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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Avishay Artsy’s report on the ongoing exhibits demonstrating the impact of Jewish émigrés on Hollywood during the ’40s:\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/10/2014-10-17c-tcrmag.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The 1942 classic \u003cem>Casablanca\u003c/em> follows a complicated love story between two star-crossed lovers, played by Humphrey Bogart and Ingrid Bergman. But it’s also about refugees fleeing their home country for safety. It’s an apt metaphor for the experience of Jews escaping Nazi Germany, and that’s no coincidence, as almost everyone who worked on the film was an immigrant.\u003c/p>\n\u003cp>“It’s as much an exile film as it is a romantic drama,” said Doris Berger, curator of \u003cb>Light & Noir: Exiles and Émigrés in Hollywood, 1933-1950\u003c/b>, on display at the Skirball Cultural Center from Oct. 23 to March 1. “In Rick’s Café, where everyone comes to but everyone leaves and has to go someplace else, it’s a transitory space in itself.”\u003c/p>\n\u003cp>\u003cem>Casablanca\u003c/em> is among the better-known films included in the exhibition, which begins with the rise of Nazis in Germany and ends with the congressional anti-communist hearings and the Hollywood blacklist. \u003c/p>\n\u003cp>Jews held prominent positions in Germany’s film industry when the Nazis came to power. Their stories are described in a concurrent show at the Los Angeles County Museum of Art (LACMA) called \u003cb>Haunted Screens\u003c/b>. German Expressionist films such as Robert Wiene’s \u003cem>The Cabinet of Dr. Caligari\u003c/em> and Fritz Lang’s \u003cem>Metropolis\u003c/em> employed strange camera angles, dark shadows and mythical figures, the visual touchstones of what became film noir. The Skirball exhibit tells the story using film footage, photographs, props, costumes, memorabilia — even furniture from the set of Rick’s Café in \u003cem>Casablanca\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Major_Minor-rogers-milland_LO.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Major_Minor-rogers-milland_LO.jpg\" alt=\"Major_Minor rogers milland_LO\" width=\"640\" height=\"511\" class=\"alignright size-full wp-image-10144075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Major_Minor-rogers-milland_LO.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Major_Minor-rogers-milland_LO-400x319.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Since our show focuses on the 1920s and the years leading up to the rise of national socialism and World War II, we’re really thrilled that the Skirball exhibition will pick up right where we leave off, and trace the achievements of émigré filmmakers here in Hollywood and show some of those aesthetic connections, but also those biographical links,” said Britt Salvesen, curator of the LACMA show.\u003c/p>\n\u003cp>“One of the films we feature with some drawings and photographs and posters is \u003cem>The Blue Angel\u003c/em>, which is one of Marlene Dietrich’s breakout roles, directed by Josef von Sternberg, and they both emigrated to Hollywood shortly after that film was made,” Salvesen said. “We can look at it now as kind of their final statement on German soil. And then of course they went on to have new chapters in their career once they came here.”\u003c/p>\n\u003cp>The Nazis forbid Jews to work in the movie business. Prolific comedy director Henry Koster left Berlin for Budapest, where there was still a German-speaking film market. Billy Wilder went to Paris, and Lang absconded to London. Many went directly to the United States.\u003c/p>\n\u003cp>An estimated 800 German-speaking Jews emigrated and worked in Hollywood during World War II, from below-the-line crew, like tailors and prop designers. They were assisted by Jews in Hollywood, like director Ernst Lubitsch and talent agent Paul Kohner, who created the European Film Fund.\u003c/p>\n\u003cp>“Those who were already here and established, contributed money to a fund, to help get not only visas and affidavits, but established bank accounts and guaranteed work for European Jews who were fleeing Hitler’s regime,” said Pancho Kohner, Paul Kohner’s son.\u003c/p>\n\u003cp>One room of the exhibit recreates Kohner’s office, with letters and advertisements he wrote, trying to convince producers to hire European Jews.\u003c/p>\n\u003cfigure id=\"attachment_10144078\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/MarleneDietrich_DeclarationIntention_LO.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/MarleneDietrich_DeclarationIntention_LO.jpg\" alt=\"Marlene Dietrich's declaration of intention\" width=\"640\" height=\"801\" class=\"size-full wp-image-10144078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/MarleneDietrich_DeclarationIntention_LO.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/MarleneDietrich_DeclarationIntention_LO-400x500.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/MarleneDietrich_DeclarationIntention_LO-479x600.jpg 479w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marlene Dietrich’s declaration of intention\u003c/figcaption>\u003c/figure>\n\u003cp>The Skirball exhibition highlights one film genre specific to the time: the anti-Nazi film. It wasn’t until well into the war and the systematic genocide of Jews in Europe that a strong Nazi critique became apparent in American cinema.\u003c/p>\n\u003cp>“Some studios, like Warner Bros., really tried to make films that were critical toward the Nazis, since 1934, but couldn’t get it through the censorship board for five years,” Berger said. “So it took them until 1939 to make the first anti-Nazi film.”\u003c/p>\n\u003cp>The chief censor of the Hollywood film industry in the late 1930s was Joseph Breen, a notorious anti-Semite. Breen specifically warned Hollywood producers to avoid tackling the Nazi mistreatment of Jews altogether, saying at the time: “There is a strong pro-German and anti-Semitic feeling in this country … and while those who are likely to approve of an anti-Hitler picture may think well of such an enterprise, they should keep in mind that millions of Americans might think otherwise.”\u003c/p>\n\u003cp>One side effect of the censors was that directors had to discreetly slip in risqué jokes. The phrase “the Lubitsch touch” is used to describe the Jewish director’s very subtle style of comedy. \u003c/p>\n\u003cp>“You heard things behind the doors,” Berger said. “You didn’t see them, but you could imagine them.”\u003c/p>\n\u003cp>A strange irony is that one of the few roles available for German immigrant actors, because of their strong accents, was as a Nazi soldier. Martin Kosleck was not Jewish but was strongly opposed to the Nazis, yet he portrayed an SS trooper and a concentration camp officer, and played the role of Joseph Goebbels, Adolf Hitler’s propaganda minister, in five films.\u003c/p>\n\u003cfigure id=\"attachment_10144076\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Sunset_Blvd-Holden-Swanson_LO.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Sunset_Blvd-Holden-Swanson_LO.jpg\" alt=\"Promotional picture for Sunset Boulevard (1950) Directed by Billy Wilder Shown from left: William Holden, Gloria Swanson\" width=\"640\" height=\"536\" class=\"size-full wp-image-10144076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Sunset_Blvd-Holden-Swanson_LO.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Sunset_Blvd-Holden-Swanson_LO-400x335.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Promotional picture for \u003ci>Sunset Boulevard\u003c/i> (1950) Directed by Billy Wilder\u003cbr>Shown from left: William Holden, Gloria Swanson\u003c/figcaption>\u003c/figure>\n\u003cp>The first anti-Nazi movie, \u003cem>Confessions of a Nazi Spy\u003c/em>, an example of film noir, is contrasted in the Skirball exhibit with Lubitsch’s comedic satire \u003cem>To Be or Not to Be\u003c/em>. The Jewish émigré sensibility, combining humor and sorrow, molded the comedy films of that time. \u003c/p>\n\u003cp>“They are funny, but they’re not only funny,” Berger said. “Sometimes you don’t know whether to laugh or cry about something. It kind of sticks in your throat.”\u003c/p>\n\u003cp>Wilder’s 1948 romantic comedy, \u003cem>A Foreign Affair\u003c/em>, stars Marlene Dietrich as an ex-Nazi cabaret singer struggling to survive in the rubble of Berlin. Dietrich chose to wear the same dress in the movie that she wore while entertaining U.S. troops overseas, another subtle act of resistance. That original dress is featured in the exhibition, alongside photos of her wearing it for American soldiers.\u003c/p>\n\u003cp>Hollywood Jews socialized together, in salons organized at various movie moguls’ homes, where they would discuss current events of the U.S. and Europe. But not all émigrés had a rosy relationship. Director Lang collaborated with poet Bertolt Brecht on “Hangmen Also Die!” but they clashed over Brecht’s struggle to write for the screen. It was his first, and final, script for a Hollywood film.\u003c/p>\n\u003cp>The Skirball also examines the cultural assimilation of Jews in Hollywood. Kohner sent Christmas cards every year to his associates, including fellow Jews. Nicola Lubitsch, who was interviewed for the show, remembers her father as a completely non-practicing Jew. \u003c/p>\n\u003cp>“It was part of his identity, but it was never spoken of,” said Lubitsch.\u003c/p>\n\u003cfigure id=\"attachment_10144074\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Foreign-Affair-marlene-sings-Copy.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Foreign-Affair-marlene-sings-Copy.jpeg\" alt=\"A scene from Foreign Affair, where Marlene Dietrich sings\" width=\"640\" height=\"504\" class=\"size-full wp-image-10144074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Foreign-Affair-marlene-sings-Copy.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Foreign-Affair-marlene-sings-Copy-400x315.jpeg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from \u003ci>Foreign Affair\u003c/i>, where Marlene Dietrich sings\u003c/figcaption>\u003c/figure>\n\u003cp>In Rick’s Café in \u003cem>Casablanca\u003c/em>, the camera focuses on the tears in the immigrant actors’ eyes — an example of reality and fiction merging together. Hollywood – which has always been a vehicle for exporting American culture to the rest of the world – became a way for Jewish immigrants to project their own outlook of the world – a view influenced by their experiences in Europe.\u003c/p>\n\u003cp>“Hollywood films, until World War II, are still very optimistic and positive, and you don’t get the kind of ambiguous characters, you don’t get these shades of grey between good and evil, that you do suddenly find in these film noirs,” said Jan-Christopher Horak, director of the UCLA Film & Television Archive.\u003c/p>\n\u003cp>A second exhibition at the Skirball Cultural Center, \u003cstrong>The Noir Effect\u003c/strong>, examines the cultural influence of film noir on the following decades of American culture, from films such as \u003ci>Blade Runner,\u003c/i> \u003ci>Chinatown\u003c/i> and \u003ci>L.A. Confidential,\u003c/i> to photographer Cindy Sherman, painter Ed Ruscha and the imagery of graphic novels, children’s books and video games such as \u003cem>L.A. Noire\u003c/em>. It’s further proof that the legacy of Hollywood’s Jewish émigrés continues, decades later.\u003c/p>\n\u003cp>\u003cstrong>Light & Noir: Exiles and Émigrés in Hollywood, 1933-1950,\u003c/strong> and \u003cstrong>The Noir Effect\u003c/strong>, both run at the Skirball Cultural Center in Los Angeles from Oct. 23-March 1. \u003ca href=\"http://www.skirball.org/exhibitions/light-noir\" target=\"_blank\" rel=\"noopener\">For more information,\u003c/a> visit skirball.org.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Haunted Scenes: German Cinema in the 1920s\u003c/strong> is currently running at the Los Angeles County Museum of Art until June 4, 2015. \u003ca href=\"http://unframed.lacma.org/2014/10/15/haunted-screens-german-cinema-1920s\" target=\"_blank\" rel=\"noopener\">For more information\u003c/a>, visit lacma.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Avishay Artsy’s report on the ongoing exhibits demonstrating the impact of Jewish émigrés on Hollywood during the ’40s:\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/10/2014-10-17c-tcrmag.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The 1942 classic \u003cem>Casablanca\u003c/em> follows a complicated love story between two star-crossed lovers, played by Humphrey Bogart and Ingrid Bergman. But it’s also about refugees fleeing their home country for safety. It’s an apt metaphor for the experience of Jews escaping Nazi Germany, and that’s no coincidence, as almost everyone who worked on the film was an immigrant.\u003c/p>\n\u003cp>“It’s as much an exile film as it is a romantic drama,” said Doris Berger, curator of \u003cb>Light & Noir: Exiles and Émigrés in Hollywood, 1933-1950\u003c/b>, on display at the Skirball Cultural Center from Oct. 23 to March 1. “In Rick’s Café, where everyone comes to but everyone leaves and has to go someplace else, it’s a transitory space in itself.”\u003c/p>\n\u003cp>\u003cem>Casablanca\u003c/em> is among the better-known films included in the exhibition, which begins with the rise of Nazis in Germany and ends with the congressional anti-communist hearings and the Hollywood blacklist. \u003c/p>\n\u003cp>Jews held prominent positions in Germany’s film industry when the Nazis came to power. Their stories are described in a concurrent show at the Los Angeles County Museum of Art (LACMA) called \u003cb>Haunted Screens\u003c/b>. German Expressionist films such as Robert Wiene’s \u003cem>The Cabinet of Dr. Caligari\u003c/em> and Fritz Lang’s \u003cem>Metropolis\u003c/em> employed strange camera angles, dark shadows and mythical figures, the visual touchstones of what became film noir. The Skirball exhibit tells the story using film footage, photographs, props, costumes, memorabilia — even furniture from the set of Rick’s Café in \u003cem>Casablanca\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Major_Minor-rogers-milland_LO.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Major_Minor-rogers-milland_LO.jpg\" alt=\"Major_Minor rogers milland_LO\" width=\"640\" height=\"511\" class=\"alignright size-full wp-image-10144075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Major_Minor-rogers-milland_LO.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Major_Minor-rogers-milland_LO-400x319.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Since our show focuses on the 1920s and the years leading up to the rise of national socialism and World War II, we’re really thrilled that the Skirball exhibition will pick up right where we leave off, and trace the achievements of émigré filmmakers here in Hollywood and show some of those aesthetic connections, but also those biographical links,” said Britt Salvesen, curator of the LACMA show.\u003c/p>\n\u003cp>“One of the films we feature with some drawings and photographs and posters is \u003cem>The Blue Angel\u003c/em>, which is one of Marlene Dietrich’s breakout roles, directed by Josef von Sternberg, and they both emigrated to Hollywood shortly after that film was made,” Salvesen said. “We can look at it now as kind of their final statement on German soil. And then of course they went on to have new chapters in their career once they came here.”\u003c/p>\n\u003cp>The Nazis forbid Jews to work in the movie business. Prolific comedy director Henry Koster left Berlin for Budapest, where there was still a German-speaking film market. Billy Wilder went to Paris, and Lang absconded to London. Many went directly to the United States.\u003c/p>\n\u003cp>An estimated 800 German-speaking Jews emigrated and worked in Hollywood during World War II, from below-the-line crew, like tailors and prop designers. They were assisted by Jews in Hollywood, like director Ernst Lubitsch and talent agent Paul Kohner, who created the European Film Fund.\u003c/p>\n\u003cp>“Those who were already here and established, contributed money to a fund, to help get not only visas and affidavits, but established bank accounts and guaranteed work for European Jews who were fleeing Hitler’s regime,” said Pancho Kohner, Paul Kohner’s son.\u003c/p>\n\u003cp>One room of the exhibit recreates Kohner’s office, with letters and advertisements he wrote, trying to convince producers to hire European Jews.\u003c/p>\n\u003cfigure id=\"attachment_10144078\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/MarleneDietrich_DeclarationIntention_LO.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/MarleneDietrich_DeclarationIntention_LO.jpg\" alt=\"Marlene Dietrich's declaration of intention\" width=\"640\" height=\"801\" class=\"size-full wp-image-10144078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/MarleneDietrich_DeclarationIntention_LO.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/MarleneDietrich_DeclarationIntention_LO-400x500.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/MarleneDietrich_DeclarationIntention_LO-479x600.jpg 479w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marlene Dietrich’s declaration of intention\u003c/figcaption>\u003c/figure>\n\u003cp>The Skirball exhibition highlights one film genre specific to the time: the anti-Nazi film. It wasn’t until well into the war and the systematic genocide of Jews in Europe that a strong Nazi critique became apparent in American cinema.