walk-across-our-porous-border/\" target=\"_blank\" rel=\"noopener\">warn\u003c/a> that terrorists infected with the disease could easily enter the United States across the Mexican border. “We have a border that’s so porous that anyone can walk across it,” Brown said recently, “. . . we do nothing to secure our border. It’s dangerous.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Border” has become a dirty six-letter word. When you Google “U.S. Mexico border,” the search engine suggests such popular categories as “fence” and “map” — and also “deaths” and “drug war.” So many people who debate the U.S.-Mexico border have never been there, and have no idea what it’s like on either immediate side. Like “chicken hawks” who advocate war but have never fought themselves, these border hawks talk about the way things should be \u003cem>in theory\u003c/em>. The reality is captured stunningly in \u003cem>Purgatorio\u003c/em>. At one point, all we see is the border’s physical barrier, with plastic and papers blowing against it from the wind. The wind passes through the barrier with ease. The papers are temporarily stuck. But like the people Reyes interviews, they too — one way or the other — will find their way across the divide.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Purgatorio\u003c/em> screens Sunday, Oct. 26, 6:30pm at San Francisco’s Roxie Theatre; Tuesday, Oct. 28, 7pm, at Oakland’s New Parkway; and Wednesday, Oct. 29, 7:30pm at San Francisco’s Second Act. For \u003ca href=\"http://www.rrcinema.com/\" target=\"_blank\" rel=\"noopener\">tickets and more information\u003c/a>, visit rrcinema.com.\u003c/p>\n\n",
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"excerpt": "\u003cem>Purgatorio\u003c/em>, Rodrigo Reyes’ documentary about lives that connect and criss-cross along the U.S-Mexican border, starts a limited Bay Area run this Sunday.",
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"description": "Jonathan Curiel has written widely about music, film, books, art, photography and other cultural subjects. \u003ci>SF Weekly's\u003c/i> art critic, he is a former staff writer with the \u003ci>San Francisco Chronicle\u003c/i>, and has also written on the arts for \u003ca href=\"http://www.salon.com/\">Salon\u003c/a>, the \u003ci>Christian Science Monitor\u003c/i>, \u003ci>The Wire\u003c/i> (a London music magazine), \u003ci>Tablet\u003c/i> and \u003ci>GlobalPost\u003c/i>. He has researched architecture at England's Oxford University, taught music journalism at the UCLA Herb Alpert School of Music, and been a juror at the San Francisco International Film Festival.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here’s what you see when you see Rodrigo Reyes’ \u003cem>Purgatorio\u003c/em>, his documentary about lives that connect and criss-cross the U.S-Mexican border:\u003c/p>\n\u003cul>\n\u003cli>A Guatemalan on the Mexican side who says he’s determined to climb the border’s physical barrier and find work in the United States so he can send money to his family.\u003c/li>\n\u003cli>A Mexican boy playing with a simple toy airplane, as if he’s found the greatest gift ever.\u003c/li>\n\u003cli>The wall itself — shown from above as it punctures landscape that is among the most beautiful in the world.\u003c/li>\n\u003cli>An American extremist who patrols the border, wants to curtail undocumented immigrants, and says hunting people is like hunting animals: “Some people hunt game. If you hunt an individual, that’s an even greater thrill.”\u003c/li>\n\u003cli>A U.S. mortician who tries to find dignity in the skulls and bones he collects on the border’s American side.\u003c/li>\n\u003c/ul>\n\u003cp>Death and dignity. These are two recurring themes in \u003cem>Purgatorio\u003c/em>, which is screening three times in the Bay Area — Sunday, Oct. 26 at the Roxie, Tuesday, Oct. 28 at the New Parkway in Oakland, and Wednesday, Oct. 29 at Second Act in San Francisco. The director will speak at all three screenings. Reyes — who was born in Mexico, moved to the United States at age 6, moved back and forth between Mexico and California, and now lives in Merced — brings an ideal perspective to his film: That of a curious dual citizen who gives people a chance to articulate their views about immigration and the rewards and dangers of crossing closed borders. Reyes puts his own views into \u003cem>Purgatorio\u003c/em>, questioning the need for man-made dividing lines, and admitting that, “I feel angry and lost.”\u003c/p>\n\u003cfigure id=\"attachment_10144062\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Filmmaker-RR-13.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Filmmaker-RR-13.jpg\" alt=\"Rodrigo Reyes\" width=\"450\" height=\"448\" class=\"size-full wp-image-10144062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Filmmaker-RR-13.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Filmmaker-RR-13-400x398.