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"content": "\u003cp>The Bay Area is known for its thriving community of independent and experimental filmmakers. There are several outlets (Artists Television Association (ATA), SF Cinematheque, and the Roxie) to see this type of work regularly in San Francisco, not including numerous film nights in bars, restaurants and galleries, and the (practically daily) slate of film festivals large and small.\u003c/p>\n\u003cp>Shapeshifters is a microcinema program curated by Kathleen Quillian and Gilbert Guerrero at Temescal Arts Center in Oakland. The curators invite a visual artist working with moving images, who then invites an audio artist to work in collaboration. Shapeshifters Cinema is more dynamic than a trip to the movies because at least one component must be performed live, whether that be through on-site film manipulation or live sound accompaniment. Having both worked closely with experimental film and video arts organizations in San Francisco, Quillian and Guerrero felt the need for a new performance and video outlet in the East Bay. The Temescal Art Center is an inspired host to the Shapeshifters program because of its stature as an active community space.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/09/shapeshifters.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>The first program of 2013 features experimental film works by John Davis paired with sound performance from Joshua Churchill. The evening will last about an hour and is comprised of two collaborative pieces. An untitled work by Davis presents an extremely textured 8mm film, which has been hand solarized and tinted, featuring images of refracted sunlight patterns and reflections. Churchill’s instrument of choice in this performance is an electric guitar. Distortions, ghostly reverberations, and ambient notes hang in the air and ethereal chords plunge into darkness before the moving images on screen, adding drama to frames that appear on fire. Fleeting sun shadows move across the film. The two elements together create a simply captivating experience, completely immersing the audience into a land of airy projector light with sounds that fill the space like a weather pattern.\u003c/p>\n\u003cp>A second piece by Davis contains all new footage, and combines a Super 8 projector and a 16mm analyzer projector running side by side. While an analyzer projector was often used in a sports context to replay and interpret strategy, the film Davis is working with includes footage of urban and natural landscapes as well as people in urban environments. Davis will “perform” this work using the analyzer projector to control the rate at which the audience sees the imagery. Churchill will improvise an aural experience live. He has actually seen little of Davis’ films, choosing instead to face away from the screen and focus on being in concert with the sound of the projector. Rather than choosing to score the piece in advance, he is composing sounds that are in conversation with the immediate atmosphere of the darkened space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Davis and Churchill are not only providing a rich audio/visual experience but also making the creative process visible. This is what Shapeshifters Cinema is all about.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Shapshifters Cinema takes place the first Sunday of every month, except this month. John Davis and Joshua Churchill’s Shapeshifters program is 8pm, Sunday, January 13, 2013 at Temescal Art Center in Oakland. For \u003ca href=\"http://shapeshifterscinema.com/\">more information\u003c/a>, visit shapeshifterscinema.com.\u003c/p>\n\n",
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"content": "\u003cp>As a mixed live action/animated tour de force and a technical marvel, \u003ci>Who Framed Roger Rabbit\u003c/i> holds an entrenched spot in the pantheon of movie originality. But it’s the unflinchingly allegorical elements of Roger Zemeckis’ 1988 film that claim the most interest. Beneath the well-crafted jokes and cartoon high spirits, the film gnaws at the nostalgia felt for an Old Hollywood that so blithely manifested deep American racial disparities, and it does so while featuring cameos by the likes of Yosemite Sam and Tweety. It doesn’t get more subversive than that.\u003c/p>\n\u003cp>The story’s ingenious conceit is that human-created cartoons, including some of the most recognizable characters in the animated species, coexist with Homo sapiens — off-screen and three-dimensionally, that is. These “toons,” as they’re called, make up a kind of movie-industry underclass that is exploited for profit-making laughs. 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The director calls lunch.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rogerrabbit1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>And thus are we introduced to this alternate reality, where cartoon rules apply, at least for cartoons. In this world, when Dumbo appears flying around the movie lot, a studio head explains, “I got him on loan from Disney.” In this world, when you order a scotch on the rocks in a toon bar, you’d better add “and I mean with ice!” lest your waiter take you literally. And in this world, when a toon’s wife is cheating on you by “playing pattycake” with another man, that description is not a euphemism. One of the most compelling elements of \u003ci>Roger Rabbit\u003c/i> is that no joke is wasted; each adds another layer to our understanding of the emotional life of the animated folk and their complex relationship with humans.\u003c/p>\n\u003cp>That sort of efficiency permeates the script, which has private eye Eddie Valiant (Bob Hoskins), a boozer whose career turned sour after his brother was done in by a piano-dropping toon, becoming embroiled in a murder mystery involving the rabbit, a will, and an insidious corporate conspiracy.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rogerrabbit2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Classic film tropes abound, each with its own sillified twist punctuated by snappy dialogue. The animated femme fatale Jessica Rabbit, a member of the rodentia family by marriage only, \u003ca href=\"http://www.youtube.com/watch?v=yy5THitqPBw\">calls to mind\u003c/a> a slower-burning Rita Hayworth in \u003ci>Gilda\u003c/i>. Built — or rather drawn — to mesmerize men into a sex daze, she pleads her innocence to Eddie with the highly quotable: “I’m not bad, I’m just drawn that way.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=XAnNvnViJpo&w=480&h=360]\u003c/p>\n\u003cp>\u003ci>Casablanca\u003c/i>, \u003ci>The Maltese Falcon\u003c/i>, \u003ci>Vertigo\u003c/i>, and especially \u003ci>Chinatown\u003c/i> — \u003ci>Roger Rabbit\u003c/i> borrows from them all. There’s even a great bit of economical storytelling lifted from \u003ci>Rear Window\u003c/i>, in which we’re brought up to speed on Eddie’s entire history solely through photographs and newspaper clips.\u003c/p>\n\u003cp>The technical virtuosity is even more impressive. As director Zemeckis recently \u003ca href=\"http://www.npr.org/2012/12/01/166258733/fresh-air-weekend-robert-zemeckis-%20and-ken-tucker\">explained on \u003ci>Fresh Air\u003c/i>\u003c/a>, the animators devised a process that endowed each cel with the same lighting as in the corresponding live-action scene. The film also breaks a longstanding rule of hybrid human-cartoon projects by allowing the camera to roam. In films like \u003ci>Mary Poppins\u003c/i>, Zemeckis said, the recording device was always static “because it would be so difficult to draw different changes of perspective as the camera moves.” But he shot the film “like I would any live action movie. And the animators actually found that it worked better by having the camera moving. That they were able to actually give more life to the cartoon characters and have them feel like they’re more integrated into the actual two-dimensional set.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rogerrabbit5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>That visual integration of man and toon functions as a jarring counterpoint to their respective places in the movie’s fictional society. It’s an audacious stroke that the very word “toon,” whenever mouthed, sounds just shy of a racial slur. When the film’s villain, Judge Doom (Christopher Lloyd), makes the ominous pronouncement that “a human has been murdered by a toon,” it doesn’t take much to imagine him subbing in the letter c for the beginning consonant of that last word.\u003c/p>\n\u003cp>There’s more than a little sense here that toons occupy the same socioeconomic position, and are viewed with the same potently racist mixture of fascination, paternalism, and fear, as African Americans in the real-life period portrayed. It’s possible, in fact, to fault the film for playing a bit too fast and loose with that substitution, to the point where it’s willing to trade on those stereotypes without necessarily shattering them. For instance, toons are playful, joyous and good box office, but they’re also mercurial, anarchic, and physically dangerous; after all, they enjoy the more forgiving laws of physics that apply within the animated world. The toons even live in their own walled-off area, Toon Town, though if a human wants to take a walk on the wild side, he can mix with them at an underground nightclub where top stars like Donald and Daffy Duck moonlight as performers. (Perhaps the biggest transgressive thrill in this milieu: animated \u003ci>inter-studio\u003c/i> mingling.) The toons, in fact, pack the repressed power of an underclass, and if they were ever released from their servitude as manufactured entertainment, there’s no telling what they might do. (The story even presses the analogy to real-world otherness by using genocide as a plot point. How do you like that in your \u003ca href=\"http://boxofficemojo.com/movies/?%20id=whoframedrogerrabbit.htm\">top-grossing\u003c/a> animated films?)\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=6H9f8qUrF6w&w=480&h=360]\u003c/p>\n\u003cp>The denouement provides the movie’s final alternate-universe thrill. It turns out Judge Doom has been buying up land and L.A.’s mass transit system, which he intends to dismantle, because he wants to build a freeway. What’s that? Eddie wants to know. Here’s Doom’s explanation, delivered by Christopher Lloyd with all due visionary megalomania: \u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">“Eight lanes of shimmering cement running from here to Pasadena… I see a place where people get on and off the freeway, on and off, off and on, all day, all night. Soon where Toon Town once stood will be a string of gas stations, motels, restaurants that sell rapidly prepared food, tire salons, automobile dealerships, and wonderful, wonderful billboards reaching as far as the eye can see. My god it’ll be beautiful.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rogerrabbit4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>This revelation has its roots in what some have claimed to be a \u003ca href=\"http://%20en.wikipedia.org/wiki/General_Motors_streetcar_conspiracy\">real car company conspiracy\u003c/a>, paving the way, literally, for the autocentric dystopia that many find L.A. to be today. In the film however, the plot is foiled, and the finale trots out dozens of cartoon familiars sending our heroes off into a dazzlingly luminescent animated landscape, and serenaded with the Toon Town anthem: “\u003ca href=\"http://www.youtube.com/watch?v=E8pFJGYTygg\">Smile, darn ya smile\u003c/a>, you know this great world is a good world after all…”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s an ending so self-consciously slaphappy, even in an animated feature, as to seem almost perverse. So what is it I always feel here? Ruefulness? In its saccharine cinematic wrap-up to unresolved real-world problems, \u003ci>Who Framed Roger Rabbit\u003c/i> seems to both pine for the innocence of our celluloid dreams while also pointing them out as the jejune artifices they truly are. That’s a neat trick.