\u003c/p>\n\u003cp>“Some studios, like Warner Bros., really tried to make films that were critical toward the Nazis, since 1934, but couldn’t get it through the censorship board for five years,” Berger said. “So it took them until 1939 to make the first anti-Nazi film.”\u003c/p>\n\u003cp>The chief censor of the Hollywood film industry in the late 1930s was Joseph Breen, a notorious anti-Semite. Breen specifically warned Hollywood producers to avoid tackling the Nazi mistreatment of Jews altogether, saying at the time: “There is a strong pro-German and anti-Semitic feeling in this country … and while those who are likely to approve of an anti-Hitler picture may think well of such an enterprise, they should keep in mind that millions of Americans might think otherwise.”\u003c/p>\n\u003cp>One side effect of the censors was that directors had to discreetly slip in risqué jokes. The phrase “the Lubitsch touch” is used to describe the Jewish director’s very subtle style of comedy. \u003c/p>\n\u003cp>“You heard things behind the doors,” Berger said. “You didn’t see them, but you could imagine them.”\u003c/p>\n\u003cp>A strange irony is that one of the few roles available for German immigrant actors, because of their strong accents, was as a Nazi soldier. Martin Kosleck was not Jewish but was strongly opposed to the Nazis, yet he portrayed an SS trooper and a concentration camp officer, and played the role of Joseph Goebbels, Adolf Hitler’s propaganda minister, in five films.\u003c/p>\n\u003cfigure id=\"attachment_10144076\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Sunset_Blvd-Holden-Swanson_LO.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Sunset_Blvd-Holden-Swanson_LO.jpg\" alt=\"Promotional picture for Sunset Boulevard (1950) Directed by Billy Wilder Shown from left: William Holden, Gloria Swanson\" width=\"640\" height=\"536\" class=\"size-full wp-image-10144076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Sunset_Blvd-Holden-Swanson_LO.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Sunset_Blvd-Holden-Swanson_LO-400x335.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Promotional picture for \u003ci>Sunset Boulevard\u003c/i> (1950) Directed by Billy Wilder\u003cbr>Shown from left: William Holden, Gloria Swanson\u003c/figcaption>\u003c/figure>\n\u003cp>The first anti-Nazi movie, \u003cem>Confessions of a Nazi Spy\u003c/em>, an example of film noir, is contrasted in the Skirball exhibit with Lubitsch’s comedic satire \u003cem>To Be or Not to Be\u003c/em>. The Jewish émigré sensibility, combining humor and sorrow, molded the comedy films of that time. \u003c/p>\n\u003cp>“They are funny, but they’re not only funny,” Berger said. “Sometimes you don’t know whether to laugh or cry about something. It kind of sticks in your throat.”\u003c/p>\n\u003cp>Wilder’s 1948 romantic comedy, \u003cem>A Foreign Affair\u003c/em>, stars Marlene Dietrich as an ex-Nazi cabaret singer struggling to survive in the rubble of Berlin. Dietrich chose to wear the same dress in the movie that she wore while entertaining U.S. troops overseas, another subtle act of resistance. That original dress is featured in the exhibition, alongside photos of her wearing it for American soldiers.\u003c/p>\n\u003cp>Hollywood Jews socialized together, in salons organized at various movie moguls’ homes, where they would discuss current events of the U.S. and Europe. But not all émigrés had a rosy relationship. Director Lang collaborated with poet Bertolt Brecht on “Hangmen Also Die!” but they clashed over Brecht’s struggle to write for the screen. It was his first, and final, script for a Hollywood film.\u003c/p>\n\u003cp>The Skirball also examines the cultural assimilation of Jews in Hollywood. Kohner sent Christmas cards every year to his associates, including fellow Jews. Nicola Lubitsch, who was interviewed for the show, remembers her father as a completely non-practicing Jew. \u003c/p>\n\u003cp>“It was part of his identity, but it was never spoken of,” said Lubitsch.\u003c/p>\n\u003cfigure id=\"attachment_10144074\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Foreign-Affair-marlene-sings-Copy.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Foreign-Affair-marlene-sings-Copy.jpeg\" alt=\"A scene from Foreign Affair, where Marlene Dietrich sings\" width=\"640\" height=\"504\" class=\"size-full wp-image-10144074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Foreign-Affair-marlene-sings-Copy.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Foreign-Affair-marlene-sings-Copy-400x315.jpeg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from \u003ci>Foreign Affair\u003c/i>, where Marlene Dietrich sings\u003c/figcaption>\u003c/figure>\n\u003cp>In Rick’s Café in \u003cem>Casablanca\u003c/em>, the camera focuses on the tears in the immigrant actors’ eyes — an example of reality and fiction merging together. Hollywood – which has always been a vehicle for exporting American culture to the rest of the world – became a way for Jewish immigrants to project their own outlook of the world – a view influenced by their experiences in Europe.\u003c/p>\n\u003cp>“Hollywood films, until World War II, are still very optimistic and positive, and you don’t get the kind of ambiguous characters, you don’t get these shades of grey between good and evil, that you do suddenly find in these film noirs,” said Jan-Christopher Horak, director of the UCLA Film & Television Archive.\u003c/p>\n\u003cp>A second exhibition at the Skirball Cultural Center, \u003cstrong>The Noir Effect\u003c/strong>, examines the cultural influence of film noir on the following decades of American culture, from films such as \u003ci>Blade Runner,\u003c/i> \u003ci>Chinatown\u003c/i> and \u003ci>L.A. Confidential,\u003c/i> to photographer Cindy Sherman, painter Ed Ruscha and the imagery of graphic novels, children’s books and video games such as \u003cem>L.A. Noire\u003c/em>. It’s further proof that the legacy of Hollywood’s Jewish émigrés continues, decades later.\u003c/p>\n\u003cp>\u003cstrong>Light & Noir: Exiles and Émigrés in Hollywood, 1933-1950,\u003c/strong> and \u003cstrong>The Noir Effect\u003c/strong>, both run at the Skirball Cultural Center in Los Angeles from Oct. 23-March 1. \u003ca href=\"http://www.skirball.org/exhibitions/light-noir\" target=\"_blank\" rel=\"noopener\">For more information,\u003c/a> visit skirball.org.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Haunted Scenes: German Cinema in the 1920s\u003c/strong> is currently running at the Los Angeles County Museum of Art until June 4, 2015. \u003ca href=\"http://unframed.lacma.org/2014/10/15/haunted-screens-german-cinema-1920s\" target=\"_blank\" rel=\"noopener\">For more information\u003c/a>, visit lacma.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bill Murray Doesn't Do Much, But He Does It So Well In 'St. Vincent'",
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"content": "\u003cp>The grumpy geezer Bill Murray plays in Ted Melfi’s gentle comedy \u003cem>St. Vincent\u003c/em> is not exactly a stretch. Vincent is a down-on-his-luck gent festering in a falling-down row house on the butt end of Brooklyn. Familiar stuff happens: A little boy named Oliver with bowl-cut hair and a noticeably absent father moves in next door with his mother, Maggie (Melissa McCarthy).\u003c/p>\n\u003cp>Oliver, who’s played without undue cuteness by newcomer Jaeden Lieberher, is wise beyond his years, but puny and in need of help seeing off the school bully. Vincent is nobody’s idea of \u003cem>in loco parentis\u003c/em>, but he needs the babysitting money and can offer Oliver the school of life via lessons in self-defense, trips to the racetrack and dive bars, etc., etc.\u003c/p>\n\u003cp>In return, Oliver offers living proof that some kids possess innate resilience, common sense and optimism that function independently of the rotten things that life hands them.\u003c/p>\n\u003cp>http://youtu.be/9dP5lJnJHXg\u003c/p>\n\u003cp>Other kooks are fed into the mix to create a cobbled-together family of putative losers. Naomi Watts, in tacky dress and a creditable Russian accent as a pregnant hooker, sashays in for weekly appointments with Vincent. Chris O’Dowd is Oliver’s sympathetic Catholic-school priest, and Terrence Howard makes a none-too-sinister loan shark trying to collect from Vincent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Off to the side, there’s a pretty woman (Donna Mitchell) in assisted living whose relationship to Vincent signals the takeaway — which is that we don’t know anyone’s story, not really, until we get up close.\u003c/p>\n\u003cp>And even then, only if we’re allowed in. In this film we are.\u003c/p>\n\u003cp>\u003cem>St. Vincent\u003c/em> brings no fresh news. But the movie is sweet, kind and mostly crisply written. The round-the-clock aggravation and proximity to disaster that poverty brings is acutely observed, along with the persistent vitality of neglected neighborhoods and those who, willy-nilly, land in them.\u003c/p>\n\u003cp>Melfi provides Melissa McCarthy with a fine chance to do something other than throw herself around. She’s dandy at that too, but it’s a treat to watch her dial it down for a role that has nothing to do with her size or her precise gift for physical comedy. Here she’s a pretty great mother who has the smarts and the open mind to stop doing one big thing wrong for herself and her son.\u003c/p>\n\u003cp>There’s a long, probably improvised sequence to go with the end credits of \u003cem>St. Vincent\u003c/em>, with Murray sitting on a bench in Vincent’s yard, doing goofy things with a garden hose. Bob Dylan is involved, for slightly too obvious thematic reasons.\u003c/p>\n\u003cp>But even when disaster comes to Vincent in spades, Murray’s doing what he always does, which always looks as though it’s not much. He says his lines, lifts his eyebrows or his hands, palms up. Now and again he throws a hissy fit or falls down. Mostly, he lets things happen around him while occupying the movie’s center, patiently waiting for something to happen to show that he’s less disaffected than he seems.\u003c/p>\n\u003cp>I’ll be darned if I know what it is that Murray does with all this doing nothing, but somehow he’s also been the guy to make you believe in a television newscaster who wakes up to the same lousy Groundhog Day every day until Andie MacDowell rides to the rescue. More preposterous yet, he makes you suspend all disbelief that, in \u003cem>Lost in Translation\u003c/em>, a woman who looks like Scarlett Johansson could possibly fall for a depressive has-been who looks like Bill Murray.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can put Murray in a drama or a comedy or almost anything that isn’t too loud or too busy, and he’ll drain the goo without also ditching the humanity. In this instance, he’s the perfect guy to carry the movie’s pleasantly ordinary tune, which sings that saints are nothing but flawed people doing good. \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=Bill+Murray+Doesn%27t+Do+Much%2C+But+He+Does+It+So+Well+In+%27St.+Vincent%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Off to the side, there’s a pretty woman (Donna Mitchell) in assisted living whose relationship to Vincent signals the takeaway — which is that we don’t know anyone’s story, not really, until we get up close.\u003c/p>\n\u003cp>And even then, only if we’re allowed in. In this film we are.\u003c/p>\n\u003cp>\u003cem>St. Vincent\u003c/em> brings no fresh news. But the movie is sweet, kind and mostly crisply written. The round-the-clock aggravation and proximity to disaster that poverty brings is acutely observed, along with the persistent vitality of neglected neighborhoods and those who, willy-nilly, land in them.\u003c/p>\n\u003cp>Melfi provides Melissa McCarthy with a fine chance to do something other than throw herself around. She’s dandy at that too, but it’s a treat to watch her dial it down for a role that has nothing to do with her size or her precise gift for physical comedy. Here she’s a pretty great mother who has the smarts and the open mind to stop doing one big thing wrong for herself and her son.\u003c/p>\n\u003cp>There’s a long, probably improvised sequence to go with the end credits of \u003cem>St. Vincent\u003c/em>, with Murray sitting on a bench in Vincent’s yard, doing goofy things with a garden hose. Bob Dylan is involved, for slightly too obvious thematic reasons.\u003c/p>\n\u003cp>But even when disaster comes to Vincent in spades, Murray’s doing what he always does, which always looks as though it’s not much. He says his lines, lifts his eyebrows or his hands, palms up. Now and again he throws a hissy fit or falls down. Mostly, he lets things happen around him while occupying the movie’s center, patiently waiting for something to happen to show that he’s less disaffected than he seems.\u003c/p>\n\u003cp>I’ll be darned if I know what it is that Murray does with all this doing nothing, but somehow he’s also been the guy to make you believe in a television newscaster who wakes up to the same lousy Groundhog Day every day until Andie MacDowell rides to the rescue. More preposterous yet, he makes you suspend all disbelief that, in \u003cem>Lost in Translation\u003c/em>, a woman who looks like Scarlett Johansson could possibly fall for a depressive has-been who looks like Bill Murray.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can put Murray in a drama or a comedy or almost anything that isn’t too loud or too busy, and he’ll drain the goo without also ditching the humanity. In this instance, he’s the perfect guy to carry the movie’s pleasantly ordinary tune, which sings that saints are nothing but flawed people doing good. \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=Bill+Murray+Doesn%27t+Do+Much%2C+But+He+Does+It+So+Well+In+%27St.+Vincent%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'The Blue Room,' An Uncertain Path Through An Affair",
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"content": "\u003cp>From the start of \u003cem>The Blue Room\u003c/em>, with its shots of wrinkled sheets in a recently vacated hotel room, it’s evident that Mathieu Amalric’s film will focus not strictly on the illicit affair between Julien (Amalric) and Esther (Stéphanie Cléau) but on the aftereffects of unfaithfulness and center not on seduction but on the consequences of seducing and being seduced.\u003c/p>\n\u003cp>In such a scenario, the trope of the mad mistress casts a long shadow — think \u003cem>Fatal Attraction \u003c/em>— as does that of the jealous, vengeful partner, who isn’t hard to find either in today’s theaters. Lying in bed, Esther repeatedly asks Julien variations on the question: “Could you spend your whole life with me?” So when she later begins sending him cryptic letters about their future together, you wonder whether a dead rabbit isn’t too far in the future.\u003c/p>\n\u003cp>http://youtu.be/AXru7gOWV-I\u003c/p>\n\u003cp>Esther’s obsessive qualities are really only hinted at, though, as is the jealousy of Julien’s wife, Delphine (Léa Drucker), which we suspect, in retrospect, only because another character asks Julien about it. Both are expectations, assumptions that Amalric and Cléau, who together adapted the script from Georges Simenon’s novel, coyly dance around but never outright confirm or dismiss. Instead, they allow the audience to slowly realize just how much the events in \u003cem>The Blue Room\u003c/em> are filtered through Julien’s experience, and then to understand that his perspective might be crucially flawed.\u003c/p>\n\u003cp>Julien is presented emphatically as a small man — looking plain and diminutive standing next to the tall and elegant Esther. And with every turn in the plot, every new threat that his secret will be exposed, he shrinks more, his face an increasingly pitiful mix of helplessness and anguish. He’s not an unreliable narrator, but because his demeanor is so pathetic, so seemingly harmless, our focus shifts to the events around him and to the growing sense of some unfortunate event certain to befall him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Amalric helps us be carried in that direction, of course, using Grégoire Hetzel’s score to evoke Hitchcockian thrillers and ratcheting up anticipation of a big reveal with a plot that is as much a legal thriller as it is the story of a torrid affair. \u003cem>The Blue Room\u003c/em>‘s narrative jumps across time, flitting from the initiation of Julien and Esther’s affair to its direct aftermath to Julien’s testimony months later about an unspecified crime of which he is being accused.\u003c/p>\n\u003cp>\u003cem>The Blue Room\u003c/em> pieces together the details of its plot like a jigsaw puzzle, but seeing the final picture is not its principal pleasure. Instead, if for the first half you’re awaiting answers about what transpired between Delphine, Esther and Julien, much of what keeps the film compelling in its second hour is how revelations of small details shift the meaning of previous words and actions: What seemed like thoughtless pillow talk turns into criminal intentions; what seemed like unremarkable marital tension turns into dark premonitions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cumulative effect, though, is intriguingly anti-climactic. \u003cem>The Blue Room\u003c/em> ends on a decisive note, but the film doesn’t seem convinced of its own firm conclusion. One of the most striking qualities of the film is how little we really ever find out about Julien, or about the whole plot that has unraveled before us. As the credits roll, you may not be surprised at where you’ve ended up, but trying to look back at how you got there may make the path suddenly seem foggy. Amalric and Cléau are more than competent guides through the confusion, largely because they don’t throw us into it immediately but guide us in using our own expectations, beginning a process of recalibration that’s engrossing if not strictly illuminating. \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+%27The+Blue+Room%2C%27+An+Uncertain+Path+Through+An+Affair&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the start of \u003cem>The Blue Room\u003c/em>, with its shots of wrinkled sheets in a recently vacated hotel room, it’s evident that Mathieu Amalric’s film will focus not strictly on the illicit affair between Julien (Amalric) and Esther (Stéphanie Cléau) but on the aftereffects of unfaithfulness and center not on seduction but on the consequences of seducing and being seduced.