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Filmmaker-RR-13-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Filmmaker-RR-13-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Filmmaker-RR-13-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Filmmaker-RR-13-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Filmmaker-RR-13-75x75.jpg 75w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rodrigo Reyes\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Purgatorio\u003c/em> is equal parts essay, art film and documentary. Its poetic scenes, haunting and stirring music, and the extended time it gives its subjects elevate the U.S-Mexican border into a complex ecosystem of beauty and hell. Reyes looked to Dante Alighieri’s 14th-century masterpiece for a title that would capture that complexity. He looked to his own life for the motivation to make the film.\u003c/p>\n\u003cp>“It wasn’t until I came to the U.S. that my Mexican identity became an issue that gets dealt with every day, for better and for worse,” Reyes tells me in a phone interview from Merced. “I didn’t realize that some people thought being Mexican was really negative. Part of that identity struggle, part of that identity politics, is what led me to want to discover the border. Because when you’re an immigrant, especially in the U.S., where we’re constantly debating race and ethnicity, and we can’t seem to figure out how to get along in a stable way, you always feel a border behind you.”\u003c/p>\n\u003cp>The humungous barrier we see in the film, that Reyes experienced up close, becomes a symbol of American political and physical power. The barrier, though, exaggerates the issue of Mexican border-crossings, Reyes says: “Whether you’re on the left or the right, you have this image of a wall, and people crossing the wall and invading like barbarians. It overwhelms political discussion. Most of the undocumented immigrants to the U.S. are coming with visas. They’re here legally for a while. But it’s not as exciting to say, ‘People are coming on a 747, and watched movies all the way over here.’ It doesn’t get people riled up.”\u003c/p>\n\u003cfigure id=\"attachment_10144059\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Purgatorio-Migrant.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Purgatorio-Migrant.jpg\" alt=\"Guatemalan immigrant trying to cross the border.\" width=\"550\" height=\"309\" class=\"size-full wp-image-10144059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Purgatorio-Migrant.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Purgatorio-Migrant-400x224.jpg 400w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Guatemalan immigrant trying to cross the border.\u003c/figcaption>\u003c/figure>\n\u003cp>Last year, based on the release of \u003cem>Purgatorio\u003c/em>, \u003cem>Filmmaker\u003c/em> magazine named Reyes one of its “\u003ca href=\"http://filmmakermagazine.com/series/25-new-faces-of-2013/#.VECimefTaB4\" target=\"_blank\" rel=\"noopener\">25 New Faces of Independent Film\u003c/a>.” Reyes, who is 31, works as a Spanish-language interpreter at Merced Superior Court. In \u003cem>Purgatorio\u003c/em>, he gets people like the Guatemalan immigrant to talk deeply about their lives even as they’re on the verge of stressful, life-changing situations. “I have a job that isn’t in filmmaking, but it gives me an opportunity to engage with people who are in really extreme situations. So I wasn’t intimidated (by the subjects in \u003cem>Purgatorio\u003c/em>). I was able to look at the human behind whatever was going on. Because that’s what I do at work, to treat everyone equally. And I found that people on the border were very open to the idea of someone just asking them about life, instead of asking them to do something. Migrants are being told what to do all the time. The Mexican government tells them what to do. The U.S. government tells them what to do. And even people who help them tell them. And we come along and say, ‘We just want you to share your experience, and just tell us what you’re going through right now.’ And nobody had really asked them that.”\u003c/p>\n\u003cfigure id=\"attachment_10144396\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Purgatorio_04_560_265_c1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Purgatorio_04_560_265_c1.jpg\" alt=\"A Mexican child with his toy airplane\" width=\"640\" height=\"303\" class=\"size-full wp-image-10144396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Purgatorio_04_560_265_c1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Purgatorio_04_560_265_c1-400x189.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Mexican child with his toy airplane\u003c/figcaption>\u003c/figure>\n\u003cp>So, while Reyes shot the footage for \u003cem>Purgatorio\u003c/em> in just four weeks, he managed to get intimate interviews with people who are often left out of the debate about the U.S-Mexican border. In the United States, politicians often get the most air time about immigration. Typical: The Ebola crisis prompted Scott Brown, the New Hampshire Republican Senate candidate, to \u003ca href=\"http://www.washingtonpost.com/blogs/plum-line/wp/2014/10/14/scott-brown-anyone-with-ebola-can-walk-across-our-porous-border/\" target=\"_blank\" rel=\"noopener\">warn\u003c/a> that terrorists infected with the disease could easily enter the United States across the Mexican border. “We have a border that’s so porous that anyone can walk across it,” Brown said recently, “. . . we do nothing to secure our border. It’s dangerous.