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a mixed live action/animated tour de force and a technical marvel, \u003ci>Who Framed Roger Rabbit\u003c/i> holds an entrenched spot in the pantheon of movie originality. But it’s the unflinchingly allegorical elements of Roger Zemeckis’ 1988 film that claim the most interest. Beneath the well-crafted jokes and cartoon high spirits, the film gnaws at the nostalgia felt for an Old Hollywood that so blithely manifested deep American racial disparities, and it does so while featuring cameos by the likes of Yosemite Sam and Tweety. It doesn’t get more subversive than that.\u003c/p>\n\u003cp>The story’s ingenious conceit is that human-created cartoons, including some of the most recognizable characters in the animated species, coexist with Homo sapiens — off-screen and three-dimensionally, that is. These “toons,” as they’re called, make up a kind of movie-industry underclass that is exploited for profit-making laughs. That’s a pretty audacious motif in a work ostensibly for children, and when you add the superimposition onto the crowded thematic canvas of a top-notch spoof on film noir, you’ve got a movie working overtime in the ideas department.\u003c/p>\n\u003cp>The film starts with a feint, immersing the viewer in a traditional-looking though unfamiliar cartoon, styled somewhere between Warner Bros’ \u003ci>Merrie Melodies\u003c/i> and MGM’s \u003ci>Tom and Jerry\u003c/i>. This one’s a vehicle for a character named Roger Rabbit; the plot: Roger trying to save his infant charge, Baby Herman, from all manner of household dangers, and, like all good animated masochists, taking the brunt of the fun. When, in the middle of the mayhem, a refrigerator falls on Roger and a circle of fish instead of the obligatory stars surround his head, we hear…\u003c/p>\n\u003cp>“Cut!” \u003c/p>\n\u003cp>That’s from the director, off-screen, and it’s followed by a pullback reveal of what we’ve actually been watching: the action on a Hollywood movie set, circa 1947. We soon learn that the toons are not as they appear. Baby Herman, for instance, chomps on a cigar, has a thing for younger (or is that older?) human women, and talks like a middle-aged Brooklyn cab driver. “For crying out loud, Roger, how many times do we have to do this damn scene!” he bellows, stalking off the set.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I can give you stars!” Roger protests, hitting himself on the head with a spontaneously appearing frying pan, which produces, unfruitfully, bells then butterflies. The director calls lunch.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rogerrabbit1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>And thus are we introduced to this alternate reality, where cartoon rules apply, at least for cartoons. In this world, when Dumbo appears flying around the movie lot, a studio head explains, “I got him on loan from Disney.” In this world, when you order a scotch on the rocks in a toon bar, you’d better add “and I mean with ice!” lest your waiter take you literally. And in this world, when a toon’s wife is cheating on you by “playing pattycake” with another man, that description is not a euphemism. One of the most compelling elements of \u003ci>Roger Rabbit\u003c/i> is that no joke is wasted; each adds another layer to our understanding of the emotional life of the animated folk and their complex relationship with humans.\u003c/p>\n\u003cp>That sort of efficiency permeates the script, which has private eye Eddie Valiant (Bob Hoskins), a boozer whose career turned sour after his brother was done in by a piano-dropping toon, becoming embroiled in a murder mystery involving the rabbit, a will, and an insidious corporate conspiracy.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rogerrabbit2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Classic film tropes abound, each with its own sillified twist punctuated by snappy dialogue. The animated femme fatale Jessica Rabbit, a member of the rodentia family by marriage only, \u003ca href=\"http://www.youtube.com/watch?v=yy5THitqPBw\">calls to mind\u003c/a> a slower-burning Rita Hayworth in \u003ci>Gilda\u003c/i>. Built — or rather drawn — to mesmerize men into a sex daze, she pleads her innocence to Eddie with the highly quotable: “I’m not bad, I’m just drawn that way.”\u003c/p>\n\u003cp>\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/XAnNvnViJpo'\n title='//www.youtube.com/embed/XAnNvnViJpo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ci>Casablanca\u003c/i>, \u003ci>The Maltese Falcon\u003c/i>, \u003ci>Vertigo\u003c/i>, and especially \u003ci>Chinatown\u003c/i> — \u003ci>Roger Rabbit\u003c/i> borrows from them all. There’s even a great bit of economical storytelling lifted from \u003ci>Rear Window\u003c/i>, in which we’re brought up to speed on Eddie’s entire history solely through photographs and newspaper clips.\u003c/p>\n\u003cp>The technical virtuosity is even more impressive. As director Zemeckis recently \u003ca href=\"http://www.npr.org/2012/12/01/166258733/fresh-air-weekend-robert-zemeckis-%20and-ken-tucker\">explained on \u003ci>Fresh Air\u003c/i>\u003c/a>, the animators devised a process that endowed each cel with the same lighting as in the corresponding live-action scene. The film also breaks a longstanding rule of hybrid human-cartoon projects by allowing the camera to roam. In films like \u003ci>Mary Poppins\u003c/i>, Zemeckis said, the recording device was always static “because it would be so difficult to draw different changes of perspective as the camera moves.” But he shot the film “like I would any live action movie. And the animators actually found that it worked better by having the camera moving. That they were able to actually give more life to the cartoon characters and have them feel like they’re more integrated into the actual two-dimensional set.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rogerrabbit5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>That visual integration of man and toon functions as a jarring counterpoint to their respective places in the movie’s fictional society. It’s an audacious stroke that the very word “toon,” whenever mouthed, sounds just shy of a racial slur. When the film’s villain, Judge Doom (Christopher Lloyd), makes the ominous pronouncement that “a human has been murdered by a toon,” it doesn’t take much to imagine him subbing in the letter c for the beginning consonant of that last word.\u003c/p>\n\u003cp>There’s more than a little sense here that toons occupy the same socioeconomic position, and are viewed with the same potently racist mixture of fascination, paternalism, and fear, as African Americans in the real-life period portrayed. It’s possible, in fact, to fault the film for playing a bit too fast and loose with that substitution, to the point where it’s willing to trade on those stereotypes without necessarily shattering them. For instance, toons are playful, joyous and good box office, but they’re also mercurial, anarchic, and physically dangerous; after all, they enjoy the more forgiving laws of physics that apply within the animated world. The toons even live in their own walled-off area, Toon Town, though if a human wants to take a walk on the wild side, he can mix with them at an underground nightclub where top stars like Donald and Daffy Duck moonlight as performers. (Perhaps the biggest transgressive thrill in this milieu: animated \u003ci>inter-studio\u003c/i> mingling.) The toons, in fact, pack the repressed power of an underclass, and if they were ever released from their servitude as manufactured entertainment, there’s no telling what they might do. (The story even presses the analogy to real-world otherness by using genocide as a plot point. How do you like that in your \u003ca href=\"http://boxofficemojo.com/movies/?%20id=whoframedrogerrabbit.htm\">top-grossing\u003c/a> animated films?)\u003c/p>\n\u003cp>\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/6H9f8qUrF6w'\n title='//www.youtube.com/embed/6H9f8qUrF6w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The denouement provides the movie’s final alternate-universe thrill. It turns out Judge Doom has been buying up land and L.A.’s mass transit system, which he intends to dismantle, because he wants to build a freeway. What’s that? Eddie wants to know. Here’s Doom’s explanation, delivered by Christopher Lloyd with all due visionary megalomania: \u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">“Eight lanes of shimmering cement running from here to Pasadena… I see a place where people get on and off the freeway, on and off, off and on, all day, all night. Soon where Toon Town once stood will be a string of gas stations, motels, restaurants that sell rapidly prepared food, tire salons, automobile dealerships, and wonderful, wonderful billboards reaching as far as the eye can see. My god it’ll be beautiful.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rogerrabbit4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>This revelation has its roots in what some have claimed to be a \u003ca href=\"http://%20en.wikipedia.org/wiki/General_Motors_streetcar_conspiracy\">real car company conspiracy\u003c/a>, paving the way, literally, for the autocentric dystopia that many find L.A. to be today. In the film however, the plot is foiled, and the finale trots out dozens of cartoon familiars sending our heroes off into a dazzlingly luminescent animated landscape, and serenaded with the Toon Town anthem: “\u003ca href=\"http://www.youtube.com/watch?v=E8pFJGYTygg\">Smile, darn ya smile\u003c/a>, you know this great world is a good world after all…”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s an ending so self-consciously slaphappy, even in an animated feature, as to seem almost perverse. So what is it I always feel here? Ruefulness? In its saccharine cinematic wrap-up to unresolved real-world problems, \u003ci>Who Framed Roger Rabbit\u003c/i> seems to both pine for the innocence of our celluloid dreams while also pointing them out as the jejune artifices they truly are. That’s a neat trick.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Searching for Justice: 5 to Watch",
"headTitle": "Searching for Justice: 5 to Watch | KQED",
"content": "\u003cp>The less-than-ideal ways in which we watch movies will only worsen in the year ahead. Hollywood is phasing out 35mm film prints in favor of digital projection. The pervasive streaming of movies to mobile devices will further threaten neighborhood (read single-screen) theaters. The ever-shrinking coverage of foreign and independent films, online as well as in print, requires discerning moviegoers to be diligently proactive in finding out what’s worth seeing \u003ci>and\u003c/i> getting to the theater during the typically short run. What \u003ci>won’t\u003c/i> change is how filmmakers of integrity and vision — artful critics of the status quo — choose and portray their subjects. Optimist that I am (couldn’t you tell?), here’s a sampling of movies with a conscience to begin 2013.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tristana.jpg\" style=\"margin-bottom: 10px\" alt=\"\"><br /\u003ci>Tristana\u003c/i>\u003c/p>\n\u003cp>The radical Spanish surrealist and satirist Luis Buñuel is gone 30 years, and we’re still waiting for his successor. (True, Almodóvar sticks the blade on occasion, but he sometimes seems more interested in set design than social commentary.) So we’re grateful and excited for the restoration and revival of \u003ci>Tristana\u003c/i>, Buñuel’s 1970 parable of older male privilege (embodied by his favorite actor, Fernando Rey) and young female victimhood (the cruelly opaque Catherine Deneuve, post-\u003ci>Belle du Jour\u003c/i>). The director’s digs at the hypocrisy of religion and its adherents may seem a tad dated, but his depiction of the self-destructive pursuit of revenge is more uncompromising, more twisted and more harrowing than anything the immature Quentin Tarantino can muster. \u003ci>Tristana\u003c/i> opens January 4, 2013 for a week at the Opera Plaza Cinemas in San Francisco. For \u003ca href=\"http://www.landmarktheatres.com/Films/films_frameset.asp?id=23204\">more information\u003c/a> visit landmarktheatres.