\u003c/p>\n\u003cp>In such a scenario, the trope of the mad mistress casts a long shadow — think \u003cem>Fatal Attraction \u003c/em>— as does that of the jealous, vengeful partner, who isn’t hard to find either in today’s theaters. Lying in bed, Esther repeatedly asks Julien variations on the question: “Could you spend your whole life with me?” So when she later begins sending him cryptic letters about their future together, you wonder whether a dead rabbit isn’t too far in the future.\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/AXru7gOWV-I'\n title='//www.youtube.com/embed/AXru7gOWV-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Esther’s obsessive qualities are really only hinted at, though, as is the jealousy of Julien’s wife, Delphine (Léa Drucker), which we suspect, in retrospect, only because another character asks Julien about it. Both are expectations, assumptions that Amalric and Cléau, who together adapted the script from Georges Simenon’s novel, coyly dance around but never outright confirm or dismiss. Instead, they allow the audience to slowly realize just how much the events in \u003cem>The Blue Room\u003c/em> are filtered through Julien’s experience, and then to understand that his perspective might be crucially flawed.\u003c/p>\n\u003cp>Julien is presented emphatically as a small man — looking plain and diminutive standing next to the tall and elegant Esther. And with every turn in the plot, every new threat that his secret will be exposed, he shrinks more, his face an increasingly pitiful mix of helplessness and anguish. He’s not an unreliable narrator, but because his demeanor is so pathetic, so seemingly harmless, our focus shifts to the events around him and to the growing sense of some unfortunate event certain to befall him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Amalric helps us be carried in that direction, of course, using Grégoire Hetzel’s score to evoke Hitchcockian thrillers and ratcheting up anticipation of a big reveal with a plot that is as much a legal thriller as it is the story of a torrid affair. \u003cem>The Blue Room\u003c/em>‘s narrative jumps across time, flitting from the initiation of Julien and Esther’s affair to its direct aftermath to Julien’s testimony months later about an unspecified crime of which he is being accused.\u003c/p>\n\u003cp>\u003cem>The Blue Room\u003c/em> pieces together the details of its plot like a jigsaw puzzle, but seeing the final picture is not its principal pleasure. Instead, if for the first half you’re awaiting answers about what transpired between Delphine, Esther and Julien, much of what keeps the film compelling in its second hour is how revelations of small details shift the meaning of previous words and actions: What seemed like thoughtless pillow talk turns into criminal intentions; what seemed like unremarkable marital tension turns into dark premonitions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cumulative effect, though, is intriguingly anti-climactic. \u003cem>The Blue Room\u003c/em> ends on a decisive note, but the film doesn’t seem convinced of its own firm conclusion. One of the most striking qualities of the film is how little we really ever find out about Julien, or about the whole plot that has unraveled before us. As the credits roll, you may not be surprised at where you’ve ended up, but trying to look back at how you got there may make the path suddenly seem foggy. Amalric and Cléau are more than competent guides through the confusion, largely because they don’t throw us into it immediately but guide us in using our own expectations, beginning a process of recalibration that’s engrossing if not strictly illuminating. \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+%27The+Blue+Room%2C%27+An+Uncertain+Path+Through+An+Affair&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bang The Drum Ever Faster In The Different Sports Arena Of 'Whiplash'",
"headTitle": "Bang The Drum Ever Faster In The Different Sports Arena Of ‘Whiplash’ | KQED",
"content": "\u003cp>\u003cem>Whiplash\u003c/em> is, in many ways, a companion film to \u003cem>The Social Network\u003c/em>. The similarities only begin with the film’s protagonist Andrew (Miles Teller), a first-year jazz drummer at the highly competitive Schaffer music conservatory, who shares both the compulsive drive and the unpolished social skills of Jesse Eisenberg’s Mark Zuckerberg.\u003c/p>\n\u003cp>Unlike Zuckerberg, Andrew doesn’t start off as a jerk. \u003cem>Whiplash\u003c/em>‘s\u003cem> \u003c/em>writer-director, Damien Chazelle, lets him grow into one instead. Andrew is self-effacing to start, but he gains confidence when he comes under the tutelage of Schaffer’s dictatorial studio band conductor, Fletcher (J.K. Simmons). And when Andrew tells his girlfriend, Nicole (Melissa Benoist), that they have to break up because she will be a distraction to his work, a hindrance to his progress as a drummer, his blind self-righteousness recalls the casual insults Zuckerberg hurls at his girlfriend in \u003cem>The Social Network\u003c/em>‘s opening scene.\u003c/p>\n\u003cp>http://youtu.be/7EPC5m1QsSk\u003c/p>\n\u003cp>That Chazelle brings a quick-paced Sorkinian wit to his script only makes the comparison between the films stick more. Fletcher teaches largely by launching demoralizing insults at his students, most of which cannot be repeated here but are marked by their punchy concision as much as their inventive vulgarity.\u003c/p>\n\u003cp>Andrew, however, could hardly be described as tongue-tied. He responds to his relatives at a family dinner with the same disparaging counterattacks that Zuckerberg offers his opposition lawyers. When one football-loving cousin suggests that if Andrew thinks the sport is such a joke he should “come play with us,” Andrew instantly shoots back: “Four words you’ll never hear from the NFL.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Andrew may have only scorn toward his cousin, but, as with the regatta scene in \u003cem>Social Network\u003c/em>, the introduction of athletics helps underscore the debt \u003cem>Whiplash\u003c/em> owes to sports films from \u003cem>Hoosiers\u003c/em> to \u003cem>Remember the Titans\u003c/em>. These movies aren’t the only influence on \u003cem>Whiplash\u003c/em>, of course. Fletcher is as much a trash-talking drill sergeant as he is a hard-nosed coach, and Andrew’s move from class underdog to first-chair drummer shares elements with music biopics. But the combination of those two elements mixed with Chazelle’s attention to the blood, sweat and tears of Andrew’s drumming gives the film a physical energy that we associate more with locker rooms than music studios.\u003c/p>\n\u003cp>Andrew’s work under Fletcher is defined by the demand to play ever faster. This is not a vision of jazz that embraces a laid-back Dave Brubeck sound; its need for speed is fiercer even than that of bebop, the style that Fletcher obviously worships. This is no-pain-no-gain jazz. Jazz turned into a jock’s game.\u003c/p>\n\u003cp>In one scene, Fletcher has Andrew and two other drummers compete for the chance to play at an upcoming performance by seeing which of them can first hit and hold an exact, rapid-fire tempo. He keeps them in the studio for hours, sweating through attempt after attempt.\u003c/p>\n\u003cp>The scene exemplifies Chazelle’s strategy of giving his subject matter a steroid injection — pushing it as close as possible to a bench press competition — in order to bring excitement to an activity that’s not naturally heart-pounding. David Fincher used the same tactic in the \u003cem>Social Network\u003c/em>‘s intern tryout scene.\u003c/p>\n\u003cp>More than \u003cem>Social Network\u003c/em>, though,\u003cem> Whiplash\u003c/em> attempts to maintain that high-level intensity to the end, a strategy that’s engrossing but forces the script to repeatedly up the ante and pushes it in some improbable directions.\u003c/p>\n\u003cp>Ultimately, what keeps \u003cem>Whiplash\u003c/em> from becoming a joyride whose effects last only as long as its adrenaline rush are Simmons’ and Teller’s performances and Chazelle’s insight into Andrew’s personality. What Chazelle stresses about Andrew is his obsessiveness. And what he really nails about obsession, about those people who work tirelessly at a specific goal, is that their struggle is not about achieving success rather than failure. It’s about demonstrating genius rather than mere talent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From the first shot of \u003cem>Whiplash\u003c/em>,\u003cem> \u003c/em>you know that Andrew has chops in his chosen field, just as you do with Sorkin’s Zuckerberg in his first scene. For both these characters, as in the most rags-to-riches sports tale, a few victories never suffice. What makes Andrew transplantable from a recording studio to a sports arena, and what makes \u003cem>Whiplash\u003c/em> so compelling to watch, is this push toward greatness, the inherent thrill of which, Chazelle realizes, has little do with the activity that inspires it. \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=Bang+The+Drum+Ever+Faster+In+The+Different+Sports+Arena+Of+%27Whiplash%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Andrew may have only scorn toward his cousin, but, as with the regatta scene in \u003cem>Social Network\u003c/em>, the introduction of athletics helps underscore the debt \u003cem>Whiplash\u003c/em> owes to sports films from \u003cem>Hoosiers\u003c/em> to \u003cem>Remember the Titans\u003c/em>. These movies aren’t the only influence on \u003cem>Whiplash\u003c/em>, of course. Fletcher is as much a trash-talking drill sergeant as he is a hard-nosed coach, and Andrew’s move from class underdog to first-chair drummer shares elements with music biopics. But the combination of those two elements mixed with Chazelle’s attention to the blood, sweat and tears of Andrew’s drumming gives the film a physical energy that we associate more with locker rooms than music studios.\u003c/p>\n\u003cp>Andrew’s work under Fletcher is defined by the demand to play ever faster. This is not a vision of jazz that embraces a laid-back Dave Brubeck sound; its need for speed is fiercer even than that of bebop, the style that Fletcher obviously worships. This is no-pain-no-gain jazz. Jazz turned into a jock’s game.\u003c/p>\n\u003cp>In one scene, Fletcher has Andrew and two other drummers compete for the chance to play at an upcoming performance by seeing which of them can first hit and hold an exact, rapid-fire tempo. He keeps them in the studio for hours, sweating through attempt after attempt.\u003c/p>\n\u003cp>The scene exemplifies Chazelle’s strategy of giving his subject matter a steroid injection — pushing it as close as possible to a bench press competition — in order to bring excitement to an activity that’s not naturally heart-pounding. David Fincher used the same tactic in the \u003cem>Social Network\u003c/em>‘s intern tryout scene.\u003c/p>\n\u003cp>More than \u003cem>Social Network\u003c/em>, though,\u003cem> Whiplash\u003c/em> attempts to maintain that high-level intensity to the end, a strategy that’s engrossing but forces the script to repeatedly up the ante and pushes it in some improbable directions.\u003c/p>\n\u003cp>Ultimately, what keeps \u003cem>Whiplash\u003c/em> from becoming a joyride whose effects last only as long as its adrenaline rush are Simmons’ and Teller’s performances and Chazelle’s insight into Andrew’s personality. What Chazelle stresses about Andrew is his obsessiveness. And what he really nails about obsession, about those people who work tirelessly at a specific goal, is that their struggle is not about achieving success rather than failure. It’s about demonstrating genius rather than mere talent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From the first shot of \u003cem>Whiplash\u003c/em>,\u003cem> \u003c/em>you know that Andrew has chops in his chosen field, just as you do with Sorkin’s Zuckerberg in his first scene. For both these characters, as in the most rags-to-riches sports tale, a few victories never suffice. What makes Andrew transplantable from a recording studio to a sports arena, and what makes \u003cem>Whiplash\u003c/em> so compelling to watch, is this push toward greatness, the inherent thrill of which, Chazelle realizes, has little do with the activity that inspires it. \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=Bang+The+Drum+Ever+Faster+In+The+Different+Sports+Arena+Of+%27Whiplash%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Demystifying Africa: Five Years of the Silicon Valley African Film Festival",
"headTitle": "Demystifying Africa: Five Years of the Silicon Valley African Film Festival | KQED",
"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/events/pick/silicon-valley-african-film-festival/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Silicon Valley African Film Festival\u003c/h4>\n\u003cdiv class=\"event-desc\">Three days of African film.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 17-19, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Community School of Music & Arts\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/silicon-valley-african-film-festival/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The Silicon Valley African Film Festival is celebrating its fifth year with three days of African film, culture and visual art. The festival may have started in 2009, but its inception stretches back nearly 30 years, when the festival’s director Chike Nwoffiah first arrived in the United States.\u003c/p>\n\u003cp>In the 1980s, black Americans were beginning to carve out a more complex social identity for themselves, especially in the media. \u003ca href=\"http://www.imdb.com/title/tt0086687/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Cosby Show\u003c/em>\u003c/a> challenged the perception of “the ideal American family,” while directors like \u003ca href=\"http://www.imdb.com/name/nm0000490/\" target=\"_blank\" rel=\"noopener noreferrer\">Spike Lee\u003c/a> used film to unapologetically complicate black identity.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=BT2al2t2jnU\u003c/p>\n\u003cp>Despite the success of these films and TV shows, there was still a limited interpretation of life beyond U.S. borders, particularly in Africa. In 1987, Eddie Murphy starred in \u003cem>Coming to America,\u003c/em> the story of a prince from the fictional African Kingdom of Zamunda on a quest for love in New York City.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=fqfJqLFQSIk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the film, the Africans are sophisticated, which is novel. But still, there’s a lot of stereotyping for comedic effect. At its core, \u003cem>Coming to America \u003c/em> is a \u003cem>comedy\u003c/em> written by an American about the co-mingling of African and black American cultures. So naturally, Prince Akeem, with his questionable African accent, is a bit unrealistic. But can you imagine how much of an improvement it was from this?\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=17HGR7FBwu0\u003c/p>\n\u003cp>As an international student in the U.S. in 1988, Nwoffiah picked up on how little people knew about the day-to-day experience of contemporary Africans. “There was this sense that Africa was a tiny place,” recalls Nwoffiah. He felt an urgent need to convey the continent of Africa as he saw it — with many unique countries and identities — as opposed to the exotic locale of \u003ci>National Geographic\u003c/i> photos and historical victims of slavery, famine and war. “After I arrived here, it became very important to tell a different African narrative,” he says.\u003c/p>\n\u003cfigure id=\"attachment_10143969\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/svaff.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10143969\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/svaff.jpg\" alt=\"Chike Nwoffiah\" width=\"640\" height=\"674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/svaff.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/svaff-400x421.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/svaff-569x600.jpg 569w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chike Nwoffiah\u003c/figcaption>\u003c/figure>\n\u003cp>Nwoffiah grew up in an artistic household in Nigeria. He attended the same secondary school as the Nigerian author \u003ca href=\"http://www.nytimes.com/2013/03/23/world/africa/chinua-achebe-nigerian-writer-dies-at-82.html\" target=\"_blank\" rel=\"noopener noreferrer\">Chinua Achebe\u003c/a>. Nwoffiah enjoyed theater arts and participated in plays from childhood on. He eventually left the country for graduate school and ended up in Silicon Valley, where he discovered the medium of film through classes and workshops.