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Border” has become a dirty six-letter word. When you Google “U.S. Mexico border,” the search engine suggests such popular categories as “fence” and “map” — and also “deaths” and “drug war.” So many people who debate the U.S.-Mexico border have never been there, and have no idea what it’s like on either immediate side. Like “chicken hawks” who advocate war but have never fought themselves, these border hawks talk about the way things should be \u003cem>in theory\u003c/em>. The reality is captured stunningly in \u003cem>Purgatorio\u003c/em>. At one point, all we see is the border’s physical barrier, with plastic and papers blowing against it from the wind. The wind passes through the barrier with ease. The papers are temporarily stuck. But like the people Reyes interviews, they too — one way or the other — will find their way across the divide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Purgatorio\u003c/em> screens Sunday, Oct. 26, 6:30pm at San Francisco’s Roxie Theatre; Tuesday, Oct. 28, 7pm, at Oakland’s New Parkway; and Wednesday, Oct. 29, 7:30pm at San Francisco’s Second Act. For \u003ca href=\"http://www.rrcinema.com/\" target=\"_blank\" rel=\"noopener\">tickets and more information\u003c/a>, visit rrcinema.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Winged Contemplation: ‘Pelican Dreams’ Dives into Bay Area Ecosystem",
"headTitle": "Winged Contemplation: ‘Pelican Dreams’ Dives into Bay Area Ecosystem | KQED",
"content": "\u003cp>Unlike pop stars, documentary filmmakers rarely have to grapple with crafting a follow-up to a mammoth hit. \u003cem>The Wild Parrots of Telegraph Hill\u003c/em>, Judy Irving’s profound and moving 2003 portrait of Mark Bittner and his feathered friends, was embraced by San Franciscans immediately upon its release and by viewers everywhere when it aired a few years later on PBS’ \u003ci>Independent Lens\u003c/i> series. Hike the Greenwich steps today and you’ll find tourists from around the world pining for a glimpse of the winged movie stars.\u003c/p>\n\u003cfigure id=\"attachment_10144424\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/gigi_on_bridge.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/gigi_on_bridge.jpg\" alt=\"Gigi the pelican on the Golden Gate Bridge\" width=\"640\" height=\"480\" class=\"size-full wp-image-10144424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/gigi_on_bridge.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/gigi_on_bridge-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gigi the pelican on the Golden Gate Bridge\u003c/figcaption>\u003c/figure>\n\u003cp>After \u003cem>Parrots\u003c/em> took off, Irving remained alert to the winds that would bring her next project. Her approach is to pick up on a subject and pick up her camera; her joy is in not knowing where it will take her. Irving’s wonderful new film, \u003cem>Pelican Dreams\u003c/em>, took flight when the North Beach filmmaker heard about the California brown pelican that landed on the Golden Gate Bridge in late 2009, tying up traffic. The injured bird provides the through-line for Irving’s documentary, which gracefully entwines informed commentary on the pelicans with an evocative personal essay about flight, freedom and the ever-increasing encroachment of people.\u003c/p>\n\u003cp>“I didn’t want to make a standard nature documentary, the kind that you see on TV,” Irving declares. “I didn’t want to make a science doc. I didn’t want to make an educational film. I wanted to tell a story about trying to get to know a wild animal, and can you get to know a wild animal? Can you get to know one of these flying dinosaurs? How close can you get and still keep them wild?”\u003c/p>\n\u003cp>Between \u003cem>Parrots\u003c/em> and \u003cem>Pelican\u003c/em>, Irving has perfected a style of personal filmmaking that leaves ample space for the viewer to think, breathe, meditate and feel. Actually, I suspect Irving will hate that last sentence.\u003c/p>\n\u003cfigure id=\"attachment_10144425\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/pelicandreams1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/pelicandreams1.jpg\" alt=\"From <i>Pelican Dreams</i>\" width=\"640\" height=\"360\" class=\"size-full wp-image-10144425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/pelicandreams1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/pelicandreams1-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From \u003ci>Pelican Dreams\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>“I didn’t want \u003cem>Pelican Dreams\u003c/em> to be New-Agey, or a hippie spirituality kind of thing,” she says. “I’m not that way. I live in San Francisco. I don’t live in Marin. Sorry, Marin.” Irving laughs, and continues. “Working out the correct tone for this movie, the voice was very, very important to me and took forever. I literally did hundreds of sessions of test narration where I recorded myself in this editing room, right here in this chair, trying out lines. I would always edit the visuals first. The visuals have to take priority. Then I would try to find — what do I actually need to say here or do I need to say nothing? How little can I say? I experimented with lines that were more touchy-feely, you might say. I took them out. They didn’t work for me and they didn’t work for test audiences.