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/millioncolors.jpg\" style=\"margin-bottom: 10px\" alt=\"\"><br /\u003ci>A Million Colors\u003c/i>\u003c/p>\n\u003cp>You can be forgiven for expecting the fifth annual \u003cb>Mostly British Film Festival\u003c/b>, unspooling January 17-24 at the Vogue, to offer an array of tweedy accents, smirking love affairs among well-off Londoners and repressed dramas in period costume. Actually, you can’t — the British Isles are a lot more diverse than we think. The festival, which encompasses new and recent films from England, Ireland, Australia and South Africa (the latter countries still reflect a British influence), takes pains to present perspectives beyond the postcard views proffered by tourist bureaus. A trio of fact-based dramas are particularly intriguing: The new film \u003ci>A Million Colours\u003c/i> (screening January 23, 2013) portrays the travails of a black couple in apartheid-era South Africa while \u003ci>Black and White\u003c/i> (January 24), from 2002 and featuring the redoubtable David Ngoombujarra, Robert Carlyle and Charles Dance, revisits the heinous 1950s murder trial of an aboriginal man. The autobiographical political romance, \u003ci>My Tehran for Sale\u003c/i> (January 23), follows an Iranian actress who hopes the Australian-Iranian she’s just met is the door to a less constrained and dangerous life. For \u003ca href=\"http://www.mostlybritish.org\">more information\u003c/a> visit mostlybritish.org.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thelaw.jpg\" style=\"margin-bottom: 10px\" alt=\"\"><br /\u003ci>The Law in These Parts\u003c/i>\u003c/p>\n\u003cp>Is there a fresh way to examine the Israeli-Palestinian quagmire that might, you know, actually make a difference? Israeli filmmaker Ra’anan Alexandrowicz takes a determined stab with his challenging, hard-nosed documentary, \u003ci>The Law In These Parts\u003c/i>, which played last year’s S.F. International Film Festival and opens January 18, 2003 for a week at the Roxie. Through well-researched and probing interviews with judges and military lawyers, Alexandrowicz diligently traces the legal progression and justification for Israel’s administration of the Occupied Territories since 1967. A shocking film, ultimately, and an essential companion piece to the higher-profile doc \u003ci>The Gatekeepers\u003c/i>, opening February 22. For \u003ca href=\"http://roxie.com/events/details.cfm?eventid=EC42648E%2D1143%2DDBB3%2DC6362DD549F836E7\">more information\u003c/a> visit roxie.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/whiterose.jpg\" style=\"margin-bottom: 10px\" alt=\"\"><br /\u003ci>The White Rose\u003c/i>\u003c/p>\n\u003cp>The Year of the Beats begins with Walter Salles’ admirable adaptation of Jack Kerouac’s influential novel, \u003ci>On the Road\u003c/i> (opening January 18, 2013) \u003cb>[EDITOR’S NOTE: We just received notification that the opening date for this film has been bumped to March]\u003c/b>. Trimmed by a few minutes since its premiere last year at Cannes, the film brims with life, period detail and small pleasures (Viggo Mortenson’s cameo as a devilish William S. Burroughs, notably). However, it presents the protagonists as restless rather than rebellious, and doesn’t articulate what they were rejecting about 1950s America. (Sean Penn’s underappreciated \u003ci>Into the Wild\u003c/i>, set in a different period, unambiguously expressed the sunny pall of middle-class materialism. In its own way, so did \u003ci>The Master\u003c/i>.) For a true trip back in time, San Francisco Cinematheque offers a vintage program of short films at SFMOMA on January 31, 2013 in conjunction with the retrospective currently on view of local artist Jay DeFeo. \u003cb>The Eyes: San Francisco Beat Film 1958–67\u003c/b> features Bruce Conner’s \u003ci>The White Rose\u003c/i>, ruth weiss’s \u003ci>The Brink\u003c/i> and a few other wondrous and rarely screened works. For \u003ca href=\"http://www.sfmoma.org/exhib_events/events/2232\">more information\u003c/a> visit sfmoma.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/microphone.jpg\" style=\"margin-bottom: 10px\" alt=\"\"><br /\u003ci>Microphone\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The African Film Festival, Pacific Film Archive’s annual survey of new movies from the most invisible continent (to Americans, at least), provides a wealth of unexpected perspectives from January 23-February 5, 2013. This marvelous mix of documentaries and features commences with Ahmad Abdallah’s dynamic survey of Egyptian youth culture, \u003ci>Microphone\u003c/i>. If you’re more attracted to stories of the past — especially when they have unforeseen repercussions in the present — don’t miss \u003ci>Black Africa, White Marble\u003c/i> (January 27), about the 19th-Century Italian explorer Pietro Savorgnan di Brazzà. Real life on the big screen; what can top it? For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/african_2013\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The less-than-ideal ways in which we watch movies will only worsen in the year ahead. Hollywood is phasing out 35mm film prints in favor of digital projection. The pervasive streaming of movies to mobile devices will further threaten neighborhood (read single-screen) theaters. The ever-shrinking coverage of foreign and independent films, online as well as in print, requires discerning moviegoers to be diligently proactive in finding out what’s worth seeing \u003ci>and\u003c/i> getting to the theater during the typically short run. What \u003ci>won’t\u003c/i> change is how filmmakers of integrity and vision — artful critics of the status quo — choose and portray their subjects. Optimist that I am (couldn’t you tell?), here’s a sampling of movies with a conscience to begin 2013.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tristana.jpg\" style=\"margin-bottom: 10px\" alt=\"\"><br /\u003ci>Tristana\u003c/i>\u003c/p>\n\u003cp>The radical Spanish surrealist and satirist Luis Buñuel is gone 30 years, and we’re still waiting for his successor. (True, Almodóvar sticks the blade on occasion, but he sometimes seems more interested in set design than social commentary.) So we’re grateful and excited for the restoration and revival of \u003ci>Tristana\u003c/i>, Buñuel’s 1970 parable of older male privilege (embodied by his favorite actor, Fernando Rey) and young female victimhood (the cruelly opaque Catherine Deneuve, post-\u003ci>Belle du Jour\u003c/i>). The director’s digs at the hypocrisy of religion and its adherents may seem a tad dated, but his depiction of the self-destructive pursuit of revenge is more uncompromising, more twisted and more harrowing than anything the immature Quentin Tarantino can muster. \u003ci>Tristana\u003c/i> opens January 4, 2013 for a week at the Opera Plaza Cinemas in San Francisco. For \u003ca href=\"http://www.landmarktheatres.com/Films/films_frameset.asp?id=23204\">more information\u003c/a> visit landmarktheatres.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/millioncolors.jpg\" style=\"margin-bottom: 10px\" alt=\"\"><br /\u003ci>A Million Colors\u003c/i>\u003c/p>\n\u003cp>You can be forgiven for expecting the fifth annual \u003cb>Mostly British Film Festival\u003c/b>, unspooling January 17-24 at the Vogue, to offer an array of tweedy accents, smirking love affairs among well-off Londoners and repressed dramas in period costume. Actually, you can’t — the British Isles are a lot more diverse than we think. The festival, which encompasses new and recent films from England, Ireland, Australia and South Africa (the latter countries still reflect a British influence), takes pains to present perspectives beyond the postcard views proffered by tourist bureaus. A trio of fact-based dramas are particularly intriguing: The new film \u003ci>A Million Colours\u003c/i> (screening January 23, 2013) portrays the travails of a black couple in apartheid-era South Africa while \u003ci>Black and White\u003c/i> (January 24), from 2002 and featuring the redoubtable David Ngoombujarra, Robert Carlyle and Charles Dance, revisits the heinous 1950s murder trial of an aboriginal man. The autobiographical political romance, \u003ci>My Tehran for Sale\u003c/i> (January 23), follows an Iranian actress who hopes the Australian-Iranian she’s just met is the door to a less constrained and dangerous life. For \u003ca href=\"http://www.mostlybritish.org\">more information\u003c/a> visit mostlybritish.org.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thelaw.jpg\" style=\"margin-bottom: 10px\" alt=\"\"><br /\u003ci>The Law in These Parts\u003c/i>\u003c/p>\n\u003cp>Is there a fresh way to examine the Israeli-Palestinian quagmire that might, you know, actually make a difference? Israeli filmmaker Ra’anan Alexandrowicz takes a determined stab with his challenging, hard-nosed documentary, \u003ci>The Law In These Parts\u003c/i>, which played last year’s S.F. International Film Festival and opens January 18, 2003 for a week at the Roxie. Through well-researched and probing interviews with judges and military lawyers, Alexandrowicz diligently traces the legal progression and justification for Israel’s administration of the Occupied Territories since 1967. A shocking film, ultimately, and an essential companion piece to the higher-profile doc \u003ci>The Gatekeepers\u003c/i>, opening February 22. For \u003ca href=\"http://roxie.com/events/details.cfm?eventid=EC42648E%2D1143%2DDBB3%2DC6362DD549F836E7\">more information\u003c/a> visit roxie.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/whiterose.jpg\" style=\"margin-bottom: 10px\" alt=\"\"><br /\u003ci>The White Rose\u003c/i>\u003c/p>\n\u003cp>The Year of the Beats begins with Walter Salles’ admirable adaptation of Jack Kerouac’s influential novel, \u003ci>On the Road\u003c/i> (opening January 18, 2013) \u003cb>[EDITOR’S NOTE: We just received notification that the opening date for this film has been bumped to March]\u003c/b>. Trimmed by a few minutes since its premiere last year at Cannes, the film brims with life, period detail and small pleasures (Viggo Mortenson’s cameo as a devilish William S. Burroughs, notably). However, it presents the protagonists as restless rather than rebellious, and doesn’t articulate what they were rejecting about 1950s America. (Sean Penn’s underappreciated \u003ci>Into the Wild\u003c/i>, set in a different period, unambiguously expressed the sunny pall of middle-class materialism. In its own way, so did \u003ci>The Master\u003c/i>.) For a true trip back in time, San Francisco Cinematheque offers a vintage program of short films at SFMOMA on January 31, 2013 in conjunction with the retrospective currently on view of local artist Jay DeFeo. \u003cb>The Eyes: San Francisco Beat Film 1958–67\u003c/b> features Bruce Conner’s \u003ci>The White Rose\u003c/i>, ruth weiss’s \u003ci>The Brink\u003c/i> and a few other wondrous and rarely screened works. For \u003ca href=\"http://www.sfmoma.org/exhib_events/events/2232\">more information\u003c/a> visit sfmoma.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/microphone.jpg\" style=\"margin-bottom: 10px\" alt=\"\"><br /\u003ci>Microphone\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The African Film Festival, Pacific Film Archive’s annual survey of new movies from the most invisible continent (to Americans, at least), provides a wealth of unexpected perspectives from January 23-February 5, 2013. This marvelous mix of documentaries and features commences with Ahmad Abdallah’s dynamic survey of Egyptian youth culture, \u003ci>Microphone\u003c/i>. If you’re more attracted to stories of the past — especially when they have unforeseen repercussions in the present — don’t miss \u003ci>Black Africa, White Marble\u003c/i> (January 27), about the 19th-Century Italian explorer Pietro Savorgnan di Brazzà. Real life on the big screen; what can top it? For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/african_2013\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Critics and film buffs alike find it amusing, in an ego-gratifying way, to ordain their ten best movies of the year. The loftiest aim of such an endeavor, it seems to me, isn’t to offer a stamp of approval and applause but to remind readers of foreign films, independents and documentaries that they missed (or never heard of) and can watch on DVD during the dark winter months. Be forewarned that the following list of memorable screen scenes from the year just ending is an ungainly mix of the two approaches. I have an ego, you see, along with altruistic aspirations.