\u003c/p>\n\u003cp>Nwoffiah began to write plays and dance dramas and eventually co-founded \u003ca href=\"http://www.oriki.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oriki Theatre\u003c/a> in 1992. Shortly after, he started coordinating lectures on pre- and post-colonial Africa at Menlo College and eventually joined as adjunct faculty in 2006. As a history professor, he used films to help his students understand and connect with the modern social, political and economic climates within the African continent.\u003c/p>\n\u003cp>Nwoffiah’s students responded positively to the films and he knew it was only a matter of time before he expanded these screenings from the classroom to the community. In 2009, he partnered with the \u003ca href=\"http://www.arts4all.org/\">Community School of Music and Arts\u003c/a> and the Oriki Theatre to curate the first Silicon Valley African Film Festival.\u003c/p>\n\u003cp>The festival focuses exclusively on films by African filmmakers as opposed to most African American film festivals that focus on the diaspora. In the early days, Nwoffiah looked to the \u003ca href=\"http://www.africanfilmny.org/\">New York African Film Festival \u003c/a>for guidance and support. Mahen Bonetti, that festival’s director has noticed an increased interest in African films since she started in 1993. She credits the interest to the rise in technology. According to Bonetti, it is important “to get those interested access to the right subjective material.” After all, everyone from the fleetingly curious to the most obsessed Africaphile should be well informed. The festivals provide that insight.\u003c/p>\n\u003cp>There are over 30 films, ranging from documentary features to animated shorts, to look forward to this weekend. Some are real standouts that characterize why African films are worth the effort.\u003c/p>\n\u003cp>The documentary \u003cem>The Art of Ama Ata Aidoo \u003c/em>was directed by Yaba Badoe of Ghana and tells the contemporary Ghanaian author’s story. It’s one of the many films by a female director that chronicles the lives of African women. Throughout the film, Aidoo sits in her vibrant outfits and Chanel sunglasses as she describes, with enthusiasm, why she writes about feminism, colonization and the African diaspora. Aidoo’s career began with a Christmas story published in the \u003cem>\u003ca href=\"http://graphic.com.gh/\" target=\"_blank\" rel=\"noopener noreferrer\">Daily Graphic\u003c/a>\u003c/em> newspaper when she was 18 years old. Her writing is inspired by “Fante” storytellers from Ghana’s central region where she grew up. It feels so right to hear Aidoo read her simple yet bold prose out loud to the camera as the images of Elmina Castle and the bustling cities of Accra and Takoradi play on the screen. The film also follows Aidoo as she travels to the University of California, Santa Barbara for the debut of her play, \u003cem>Anowa\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Soko Sonko (The Market King)\u003c/em> is another film directed and written by a female director. Ekwa Msangi’s comedy short is about a father who volunteers to take his daughter to the market to get her hair braided when his wife falls ill. It also happens to be the same day that his favorite soccer team is playing in a really important game. As the film progresses, the father learns that the hair market isn’t as simple of a place as he thought. \u003cem>Soko Sonko \u003c/em>will make its regional premiere on Saturday, Oct. 18 at 3pm. Ekwa Msangi is attending.\u003c/p>\n\u003cp>The films vary in their quality — some excellent and others OK, which is true of most festivals — but the subject matter is so captivating that it doesn’t even matter. \u003cem>Fare Ta (Land of Dance)\u003c/em> is a simple film about urban village dance practices in Guinea. The film’s director, Idrissa Camara of \u003ca href=\"http://balletnimba.org.uk/\" target=\"_blank\" rel=\"noopener noreferrer\">Ballet Nimba\u003c/a>, won the \u003ca href=\"http://www.adad.org.uk/metadot/index.pl?id=23268\" target=\"_blank\" rel=\"noopener noreferrer\">ADAD Trailblazer Fellowship\u003c/a> in 2013. He used the funds to travel to his home country and make this documentary. At times, the film feels like a home video. The camera is a little shaky and the audio jumps around. However, Camara’s narration of his homecoming is captivating, “Dancing make[s] you stronger, emotionally and physically it make[s] us happy which is important because life is difficult [without] opportunity — no job no money.” The dancers’ movements are riveting. They swing their limbs using their full range of motion so fast that you don’t even want to blink. \u003cem>Fare Ta\u003c/em> will have its North American Premiere on Saturday, Oct. 18 at 3pm.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=o6eOFJT8UKs\u003c/p>\n\u003cp>Domestic violence is a universal issue that affects women and men from all walks of life. In the film \u003cem>When Is It Enough,\u003c/em> \u003ca href=\"http://www.danielademinokan.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Daniel Ademinokan\u003c/a> sheds light on some of the cultural elements that make reporting domestic violence difficult in Nigeria. Everything about the film is raw and in your face. Within the first few minutes, the main character, Amaka, is spitting out her own blood after a blow to the mouth. The film is \u003ca href=\"http://stella-damasus.blogspot.com/2012/03/when-is-it-enough.html\" target=\"_blank\" rel=\"noopener noreferrer\">based on a true story\u003c/a> about a woman in an abusive relationship who is eventually murdered by her husband. The storyline is engaging from start to finish. Real life activist and actress Stella Damascus delivers a poignant monologue at the end of the film that will definitely fuel dialogue on the issue after the screening. \u003ci>When Is It Enough\u003c/i> will make its regional premiere on Saturday, Oct. 18 at 3pm.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=n3jJzBp2eX8\u003c/p>\n\u003cp>These films adhere to a different set of cultural norms from their level of drama to their language choice. Shooting a film in English guarantees more commercial marketability but it may alienate the people within the filmmaker’s own country. Films shot in the local language contain a natural intimacy that draws the viewer deeper into the cinematic drama. Unfamiliar body language and mannerisms become intriguing. It’s one of the beauties of watching a film in a language that you don’t understand.\u003c/p>\n\u003cfigure id=\"attachment_10143961\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Beleh3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10143961\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Beleh3.jpg\" alt=\"Beleh \" width=\"640\" height=\"391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Beleh3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Beleh3-400x244.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Beleh\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Beleh\u003c/em> was shot in pidgin. The film, takes place in Cameroon and tells the story of an ungrateful husband who spends a day in the life of his pregnant wife. Similar to \u003cem>Soko Sonko\u003c/em>, Beleh’s director Eka Christa Assam addressess gender roles and family dynamics from a lighthearted comedic place. \u003cem>Beleh \u003c/em>will make its regional premiere Sunday, October 19 at 1pm.\u003c/p>\n\u003cp>\u003cem>3 Candles\u003c/em> is an Egyptian short film shot in Arabic from director Ahmed Fouad. The film tells the story of three brothers who struggle to produce light in order to do their homework. It’s sad and touching to watch the eldest child raise his two younger brothers. \u003cem>3 Candles\u003c/em> screens Saturday, Oct. 18 at 3pm.\u003c/p>\n\u003cfigure id=\"attachment_10143705\" class=\"wp-caption alignright\" style=\"max-width: 446px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/unnamed-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10143705 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/unnamed-1-446x600.jpg\" alt=\"\" width=\"446\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/unnamed-1-446x600.jpg 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/unnamed-1-400x537.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/unnamed-1.jpg 461w\" sizes=\"(max-width: 446px) 100vw, 446px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kosisochukwu Nnebe, \u003ci>Adaeze\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>This is the first year that the festival will include a featured visual artist. Kosisochukwu Nnebe addresses issues of racism through the lens of her experience as a Nigerian-Canadian. The 21-year-old Nnebe has been working on her project \u003cem>Coloured Conversations\u003c/em> since July 2014. \u003ci>Coloured Conversations\u003c/i> addresses the hyper-sexualization of the black female body that lives on in today’s music videos and magazines. Her work is designed to claim the black body as a work of art and challenge the negative perceptions that have been cast on black women and men. Nnebe’s exhibition is on display at the \u003ca href=\"http://www.arts4all.org/attend/mohrgallery.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Mohr Gallery\u003c/a> in Mountain View through October 19. She will conduct a youth forum on Saturday, October 18 at 10am.\u003c/p>\n\u003cp>Exhibit, forum or film screening, the Silicon Valley African Film Festival demonstrates a rich and layered storytelling tradition that engages audience members in deep conversations about social and political issues that affect Africa and the African diaspora. It will be an undeniably informative weekend event.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The 5th Annual Silicon Valley African Film Festival runs October 17-19, 2014 at the Community School of Music and Arts. For \u003ca href=\"http://www.svaff.org/\" target=\"_blank\" rel=\"noopener noreferrer\">more information\u003c/a> visit svaff.org.\u003c/p>\n\n",
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"excerpt": "The Silicon Valley African Film Festival is celebrating its fifth year with three days of African film, culture and visual art. The festival may have started in 2009, but its inception stretches back nearly 30 years, when the festival’s director Chike Nwoffiah first arrived in the United States.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/events/pick/silicon-valley-african-film-festival/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Silicon Valley African Film Festival\u003c/h4>\n\u003cdiv class=\"event-desc\">Three days of African film.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 17-19, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Community School of Music & Arts\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/silicon-valley-african-film-festival/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The Silicon Valley African Film Festival is celebrating its fifth year with three days of African film, culture and visual art. The festival may have started in 2009, but its inception stretches back nearly 30 years, when the festival’s director Chike Nwoffiah first arrived in the United States.\u003c/p>\n\u003cp>In the 1980s, black Americans were beginning to carve out a more complex social identity for themselves, especially in the media. \u003ca href=\"http://www.imdb.com/title/tt0086687/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Cosby Show\u003c/em>\u003c/a> challenged the perception of “the ideal American family,” while directors like \u003ca href=\"http://www.imdb.com/name/nm0000490/\" target=\"_blank\" rel=\"noopener noreferrer\">Spike Lee\u003c/a> used film to unapologetically complicate black identity.\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/BT2al2t2jnU'\n title='//www.youtube.com/embed/BT2al2t2jnU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite the success of these films and TV shows, there was still a limited interpretation of life beyond U.S. borders, particularly in Africa. In 1987, Eddie Murphy starred in \u003cem>Coming to America,\u003c/em> the story of a prince from the fictional African Kingdom of Zamunda on a quest for love in New York City.\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/fqfJqLFQSIk'\n title='//www.youtube.com/embed/fqfJqLFQSIk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the film, the Africans are sophisticated, which is novel. But still, there’s a lot of stereotyping for comedic effect. At its core, \u003cem>Coming to America \u003c/em> is a \u003cem>comedy\u003c/em> written by an American about the co-mingling of African and black American cultures. So naturally, Prince Akeem, with his questionable African accent, is a bit unrealistic. But can you imagine how much of an improvement it was from this?\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/17HGR7FBwu0'\n title='//www.youtube.com/embed/17HGR7FBwu0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As an international student in the U.S. in 1988, Nwoffiah picked up on how little people knew about the day-to-day experience of contemporary Africans. “There was this sense that Africa was a tiny place,” recalls Nwoffiah. He felt an urgent need to convey the continent of Africa as he saw it — with many unique countries and identities — as opposed to the exotic locale of \u003ci>National Geographic\u003c/i> photos and historical victims of slavery, famine and war. “After I arrived here, it became very important to tell a different African narrative,” he says.\u003c/p>\n\u003cfigure id=\"attachment_10143969\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/svaff.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10143969\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/svaff.jpg\" alt=\"Chike Nwoffiah\" width=\"640\" height=\"674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/svaff.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/svaff-400x421.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/svaff-569x600.jpg 569w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chike Nwoffiah\u003c/figcaption>\u003c/figure>\n\u003cp>Nwoffiah grew up in an artistic household in Nigeria. He attended the same secondary school as the Nigerian author \u003ca href=\"http://www.nytimes.com/2013/03/23/world/africa/chinua-achebe-nigerian-writer-dies-at-82.html\" target=\"_blank\" rel=\"noopener noreferrer\">Chinua Achebe\u003c/a>. Nwoffiah enjoyed theater arts and participated in plays from childhood on. He eventually left the country for graduate school and ended up in Silicon Valley, where he discovered the medium of film through classes and workshops.\u003c/p>\n\u003cp>Nwoffiah began to write plays and dance dramas and eventually co-founded \u003ca href=\"http://www.oriki.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oriki Theatre\u003c/a> in 1992. Shortly after, he started coordinating lectures on pre- and post-colonial Africa at Menlo College and eventually joined as adjunct faculty in 2006. As a history professor, he used films to help his students understand and connect with the modern social, political and economic climates within the African continent.\u003c/p>\n\u003cp>Nwoffiah’s students responded positively to the films and he knew it was only a matter of time before he expanded these screenings from the classroom to the community. In 2009, he partnered with the \u003ca href=\"http://www.arts4all.org/\">Community School of Music and Arts\u003c/a> and the Oriki Theatre to curate the first Silicon Valley African Film Festival.\u003c/p>\n\u003cp>The festival focuses exclusively on films by African filmmakers as opposed to most African American film festivals that focus on the diaspora. In the early days, Nwoffiah looked to the \u003ca href=\"http://www.africanfilmny.org/\">New York African Film Festival \u003c/a>for guidance and support. Mahen Bonetti, that festival’s director has noticed an increased interest in African films since she started in 1993. She credits the interest to the rise in technology. According to Bonetti, it is important “to get those interested access to the right subjective material.” After all, everyone from the fleetingly curious to the most obsessed Africaphile should be well informed. The festivals provide that insight.\u003c/p>\n\u003cp>There are over 30 films, ranging from documentary features to animated shorts, to look forward to this weekend. Some are real standouts that characterize why African films are worth the effort.\u003c/p>\n\u003cp>The documentary \u003cem>The Art of Ama Ata Aidoo \u003c/em>was directed by Yaba Badoe of Ghana and tells the contemporary Ghanaian author’s story. It’s one of the many films by a female director that chronicles the lives of African women. Throughout the film, Aidoo sits in her vibrant outfits and Chanel sunglasses as she describes, with enthusiasm, why she writes about feminism, colonization and the African diaspora. Aidoo’s career began with a Christmas story published in the \u003cem>\u003ca href=\"http://graphic.com.gh/\" target=\"_blank\" rel=\"noopener noreferrer\">Daily Graphic\u003c/a>\u003c/em> newspaper when she was 18 years old. Her writing is inspired by “Fante” storytellers from Ghana’s central region where she grew up. It feels so right to hear Aidoo read her simple yet bold prose out loud to the camera as the images of Elmina Castle and the bustling cities of Accra and Takoradi play on the screen. The film also follows Aidoo as she travels to the University of California, Santa Barbara for the debut of her play, \u003cem>Anowa\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Soko Sonko (The Market King)\u003c/em> is another film directed and written by a female director. Ekwa Msangi’s comedy short is about a father who volunteers to take his daughter to the market to get her hair braided when his wife falls ill. It also happens to be the same day that his favorite soccer team is playing in a really important game. As the film progresses, the father learns that the hair market isn’t as simple of a place as he thought. \u003cem>Soko Sonko \u003c/em>will make its regional premiere on Saturday, Oct. 18 at 3pm. Ekwa Msangi is attending.