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the great things about \u003cem>Pelican Dreams\u003c/em> is Irving’s refusal to romanticize or sentimentalize her subjects. We are cursed with a surplus of animated children’s films that anthropomorphize animals and birds, and hardly need nonfiction to pander to the same level. At the other extreme is Werner Herzog, an unquestionably great filmmaker who imagines the oceans and wild nature as places of unbridled terror.\u003c/p>\n\u003cp>“There are several approaches to nature filmmaking that I don’t like, frankly, and one of them is what I call tooth and claw,” Irving says. “It’s where the filmmaker stresses the violence and the aggression of the animal. It doesn’t paint an accurate picture of those animals, usually. There’s also lots of manipulation in nature films these days, lots of outright fakery.”\u003c/p>\n\u003cp>http://youtu.be/rtO13QB8-kg\u003c/p>\n\u003cp>The fluidity, beauty and spirit of \u003cem>Pelican Dreams\u003c/em> derives in large measure from the elegant marriage of artfully edited sequences with sparse voice-over narration. The film contains exactly one bit that could be described as a talking-head interview.\u003c/p>\n\u003cp>“It’s a style that I learned at Stanford in the ‘70s which is a sequence-based style of storytelling that’s very similar to fiction filmmaking,” Irving explains. “In fiction you call it a scene, and I tend to think of them as sequences. I understand how talking heads and B-roll would be appropriate for news reporting, but it’s really a shame to have a person just sitting there yapping in a movie. A movie should move.”\u003c/p>\n\u003cfigure id=\"attachment_10144444\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/pdreams.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/pdreams.jpg\" alt=\"Pelican Dreams\" width=\"640\" height=\"272\" class=\"size-full wp-image-10144444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/pdreams.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/pdreams-400x170.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Pelican Dreams\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Pelican Dreams\u003c/em> is always moving, always flowing, perpetually alive. It’s a kind of investigation, one both urgent and patient.\u003c/p>\n\u003cp>“I think what happens is that people script these films ahead of time and it’s dead,” Irving says. “I like sort of launching myself into some story that’s unrolling at the time, in the present, and I do not know where it’s going to go. I’m taking a risk by following it, but it’s really interesting to me to do that. I go out searching for something. I usually don’t get it, but I get something else. Reality is always handing me something else.”\u003c/p>\n\u003cp>Irving laughs again, this time at the unpredictability, luck and perhaps magic that is so essential to her filmmaking.\u003c/p>\n\u003cp>“One of the key images that I had in my head before I started the film,” she recalls, “and that kind of launched it for me in a way, at least thematically, was when I saw this bird on a very, very, very foggy day in the Marin Headlands soar out of the fog towards me, past me, back into the fog. It was so mysterious. It happened quickly. I couldn’t film it. It was too quick. On the other hand, it was timeless. That bird spoke to me of the mystery of these pelicans, and the mystery of all wild animals. What are their lives really like? How can we tell? How much can we know about what it means to be wild on this planet in the 21st century?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pelican Dreams\u003c/em> opens Friday, Oct. 24, 2014 at the Balboa Theater in San Francisco, the Rialto Cinema Elmwood in Berkeley and Rafael Film Center in San Rafael. The film subsequently opens Oct. 31 at the Rialto Cinemas Sebastopol, the Sebastiani Theatre in Sonoma and the Camera 3 in San Jose, and Nov. 7 at the Nickelodeon in Santa Cruz. For \u003ca href=\"http://pelicandreams.com/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit pelicandreams.com.\u003c/p>\n\n",