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/27/themaster.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>1. Not too far into \u003ci>The Master\u003c/i>, Freddie Quell (Joaquin Phoenix) knocks back a powerhouse home brew laced with airplane fuel, among more conventional ingredients. The square-jawed military veteran has a desperate talent for concocting strong drink, in order to silence the voices and dim his urges. Self-destructive and self-medicating, Freddie is a discomfiting symbol of America since World War II. Forget the Scientology angle; that’s writer-director Paul Thomas Anderson’s most coherent theme.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/27/waitingroom.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>2. In his understated and revealing documentary, \u003ci>The Waiting Room\u003c/i>, East Bay filmmaker Peter Nicks follows a dozen or so individuals in the care of the strained-to-the-max Highland Hospital emergency room staff. I’m still haunted by one man in particular, an easygoing carpet-layer caught between a rock (the terrible economy and his monthly bills) and a hard place (excruciating bone spurs that he’s “treating” with pain pills). Watching him cajole the doctor, with no good options to choose from, we wish he’d lose his temper in a righteous explosion. It wouldn’t help, of course, but we’d feel less helpless.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/27/beasts.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>3. A mess of sweaty poor people, children included, gather in a shack before an unnamed storm (which we know to be Katrina) demolishes southern Louisiana. Someone dumps a huge crate of fresh-caught seafood on the table, and in that instant the messy vitality of life takes over the room \u003ci>and\u003c/i> the movie. The most real moment in any film this year, it’s from \u003ci>Beasts of the Southern Wild\u003c/i>, Benh Zeitlin’s admirable child’s-eye fable. (The score is pretty darn irresistible, to boot.)\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/27/zero.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>4. The first 15 minutes or so of \u003ci>Zero Dark Thirty\u003c/i> consists of a nasty and prolonged exercise in torture that challenges us to stake our stance in the post-9/11 moral thicket. The movie proceeds to steadily and concertedly erase our ambivalence and discomfort over the next two hours, and that’s the copout that director Kathryn Bigelow and writer Mark Boal deserve condemnation for. Filmmakers who maintain that they are storytellers first and foremost, but still want to be part of a nitty-gritty, real-world, adult conversation, are engaged in a form of self-deception that’s harmless enough until we join in the charade. Nonetheless, the beginning of \u003ci>Zero Dark Thirty\u003c/i> raises all sorts of useful questions, including the realization (yet again) that movies inevitably oversimplify and dilute actual events. (A classic exception, always worth revisiting, is \u003ci>The Battle of Algiers\u003c/i>.)\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/27/darkknight.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>5. There’s much to loathe and dismiss about \u003ci>The Dark Knight Rises\u003c/i>, but let’s stick to its reprehensible association of the Occupy movement with anarchy in the blink-and-you-missed-it scene of the underclass throwing Park Avenue upper-crusters out on the street. Here’s the main takeaway from Christopher Nolan’s muddled Batman movie: Any attempt to inject current events, class consciousness and socio-political complexities into a comic-book movie requires more skill and subtlety than Hollywood — or an imported British wunderkind — is capable of.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/27/lincoln.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>6. \u003ci>Lincoln\u003c/i> is a work of high aims and intelligence, as well as probing scholarship and studious acting, but it betrays its ideals with a single camera move at the end. At his behest, the black housekeeper (S. Epatha Merkerson) of abolitionist Sen. Thaddeus Stevens (Tommy Lee Jones) reads aloud a proposed amendment to the Constitution banning slavery. Instead of a static two-shot that underlines the characters’ relationship, Steven Spielberg inexorably zooms in on Jones until Merkerson is out of the frame. The director’s choice reflects Hollywood’s inability to trust the viewer, and the prevailing mania to provide a visual and/or aural “action” every second. But this untoward emphasis on Stevens’ reaction unintentionally reveals that, at the end of the day, the filmmakers believe that slavery thing was really all about white people.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/27/deepbluesea.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>7. Going back to \u003ci>Distant Voices, Still Lives\u003c/i> (1988) and \u003ci>The Long Day Closes\u003c/i> (1992), if not previously in his short films, the acutely sensitive British director Terence Davies has long displayed a talent for conceiving and staging scenes in which reality and imagination dissolve into each other, and time becomes as fluid as air. \u003ci>The Deep Blue Sea\u003c/i>, starring Rachel Weisz as a woman who knowingly trades security for passion during World War II, has a bravura sequence in the tube during an air raid that employs pure cinema to devastating emotional effect. It’s a moment that Joe Wright (\u003ci>Anna Karenina\u003c/i>) and Tom Hooper (\u003ci>Les Miserables\u003c/i>) labor to match unsuccessfully.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/27/walken.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>8. Christopher Walken is always a pleasure to watch, and I was touched in an unexpected way by his soulful performance in the bloody comedy \u003ci>Seven Psychopaths\u003c/i>. He had the exceedingly demanding job of making an oddball empathetic and believable for the duration of an entire (and absurdly overlong) picture, and did it without breaking a sweat. That said, Walken’s portrayal of a concert cellist and quietly inspirational teacher diagnosed with Parkinson’s in \u003ci>A Late Quartet\u003c/i> will stick with me longer. Given just a handful of lines, Walken beautifully expressed his character’s loss and sorrow with a range of subtle physical movements and gestures. Unfortunately, the movie devoted most of its time to other, far less interesting characters.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/27/oslo.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>9. Choose life. It’s not always that easy, as Freddie Quell will be glad to remind you. The endlessly fascinating and remarkable \u003ci>Oslo, August 31st\u003c/i> follows a rehabbing, upper-middle-class (if that still exists) drug addict on his first day back in the big city. Director Joachim Trier confronts the expectations of a dramatic, episodic day in the life—replete with symbolic and “meaningful” encounters and incidents — and concocts instead a bubbling, impressionistic stream of consciousness. I recall (and savor) the mood of the piece but not any jaw-dropping moment or image, which reflects a greater accomplishment on the director’s part.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/27/amour.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>10. Do we root just as hard for a character to choose life when she’s aged, infirm and her personality has become as gnarled as her body? I can’t cite a key moment in Michael Haneke’s masterpiece, \u003ci>Amour\u003c/i>, without revealing an important plot point. But it would be misleading in any event, for the plot is far from the most important thing in this portrait of an elderly husband (Jean-Louis Trintignant) and wife (Emmanuelle Riva) navigating the inevitable final stages of their relationship. \u003ci>Amour\u003c/i> is a film comprised entirely of moments — mysterious, awkward, recalled, painful and fleeting. Come to think of it, that’s the way we live and remember our lives. Sometimes movies provide an accurate reflection, after all.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Critics and film buffs alike find it amusing, in an ego-gratifying way, to ordain their ten best movies of the year. The loftiest aim of such an endeavor, it seems to me, isn’t to offer a stamp of approval and applause but to remind readers of foreign films, independents and documentaries that they missed (or never heard of) and can watch on DVD during the dark winter months. Be forewarned that the following list of memorable screen scenes from the year just ending is an ungainly mix of the two approaches. I have an ego, you see, along with altruistic aspirations.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/27/themaster.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>1. Not too far into \u003ci>The Master\u003c/i>, Freddie Quell (Joaquin Phoenix) knocks back a powerhouse home brew laced with airplane fuel, among more conventional ingredients. The square-jawed military veteran has a desperate talent for concocting strong drink, in order to silence the voices and dim his urges. Self-destructive and self-medicating, Freddie is a discomfiting symbol of America since World War II. Forget the Scientology angle; that’s writer-director Paul Thomas Anderson’s most coherent theme.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/27/waitingroom.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>2. In his understated and revealing documentary, \u003ci>The Waiting Room\u003c/i>, East Bay filmmaker Peter Nicks follows a dozen or so individuals in the care of the strained-to-the-max Highland Hospital emergency room staff. I’m still haunted by one man in particular, an easygoing carpet-layer caught between a rock (the terrible economy and his monthly bills) and a hard place (excruciating bone spurs that he’s “treating” with pain pills). Watching him cajole the doctor, with no good options to choose from, we wish he’d lose his temper in a righteous explosion. It wouldn’t help, of course, but we’d feel less helpless.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/27/beasts.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>3. A mess of sweaty poor people, children included, gather in a shack before an unnamed storm (which we know to be Katrina) demolishes southern Louisiana. Someone dumps a huge crate of fresh-caught seafood on the table, and in that instant the messy vitality of life takes over the room \u003ci>and\u003c/i> the movie. The most real moment in any film this year, it’s from \u003ci>Beasts of the Southern Wild\u003c/i>, Benh Zeitlin’s admirable child’s-eye fable. (The score is pretty darn irresistible, to boot.)\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/27/zero.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>4. The first 15 minutes or so of \u003ci>Zero Dark Thirty\u003c/i> consists of a nasty and prolonged exercise in torture that challenges us to stake our stance in the post-9/11 moral thicket. The movie proceeds to steadily and concertedly erase our ambivalence and discomfort over the next two hours, and that’s the copout that director Kathryn Bigelow and writer Mark Boal deserve condemnation for. Filmmakers who maintain that they are storytellers first and foremost, but still want to be part of a nitty-gritty, real-world, adult conversation, are engaged in a form of self-deception that’s harmless enough until we join in the charade. Nonetheless, the beginning of \u003ci>Zero Dark Thirty\u003c/i> raises all sorts of useful questions, including the realization (yet again) that movies inevitably oversimplify and dilute actual events. (A classic exception, always worth revisiting, is \u003ci>The Battle of Algiers\u003c/i>.)