\u003c/p>\n\u003cp>The films vary in their quality — some excellent and others OK, which is true of most festivals — but the subject matter is so captivating that it doesn’t even matter. \u003cem>Fare Ta (Land of Dance)\u003c/em> is a simple film about urban village dance practices in Guinea. The film’s director, Idrissa Camara of \u003ca href=\"http://balletnimba.org.uk/\" target=\"_blank\" rel=\"noopener noreferrer\">Ballet Nimba\u003c/a>, won the \u003ca href=\"http://www.adad.org.uk/metadot/index.pl?id=23268\" target=\"_blank\" rel=\"noopener noreferrer\">ADAD Trailblazer Fellowship\u003c/a> in 2013. He used the funds to travel to his home country and make this documentary. At times, the film feels like a home video. The camera is a little shaky and the audio jumps around. However, Camara’s narration of his homecoming is captivating, “Dancing make[s] you stronger, emotionally and physically it make[s] us happy which is important because life is difficult [without] opportunity — no job no money.” The dancers’ movements are riveting. They swing their limbs using their full range of motion so fast that you don’t even want to blink. \u003cem>Fare Ta\u003c/em> will have its North American Premiere on Saturday, Oct. 18 at 3pm.\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/o6eOFJT8UKs'\n title='//www.youtube.com/embed/o6eOFJT8UKs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Domestic violence is a universal issue that affects women and men from all walks of life. In the film \u003cem>When Is It Enough,\u003c/em> \u003ca href=\"http://www.danielademinokan.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Daniel Ademinokan\u003c/a> sheds light on some of the cultural elements that make reporting domestic violence difficult in Nigeria. Everything about the film is raw and in your face. Within the first few minutes, the main character, Amaka, is spitting out her own blood after a blow to the mouth. The film is \u003ca href=\"http://stella-damasus.blogspot.com/2012/03/when-is-it-enough.html\" target=\"_blank\" rel=\"noopener noreferrer\">based on a true story\u003c/a> about a woman in an abusive relationship who is eventually murdered by her husband. The storyline is engaging from start to finish. Real life activist and actress Stella Damascus delivers a poignant monologue at the end of the film that will definitely fuel dialogue on the issue after the screening. \u003ci>When Is It Enough\u003c/i> will make its regional premiere on Saturday, Oct. 18 at 3pm.\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/n3jJzBp2eX8'\n title='//www.youtube.com/embed/n3jJzBp2eX8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>These films adhere to a different set of cultural norms from their level of drama to their language choice. Shooting a film in English guarantees more commercial marketability but it may alienate the people within the filmmaker’s own country. Films shot in the local language contain a natural intimacy that draws the viewer deeper into the cinematic drama. Unfamiliar body language and mannerisms become intriguing. It’s one of the beauties of watching a film in a language that you don’t understand.\u003c/p>\n\u003cfigure id=\"attachment_10143961\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Beleh3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10143961\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Beleh3.jpg\" alt=\"Beleh \" width=\"640\" height=\"391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Beleh3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Beleh3-400x244.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Beleh\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Beleh\u003c/em> was shot in pidgin. The film, takes place in Cameroon and tells the story of an ungrateful husband who spends a day in the life of his pregnant wife. Similar to \u003cem>Soko Sonko\u003c/em>, Beleh’s director Eka Christa Assam addressess gender roles and family dynamics from a lighthearted comedic place. \u003cem>Beleh \u003c/em>will make its regional premiere Sunday, October 19 at 1pm.\u003c/p>\n\u003cp>\u003cem>3 Candles\u003c/em> is an Egyptian short film shot in Arabic from director Ahmed Fouad. The film tells the story of three brothers who struggle to produce light in order to do their homework. It’s sad and touching to watch the eldest child raise his two younger brothers. \u003cem>3 Candles\u003c/em> screens Saturday, Oct. 18 at 3pm.\u003c/p>\n\u003cfigure id=\"attachment_10143705\" class=\"wp-caption alignright\" style=\"max-width: 446px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/unnamed-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10143705 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/unnamed-1-446x600.jpg\" alt=\"\" width=\"446\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/unnamed-1-446x600.jpg 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/unnamed-1-400x537.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/unnamed-1.jpg 461w\" sizes=\"(max-width: 446px) 100vw, 446px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kosisochukwu Nnebe, \u003ci>Adaeze\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>This is the first year that the festival will include a featured visual artist. Kosisochukwu Nnebe addresses issues of racism through the lens of her experience as a Nigerian-Canadian. The 21-year-old Nnebe has been working on her project \u003cem>Coloured Conversations\u003c/em> since July 2014. \u003ci>Coloured Conversations\u003c/i> addresses the hyper-sexualization of the black female body that lives on in today’s music videos and magazines. Her work is designed to claim the black body as a work of art and challenge the negative perceptions that have been cast on black women and men. Nnebe’s exhibition is on display at the \u003ca href=\"http://www.arts4all.org/attend/mohrgallery.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Mohr Gallery\u003c/a> in Mountain View through October 19. She will conduct a youth forum on Saturday, October 18 at 10am.\u003c/p>\n\u003cp>Exhibit, forum or film screening, the Silicon Valley African Film Festival demonstrates a rich and layered storytelling tradition that engages audience members in deep conversations about social and political issues that affect Africa and the African diaspora. It will be an undeniably informative weekend event.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 5th Annual Silicon Valley African Film Festival runs October 17-19, 2014 at the Community School of Music and Arts. For \u003ca href=\"http://www.svaff.org/\" target=\"_blank\" rel=\"noopener noreferrer\">more information\u003c/a> visit svaff.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Our Future, As Seen Throughout the History of Film",
"title": "Our Future, As Seen Throughout the History of Film",
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"content": "\u003cp>In a \u003ca href=\"http://www.theparisreview.org/interviews/6012/the-art-of-fiction-no-203-ray-bradbury\" target=\"_blank\">Paris Review interview\u003c/a> published only two years before his death, author Ray Bradbury said, “Science fiction pretends to look into the future, but it’s really looking at a reflection of what is already in front of us.” My first foray into the genre was through Bradbury's own \u003cem>The Martian Chronicles. \u003c/em>I still recall the mixture of fear and awe I felt, wondering if the interstellar travel he predicted would ever become a reality. No doubt, exploration and colonization of Mars wouldn't be part of my own life experience, but imagining that possibility, and considering how society might get there was compelling.\u003c/p>\n\u003cp>The vision of the future in science fiction - and speculative fiction in general - has never been constant; the reflection stretches and tilts like a fun house mirror, as time passes and new realities take hold. Simmering underneath fantastical settings and advanced technology are our very real, very human hopes and fears. What will happen to \u003ca href=\"http://ww2.kqed.org/arts/2014/05/21/sci-fi-san-francisco-examples-of-the-city-in-the-future/\" target=\"_blank\">the cities we live in\u003c/a>, to \u003ca href=\"http://blogs.kqed.org/bayareabites/2013/07/15/food-in-science-fiction-in-the-future-we-will-all-eat-lasers/\" target=\"_blank\">the food we eat\u003c/a>? What \u003ca href=\"http://io9.com/these-are-the-surprising-jobs-youll-be-doing-by-the-203-1577363367\" target=\"_blank\">jobs will we have\u003c/a>? Will we even be here at all?\u003c/p>\n\u003cp>When it comes to movies in particular, we have seen many futures over the years: bleak and ravaged worlds; sleek, regulated utopias; and subtle near futures, echoing our current realities and the immediate possibilities ahead. Let's revisit some of those themes, shall we?\u003c/p>\n\u003cp>\u003cstrong>BETTER LIVING THROUGH CIRCUITRY\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13546\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/robotcollage.jpg\">\u003cimg class=\"wp-image-13546\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/robotcollage-1024x358.jpg\" alt=\"robotcollage\" width=\"600\" height=\"210\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L-to-R: Metropolis, Blade Runner, Surrogates, Robot and Frank\u003c/figcaption>\u003c/figure>\n\u003cp>The technological advances of the late 19th and early 20th centuries served as inspiration for pioneers of science fiction like Mary Shelley, Jules Verne and H. G. Wells. (And, interestingly, E.M. Forster, whose short story \u003cem>\u003ca href=\"http://archive.ncsa.illinois.edu/prajlich/forster.html\" target=\"_blank\">The Machine Stops\u003c/a>\u003c/em> is an early prediction of the internet, among other things.) They, and the many writers and filmmakers who followed in their stead, turned their eyes toward a future filled with incredible feats of science and engineering. But those stories also carried a sense of unease and a fear of technology taking over - perhaps even destroying - our lives.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That wariness is captured most perfectly when humanity is confronted with artificial intelligence. In many ways, it kicked off with Fritz Lang's \u003cem>Metropolis\u003c/em>, in which a deceptive robotic woman plays a major role in escalating a clash between the wealthy elite and the working class of a glimmering, industrialist city. Although much of Hollywood's \u003ca href=\"http://www.slate.com/articles/health_and_science/nuclear_power/2013/01/nuclear_monster_movies_sci_fi_films_in_the_1950s_were_terrifying_escapism.html\" target=\"_blank\">science fiction output of the 1950s\u003c/a> was fueled by political paranoia and the nuclear menace, the Man vs. Machine stories carried on.\u003c/p>\n\u003cp>One of the biggest landmarks in the genre, Stanley Kubrick's \u003cem>2001: A Space Odyssey\u003c/em> (1968), gave us an iconic antagonist in HAL 9000, a sentient system that would kill out of self-preservation. With the '80s came \u003cem>The Terminator\u003c/em>, successfully combining android warfare with another popular sci-fi element, time travel; the \u003ca href=\"https://www.youtube.com/watch?v=zCZY9Z6WvSY\" target=\"_blank\">hilariously campy\u003c/a> robo-hunter flick \u003cem>Runaway\u003c/em>, starring Tom Selleck and his mustache; and the elegantly imagined \u003cem>Blade Runner\u003c/em>, which made us ponder what it truly means to be a person.\u003c/p>\n\u003cp>But even as plot lines began to take on a more philosophical, compassionate angle, the undertone of Us versus Them remained. Take, for instance, the android starfleet officer, Lt. Commander Data. A beloved character on \u003cem>Star Trek: The Next Generation\u003c/em>, people still often undermined and insulted him, or even questioned his rights as an autonomous individual.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GYp2dx652ho\u003c/p>\n\u003cp>With developments in \u003ca href=\"http://news.discovery.com/tech/biotechnology/your-brain-in-2050-neural-implants-and-robotic-limbs-140603.htm\" target=\"_blank\">cybernetic augmentation\u003c/a> and robotics - \u003ca href=\"http://www.wired.com/2014/08/tour-the-labs-where-the-worlds-creepiest-humanoid-robots-are-born/\" target=\"_blank\">humanoid\u003c/a> or \u003ca href=\"http://www.businessinsider.com/silent-robot-cheetah-from-darpa-and-mit-2014-9\" target=\"_blank\">otherwise\u003c/a> - making science fiction a reality, we are in a place to devote more time to contemplating the more subtle implications of humanity, not just \u003ca href=\"http://the-toast.net/2014/07/28/listicles-brief-uneasy-future/\" target=\"_blank\">coexisting\u003c/a> with artificial life, but embracing it. While ultimately falling flat (and venturing too far for my liking into uncanny valley territory with a robotic Bruce Willis), the 2009 film \u003cem>Surrogates\u003c/em> tried to imagine a world where people have chosen to live through cybernetic proxies. Although the surrogates themselves aren't independent machinery, controlled by their human counterparts remotely from the safety of their homes, that sort of augmented reality \u003ca href=\"http://singularityhub.com/2009/08/07/is-surrogates-movie-getting-closer-to-reality/\" target=\"_blank\">isn't entirely far fetched\u003c/a>.\u003c/p>\n\u003cp>We don't have to look too far into the future to ruminate on lives becoming increasingly intertwined with artificial technology. \u003cem>Robot & Frank \u003c/em>(2012) is an understated near-future science fiction, a meditation on aging and memory. The robot in the movie is presented as a caretaker to the elderly Frank (Frank Langella), and while the older man is at first resistant, not only does he develop a friendship with the robot, they even pull off a jewelry heist together. With a renewed zest for life, Frank reconnects with the man he once was, while the robot shows an artificial life's capacity to grow and adapt.\u003c/p>\n\u003cp>In Spike Jonze's \u003cem>Her\u003c/em>, it's 2025 and Theodore Twombly (Joaquin Phoenix) \u003ca href=\"http://blogs.kqed.org/pop/2014/01/10/falling-in-love-with-robots-spike-jonzes-her-asks-could-it-be-so-bad/\" target=\"_blank\">falls in love\u003c/a> with an operating system called Samantha. She may be only a voice, but she jokes, flirts and wonders about being a human being, and we are once again confronted with questions of identity and humanity, questions that have existed long before machines and will continue to exist as long as we do.\u003c/p>\n\u003cp>\u003cstrong>UTOPIA! DYSTOPIA! LET'S CALL THE WHOLE THING OFF!\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13599\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/utopiadystopia.jpg\">\u003cimg class=\"wp-image-13599\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/utopiadystopia-1024x327.jpg\" alt=\"utopiadystopia\" width=\"600\" height=\"192\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scenes from The Book of Eli and The Hunger Games\u003c/figcaption>\u003c/figure>\n\u003cp>When \u003ca href=\"http://www.emmytvlegends.org/interviews/people/gene-roddenberry#\" target=\"_blank\">Gene Rodenberry\u003c/a> developed \u003cem>Star Trek\u003c/em> in the 1960s, his vision of the utopian, egalitarian humanity of the 24th century was shaped by a hopeful optimism for people's capacity to create and evolve, and to attain equality and respect between all citizens. (Well, \u003ca href=\"http://bitchmagazine.org/post/star-trek-into-feminism-three-ways-the-sci-fi-series-needs-to-change\" target=\"_blank\">to an extent\u003c/a>.) Overall, the franchise has been sincere in trying to present a truly utopian future. Beyond that, the distinction between a utopia - an ideal, perfect society, as first named by Thomas Merton - and dystopia, its grim cousin, has been quite blurry and that gray area has been fertile ground for many stories.\u003c/p>\n\u003cp>Out of destruction can emerge primal chaos and basic need for survival, or orderly systems that reinforce centuries old social hierarchies. Or both. Those who live outside the protective domes and walled cities occupy a harsh reality (depicted in desaturated tones, naturally), while those fortunate enough to end up within some protective enclave might have more creature comforts and luxuries, but often at a cost to their liberty. \u003cem>Divergent, The Hunger Games, The Book of Eli \u003c/em>and Bong Joon-ho's \u003cem>Snowpiercer\u003c/em> are some of the more recent examples of movies contemplating a disastrous future, but speculative fiction has been fascinated with the nuances for a long while now.