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"excerpt": "Judy Irving’s latest poetic documentary contemplates the nature, and the art, of coexistence between humans and other species.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Unlike pop stars, documentary filmmakers rarely have to grapple with crafting a follow-up to a mammoth hit. \u003cem>The Wild Parrots of Telegraph Hill\u003c/em>, Judy Irving’s profound and moving 2003 portrait of Mark Bittner and his feathered friends, was embraced by San Franciscans immediately upon its release and by viewers everywhere when it aired a few years later on PBS’ \u003ci>Independent Lens\u003c/i> series. Hike the Greenwich steps today and you’ll find tourists from around the world pining for a glimpse of the winged movie stars.\u003c/p>\n\u003cfigure id=\"attachment_10144424\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/gigi_on_bridge.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/gigi_on_bridge.jpg\" alt=\"Gigi the pelican on the Golden Gate Bridge\" width=\"640\" height=\"480\" class=\"size-full wp-image-10144424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/gigi_on_bridge.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/gigi_on_bridge-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gigi the pelican on the Golden Gate Bridge\u003c/figcaption>\u003c/figure>\n\u003cp>After \u003cem>Parrots\u003c/em> took off, Irving remained alert to the winds that would bring her next project. Her approach is to pick up on a subject and pick up her camera; her joy is in not knowing where it will take her. Irving’s wonderful new film, \u003cem>Pelican Dreams\u003c/em>, took flight when the North Beach filmmaker heard about the California brown pelican that landed on the Golden Gate Bridge in late 2009, tying up traffic. The injured bird provides the through-line for Irving’s documentary, which gracefully entwines informed commentary on the pelicans with an evocative personal essay about flight, freedom and the ever-increasing encroachment of people.\u003c/p>\n\u003cp>“I didn’t want to make a standard nature documentary, the kind that you see on TV,” Irving declares. “I didn’t want to make a science doc. I didn’t want to make an educational film. I wanted to tell a story about trying to get to know a wild animal, and can you get to know a wild animal? Can you get to know one of these flying dinosaurs? How close can you get and still keep them wild?”\u003c/p>\n\u003cp>Between \u003cem>Parrots\u003c/em> and \u003cem>Pelican\u003c/em>, Irving has perfected a style of personal filmmaking that leaves ample space for the viewer to think, breathe, meditate and feel. Actually, I suspect Irving will hate that last sentence.\u003c/p>\n\u003cfigure id=\"attachment_10144425\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/pelicandreams1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/pelicandreams1.jpg\" alt=\"From <i>Pelican Dreams</i>\" width=\"640\" height=\"360\" class=\"size-full wp-image-10144425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/pelicandreams1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/pelicandreams1-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From \u003ci>Pelican Dreams\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>“I didn’t want \u003cem>Pelican Dreams\u003c/em> to be New-Agey, or a hippie spirituality kind of thing,” she says. “I’m not that way. I live in San Francisco. I don’t live in Marin. Sorry, Marin.” Irving laughs, and continues. “Working out the correct tone for this movie, the voice was very, very important to me and took forever. I literally did hundreds of sessions of test narration where I recorded myself in this editing room, right here in this chair, trying out lines. I would always edit the visuals first. The visuals have to take priority. Then I would try to find — what do I actually need to say here or do I need to say nothing? How little can I say? I experimented with lines that were more touchy-feely, you might say. I took them out. They didn’t work for me and they didn’t work for test audiences.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the great things about \u003cem>Pelican Dreams\u003c/em> is Irving’s refusal to romanticize or sentimentalize her subjects. We are cursed with a surplus of animated children’s films that anthropomorphize animals and birds, and hardly need nonfiction to pander to the same level. At the other extreme is Werner Herzog, an unquestionably great filmmaker who imagines the oceans and wild nature as places of unbridled terror.\u003c/p>\n\u003cp>“There are several approaches to nature filmmaking that I don’t like, frankly, and one of them is what I call tooth and claw,” Irving says. “It’s where the filmmaker stresses the violence and the aggression of the animal. It doesn’t paint an accurate picture of those animals, usually. There’s also lots of manipulation in nature films these days, lots of outright fakery.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rtO13QB8-kg'\n title='//www.youtube.com/embed/rtO13QB8-kg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The fluidity, beauty and spirit of \u003cem>Pelican Dreams\u003c/em> derives in large measure from the elegant marriage of artfully edited sequences with sparse voice-over narration. The film contains exactly one bit that could be described as a talking-head interview.\u003c/p>\n\u003cp>“It’s a style that I learned at Stanford in the ‘70s which is a sequence-based style of storytelling that’s very similar to fiction filmmaking,” Irving explains. “In fiction you call it a scene, and I tend to think of them as sequences. I understand how talking heads and B-roll would be appropriate for news reporting, but it’s really a shame to have a person just sitting there yapping in a movie. A movie should move.”