\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/27/darkknight.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>5. There’s much to loathe and dismiss about \u003ci>The Dark Knight Rises\u003c/i>, but let’s stick to its reprehensible association of the Occupy movement with anarchy in the blink-and-you-missed-it scene of the underclass throwing Park Avenue upper-crusters out on the street. Here’s the main takeaway from Christopher Nolan’s muddled Batman movie: Any attempt to inject current events, class consciousness and socio-political complexities into a comic-book movie requires more skill and subtlety than Hollywood — or an imported British wunderkind — is capable of.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/27/lincoln.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>6. \u003ci>Lincoln\u003c/i> is a work of high aims and intelligence, as well as probing scholarship and studious acting, but it betrays its ideals with a single camera move at the end. At his behest, the black housekeeper (S. Epatha Merkerson) of abolitionist Sen. Thaddeus Stevens (Tommy Lee Jones) reads aloud a proposed amendment to the Constitution banning slavery. Instead of a static two-shot that underlines the characters’ relationship, Steven Spielberg inexorably zooms in on Jones until Merkerson is out of the frame. The director’s choice reflects Hollywood’s inability to trust the viewer, and the prevailing mania to provide a visual and/or aural “action” every second. But this untoward emphasis on Stevens’ reaction unintentionally reveals that, at the end of the day, the filmmakers believe that slavery thing was really all about white people.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/27/deepbluesea.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>7. Going back to \u003ci>Distant Voices, Still Lives\u003c/i> (1988) and \u003ci>The Long Day Closes\u003c/i> (1992), if not previously in his short films, the acutely sensitive British director Terence Davies has long displayed a talent for conceiving and staging scenes in which reality and imagination dissolve into each other, and time becomes as fluid as air. \u003ci>The Deep Blue Sea\u003c/i>, starring Rachel Weisz as a woman who knowingly trades security for passion during World War II, has a bravura sequence in the tube during an air raid that employs pure cinema to devastating emotional effect. It’s a moment that Joe Wright (\u003ci>Anna Karenina\u003c/i>) and Tom Hooper (\u003ci>Les Miserables\u003c/i>) labor to match unsuccessfully.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/27/walken.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>8. Christopher Walken is always a pleasure to watch, and I was touched in an unexpected way by his soulful performance in the bloody comedy \u003ci>Seven Psychopaths\u003c/i>. He had the exceedingly demanding job of making an oddball empathetic and believable for the duration of an entire (and absurdly overlong) picture, and did it without breaking a sweat. That said, Walken’s portrayal of a concert cellist and quietly inspirational teacher diagnosed with Parkinson’s in \u003ci>A Late Quartet\u003c/i> will stick with me longer. Given just a handful of lines, Walken beautifully expressed his character’s loss and sorrow with a range of subtle physical movements and gestures. Unfortunately, the movie devoted most of its time to other, far less interesting characters.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/27/oslo.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>9. Choose life. It’s not always that easy, as Freddie Quell will be glad to remind you. The endlessly fascinating and remarkable \u003ci>Oslo, August 31st\u003c/i> follows a rehabbing, upper-middle-class (if that still exists) drug addict on his first day back in the big city. Director Joachim Trier confronts the expectations of a dramatic, episodic day in the life—replete with symbolic and “meaningful” encounters and incidents — and concocts instead a bubbling, impressionistic stream of consciousness. I recall (and savor) the mood of the piece but not any jaw-dropping moment or image, which reflects a greater accomplishment on the director’s part.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/27/amour.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>10. Do we root just as hard for a character to choose life when she’s aged, infirm and her personality has become as gnarled as her body? I can’t cite a key moment in Michael Haneke’s masterpiece, \u003ci>Amour\u003c/i>, without revealing an important plot point. But it would be misleading in any event, for the plot is far from the most important thing in this portrait of an elderly husband (Jean-Louis Trintignant) and wife (Emmanuelle Riva) navigating the inevitable final stages of their relationship. \u003ci>Amour\u003c/i> is a film comprised entirely of moments — mysterious, awkward, recalled, painful and fleeting. Come to think of it, that’s the way we live and remember our lives. Sometimes movies provide an accurate reflection, after all.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In his recent book \u003ci>Uncreative Writing: Managing Language in the Digital Age\u003c/i>, the poet Kenneth Goldsmith identified “a new condition in writing: With an unprecedented amount of available text, our problem is not needing to write more of it; instead, we must learn to negotiate the vast quantity that exists.” For Goldsmith, who also teaches a college course in plagiarism, that negotiation becomes both an elegy for originality and an obstinate habit of inventive reiteration.\u003c/p>\n\u003cp>His next book is \u003ci>Seven American Deaths and Disasters\u003c/i>, a transcript-intensive compendium of national traumas, public mediations of which have become familiar to us whether we like it or not. To see Goldsmith rework, say, a real-time radio report on the Kennedy assassination, first as a literary object, then as a spoken-word performance piece, is to behold a peculiar subversion: against long odds, the distancing device becomes inviting.\u003c/p>\n\u003cp>Of course the language of the digital age isn’t limited to writing, and as the San Francisco Film Society’s KinoTek program of cross-platform creative collaborations reminds us, Goldsmith has conceptual kindred spirits in many other forms. One is the San Francisco-based visual artist Kota Ezawa, who joins him this Wednesday evening for a promising local show.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/10/takeoff1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Kota Ezawa, \u003ci>Take Off\u003c/i>.\u003cbr>\u003c/center>\n\u003cp>Among other notable American deaths and disasters, Ezawa, too, has assayed the Kennedy killing — by animating, or reanimating, that doleful mainstay of obsessive cinematic rumination, the Zapruder film. And even if you weren’t yet alive when it happened, or you’ve seen it all those other times, that terrible moment is worth watching again from Ezawa’s alternate view, if only because the dilution of rote remembrance gives way to something else, something improbably new.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Because he grew up in Germany, Ezawa is used to observing American culture from some remove. He has described his work as translation, and it often involves reconfiguring extant imagery from American popular culture. \u003ci>Take Off\u003c/i> is the punning title of his newest piece, in which C-SPAN footage of George W. Bush departing the White House by helicopter becomes an animated watercolor.\u003c/p>\n\u003cp>Like Goldsmith, who happens also to be the founder of the avant-garde online archive \u003ca href=\"http://www.ubu.com\">UbuWeb\u003c/a>, Ezawa sees a bright future in the challenge of aestheticizing even mundanely familiar material; he sees familiarity itself with fresh and dauntless eyes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Take Off: Kota Ezawa & Kenneth Goldsmith\u003c/b>, 7pm Wednesday, December 12, 2012, at Kadist Art Foundation in San Francisco. For \u003ca href=\"http://sffs.org/Exhibition/KinoTek\">tickets and more information\u003c/a>, visit sffs.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In his recent book \u003ci>Uncreative Writing: Managing Language in the Digital Age\u003c/i>, the poet Kenneth Goldsmith identified “a new condition in writing: With an unprecedented amount of available text, our problem is not needing to write more of it; instead, we must learn to negotiate the vast quantity that exists.” For Goldsmith, who also teaches a college course in plagiarism, that negotiation becomes both an elegy for originality and an obstinate habit of inventive reiteration.\u003c/p>\n\u003cp>His next book is \u003ci>Seven American Deaths and Disasters\u003c/i>, a transcript-intensive compendium of national traumas, public mediations of which have become familiar to us whether we like it or not. To see Goldsmith rework, say, a real-time radio report on the Kennedy assassination, first as a literary object, then as a spoken-word performance piece, is to behold a peculiar subversion: against long odds, the distancing device becomes inviting.\u003c/p>\n\u003cp>Of course the language of the digital age isn’t limited to writing, and as the San Francisco Film Society’s KinoTek program of cross-platform creative collaborations reminds us, Goldsmith has conceptual kindred spirits in many other forms. One is the San Francisco-based visual artist Kota Ezawa, who joins him this Wednesday evening for a promising local show.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/10/takeoff1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Kota Ezawa, \u003ci>Take Off\u003c/i>.\u003cbr>\u003c/center>\n\u003cp>Among other notable American deaths and disasters, Ezawa, too, has assayed the Kennedy killing — by animating, or reanimating, that doleful mainstay of obsessive cinematic rumination, the Zapruder film. And even if you weren’t yet alive when it happened, or you’ve seen it all those other times, that terrible moment is worth watching again from Ezawa’s alternate view, if only because the dilution of rote remembrance gives way to something else, something improbably new.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Because he grew up in Germany, Ezawa is used to observing American culture from some remove. He has described his work as translation, and it often involves reconfiguring extant imagery from American popular culture. \u003ci>Take Off\u003c/i> is the punning title of his newest piece, in which C-SPAN footage of George W. Bush departing the White House by helicopter becomes an animated watercolor.\u003c/p>\n\u003cp>Like Goldsmith, who happens also to be the founder of the avant-garde online archive \u003ca href=\"http://www.ubu.com\">UbuWeb\u003c/a>, Ezawa sees a bright future in the challenge of aestheticizing even mundanely familiar material; he sees familiarity itself with fresh and dauntless eyes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Take Off: Kota Ezawa & Kenneth Goldsmith\u003c/b>, 7pm Wednesday, December 12, 2012, at Kadist Art Foundation in San Francisco. For \u003ca href=\"http://sffs.org/Exhibition/KinoTek\">tickets and more information\u003c/a>, visit sffs.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s beginning to feel a lot like Christmas for moviegoers, with the year-end onslaught of “prestige” pictures prowling for gold statuettes well underway. To some, the Oscar bait films (along with the usual handful of pandering PG-13 comedies) provide a reprieve from those fraught holiday visits to the ancestral homestead. Consider, though, that most of us discovered movies through our parents. Going to the theater was a family outing; if you grew up in the home-video age, Movie Night on the couch in front of the VCR or DVD was likewise a communal event. (Unless those Orville Redenbacher commercials were a fantasy. Wait — please don’t tell me.) My modest proposal is that rather than going to the movies this season to \u003ci>escape\u003c/i> your relatives, you go \u003ci>with\u003c/i> them.\u003c/p>\n\u003cp>[vimeo 52848178 w=480 h=320] \u003c/p>\n\u003cp>\u003ca href=\"http://vimeo.com/52848178\">EVERYTHING IS TERRIBLE! HOLIDAY SPECIAL! 