\u003c/p>\n\u003cp>The previously mentioned \u003cem>Metropolis\u003c/em> comes to mind, and in 1936, \u003ca href=\"https://www.youtube.com/watch?v=wemRBFFbhKI\" target=\"_blank\">H. G. Wells'\u003c/a>\u003cem>\u003ca href=\"https://www.youtube.com/watch?v=wemRBFFbhKI\" target=\"_blank\"> Things to Come\u003c/a> \u003c/em>charted the potential course of humanity from a global war in 1940 to a technologically advanced but divided society in 2036. Most of us are undoubtedly familiar with George Orwell’s dystopian novel \u003cem>Nineteen Eighty Four\u003c/em>, set in a totalitarian world of few liberties and much government surveillance. (A novel which is \u003ca href=\"http://blogs.kqed.org/pop/2014/09/16/5-old-movies-that-actually-should-be-remade/\" target=\"_blank\">probably due\u003c/a> for an updated film version.)\u003c/p>\n\u003cp>We have seen it all: a hedonistic domed city where none shall live past age 30 (\u003cem>Logan's Run\u003c/em>); a wasteland ruled by savage motorcycle gangs with wild hair (\u003cem>Mad Max\u003c/em> movies); and sophisticated, slick cities where citizens' futures are regulated by their genetic makeup (\u003cem>Gattaca\u003c/em>) or even actions that haven't taken place yet (\u003cem>Minority Report\u003c/em>).\u003c/p>\n\u003cp>There is an ongoing \u003ca href=\"http://www.salon.com/2014/02/26/americas_apocalypse_obsession_partner/\" target=\"_blank\">obsession\u003c/a> with the notion of the apocalypse, and it's \u003ca href=\"http://www.washingtonpost.com/news/act-four/wp/2014/06/06/no-you-do-not-have-to-be-ashamed-of-reading-young-adult-fiction/\" target=\"_blank\">not limited\u003c/a> to teenagers devouring dystopian YA literature. Psychologically, we're \u003ca href=\"http://blogs.scientificamerican.com/observations/2012/12/18/psychology-reveals-the-comforts-of-the-apocalypse/\" target=\"_blank\">wired\u003c/a> to ponder the end times, whether it's a world turned upside down by wars or by nature's hand. While we might do a good job imagining all the worst case scenarios as to \u003cem>how\u003c/em> it can all go down, sci-fi also helps extend our imaginations to what happens \u003cem>after\u003c/em>, and to the notion that humanity might prevail.\u003c/p>\n\u003cp>\u003cstrong>THE FUTURE IS A CATWALK\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13550\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/fashcollage.jpg\">\u003cimg class=\"wp-image-13550\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/fashcollage-1024x358.jpg\" alt=\"fashcollage\" width=\"600\" height=\"210\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L-to-R: The Hunger Games: Catching Fire, The Fifth Element, Logan's Run, Mad Max Beyond Thunderdome\u003c/figcaption>\u003c/figure>\n\u003cp>Compelling world building is important to propel the plot, but the clothes people will wear in the future can say just as much as a perfectly designed architectural landscape. People \u003ca href=\"http://www.buzzfeed.com/briangalindo/this-is-what-people-in-1893-imagined-we-would-be-wearing-in#26ywf0p\" target=\"_blank\">have been fascinated\u003c/a> with fashions of the future \u003ca href=\"https://www.youtube.com/watch?v=U9eAiy0IGBI\" target=\"_blank\">for a long while.\u003c/a> It's a delicate balance, to create a futuristic film wardrobe: make it too subtle, and people won't pick up on your intent; make it wildly \u003ca href=\"http://io9.com/5969957/weirdest-and-sexiest-costumes-from-the-original-star-trek/\" target=\"_blank\">outlandish\u003c/a>, and it may become dated (while still making for great Halloween or convention costumes); put \u003ca href=\"http://en.wikipedia.org/wiki/Zardoz\" target=\"_blank\">a red mankini\u003c/a> on Sean Connery and... well, that's exactly what you get.\u003c/p>\n\u003cp>One of my \u003ca href=\"http://hellotailor.blogspot.com/2013/09/dressing-for-apocalypse-how-to-build.html\" target=\"_blank\">pet peeves\u003c/a> is when everyone in the future dresses the same, however. In certain settings - hedonistic domed enclaves, totalitarian communities, militaristic structures - uniformity makes sense. But beyond that, it's nearsighted thinking. Considering the evolving history of fashion, the varieties of subcultures and street style that have existed, and our tendency to regurgitate trends of the past, the future should be a glorious mishmash of individual style, even if it \u003cem>is\u003c/em> picking from scrapheaps of textiles left after a nuclear fall out.\u003c/p>\n\u003cp>From that mass of black suits and silver tunics, some gems have emerged: \u003cem>\u003ca href=\"http://silverscreenmodes.com/?p=211\" target=\"_blank\">Blade Runner\u003c/a>\u003c/em>, with its blend of noir fashion and modern street style; \u003cem>Mad Max\u003c/em>, which gave its desert warriors a look that was both cohesive and distinct for each of the characters; the overall aesthetic of films like \u003cem>Children of Men\u003c/em> or \u003cem>Book of Eli\u003c/em>, showing a world of scarcity and priorities higher than sartorial concerns, but also glimmers of individuality.\u003c/p>\n\u003cp>The fashion industry has had a long standing reciprocal relationship with science fiction films. \u003ca href=\"http://www.vogue.com/873551/dressing-the-hunger-games-costume-designer-judianna-makovsky/\" target=\"_blank\">\u003cem>Hunger Games\u003c/em> costume designer\u003c/a> Judianna Makovsky cites Alexander McQueen and Elsa Schiaparelli as indelible influences on the style of spectacle-obsessed citizens of Panem's Capitol. Couturiers' involvement in film hasn't be limited to serving as just inspiration, either. Hardy Amies, Saville Row based clothier for Queen Elizabeth II, was brought on board by Stanley Kubrick to create costumes for \u003cem>2001: A Space Odyssey\u003c/em>; Jean Paul Gaultier is responsible for dreaming up \u003ca href=\"http://onthisdayinfashion.com/?p=13466\" target=\"_blank\">more than 900\u003c/a> of the over-the-top, colorful costumes for \u003cem>The Fifth Element\u003c/em>; and even though his designs didn't make the cut, Gianni Versace came up with some \u003ca href=\"http://io9.com/5933676/unused-judge-dredd-concept-art-says-my-codpiece-is-the-law\" target=\"_blank\">pretty extravagant\u003c/a> sketches for \u003cem>Judge Dredd\u003c/em>.\u003c/p>\n\u003cp>And just as science fiction has had an obvious impact on our approach to \u003ca href=\"http://arstechnica.com/apple/2010/08/how-star-trek-artists-imagined-the-ipad-23-years-ago/\" target=\"_blank\">product design\u003c/a>, so has it had its influence - direct or subtle - on the world of fashion. From Thierry Mugler's sexy robot in the video for George Michael's \u003cem>\u003ca href=\"http://fierth.com/2013/03/thierry-muglers-original-unseen-video-for-too-funky-leaked-21-years-later/\" target=\"_blank\">Too Funky\u003c/a>\u003c/em>, to Gareth Pugh and Junya Watanabe's \u003ca href=\"http://weburbanist.com/2013/01/28/futuristic-fashion-35-out-of-this-world-designer-looks/\" target=\"_blank\">sculptural looks\u003c/a>, the futuristic and fantastical has made its mark on the runway.\u003c/p>\n\u003cp>Things get even more exciting when we think of garments as serving functions beyond adornment. Dutch designer \u003ca href=\"http://www.anoukwipprecht.nl/projects.html\" target=\"_blank\">Annouk Wiprecht\u003c/a> creates fashion armor that serves as an interactive link between the wearer and their environment: dresses release soft plumes of smoke or activate defensive mechanical spider legs attached to the shoulders, based on the proximity of nearby people, while another garment, Intimacy, turns transparent in response to the wearer's arousal and heartbeat. While slightly off-putting for anyone uncomfortable with needles, Israeli designer \u003ca href=\"http://design-milk.com/naomi-kizhners-parasitic-powered-jewelry/\" target=\"_blank\">Naomi Kizhner\u003c/a> has come up with a concept for a small collection of bioelectrical jewelry that would react to the body's energy. And when it comes to textiles, there are \u003ca href=\"http://www.forbes.com/sites/forbesstylefile/2014/05/07/what-is-the-future-of-fabric-these-smart-textiles-will-blow-your-mind/\" target=\"_blank\">\"smart\" fabrics\u003c/a> that can be sprayed on the body or be controlled by mobile devices, in general elevating the stakes when it comes to science fiction's ability to outstrip reality.\u003c/p>\n\u003cp>\u003cstrong>NEAR FUTURE\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lk_UElPrW6A\u003c/p>\n\u003cp>Over time, I've developed more of an appreciation for science fiction that echoes the immediate realities of our world - films like the previously mentioned \u003cem>Robot and Frank\u003c/em> and \u003cem>Her\u003c/em>. As author \u003ca href=\"http://jessicacharlesworth.com/2014/why-sci-fi-is-obsessed-with-the-near-future-chicago-tribune-interview/\" target=\"_blank\">Richard Powers says\u003c/a>, \"All we have to do is explore the cascades of futures already set in motion.\"\u003c/p>\n\u003cp>One of my favorite recent bits of sci-fi, combining all the elements mentioned here, is the Canadian show \u003cem>Continuum\u003c/em>. The hero is Kiera Cameron (Rachel Nichols), a \"Protector\" from 2077 transported back to our present day, when a group of anti-corporation terrorists, Liber8, use a time travel device to escape execution. In her time, Cameron is part of a privatized, cybernetically augmented police force in a world where the Corporate Congress of oligarchs reigns supreme and citizen surveillance is the routine. As she tries to navigate Vancouver in 2012, Cameron begins to question all that she believed in and finds an unlikely ally in a young man, Alec Sadler, who will in fact become the same corporate king that Liber8 blame for the erosion of civil liberties in the future. That is, if the future can't be altered in the present.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>While still requiring some suspension of disbelief - time travel is one of those things that, no matter how technologically advanced we get, is still hard to fathom - the excitement of the series lies in the way it shows a realistic present with future possibilities branching out. But as much as I find exercises in speculation on our immediate future fascinating, I'm also more than a little bit excited about Christopher Nolan's \u003ca href=\"http://www.scifinow.co.uk/blog/where-are-all-the-space-exploration-films/\" target=\"_blank\">upcoming film \u003cem>Interstellar\u003c/em>\u003c/a>, which promises to go back to what enthralled so many of us in science fiction in the first place - exploration of space. Whether looking a few years ahead, or some light years away, one thing is clear: for sci-fi storytellers, the future is wide open.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a \u003ca href=\"http://www.theparisreview.org/interviews/6012/the-art-of-fiction-no-203-ray-bradbury\" target=\"_blank\">Paris Review interview\u003c/a> published only two years before his death, author Ray Bradbury said, “Science fiction pretends to look into the future, but it’s really looking at a reflection of what is already in front of us.” My first foray into the genre was through Bradbury's own \u003cem>The Martian Chronicles. \u003c/em>I still recall the mixture of fear and awe I felt, wondering if the interstellar travel he predicted would ever become a reality. No doubt, exploration and colonization of Mars wouldn't be part of my own life experience, but imagining that possibility, and considering how society might get there was compelling.\u003c/p>\n\u003cp>The vision of the future in science fiction - and speculative fiction in general - has never been constant; the reflection stretches and tilts like a fun house mirror, as time passes and new realities take hold. Simmering underneath fantastical settings and advanced technology are our very real, very human hopes and fears. What will happen to \u003ca href=\"http://ww2.kqed.org/arts/2014/05/21/sci-fi-san-francisco-examples-of-the-city-in-the-future/\" target=\"_blank\">the cities we live in\u003c/a>, to \u003ca href=\"http://blogs.kqed.org/bayareabites/2013/07/15/food-in-science-fiction-in-the-future-we-will-all-eat-lasers/\" target=\"_blank\">the food we eat\u003c/a>? What \u003ca href=\"http://io9.com/these-are-the-surprising-jobs-youll-be-doing-by-the-203-1577363367\" target=\"_blank\">jobs will we have\u003c/a>? Will we even be here at all?\u003c/p>\n\u003cp>When it comes to movies in particular, we have seen many futures over the years: bleak and ravaged worlds; sleek, regulated utopias; and subtle near futures, echoing our current realities and the immediate possibilities ahead. Let's revisit some of those themes, shall we?\u003c/p>\n\u003cp>\u003cstrong>BETTER LIVING THROUGH CIRCUITRY\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13546\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/robotcollage.jpg\">\u003cimg class=\"wp-image-13546\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/robotcollage-1024x358.jpg\" alt=\"robotcollage\" width=\"600\" height=\"210\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L-to-R: Metropolis, Blade Runner, Surrogates, Robot and Frank\u003c/figcaption>\u003c/figure>\n\u003cp>The technological advances of the late 19th and early 20th centuries served as inspiration for pioneers of science fiction like Mary Shelley, Jules Verne and H. G. Wells. (And, interestingly, E.M. Forster, whose short story \u003cem>\u003ca href=\"http://archive.ncsa.illinois.edu/prajlich/forster.html\" target=\"_blank\">The Machine Stops\u003c/a>\u003c/em> is an early prediction of the internet, among other things.) They, and the many writers and filmmakers who followed in their stead, turned their eyes toward a future filled with incredible feats of science and engineering. But those stories also carried a sense of unease and a fear of technology taking over - perhaps even destroying - our lives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That wariness is captured most perfectly when humanity is confronted with artificial intelligence. In many ways, it kicked off with Fritz Lang's \u003cem>Metropolis\u003c/em>, in which a deceptive robotic woman plays a major role in escalating a clash between the wealthy elite and the working class of a glimmering, industrialist city. Although much of Hollywood's \u003ca href=\"http://www.slate.com/articles/health_and_science/nuclear_power/2013/01/nuclear_monster_movies_sci_fi_films_in_the_1950s_were_terrifying_escapism.html\" target=\"_blank\">science fiction output of the 1950s\u003c/a> was fueled by political paranoia and the nuclear menace, the Man vs. Machine stories carried on.\u003c/p>\n\u003cp>One of the biggest landmarks in the genre, Stanley Kubrick's \u003cem>2001: A Space Odyssey\u003c/em> (1968), gave us an iconic antagonist in HAL 9000, a sentient system that would kill out of self-preservation. With the '80s came \u003cem>The Terminator\u003c/em>, successfully combining android warfare with another popular sci-fi element, time travel; the \u003ca href=\"https://www.youtube.com/watch?v=zCZY9Z6WvSY\" target=\"_blank\">hilariously campy\u003c/a> robo-hunter flick \u003cem>Runaway\u003c/em>, starring Tom Selleck and his mustache; and the elegantly imagined \u003cem>Blade Runner\u003c/em>, which made us ponder what it truly means to be a person.\u003c/p>\n\u003cp>But even as plot lines began to take on a more philosophical, compassionate angle, the undertone of Us versus Them remained. Take, for instance, the android starfleet officer, Lt. Commander Data. A beloved character on \u003cem>Star Trek: The Next Generation\u003c/em>, people still often undermined and insulted him, or even questioned his rights as an autonomous individual.\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/GYp2dx652ho'\n title='//www.youtube.com/embed/GYp2dx652ho'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With developments in \u003ca href=\"http://news.discovery.com/tech/biotechnology/your-brain-in-2050-neural-implants-and-robotic-limbs-140603.htm\" target=\"_blank\">cybernetic augmentation\u003c/a> and robotics - \u003ca href=\"http://www.wired.com/2014/08/tour-the-labs-where-the-worlds-creepiest-humanoid-robots-are-born/\" target=\"_blank\">humanoid\u003c/a> or \u003ca href=\"http://www.businessinsider.com/silent-robot-cheetah-from-darpa-and-mit-2014-9\" target=\"_blank\">otherwise\u003c/a> - making science fiction a reality, we are in a place to devote more time to contemplating the more subtle implications of humanity, not just \u003ca href=\"http://the-toast.net/2014/07/28/listicles-brief-uneasy-future/\" target=\"_blank\">coexisting\u003c/a> with artificial life, but embracing it. While ultimately falling flat (and venturing too far for my liking into uncanny valley territory with a robotic Bruce Willis), the 2009 film \u003cem>Surrogates\u003c/em> tried to imagine a world where people have chosen to live through cybernetic proxies. Although the surrogates themselves aren't independent machinery, controlled by their human counterparts remotely from the safety of their homes, that sort of augmented reality \u003ca href=\"http://singularityhub.com/2009/08/07/is-surrogates-movie-getting-closer-to-reality/\" target=\"_blank\">isn't entirely far fetched\u003c/a>.\u003c/p>\n\u003cp>We don't have to look too far into the future to ruminate on lives becoming increasingly intertwined with artificial technology. \u003cem>Robot & Frank \u003c/em>(2012) is an understated near-future science fiction, a meditation on aging and memory. The robot in the movie is presented as a caretaker to the elderly Frank (Frank Langella), and while the older man is at first resistant, not only does he develop a friendship with the robot, they even pull off a jewelry heist together. With a renewed zest for life, Frank reconnects with the man he once was, while the robot shows an artificial life's capacity to grow and adapt.