\u003c/p>\n\u003cfigure id=\"attachment_10144444\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/pdreams.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/pdreams.jpg\" alt=\"Pelican Dreams\" width=\"640\" height=\"272\" class=\"size-full wp-image-10144444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/pdreams.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/pdreams-400x170.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Pelican Dreams\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Pelican Dreams\u003c/em> is always moving, always flowing, perpetually alive. It’s a kind of investigation, one both urgent and patient.\u003c/p>\n\u003cp>“I think what happens is that people script these films ahead of time and it’s dead,” Irving says. “I like sort of launching myself into some story that’s unrolling at the time, in the present, and I do not know where it’s going to go. I’m taking a risk by following it, but it’s really interesting to me to do that. I go out searching for something. I usually don’t get it, but I get something else. Reality is always handing me something else.”\u003c/p>\n\u003cp>Irving laughs again, this time at the unpredictability, luck and perhaps magic that is so essential to her filmmaking.\u003c/p>\n\u003cp>“One of the key images that I had in my head before I started the film,” she recalls, “and that kind of launched it for me in a way, at least thematically, was when I saw this bird on a very, very, very foggy day in the Marin Headlands soar out of the fog towards me, past me, back into the fog. It was so mysterious. It happened quickly. I couldn’t film it. It was too quick. On the other hand, it was timeless. That bird spoke to me of the mystery of these pelicans, and the mystery of all wild animals. What are their lives really like? How can we tell? How much can we know about what it means to be wild on this planet in the 21st century?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pelican Dreams\u003c/em> opens Friday, Oct. 24, 2014 at the Balboa Theater in San Francisco, the Rialto Cinema Elmwood in Berkeley and Rafael Film Center in San Rafael. The film subsequently opens Oct. 31 at the Rialto Cinemas Sebastopol, the Sebastiani Theatre in Sonoma and the Camera 3 in San Jose, and Nov. 7 at the Nickelodeon in Santa Cruz. For \u003ca href=\"http://pelicandreams.com/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit pelicandreams.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Listen Up Philip,' Literary Arrogance Stubbornly Refuses To Change",
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"content": "\u003cp>Alex Ross Perry has a knack for writing male characters with deep reservoirs of literary arrogance, and he has taken his talent to a new level with his intricately crafted film, \u003cem>Listen Up Philip\u003c/em>.\u003c/p>\n\u003cp>In his 2011 sophomore feature \u003cem>The Color Wheel,\u003c/em> Perry played Colin, who was a pathetic and ultimately forgivable version of this character type — literary only in aspiration, a jerk mostly due to lazy disposition. He’s no match for \u003cem>Listen Up Philip\u003c/em>‘s eponymous writer, played by Jason Schwartzman, nor for Philip’s mentor, the older celebrity author Ike Zimmerman (Jonathan Pryce). These two are quintessential self-righteous bloviators.\u003c/p>\n\u003cp>http://youtu.be/VrJ_yF5uWDI\u003c/p>\n\u003cp>The shift in characters is just one way in which Perry has taken a great step with \u003cem>Listen Up Philip\u003c/em>. On nearly every plane — its winding story structure, its cinematography (courtesy, as in Perry’s previous movies, of Sean Price Williams), and its thematic depth — Perry’s third film leaps beyond \u003cem>The Color Wheel\u003c/em>. That film used some radical brushstrokes to lightly distinguish itself from other films about artsy 20-somethings, but it nevertheless stuck largely to that genre’s familiar trappings and certainly to its prevailing tone of wry sarcasm.\u003c/p>\n\u003cp>\u003cem>Listen Up Philip\u003c/em>, meanwhile, begins with an immediately distinctive voice — that of the omniscient narrator (Eric Bogosian) who relates the story in a dense, intellectual and self-consciously expositional style. His tone is purposely but still irritatingly pompous. And at first that makes it easy to wonder, particularly once we’re introduced to the equally grating Philip, what world Perry has dropped us into and what possible reason there could be to spend time there.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Philip has just published his second novel, an event that produces in him both a sense of superiority (he is \u003cem>suffering\u003c/em> for his \u003cem>art\u003c/em>, unlike his sellout friends) and a flood of self-pity (his work just isn’t good enough; it’s worthless, useless). The mix makes you wish Philip would begin writing his third novel straight away since, in his case, seeking out solitude would qualify as an act of generosity toward the world as well as a boon for his productivity.