2012! TRAILER!\u003c/a> from \u003ca href=\"http://vimeo.com/eit\">Everything Is Terrible!\u003c/a> on \u003ca href=\"http://vimeo.com\">Vimeo\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A trend-oriented writer made some hay a few years back by arguing that Generation Whatever had coalesced into tribes, which served as surrogate families. Gather your tribe — or is the correct word now “posse” or “crew?” — and head down to the Roxie on Friday, December 7, 2012 for \u003cb>Everything Is Terrible! Holiday Special 2012! The Cataclysmic Transformation!\u003c/b> Your allergies to exclamation points notwithstanding, this annual touring program of excavated and expurgated home videotapes offers a cathartic cleansing of family/holiday phobias through the recorded-for-posterity celebrations and psychodramas of total strangers. The \u003cb>Everything Is Terrible\u003c/b> masterminds promise a stage show with puppets, sing-a-longs and Santa to augment the therapeutic and harrowing-slash-entertaining VHS treats. For \u003ca href=\"http://www.roxie.com/events/details.cfm?eventid=D2028E0D%2D1143%2DDBB3%2DC6FFF769500CCFCF\">more information\u003c/a>, visit roxie.com.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=a_r41puNvMQ&w=480&h=360]\u003c/p>\n\u003cp>Another perennial tradition, one that honors the innovation, technology, craft and art of early motion pictures, is the Academy of Motion Picture Arts and Sciences show \u003cb>A Century Ago: The Films of 1912\u003c/b>. The two-hour program, of pristine archival prints, curated and hosted by AMPAS honcho Randy Haberkamp with piano accompaniment by Michael Mortilla (jetting up from L.A.) and featuring showman Jon Rinaudo with his restored 1909 hand-cranked projector, unspools Monday, December 10, 2012 at San Rafael’s lovely and comfy Smith Rafael Film Center. Attendees of previous programs have raved to yours truly, touting the evening as terrifically entertaining exposure to the evolution of film grammar and technique. For \u003ca href=\"http://www.cafilm.org/rfc/films/1778.html\">more information\u003c/a>, visit cafilm.org. Also of note, the Rafael presents a matinee screening of \u003ci>White Christmas\u003c/i> (1954) on Sunday, December 9 with historian and visual-effects maven Craig Barron on hand to talk about the widescreen format VistaVision.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/03/lostlandscapessf.jpg\" alt=\"\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Like the \u003cb>Everything Is Terrible\u003c/b> \u003ci>enfants terrible\u003c/i>, collector and impresario Rick Prelinger traffics in citizen films from the past. But rather than reveling in bad behavior, his seventh annual \u003cb>Lost Landscapes of San Francisco\u003c/b> show has a historical, architectural and sociological emphasis. This year’s collection, presented Tuesday, December 11, 2012 at the Castro, features rallies for China Relief in the ’30s and footage of the Western Addition when it was a Japanese-American enclave, as well as a slew of previously unscreened color film and crowd-pleasing shots of that eternal lost treasure, Sutro Baths. If you’ve never attended a Prelinger show, he openly declares that audience participation is an essential component. For \u003ca href=\"http://longnow.org/seminars/02012/dec/11/lost-landscapes-san-francisco-7/\">more information\u003c/a> visit longnow.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/03/121512.jpg\" alt=\"\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Secularists, skeptics, atheists, agnostics, pagans, heretics, cat worshippers and anti-capitalists understandably get cheesed off by the season’s religious and commercial aspects. Other Cinema serves that grog-swilling constituency Saturday, December 15, 2012 with \u003cb>Beyond Belief? Incredibly Strange Religion\u003c/b>. This jaw-dropping survey of oddball dogma ranges from the 1972 Mormon short \u003ci>Ancient America Speaks\u003c/i> to a 16mm chunk of the late Peter Adair’s amazing 1967 documentary \u003ci>Holy Ghost People\u003c/i>. Along with a multitude of other impassioned invocations, the Other calendar lists “Satanic backward-masking abominations and free red wine.” Admission? $6.66. For \u003ca href=\"http://www.othercinema.com/calendar/index.html\">more information\u003c/a> visit www.othercinema.com/calendar/index.html\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/03/SinginintheRainclassic.jpg\" alt=\"\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If your family resides in the Bay Area, or you’re hosting your far-flung family’s bacchanal this year, the Castro offers the definitive movie-magic, feel-good film: \u003ci>Singin’ in the Rain\u003c/i>. Equal parts dance musical, romantic comedy and tongue-in-cheek homage to Hollywood history (the plot is driven by the risky, wrenching transition from silent films to talkies), the immortal 1952 showcase (playing Wednesday, December 26, 2012) for the extravagant talents and charm of Gene Kelly, Donald O’Connor and Debbie Reynolds will even make the Scrooge in your family — or tribe — smile. For \u003ca href=\"http://www.castrotheatre.com/\">more information\u003c/a> visit castrotheatre.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://vimeo.com/52848178\">EVERYTHING IS TERRIBLE! HOLIDAY SPECIAL! 2012! TRAILER!\u003c/a> from \u003ca href=\"http://vimeo.com/eit\">Everything Is Terrible!\u003c/a> on \u003ca href=\"http://vimeo.com\">Vimeo\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A trend-oriented writer made some hay a few years back by arguing that Generation Whatever had coalesced into tribes, which served as surrogate families. Gather your tribe — or is the correct word now “posse” or “crew?” — and head down to the Roxie on Friday, December 7, 2012 for \u003cb>Everything Is Terrible! Holiday Special 2012! The Cataclysmic Transformation!\u003c/b> Your allergies to exclamation points notwithstanding, this annual touring program of excavated and expurgated home videotapes offers a cathartic cleansing of family/holiday phobias through the recorded-for-posterity celebrations and psychodramas of total strangers. The \u003cb>Everything Is Terrible\u003c/b> masterminds promise a stage show with puppets, sing-a-longs and Santa to augment the therapeutic and harrowing-slash-entertaining VHS treats. For \u003ca href=\"http://www.roxie.com/events/details.cfm?eventid=D2028E0D%2D1143%2DDBB3%2DC6FFF769500CCFCF\">more information\u003c/a>, visit roxie.com.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\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/a_r41puNvMQ'\n title='//www.youtube.com/embed/a_r41puNvMQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Another perennial tradition, one that honors the innovation, technology, craft and art of early motion pictures, is the Academy of Motion Picture Arts and Sciences show \u003cb>A Century Ago: The Films of 1912\u003c/b>. The two-hour program, of pristine archival prints, curated and hosted by AMPAS honcho Randy Haberkamp with piano accompaniment by Michael Mortilla (jetting up from L.A.) and featuring showman Jon Rinaudo with his restored 1909 hand-cranked projector, unspools Monday, December 10, 2012 at San Rafael’s lovely and comfy Smith Rafael Film Center. Attendees of previous programs have raved to yours truly, touting the evening as terrifically entertaining exposure to the evolution of film grammar and technique. For \u003ca href=\"http://www.cafilm.org/rfc/films/1778.html\">more information\u003c/a>, visit cafilm.org. Also of note, the Rafael presents a matinee screening of \u003ci>White Christmas\u003c/i> (1954) on Sunday, December 9 with historian and visual-effects maven Craig Barron on hand to talk about the widescreen format VistaVision.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/03/lostlandscapessf.jpg\" alt=\"\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Like the \u003cb>Everything Is Terrible\u003c/b> \u003ci>enfants terrible\u003c/i>, collector and impresario Rick Prelinger traffics in citizen films from the past. But rather than reveling in bad behavior, his seventh annual \u003cb>Lost Landscapes of San Francisco\u003c/b> show has a historical, architectural and sociological emphasis. This year’s collection, presented Tuesday, December 11, 2012 at the Castro, features rallies for China Relief in the ’30s and footage of the Western Addition when it was a Japanese-American enclave, as well as a slew of previously unscreened color film and crowd-pleasing shots of that eternal lost treasure, Sutro Baths. If you’ve never attended a Prelinger show, he openly declares that audience participation is an essential component. For \u003ca href=\"http://longnow.org/seminars/02012/dec/11/lost-landscapes-san-francisco-7/\">more information\u003c/a> visit longnow.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/03/121512.jpg\" alt=\"\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Secularists, skeptics, atheists, agnostics, pagans, heretics, cat worshippers and anti-capitalists understandably get cheesed off by the season’s religious and commercial aspects. Other Cinema serves that grog-swilling constituency Saturday, December 15, 2012 with \u003cb>Beyond Belief? Incredibly Strange Religion\u003c/b>. This jaw-dropping survey of oddball dogma ranges from the 1972 Mormon short \u003ci>Ancient America Speaks\u003c/i> to a 16mm chunk of the late Peter Adair’s amazing 1967 documentary \u003ci>Holy Ghost People\u003c/i>. Along with a multitude of other impassioned invocations, the Other calendar lists “Satanic backward-masking abominations and free red wine.” Admission? $6.66. For \u003ca href=\"http://www.othercinema.com/calendar/index.html\">more information\u003c/a> visit www.othercinema.com/calendar/index.html\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/03/SinginintheRainclassic.jpg\" alt=\"\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If your family resides in the Bay Area, or you’re hosting your far-flung family’s bacchanal this year, the Castro offers the definitive movie-magic, feel-good film: \u003ci>Singin’ in the Rain\u003c/i>. Equal parts dance musical, romantic comedy and tongue-in-cheek homage to Hollywood history (the plot is driven by the risky, wrenching transition from silent films to talkies), the immortal 1952 showcase (playing Wednesday, December 26, 2012) for the extravagant talents and charm of Gene Kelly, Donald O’Connor and Debbie Reynolds will even make the Scrooge in your family — or tribe — smile. For \u003ca href=\"http://www.castrotheatre.com/\">more information\u003c/a> visit castrotheatre.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every year, China’s filmmakers complete more than 500 feature films, and every year, the vast number aren’t theatrically released in the United States. The ones that are tend to be action films, like \u003ci>Hero\u003c/i> from 2004 or \u003ci>Crouching Tiger, Hidden Dragon\u003c/i> from 2000. That means gems like \u003ci>Getting Home\u003c/i>, by “Sixth Generation” Chinese director Zhang Yang, are frequently overlooked by mainstream American audiences. What a shame.\u003c/p>\n\u003cp>A sensitive comedy about a poor construction worker who tries to carry his deceased colleague across country for proper burial, \u003ci>Getting Home\u003c/i> is one of the best films I’ve seen from China in the past 10 years. The \u003ca href=\"http://www.globalfilm.org/\">Global Film Initiative\u003c/a>, which is based in San Francisco, featured \u003ci>Getting Home\u003c/i> in its 2009 traveling film series called “Global Lens.” And the film is screening this Saturday at Chinatown’s \u003ca href=\"http://www.sanfranciscochinatown.com/attractions/greatstar.html\">Great Star Theater\u003c/a> as part of a new Global Film Initiative series called “Arthouse Revival.” The series supports the revival of independent arthouse cinema around the United States (the Great Star reopened in 2010 after 12 years of being shuttered), and the series’ emphasis on Chinese-language films is ideal given China’s outsized role in world affairs and the need to see the country in a way that complements the harder edges we get from political and economic news.