\u003c/p>\n\u003cp>In Spike Jonze's \u003cem>Her\u003c/em>, it's 2025 and Theodore Twombly (Joaquin Phoenix) \u003ca href=\"http://blogs.kqed.org/pop/2014/01/10/falling-in-love-with-robots-spike-jonzes-her-asks-could-it-be-so-bad/\" target=\"_blank\">falls in love\u003c/a> with an operating system called Samantha. She may be only a voice, but she jokes, flirts and wonders about being a human being, and we are once again confronted with questions of identity and humanity, questions that have existed long before machines and will continue to exist as long as we do.\u003c/p>\n\u003cp>\u003cstrong>UTOPIA! DYSTOPIA! LET'S CALL THE WHOLE THING OFF!\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13599\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/utopiadystopia.jpg\">\u003cimg class=\"wp-image-13599\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/utopiadystopia-1024x327.jpg\" alt=\"utopiadystopia\" width=\"600\" height=\"192\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scenes from The Book of Eli and The Hunger Games\u003c/figcaption>\u003c/figure>\n\u003cp>When \u003ca href=\"http://www.emmytvlegends.org/interviews/people/gene-roddenberry#\" target=\"_blank\">Gene Rodenberry\u003c/a> developed \u003cem>Star Trek\u003c/em> in the 1960s, his vision of the utopian, egalitarian humanity of the 24th century was shaped by a hopeful optimism for people's capacity to create and evolve, and to attain equality and respect between all citizens. (Well, \u003ca href=\"http://bitchmagazine.org/post/star-trek-into-feminism-three-ways-the-sci-fi-series-needs-to-change\" target=\"_blank\">to an extent\u003c/a>.) Overall, the franchise has been sincere in trying to present a truly utopian future. Beyond that, the distinction between a utopia - an ideal, perfect society, as first named by Thomas Merton - and dystopia, its grim cousin, has been quite blurry and that gray area has been fertile ground for many stories.\u003c/p>\n\u003cp>Out of destruction can emerge primal chaos and basic need for survival, or orderly systems that reinforce centuries old social hierarchies. Or both. Those who live outside the protective domes and walled cities occupy a harsh reality (depicted in desaturated tones, naturally), while those fortunate enough to end up within some protective enclave might have more creature comforts and luxuries, but often at a cost to their liberty. \u003cem>Divergent, The Hunger Games, The Book of Eli \u003c/em>and Bong Joon-ho's \u003cem>Snowpiercer\u003c/em> are some of the more recent examples of movies contemplating a disastrous future, but speculative fiction has been fascinated with the nuances for a long while now.\u003c/p>\n\u003cp>The previously mentioned \u003cem>Metropolis\u003c/em> comes to mind, and in 1936, \u003ca href=\"https://www.youtube.com/watch?v=wemRBFFbhKI\" target=\"_blank\">H. G. Wells'\u003c/a>\u003cem>\u003ca href=\"https://www.youtube.com/watch?v=wemRBFFbhKI\" target=\"_blank\"> Things to Come\u003c/a> \u003c/em>charted the potential course of humanity from a global war in 1940 to a technologically advanced but divided society in 2036. Most of us are undoubtedly familiar with George Orwell’s dystopian novel \u003cem>Nineteen Eighty Four\u003c/em>, set in a totalitarian world of few liberties and much government surveillance. (A novel which is \u003ca href=\"http://blogs.kqed.org/pop/2014/09/16/5-old-movies-that-actually-should-be-remade/\" target=\"_blank\">probably due\u003c/a> for an updated film version.)\u003c/p>\n\u003cp>We have seen it all: a hedonistic domed city where none shall live past age 30 (\u003cem>Logan's Run\u003c/em>); a wasteland ruled by savage motorcycle gangs with wild hair (\u003cem>Mad Max\u003c/em> movies); and sophisticated, slick cities where citizens' futures are regulated by their genetic makeup (\u003cem>Gattaca\u003c/em>) or even actions that haven't taken place yet (\u003cem>Minority Report\u003c/em>).\u003c/p>\n\u003cp>There is an ongoing \u003ca href=\"http://www.salon.com/2014/02/26/americas_apocalypse_obsession_partner/\" target=\"_blank\">obsession\u003c/a> with the notion of the apocalypse, and it's \u003ca href=\"http://www.washingtonpost.com/news/act-four/wp/2014/06/06/no-you-do-not-have-to-be-ashamed-of-reading-young-adult-fiction/\" target=\"_blank\">not limited\u003c/a> to teenagers devouring dystopian YA literature. Psychologically, we're \u003ca href=\"http://blogs.scientificamerican.com/observations/2012/12/18/psychology-reveals-the-comforts-of-the-apocalypse/\" target=\"_blank\">wired\u003c/a> to ponder the end times, whether it's a world turned upside down by wars or by nature's hand. While we might do a good job imagining all the worst case scenarios as to \u003cem>how\u003c/em> it can all go down, sci-fi also helps extend our imaginations to what happens \u003cem>after\u003c/em>, and to the notion that humanity might prevail.\u003c/p>\n\u003cp>\u003cstrong>THE FUTURE IS A CATWALK\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13550\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/fashcollage.jpg\">\u003cimg class=\"wp-image-13550\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/fashcollage-1024x358.jpg\" alt=\"fashcollage\" width=\"600\" height=\"210\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L-to-R: The Hunger Games: Catching Fire, The Fifth Element, Logan's Run, Mad Max Beyond Thunderdome\u003c/figcaption>\u003c/figure>\n\u003cp>Compelling world building is important to propel the plot, but the clothes people will wear in the future can say just as much as a perfectly designed architectural landscape. People \u003ca href=\"http://www.buzzfeed.com/briangalindo/this-is-what-people-in-1893-imagined-we-would-be-wearing-in#26ywf0p\" target=\"_blank\">have been fascinated\u003c/a> with fashions of the future \u003ca href=\"https://www.youtube.com/watch?v=U9eAiy0IGBI\" target=\"_blank\">for a long while.\u003c/a> It's a delicate balance, to create a futuristic film wardrobe: make it too subtle, and people won't pick up on your intent; make it wildly \u003ca href=\"http://io9.com/5969957/weirdest-and-sexiest-costumes-from-the-original-star-trek/\" target=\"_blank\">outlandish\u003c/a>, and it may become dated (while still making for great Halloween or convention costumes); put \u003ca href=\"http://en.wikipedia.org/wiki/Zardoz\" target=\"_blank\">a red mankini\u003c/a> on Sean Connery and... well, that's exactly what you get.\u003c/p>\n\u003cp>One of my \u003ca href=\"http://hellotailor.blogspot.com/2013/09/dressing-for-apocalypse-how-to-build.html\" target=\"_blank\">pet peeves\u003c/a> is when everyone in the future dresses the same, however. In certain settings - hedonistic domed enclaves, totalitarian communities, militaristic structures - uniformity makes sense. But beyond that, it's nearsighted thinking. Considering the evolving history of fashion, the varieties of subcultures and street style that have existed, and our tendency to regurgitate trends of the past, the future should be a glorious mishmash of individual style, even if it \u003cem>is\u003c/em> picking from scrapheaps of textiles left after a nuclear fall out.\u003c/p>\n\u003cp>From that mass of black suits and silver tunics, some gems have emerged: \u003cem>\u003ca href=\"http://silverscreenmodes.com/?p=211\" target=\"_blank\">Blade Runner\u003c/a>\u003c/em>, with its blend of noir fashion and modern street style; \u003cem>Mad Max\u003c/em>, which gave its desert warriors a look that was both cohesive and distinct for each of the characters; the overall aesthetic of films like \u003cem>Children of Men\u003c/em> or \u003cem>Book of Eli\u003c/em>, showing a world of scarcity and priorities higher than sartorial concerns, but also glimmers of individuality.\u003c/p>\n\u003cp>The fashion industry has had a long standing reciprocal relationship with science fiction films. \u003ca href=\"http://www.vogue.com/873551/dressing-the-hunger-games-costume-designer-judianna-makovsky/\" target=\"_blank\">\u003cem>Hunger Games\u003c/em> costume designer\u003c/a> Judianna Makovsky cites Alexander McQueen and Elsa Schiaparelli as indelible influences on the style of spectacle-obsessed citizens of Panem's Capitol. Couturiers' involvement in film hasn't be limited to serving as just inspiration, either. Hardy Amies, Saville Row based clothier for Queen Elizabeth II, was brought on board by Stanley Kubrick to create costumes for \u003cem>2001: A Space Odyssey\u003c/em>; Jean Paul Gaultier is responsible for dreaming up \u003ca href=\"http://onthisdayinfashion.com/?p=13466\" target=\"_blank\">more than 900\u003c/a> of the over-the-top, colorful costumes for \u003cem>The Fifth Element\u003c/em>; and even though his designs didn't make the cut, Gianni Versace came up with some \u003ca href=\"http://io9.com/5933676/unused-judge-dredd-concept-art-says-my-codpiece-is-the-law\" target=\"_blank\">pretty extravagant\u003c/a> sketches for \u003cem>Judge Dredd\u003c/em>.\u003c/p>\n\u003cp>And just as science fiction has had an obvious impact on our approach to \u003ca href=\"http://arstechnica.com/apple/2010/08/how-star-trek-artists-imagined-the-ipad-23-years-ago/\" target=\"_blank\">product design\u003c/a>, so has it had its influence - direct or subtle - on the world of fashion. From Thierry Mugler's sexy robot in the video for George Michael's \u003cem>\u003ca href=\"http://fierth.com/2013/03/thierry-muglers-original-unseen-video-for-too-funky-leaked-21-years-later/\" target=\"_blank\">Too Funky\u003c/a>\u003c/em>, to Gareth Pugh and Junya Watanabe's \u003ca href=\"http://weburbanist.com/2013/01/28/futuristic-fashion-35-out-of-this-world-designer-looks/\" target=\"_blank\">sculptural looks\u003c/a>, the futuristic and fantastical has made its mark on the runway.\u003c/p>\n\u003cp>Things get even more exciting when we think of garments as serving functions beyond adornment. Dutch designer \u003ca href=\"http://www.anoukwipprecht.nl/projects.html\" target=\"_blank\">Annouk Wiprecht\u003c/a> creates fashion armor that serves as an interactive link between the wearer and their environment: dresses release soft plumes of smoke or activate defensive mechanical spider legs attached to the shoulders, based on the proximity of nearby people, while another garment, Intimacy, turns transparent in response to the wearer's arousal and heartbeat. While slightly off-putting for anyone uncomfortable with needles, Israeli designer \u003ca href=\"http://design-milk.com/naomi-kizhners-parasitic-powered-jewelry/\" target=\"_blank\">Naomi Kizhner\u003c/a> has come up with a concept for a small collection of bioelectrical jewelry that would react to the body's energy. And when it comes to textiles, there are \u003ca href=\"http://www.forbes.com/sites/forbesstylefile/2014/05/07/what-is-the-future-of-fabric-these-smart-textiles-will-blow-your-mind/\" target=\"_blank\">\"smart\" fabrics\u003c/a> that can be sprayed on the body or be controlled by mobile devices, in general elevating the stakes when it comes to science fiction's ability to outstrip reality.\u003c/p>\n\u003cp>\u003cstrong>NEAR FUTURE\u003c/strong>\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/lk_UElPrW6A'\n title='//www.youtube.com/embed/lk_UElPrW6A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Over time, I've developed more of an appreciation for science fiction that echoes the immediate realities of our world - films like the previously mentioned \u003cem>Robot and Frank\u003c/em> and \u003cem>Her\u003c/em>. As author \u003ca href=\"http://jessicacharlesworth.com/2014/why-sci-fi-is-obsessed-with-the-near-future-chicago-tribune-interview/\" target=\"_blank\">Richard Powers says\u003c/a>, \"All we have to do is explore the cascades of futures already set in motion.\"\u003c/p>\n\u003cp>One of my favorite recent bits of sci-fi, combining all the elements mentioned here, is the Canadian show \u003cem>Continuum\u003c/em>. The hero is Kiera Cameron (Rachel Nichols), a \"Protector\" from 2077 transported back to our present day, when a group of anti-corporation terrorists, Liber8, use a time travel device to escape execution. In her time, Cameron is part of a privatized, cybernetically augmented police force in a world where the Corporate Congress of oligarchs reigns supreme and citizen surveillance is the routine. As she tries to navigate Vancouver in 2012, Cameron begins to question all that she believed in and finds an unlikely ally in a young man, Alec Sadler, who will in fact become the same corporate king that Liber8 blame for the erosion of civil liberties in the future. That is, if the future can't be altered in the present.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While still requiring some suspension of disbelief - time travel is one of those things that, no matter how technologically advanced we get, is still hard to fathom - the excitement of the series lies in the way it shows a realistic present with future possibilities branching out. But as much as I find exercises in speculation on our immediate future fascinating, I'm also more than a little bit excited about Christopher Nolan's \u003ca href=\"http://www.scifinow.co.uk/blog/where-are-all-the-space-exploration-films/\" target=\"_blank\">upcoming film \u003cem>Interstellar\u003c/em>\u003c/a>, which promises to go back to what enthralled so many of us in science fiction in the first place - exploration of space. Whether looking a few years ahead, or some light years away, one thing is clear: for sci-fi storytellers, the future is wide open.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Arthur “Art” Clokey (October 12, 1921 – January 8, 2010) was an American pioneer in the popularization of stop-motion, clay animation. He was best known as the co-creator of the characters Gumby and Pokey. \u003c/p>\n\u003cp>At once quirky and colorful, heartbreaking and redemptive, the film \u003ci>Gumby Dharma\u003c/i> takes us on a journey through the life and career of spiritual seeker Clokey, whose famous creations echoed the mystical path of their creator. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Adapted from a Patricia Highsmith novel, \u003cem>The Two Faces of January\u003c/em> is, like Highsmith’s \u003cem>The Talented Mr. Ripley\u003c/em>, a tale of deceptive identities. When we meet Chester (Viggo Mortensen) and Colette (Kirsten Dunst) in 1960s Greece, they seem like a rich, elegant American couple casually touring Europe. It’s not long, though, before Chester’s previous life catches up with him. A private detective comes to his hotel room demanding payment on behalf of a group who were swindled by Chester when he lived in the U.S. After a brief tussle, the detective ends up dead on the bathroom floor.\u003c/p>\n\u003cp>By the time that happens, though, Chester and Colette have befriended Rydal (Oscar Isaac), whose back story, while less evidently misleading, is also mysterious. He’s introduced as a more obvious cheat than Chester, running small scams on tourists while working as a tour guide. His demeanor, more than Chester’s, suggests that he may not be what he claims to be. And ultimately, while Rydal, too, may be on the run from his past, his past may not be so sinister.\u003c/p>\n\u003cp>http://youtu.be/TrRHmhIDfjg\u003c/p>\n\u003cp>Rydal and Chester are flip sides of the reinvention narrative, embodied quite magnificently by Isaac and Mortensen. Isaac, still doughy-eyed but much less frazzled than in \u003cem>Inside Llewyn Davis\u003c/em>, captures a self-assured center beneath Rydal’s somewhat fidgety outer appearance. Chester, on the other hand, is pristinely put together but barely controlled just below the surface. Rydal, it seems, will find peace eventually, but Chester’s torment only grows more frightening and dangerous.\u003c/p>\n\u003cp>The face-off between these two polarized characters — and two fine actors — offers up a fine flirtatious dance but never quite the promised payoff, although the two do share a few splendid interactions. One scene where the normally haughty Chester apologizes for a drunken episode and is brushed off by Rydal typifies these moments — they’re made up of small gestures and looks that raise the tension in the men’s power struggle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unfortunately, writer-director Hossein Amini’s heavy-handed approach to interpreting the material bogs down the relationship. Chester and Rydal are clearly acting out something like a father-son dynamic, but Amini’s insistence on having them say as much reduces their rapport to simplistic therapy. Similarly, a series of dramatic shots as Chester’s behavior turns menacing are maddening for their excess: that Chester has inner demons is evident enough without lighting him as if he were the Phantom of the Opera.\u003c/p>\n\u003cp>Most of all, \u003cem>The Two Faces of January\u003c/em> feels shot too tight and cut too tight; it doesn’t push forward at a bewilderingly fast pace, but its story and its performances still feel like they need more room to breathe. The film’s plot, after all, is fairly uneventful after the death of the private detective, punctuated by stops at a series of towns in Crete while Chester and Colette wait to receive the fake passports that Rydal arranged for so they can leave the country.\u003c/p>\n\u003cp>In such an open scenario, what’s most interesting is how the trio’s perceptions and feelings shift, yet Amini refuses to let scenes run on any longer than needed to get the story movement across; thus, rich subtext is left frustratingly unexplored.