\u003c/p>\n\u003cp>Right on cue, Ike offers Philip just that kind of isolation when he invites him upstate to his cabin, where Ike’s daughter, Melanie (Krysten Ritter), also lives. Moving up there for the summer means Philip has to leave his girlfriend, Ashley (Elisabeth Moss), with whom he shares an apartment and who he treats much like he treats his work: with a mix of envy (her success as a photographer intimidates him) and contempt (he feels like she has ceased to care adequately about him and his writing).\u003c/p>\n\u003cp>At this point, \u003cem>Listen Up Philip\u003c/em>‘s narrative begins to surprise with sudden changes in itinerary. About a third of the way in, the film smoothly transitions from Philip’s perspective to Ashley’s, focusing on her as she recovers from Philip’s sudden departure. A third act later shines the spotlight on Ike.\u003c/p>\n\u003cp>The plot’s undulating movement offers a slow process of slackening and liberation. Both because of its tone and its heavy use of tight close-ups, the beginning of \u003cem>Listen Up Philip\u003c/em> constrains us in a shallow bubble of a world. The plot’s digressions, though, progressively create some much-needed breathing room.\u003c/p>\n\u003cp>Ashley’s segment is particularly important in this respect because it offers a moment of respite from Philip and Ike — one that, because Ashley is so comparatively decent as a human being, only helps emphasize their arrogance. Ashley’s gradual freedom from her relationship with Philip is ultimately a reminder to us as an audience not to take either him or Ike — who is just an older, reified version of Philip — too seriously.\u003c/p>\n\u003cp>That’s not to say that Perry abandons Philip and Ike, or that he even sidelines them. We may realize that these are insufferable people, but Perry returns to both, largely to continue revealing their desperation and their bad behavior.\u003c/p>\n\u003cp>The worst of Ike and Philip’s actions unintentionally recall \u003ca href=\"http://www.deathandtaxesmag.com/228916/on-sexism-sexual-assault-and-the-threat-of-the-non-bro/\">Robyn Pennacchia’s essay in \u003cem>Death and Taxes\u003c/em>\u003c/a> about the recent spate of sexual harassment accusations in American literary circles. What makes the latter events so seemingly surprising, Pennacchia writes, is the self-image of the communities in which they occurred, ones that are “primarily populated by men who think they are not ‘bros.’ Usually, they consider themselves intellectuals. … They are always the first to lock arms with you and rail against sexism coming from these \u003cem>other\u003c/em> types of men.”\u003c/p>\n\u003cp>Philip and Ike never commit any similarly criminal acts, but they nevertheless fit into the phenomenon that Pennacchia describes: The delusion of their self-righteousness and the protective grandeur it engenders is the same, and the victims of their sense of self-worth are the women in their lives, toward whom both feel a despicable sense of entitlement.\u003c/p>\n\u003cp>Nevertheless, Perry pushes himself and us to understand both men intimately. And it’s only through that process that the two, who start off merely as insufferable, become recognizable as villains.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite Philip and Ike’s deep-set stubbornness, however, the experience of watching \u003cem>Listen Up Philip\u003c/em> feels like a revelation. That’s largely because, while telling a story about two characters who refuse to admit their wrongs and refuse to change, the film’s structure assures that we’re the ones — through our perspective and our feelings — who are shifting. In a film replete with magnificent achievements, this strikes as Perry’s most subtly masterful touch. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Listen+Up+Philip%2C%27+Literary+Arrogance+Stubbornly+Refuses+To+Change&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alex Ross Perry has a knack for writing male characters with deep reservoirs of literary arrogance, and he has taken his talent to a new level with his intricately crafted film, \u003cem>Listen Up Philip\u003c/em>.\u003c/p>\n\u003cp>In his 2011 sophomore feature \u003cem>The Color Wheel,\u003c/em> Perry played Colin, who was a pathetic and ultimately forgivable version of this character type — literary only in aspiration, a jerk mostly due to lazy disposition. He’s no match for \u003cem>Listen Up Philip\u003c/em>‘s eponymous writer, played by Jason Schwartzman, nor for Philip’s mentor, the older celebrity author Ike Zimmerman (Jonathan Pryce). These two are quintessential self-righteous bloviators.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VrJ_yF5uWDI'\n title='//www.youtube.com/embed/VrJ_yF5uWDI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The shift in characters is just one way in which Perry has taken a great step with \u003cem>Listen Up Philip\u003c/em>. On nearly every plane — its winding story structure, its cinematography (courtesy, as in Perry’s previous movies, of Sean Price Williams), and its thematic depth — Perry’s third film leaps beyond \u003cem>The Color Wheel\u003c/em>. That film used some radical brushstrokes to lightly distinguish itself from other films about artsy 20-somethings, but it nevertheless stuck largely to that genre’s familiar trappings and certainly to its prevailing tone of wry sarcasm.