\u003c/p>\n\u003cp>On economic and military matters, America is obsessed with China. According to Gallup’s most recent World Affairs poll, Americans consider China the U.S.’s second-greatest “enemy,” below Iran and ahead of North Korea. On matters of art, America is also becoming transfixed by China. U.S. sales of fine arts from China are at record levels, and there is more interest than ever in Chinese cinema, even if it’s cinema that skews toward knife-throwing and acrobatic karate-kicking. In many ways we’ve come full-circle from the 1960s, when action films from Hong Kong found a theatrical home in the United States, including the Great Star Theater, which is located on Jackson Street. Today’s generation of Chinese films — including \u003ci>Beijing Flickers\u003c/i>, a Zhang Yang drama about young educated workers who are marginalized, which is screening this Friday at the Great Star — have social issues at their core. As funny as it is, \u003ci>Getting Home\u003c/i> gets into themes of poverty and social hierarchies in China, too. \u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"http://www.youtube.com/embed/KLMRxEgPo_A\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“Behind the Politik and rhetoric of China, there’s an evolving social consciousness that’s being exported via independent film, in a way not really seen since the Hong Kong cinema of the ’60s,” Santhosh Daniel, the Global Film Initiative’s Director of Programs, tells me. “It makes sense,” he adds, “why we’d show at the Great Star.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Center for Asian American Media, which puts on the San Francisco International Asian American Film Festival, is co-sponsoring the series on Friday and Saturday. Besides \u003ci>Beijing Flickers\u003c/i> and \u003ci>Getting Home\u003c/i>, the “Arthouse Revival” series features \u003ci>The Cremator\u003c/i>, about an undertaker who arranges marriages for dead men and women; and \u003ci>Stolen Life\u003c/i>, about a young woman who wrestles between life with a new lover and a potential life in college. In \u003ci>Getting Home\u003c/i>, the Chinese comic actor Zhao Benshan plays a middle-aged man (also named Zhao) who puts his dead friend on his back for the long walk/ride/hitchhike from their southern Chinese city to the rural mountains. Along the way, Zhao’s bus is robbed by bandits (who retreat after Zhao explains that he’s escorting a dead man); he pretends to grieve at a stranger’s apparent funeral just to get the accompanying dinner; and he falls in love with a quasi-homeless woman who, like him, tries to sell her blood for money. The vistas of countryside, mountains and tributaries are a spectacular backdrop to the goings-on. Funny, poetic, and thought-provoking without being demagogic (or sophomoric), \u003ci>Getting Home\u003c/i> was inspired by a news account of a poor man who attempted a similar trek with a dead friend. Zhang Yang met that poor man in real life, traveling across country to hear his story firsthand.\u003c/p>\n\u003cp>\u003ci>Getting Home\u003c/i> reminds me of the Iranian film \u003ci>Taste of Cherry\u003c/i>, Abbas Kiarostami’s masterpiece about a man who drives around Tehran looking for someone to oversee his own burial. In the right cinematic hands, the topic of death can jump-start a story that makes the audience feel more alive than ever. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For the Global Film Initiative’s “Arthouse Revival” series, \u003ci>Beijing Flickers\u003c/i> screens 7:30pm on Friday, Nov. 30, 2012 at the Great Star Theater in San Francisco, with a 6pm reception at the Chinese Culture Center of San Francisco. On Saturday, Dec. 1, \u003ci>Getting Home\u003c/i> screens at 2pm, followed by \u003ci>Stolen Life\u003c/i> at 5pm and \u003ci>The Cremator\u003c/i> at 8pm. For \u003ca href=\"http://caamedia.org/blog/film-events/2012/11/08/caam-co-presents-global-lens-great-star-theater-on-december-1st/\">tickets and more information\u003c/a>, visit caamedia.org. Friday’s event requires online registration TODAY, Tuesday, Nov. 27, at tinyurl.com/cddJs2m. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every year, China’s filmmakers complete more than 500 feature films, and every year, the vast number aren’t theatrically released in the United States. The ones that are tend to be action films, like \u003ci>Hero\u003c/i> from 2004 or \u003ci>Crouching Tiger, Hidden Dragon\u003c/i> from 2000. That means gems like \u003ci>Getting Home\u003c/i>, by “Sixth Generation” Chinese director Zhang Yang, are frequently overlooked by mainstream American audiences. What a shame.\u003c/p>\n\u003cp>A sensitive comedy about a poor construction worker who tries to carry his deceased colleague across country for proper burial, \u003ci>Getting Home\u003c/i> is one of the best films I’ve seen from China in the past 10 years. The \u003ca href=\"http://www.globalfilm.org/\">Global Film Initiative\u003c/a>, which is based in San Francisco, featured \u003ci>Getting Home\u003c/i> in its 2009 traveling film series called “Global Lens.” And the film is screening this Saturday at Chinatown’s \u003ca href=\"http://www.sanfranciscochinatown.com/attractions/greatstar.html\">Great Star Theater\u003c/a> as part of a new Global Film Initiative series called “Arthouse Revival.” The series supports the revival of independent arthouse cinema around the United States (the Great Star reopened in 2010 after 12 years of being shuttered), and the series’ emphasis on Chinese-language films is ideal given China’s outsized role in world affairs and the need to see the country in a way that complements the harder edges we get from political and economic news.\u003c/p>\n\u003cp>On economic and military matters, America is obsessed with China. According to Gallup’s most recent World Affairs poll, Americans consider China the U.S.’s second-greatest “enemy,” below Iran and ahead of North Korea. On matters of art, America is also becoming transfixed by China. U.S. sales of fine arts from China are at record levels, and there is more interest than ever in Chinese cinema, even if it’s cinema that skews toward knife-throwing and acrobatic karate-kicking. In many ways we’ve come full-circle from the 1960s, when action films from Hong Kong found a theatrical home in the United States, including the Great Star Theater, which is located on Jackson Street. Today’s generation of Chinese films — including \u003ci>Beijing Flickers\u003c/i>, a Zhang Yang drama about young educated workers who are marginalized, which is screening this Friday at the Great Star — have social issues at their core. As funny as it is, \u003ci>Getting Home\u003c/i> gets into themes of poverty and social hierarchies in China, too. \u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"http://www.youtube.com/embed/KLMRxEgPo_A\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“Behind the Politik and rhetoric of China, there’s an evolving social consciousness that’s being exported via independent film, in a way not really seen since the Hong Kong cinema of the ’60s,” Santhosh Daniel, the Global Film Initiative’s Director of Programs, tells me. “It makes sense,” he adds, “why we’d show at the Great Star.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Center for Asian American Media, which puts on the San Francisco International Asian American Film Festival, is co-sponsoring the series on Friday and Saturday. Besides \u003ci>Beijing Flickers\u003c/i> and \u003ci>Getting Home\u003c/i>, the “Arthouse Revival” series features \u003ci>The Cremator\u003c/i>, about an undertaker who arranges marriages for dead men and women; and \u003ci>Stolen Life\u003c/i>, about a young woman who wrestles between life with a new lover and a potential life in college. In \u003ci>Getting Home\u003c/i>, the Chinese comic actor Zhao Benshan plays a middle-aged man (also named Zhao) who puts his dead friend on his back for the long walk/ride/hitchhike from their southern Chinese city to the rural mountains. Along the way, Zhao’s bus is robbed by bandits (who retreat after Zhao explains that he’s escorting a dead man); he pretends to grieve at a stranger’s apparent funeral just to get the accompanying dinner; and he falls in love with a quasi-homeless woman who, like him, tries to sell her blood for money. The vistas of countryside, mountains and tributaries are a spectacular backdrop to the goings-on. Funny, poetic, and thought-provoking without being demagogic (or sophomoric), \u003ci>Getting Home\u003c/i> was inspired by a news account of a poor man who attempted a similar trek with a dead friend. Zhang Yang met that poor man in real life, traveling across country to hear his story firsthand.\u003c/p>\n\u003cp>\u003ci>Getting Home\u003c/i> reminds me of the Iranian film \u003ci>Taste of Cherry\u003c/i>, Abbas Kiarostami’s masterpiece about a man who drives around Tehran looking for someone to oversee his own burial. In the right cinematic hands, the topic of death can jump-start a story that makes the audience feel more alive than ever. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For the Global Film Initiative’s “Arthouse Revival” series, \u003ci>Beijing Flickers\u003c/i> screens 7:30pm on Friday, Nov. 30, 2012 at the Great Star Theater in San Francisco, with a 6pm reception at the Chinese Culture Center of San Francisco. On Saturday, Dec. 1, \u003ci>Getting Home\u003c/i> screens at 2pm, followed by \u003ci>Stolen Life\u003c/i> at 5pm and \u003ci>The Cremator\u003c/i> at 8pm. For \u003ca href=\"http://caamedia.org/blog/film-events/2012/11/08/caam-co-presents-global-lens-great-star-theater-on-december-1st/\">tickets and more information\u003c/a>, visit caamedia.org. Friday’s event requires online registration TODAY, Tuesday, Nov. 27, at tinyurl.com/cddJs2m. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "california_films_boogie_nights",
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"content": "\u003cp>The San Fernando Valley has not fared well in the national imagination nor in my own. A native Manhattanite and longtime San Franciscan, I’ve always thought of the place the way chauvinist New Yorkers do New Jersey — – nice place to make fun of, wouldn’t want to live there.\u003c/p>\n\u003cp>Even an indigenous San Fernandan like director Paul Thomas Anderson has internalized this Valley view. On the director’s commentary for the DVD of \u003ci>\u003ci>Boogie Nights\u003c/i>\u003c/i>, for instance, Anderson laments that directors are supposed to carry their life experiences into their films, but he’s “from the f***ing Valley.”\u003c/p>\n\u003cp>So what’s a young director about to come into his own as a major cinematic voice to do? Anderson turns his experiential lemons into lemonade by presiding over a great American film. \u003ci>Boogie Nights\u003c/i> delves into the world of 1970s-80s pornography, when “San Pornando Valley” became a center of erotic film production, as much known for smut as smog. Using a surfeit of screenwriting and directorial gifts, Anderson’s humanistic sensbility eschews judgment of characters as flawed as you might expect, imbuing them with a vacuity paradoxically complex and a self-delusion touchingly admirable. Two of Anderson’s subsequent works, \u003ci>There Will Be Blood\u003c/i> and \u003ci>The Master\u003c/i>, may have more ambitious themes, but I’m not sure they’re better films.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bn-group.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>An ensemble piece, the movie follows about a dozen people toiling in the porn industry of L.A., on display here in all its sun-dappled, coke-soaked, line-dancing, pool-partying, pre-AIDS glory. That’s the first half, before the 1980s come along to present the bill for all the post-Watergate fun.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The main character, played by Mark Wahlberg, is Eddie Adams, or “Dirk Diggler” on screen. He’s a teenager whose psychic destruction at home is redeemed by an anatomical gift big enough to attract the attention of even — or especially — the porn pros. (The character is based on the real-life John Holmes.) The film has a familiar celebrity-gone-wrong, rags-to-riches-and-back-again structure, but with the added twist of the entire trajectory unfolding within a highly developed porno subculture.