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mortensen and Isaac are hindered by Amini’s method, but ultimately it’s Dunst who feels its effects most. The script sidelines her character as a plaything in Chester and Rydal’s competition. And the camera, when it finds her, does so seemingly for the sole purpose of tracking a fixed emotional trajectory — she is intrigued by Rydal, then gloomy, then despondent. Dunst complies adequately enough with the limited requirements of the role, and that’s ultimately how much of the film comes off: as a perfectly adequate take on a story that contains much more to be plumbed. \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=%27Two+Faces%27+Of+Reinvention+And+Deceptive+Identity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Adapted from a Patricia Highsmith novel, \u003cem>The Two Faces of January\u003c/em> is, like Highsmith’s \u003cem>The Talented Mr. Ripley\u003c/em>, a tale of deceptive identities. When we meet Chester (Viggo Mortensen) and Colette (Kirsten Dunst) in 1960s Greece, they seem like a rich, elegant American couple casually touring Europe. It’s not long, though, before Chester’s previous life catches up with him. A private detective comes to his hotel room demanding payment on behalf of a group who were swindled by Chester when he lived in the U.S. After a brief tussle, the detective ends up dead on the bathroom floor.\u003c/p>\n\u003cp>By the time that happens, though, Chester and Colette have befriended Rydal (Oscar Isaac), whose back story, while less evidently misleading, is also mysterious. He’s introduced as a more obvious cheat than Chester, running small scams on tourists while working as a tour guide. His demeanor, more than Chester’s, suggests that he may not be what he claims to be. And ultimately, while Rydal, too, may be on the run from his past, his past may not be so sinister.\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/TrRHmhIDfjg'\n title='//www.youtube.com/embed/TrRHmhIDfjg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rydal and Chester are flip sides of the reinvention narrative, embodied quite magnificently by Isaac and Mortensen. Isaac, still doughy-eyed but much less frazzled than in \u003cem>Inside Llewyn Davis\u003c/em>, captures a self-assured center beneath Rydal’s somewhat fidgety outer appearance. Chester, on the other hand, is pristinely put together but barely controlled just below the surface. Rydal, it seems, will find peace eventually, but Chester’s torment only grows more frightening and dangerous.\u003c/p>\n\u003cp>The face-off between these two polarized characters — and two fine actors — offers up a fine flirtatious dance but never quite the promised payoff, although the two do share a few splendid interactions. One scene where the normally haughty Chester apologizes for a drunken episode and is brushed off by Rydal typifies these moments — they’re made up of small gestures and looks that raise the tension in the men’s power struggle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unfortunately, writer-director Hossein Amini’s heavy-handed approach to interpreting the material bogs down the relationship. Chester and Rydal are clearly acting out something like a father-son dynamic, but Amini’s insistence on having them say as much reduces their rapport to simplistic therapy. Similarly, a series of dramatic shots as Chester’s behavior turns menacing are maddening for their excess: that Chester has inner demons is evident enough without lighting him as if he were the Phantom of the Opera.\u003c/p>\n\u003cp>Most of all, \u003cem>The Two Faces of January\u003c/em> feels shot too tight and cut too tight; it doesn’t push forward at a bewilderingly fast pace, but its story and its performances still feel like they need more room to breathe. The film’s plot, after all, is fairly uneventful after the death of the private detective, punctuated by stops at a series of towns in Crete while Chester and Colette wait to receive the fake passports that Rydal arranged for so they can leave the country.\u003c/p>\n\u003cp>In such an open scenario, what’s most interesting is how the trio’s perceptions and feelings shift, yet Amini refuses to let scenes run on any longer than needed to get the story movement across; thus, rich subtext is left frustratingly unexplored.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mortensen and Isaac are hindered by Amini’s method, but ultimately it’s Dunst who feels its effects most. The script sidelines her character as a plaything in Chester and Rydal’s competition. And the camera, when it finds her, does so seemingly for the sole purpose of tracking a fixed emotional trajectory — she is intrigued by Rydal, then gloomy, then despondent. Dunst complies adequately enough with the limited requirements of the role, and that’s ultimately how much of the film comes off: as a perfectly adequate take on a story that contains much more to be plumbed. \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=%27Two+Faces%27+Of+Reinvention+And+Deceptive+Identity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At the opening of \u003cem>Gone Girl\u003c/em>, Nick Dunne (Ben Affleck) is literally a man on the street. Standing by his trash cans in the half-light of an early morning at his gorgeous Missouri home in a T-shirt and sweatpants, he is what might be mistaken for “comfortable,” but he is painfully, powerfully ordinary. And in keeping with the title, he is about to learn that his wife, Amy (Rosamund Pike), is missing. Suspicious to both the authorities and the audience, Nick has lost his wife to either an act of violence he committed or an act of violence he did not commit. He is no longer ordinary; he is either a monster or a misunderstood victim of circumstance.\u003c/p>\n\u003cp>The story proceeds as a pair of alternating narratives: We follow Nick in the present as he describes to the investigating officers a challenging but basically good marriage, while Amy recounts in her diary, in parallel, a blissful courtship followed by increasingly dark flashes of trouble. We watch Nick tell the police and his sister things we know from peeking at Amy’s diary are not true. It begins to dawn, in fits and starts, that the Nick we saw standing in the street was not the entire Nick.\u003c/p>\n\u003cp>http://youtu.be/Ym3LB0lOJ0o\u003c/p>\n\u003cp>It seemed almost impossible that director David Fincher and original novelist Gillian Flynn, who wrote the adapted screenplay herself, could hang on to the 2012 book’s uncommon and disorienting structure, but they do. Seeing the film feels much like reading the book: They achieve the same gasps, the same moments of sudden and giddy understanding. They solve the problem inherent in every mystery: that it will be solved, but it cannot be until the final page, because once it is, the tension will slacken irreparably absent a series of false endings. In the film, as in the book, the opposite happens. Information is gained, sometimes in sudden gulps, but when it is, there is no deflation — only an exhilarating newness.\u003c/p>\n\u003cp>The story calls for such unrelenting work with mood, though, that there are times when it feels in danger of stalling to gaze at its own blue-gray color palette. Fincher loves his Trent Reznor/Atticus Ross scores, too, and while the dreamlike, woozy music in the first part of the film has just the right unnerving constancy, it seems at times to admit too little silence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But if the production is slightly too atmospheric, the performances are bracingly specific, led by Affleck, whose task is complex. What drives any effective portrayal of Nick is that you must be able to believe that he could be a malevolent sort of pent-up guy, or he could be a middle-of-the-road lousy-husband guy, or he could be a truly put-upon and largely blameless guy. You must, no matter how hard you peer at him, find it hard to tell. You must be unable to choose an answer even after you know the answer. He has to have an almost existentially untrustworthy quality, so much so that you don’t even trust any instinct you may have that he’s not to be trusted. He has to be, to Amy, both charismatic and disappointing, and he has to be, to us, maybe innocent and maybe guilty but naggingly unseemly either way. It is the greasy sheen on Nick’s personality, combined with something sympathetic in his insistence that he’s innocent, that makes the movie run.\u003c/p>\n\u003cp>And that is where Ben Affleck’s sweet spot is. Like Hugh Grant, he flounders dully when people try to get him to play anybody too unambiguously nice; he leans on his grin and his ingratiating shrug, and he gives off a generous whiff of distasteful entitlement. But allowed a bit of early-middle-age moping and resentment that’s built into the character, allowed to \u003cem>play \u003c/em>a more questionable person, he’s more human. His work here is taut and controlled, and he beautifully translates details from the book like Nick’s tendency to smile at cameras even while surrounded by the theater of tragedy — a tendency that’s either an unfortunate disadvantage that makes him seem guilty or a crucial tell that he is guilty. (Seeing this kind of detail on screen — the kind that’s tough to understand until you see a living person do it — goes a long way to justify the film adaptation’s existence.)\u003c/p>\n\u003cp>Rosamund Pike’s performance is much harder to talk about, because she’s the co-lead of the film despite the fact that Amy is gone. It is Amy who must come into focus gradually, and it is Amy whose disappearance must eventually be solved, and whose story will have to be closed from there. It is adequate to say that playing Amy in the dual narratives that she and Nick offer is an enormous challenge. It’s not quite the pop-culture staple of \u003cem>Rashomon\u003c/em>, but reconciling Amy from Nick’s telling and Amy from the diary — and the two Nicks with whom those Amys live — becomes key to understanding what happened to Amy and whether she will or will not ever be found.\u003c/p>\n\u003cp>I think it is not spoiling too much to say that there are really two movies curled around each other in \u003cem>Gone Girl\u003c/em>: one part built on the tropes of mystery and one part drawn from the traditions of suspense and horror. There is more subtlety in the first, more focus on the fine points of how marriages bend lovingly and warp dangerously. The second story is more an unsheathed weapon, wielded extravagantly, in which whatever is \u003cem>wrong\u003c/em>, whatever made Amy be \u003cem>gone\u003c/em>, must be confronted, whether it’s internal or external to her husband. Fincher’s handling of both is appropriately creepy and nicely paced — the movie is 2 1/2 hours long and never drags.\u003c/p>\n\u003cp>While this is largely a two-person dance (of people spending much of their time apart), supporting performers, including the fabulous Carrie Coon as Nick’s fretting twin sister and a surprisingly relaxed turn from Tyler Perry as Nick’s attorney, put in good work. Neil Patrick Harris as a former boyfriend of Amy’s makes for an offbeat piece of casting given the other roles he’s played, and while it’s an almost impenetrable performance, it seems intentionally so.\u003c/p>\n\u003cp>But ultimately, \u003cem>Gone Girl \u003c/em>runs on the diabolical, inventive, sometimes unhinged genius of its story. It is constantly pressing on the edges of tropes until they show weakness — the tough detective, the dirty lawyer, the sweet wife and worried husband — and then cramming sticks of dynamite into the cracks and lighting them for kicks. Fincher being Fincher, it’s a fine-looking, carefully crafted, meticulous piece of filmmaking full of shots that beg to be admired until they are almost but not quite ostentatious, including the very first one of the film, in which the back of Amy’s head is obliquely referenced as a thing to be cradled, struck and ultimately dismantled — the better to understand it, of course.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It is fine filmmaking. It is fine acting. But this is, in the end, a story-driven movie, and what makes it work is that Flynn and Fincher together have told the ever-loving heck out of this scary, weird tale, with respect for the pitch-black (really, really pitch-black) humor that occasionally oozes from its pores. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But if the production is slightly too atmospheric, the performances are bracingly specific, led by Affleck, whose task is complex. What drives any effective portrayal of Nick is that you must be able to believe that he could be a malevolent sort of pent-up guy, or he could be a middle-of-the-road lousy-husband guy, or he could be a truly put-upon and largely blameless guy. You must, no matter how hard you peer at him, find it hard to tell. You must be unable to choose an answer even after you know the answer. He has to have an almost existentially untrustworthy quality, so much so that you don’t even trust any instinct you may have that he’s not to be trusted. He has to be, to Amy, both charismatic and disappointing, and he has to be, to us, maybe innocent and maybe guilty but naggingly unseemly either way. It is the greasy sheen on Nick’s personality, combined with something sympathetic in his insistence that he’s innocent, that makes the movie run.\u003c/p>\n\u003cp>And that is where Ben Affleck’s sweet spot is. Like Hugh Grant, he flounders dully when people try to get him to play anybody too unambiguously nice; he leans on his grin and his ingratiating shrug, and he gives off a generous whiff of distasteful entitlement. But allowed a bit of early-middle-age moping and resentment that’s built into the character, allowed to \u003cem>play \u003c/em>a more questionable person, he’s more human. His work here is taut and controlled, and he beautifully translates details from the book like Nick’s tendency to smile at cameras even while surrounded by the theater of tragedy — a tendency that’s either an unfortunate disadvantage that makes him seem guilty or a crucial tell that he is guilty. (Seeing this kind of detail on screen — the kind that’s tough to understand until you see a living person do it — goes a long way to justify the film adaptation’s existence.)\u003c/p>\n\u003cp>Rosamund Pike’s performance is much harder to talk about, because she’s the co-lead of the film despite the fact that Amy is gone. It is Amy who must come into focus gradually, and it is Amy whose disappearance must eventually be solved, and whose story will have to be closed from there. It is adequate to say that playing Amy in the dual narratives that she and Nick offer is an enormous challenge. It’s not quite the pop-culture staple of \u003cem>Rashomon\u003c/em>, but reconciling Amy from Nick’s telling and Amy from the diary — and the two Nicks with whom those Amys live — becomes key to understanding what happened to Amy and whether she will or will not ever be found.\u003c/p>\n\u003cp>I think it is not spoiling too much to say that there are really two movies curled around each other in \u003cem>Gone Girl\u003c/em>: one part built on the tropes of mystery and one part drawn from the traditions of suspense and horror. There is more subtlety in the first, more focus on the fine points of how marriages bend lovingly and warp dangerously. The second story is more an unsheathed weapon, wielded extravagantly, in which whatever is \u003cem>wrong\u003c/em>, whatever made Amy be \u003cem>gone\u003c/em>, must be confronted, whether it’s internal or external to her husband. Fincher’s handling of both is appropriately creepy and nicely paced — the movie is 2 1/2 hours long and never drags.\u003c/p>\n\u003cp>While this is largely a two-person dance (of people spending much of their time apart), supporting performers, including the fabulous Carrie Coon as Nick’s fretting twin sister and a surprisingly relaxed turn from Tyler Perry as Nick’s attorney, put in good work. Neil Patrick Harris as a former boyfriend of Amy’s makes for an offbeat piece of casting given the other roles he’s played, and while it’s an almost impenetrable performance, it seems intentionally so.\u003c/p>\n\u003cp>But ultimately, \u003cem>Gone Girl \u003c/em>runs on the diabolical, inventive, sometimes unhinged genius of its story. It is constantly pressing on the edges of tropes until they show weakness — the tough detective, the dirty lawyer, the sweet wife and worried husband — and then cramming sticks of dynamite into the cracks and lighting them for kicks. Fincher being Fincher, it’s a fine-looking, carefully crafted, meticulous piece of filmmaking full of shots that beg to be admired until they are almost but not quite ostentatious, including the very first one of the film, in which the back of Amy’s head is obliquely referenced as a thing to be cradled, struck and ultimately dismantled — the better to understand it, of course.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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. ",
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"marketplace": {
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"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.",
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"mindshift": {
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"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>",
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"order": 12
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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?",
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"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",
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
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