\u003c/p>\n\u003cp>\u003cem>Listen Up Philip\u003c/em>, meanwhile, begins with an immediately distinctive voice — that of the omniscient narrator (Eric Bogosian) who relates the story in a dense, intellectual and self-consciously expositional style. His tone is purposely but still irritatingly pompous. And at first that makes it easy to wonder, particularly once we’re introduced to the equally grating Philip, what world Perry has dropped us into and what possible reason there could be to spend time there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Philip has just published his second novel, an event that produces in him both a sense of superiority (he is \u003cem>suffering\u003c/em> for his \u003cem>art\u003c/em>, unlike his sellout friends) and a flood of self-pity (his work just isn’t good enough; it’s worthless, useless). The mix makes you wish Philip would begin writing his third novel straight away since, in his case, seeking out solitude would qualify as an act of generosity toward the world as well as a boon for his productivity.\u003c/p>\n\u003cp>Right on cue, Ike offers Philip just that kind of isolation when he invites him upstate to his cabin, where Ike’s daughter, Melanie (Krysten Ritter), also lives. Moving up there for the summer means Philip has to leave his girlfriend, Ashley (Elisabeth Moss), with whom he shares an apartment and who he treats much like he treats his work: with a mix of envy (her success as a photographer intimidates him) and contempt (he feels like she has ceased to care adequately about him and his writing).\u003c/p>\n\u003cp>At this point, \u003cem>Listen Up Philip\u003c/em>‘s narrative begins to surprise with sudden changes in itinerary. About a third of the way in, the film smoothly transitions from Philip’s perspective to Ashley’s, focusing on her as she recovers from Philip’s sudden departure. A third act later shines the spotlight on Ike.\u003c/p>\n\u003cp>The plot’s undulating movement offers a slow process of slackening and liberation. Both because of its tone and its heavy use of tight close-ups, the beginning of \u003cem>Listen Up Philip\u003c/em> constrains us in a shallow bubble of a world. The plot’s digressions, though, progressively create some much-needed breathing room.\u003c/p>\n\u003cp>Ashley’s segment is particularly important in this respect because it offers a moment of respite from Philip and Ike — one that, because Ashley is so comparatively decent as a human being, only helps emphasize their arrogance. Ashley’s gradual freedom from her relationship with Philip is ultimately a reminder to us as an audience not to take either him or Ike — who is just an older, reified version of Philip — too seriously.\u003c/p>\n\u003cp>That’s not to say that Perry abandons Philip and Ike, or that he even sidelines them. We may realize that these are insufferable people, but Perry returns to both, largely to continue revealing their desperation and their bad behavior.\u003c/p>\n\u003cp>The worst of Ike and Philip’s actions unintentionally recall \u003ca href=\"http://www.deathandtaxesmag.com/228916/on-sexism-sexual-assault-and-the-threat-of-the-non-bro/\">Robyn Pennacchia’s essay in \u003cem>Death and Taxes\u003c/em>\u003c/a> about the recent spate of sexual harassment accusations in American literary circles. What makes the latter events so seemingly surprising, Pennacchia writes, is the self-image of the communities in which they occurred, ones that are “primarily populated by men who think they are not ‘bros.’ Usually, they consider themselves intellectuals. … They are always the first to lock arms with you and rail against sexism coming from these \u003cem>other\u003c/em> types of men.”\u003c/p>\n\u003cp>Philip and Ike never commit any similarly criminal acts, but they nevertheless fit into the phenomenon that Pennacchia describes: The delusion of their self-righteousness and the protective grandeur it engenders is the same, and the victims of their sense of self-worth are the women in their lives, toward whom both feel a despicable sense of entitlement.\u003c/p>\n\u003cp>Nevertheless, Perry pushes himself and us to understand both men intimately. And it’s only through that process that the two, who start off merely as insufferable, become recognizable as villains.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite Philip and Ike’s deep-set stubbornness, however, the experience of watching \u003cem>Listen Up Philip\u003c/em> feels like a revelation. That’s largely because, while telling a story about two characters who refuse to admit their wrongs and refuse to change, the film’s structure assures that we’re the ones — through our perspective and our feelings — who are shifting. In a film replete with magnificent achievements, this strikes as Perry’s most subtly masterful touch. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Listen+Up+Philip%2C%27+Literary+Arrogance+Stubbornly+Refuses+To+Change&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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