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bn-boys.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>In this golden age of X-rated entertainment, breathless reviews, awards ceremonies, documentary appearances, and box office success confer status and boost egos among the performers. Such trappings also foster a craving for legitimacy and a pretense to craft. When Dirk sweeps the adult film awards to the adulation of his peers, he is earnest in his resolution to “keep rocking and rolling and making better films.” The notion that cinematic quality can flourish alongside big tits and money shots is most faithfully carried by director Jack Horner (Burt Reynolds), whose soul of an artist must coexist with the aesthetics of a pornographer. Jack is in search of what sounds like the holy grail of thoughtful erotic visual stylists everywhere: making a film in which “after [the audience climaxes], they can’t leave until they find out how the story ends.” Later, when Horner and his cinematographer/editor (Ricky Jay) are looking at the rough cut of a patently ridiculous scene from the lurid action-adventure boy’s fantasy they’ve put to film, Jack says in all sincerity, “This is the best work we’ve ever done…This is the film I want them to remember me by.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bn-reynolds.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>This notion of porno-integrity is also expressed in the film’s central, symbolic conflict: A cinematic purist, Jack is reluctant to make the transition to shooting on video, even in the face of the obvious economic advantages. “I will never make a movie on videotape,” says Jack to a rival porn maven (Philip Baker Hall) pushing for the changeover. “If it looks like shit and it sounds like shit, it’s shit.”\u003c/p>\n\u003cp>And that is exactly what is so poignantly terrific about \u003ci>Boogie Nights\u003c/i>. The attempt to sustain a compelling narrative, an artful look, in the midst of the base visual gratification that is really on offer is emblematic of the ethos of Anderson’s entire suite of characters. Broken individuals, born of shattered homes, drug addiction, ditsy thinking and a distinct lack of talent and taste, they nevertheless aspire to writing poetry, making music, opening businesses, painting pictures… with virtually no facility for any of it. There’s a reason these people have wound up in porn, one thinks, but the seeds of dignity survive in the striving.\u003c/p>\n\u003cp>These are complex portraits, achieved by avoiding depictions of obvious victimhood and by granting the characters moments of comic grace. More important, Anderson has downplayed the kind of cynicism you’d think would be an occupational hazard in the industry. One of the film’s most forlorn shots is of Jack, having finally succumbed to marketplace realities, walking through a warehouse full of thousands of videotapes, whatever magic-of-cinema that had previously trickled down to his level now completely used up.\u003c/p>\n\u003cp>That shift to a mass-produced medium is intercut and paralleled with the downward trajectory of the characters’ lives. As the community that Jack’s troupe members have found and the illusion of normalcy they have indulged in falls apart, Philip Baker Hall’s character offers this maxim for the future: “Video tells the truth.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bn-rollergirl.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>And an unflattering truth it is. In that sequence, Jack and his porn starlet “Roller Girl” (“I never take off my skates”), played by Heather Graham, make a video in which they pick up a college student in order to capture on tape the fulfillment of an average Joe’s fantasy. But he turns out to be the same kid who made a disturbingly lewd gesture to Roller Girl in high school. As her pre-porn identity comes rushing back with a vengeance, the kid mauls her while Jack admonishes him to “show some respect.”\u003c/p>\n\u003cp>“This is Roller Girl,” he says, incredulously. “Make it sexy.”\u003c/p>\n\u003cp>But it’s not. At that point, the limo they are riding in, the tux Jack is wearing, and the mirage of Roller Girl all dolled up like Marilyn Monroe cannot ward off the true nature of the carnal transactions they have been engaging in. And when the veneer of glamour and high-minded artistry falls away, what are you left with but the same sex-crazed jerk who harassed you in high school? The sequence concludes with a brutal act of violence.\u003c/p>\n\u003cp>\u003ci>Boogie Nights\u003c/i>, its filmmaking both flamboyant and nuanced, seamlessly sustains several such tonal shifts. Right from the dazzling start, Anderson coalesces just the right elements to make his points. The opening Scorsese-esque long take cranes and dollies and pans as it moves from the street into a disco, weaving through the dance floor while introducing us to a small platoon of characters in remarkably economical hits of dialogue. The effect is one of community and group intimacy; only when the camera finally comes to rest on outsider Mark Wahlberg’s sourpuss mug is this feeling of fluidity jarred.That’s just one virtuoso sequence of several, the sum of which may have been considered a triumph of style over story if Anderson weren’t so unerring in his deployment of technique in the service of the latter. He introduces the plot-changing Philip Baker Hall’s character, for instance, by shooting him entering a room from four different angles, each one dissolving into the next. He zooms in on a coke-snorting Julianne Moore (playing porn star “Amber Waves”) as the heartbreaking and purely visual solution to one scene’s mini-mystery: whether a boy telephone caller’s mother is in the house. And he knows to linger on Don Cheadle ordering different varieties of donuts for a full minute, exploiting to the fullest the individual childlike facial expressions the actor marries to each choice.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bn-cheadle.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Many of the standout sequences comprise scenes unified by a soundtrack that consists at various times of period pop songs, original music, and punctuating noises like the metronomic tolling of a bell. This blend of sound and visuals reaches an apex in the penultimate scene, one of the best-directed you or I will ever see on this earth. Riffing off of the real-life \u003ca href=\"http://en.wikipedia.org/wiki/Wonderland_murders\">Wonderland murders\u003c/a>, it features a hopped-up Alfred Molina in a silver robe and underwear talking crazy to three nearly-as-stoned would-be ripoff artists, while an armed bodyguard scrutinizes the fake drugs they have brought to sell. Throw in an impromptu round of Russian Roulette and a shootout, set it all to the ’80s pop hits “Sister Christian,” “Jessie’s Girl,” and “99 Luftballons,” then complete the filmic concoction by tossing in a young Chinese male intermittently setting off firecrackers, and you’ve got a scene so filled to the brim with tension it’s practically preternatural.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bn-julianne.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Finally, the acting: Wahlberg has never been better, and Anderson coaxes a fine, modulated performance from Burt Reynolds. But it’s the remarkable Julianne Moore who you can barely take your eyes off of. Sometimes coked out, but mostly numbed by a restraint that conceals a deep despair, she’s as remote as if separated from the world by some sort of cellophane membrane. Meanwhile, John C. Riley as Dirk Diggler’s dim-bulb sidekick, a multifaceted hack, paints every move a burlesque of self-importance. Trust me, you haven’t really lived until you’ve seen a hopelessly off-key Wahlberg laying down godawful vocals to an original rock opus, followed by a reverse shot of Riley grooving to the sound. Take note of unforgettable turns in smaller roles by Robert Ridgely, Philip Seymour Hoffman, and Thomas Jane (later of \u003ci>Hung\u003c/i> fame).\u003c/p>\n\u003cp>The film concludes bittersweetly, before the inevitable destructive end that many in the porn business have suffered. The troupe has recoalesced as a makeshift family at Jack Horner’s home, and as what Anderson calls “broken circus music” plays, we get a visual echo of the opening shot in the disco. As the camera comes to rest on Jack standing behind Amber, readying herself in the mirror before a scene, she asks him, “What are you looking at?”\u003c/p>\n\u003cp>“The foxiest bitch in the world,” he says, oblivious that this is anything but a compliment. Amber stares sadly on, and we cut to Dirk psyching himself up to perform. It’s only then that we finally get a look at his member (a prosthesis, per Anderson and common sense), which has up till then done admirable service as the film’s MacGuffin. It’s flaccid, and Dirk tries to work himself into fighting shape by invoking his porn personas, the Valley kid he once was forever lost.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Nineteen seventies porn in the Valley — in lesser hands, \u003ci>Boogie Nights\u003c/i> would have been a joke on a joke … on a joke. But instead it’s a work of art.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Fernando Valley has not fared well in the national imagination nor in my own. A native Manhattanite and longtime San Franciscan, I’ve always thought of the place the way chauvinist New Yorkers do New Jersey — – nice place to make fun of, wouldn’t want to live there.\u003c/p>\n\u003cp>Even an indigenous San Fernandan like director Paul Thomas Anderson has internalized this Valley view. On the director’s commentary for the DVD of \u003ci>\u003ci>Boogie Nights\u003c/i>\u003c/i>, for instance, Anderson laments that directors are supposed to carry their life experiences into their films, but he’s “from the f***ing Valley.”\u003c/p>\n\u003cp>So what’s a young director about to come into his own as a major cinematic voice to do? Anderson turns his experiential lemons into lemonade by presiding over a great American film. \u003ci>Boogie Nights\u003c/i> delves into the world of 1970s-80s pornography, when “San Pornando Valley” became a center of erotic film production, as much known for smut as smog. Using a surfeit of screenwriting and directorial gifts, Anderson’s humanistic sensbility eschews judgment of characters as flawed as you might expect, imbuing them with a vacuity paradoxically complex and a self-delusion touchingly admirable. Two of Anderson’s subsequent works, \u003ci>There Will Be Blood\u003c/i> and \u003ci>The Master\u003c/i>, may have more ambitious themes, but I’m not sure they’re better films.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bn-group.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>An ensemble piece, the movie follows about a dozen people toiling in the porn industry of L.A., on display here in all its sun-dappled, coke-soaked, line-dancing, pool-partying, pre-AIDS glory. That’s the first half, before the 1980s come along to present the bill for all the post-Watergate fun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The main character, played by Mark Wahlberg, is Eddie Adams, or “Dirk Diggler” on screen. He’s a teenager whose psychic destruction at home is redeemed by an anatomical gift big enough to attract the attention of even — or especially — the porn pros. (The character is based on the real-life John Holmes.) The film has a familiar celebrity-gone-wrong, rags-to-riches-and-back-again structure, but with the added twist of the entire trajectory unfolding within a highly developed porno subculture.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bn-boys.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>In this golden age of X-rated entertainment, breathless reviews, awards ceremonies, documentary appearances, and box office success confer status and boost egos among the performers. Such trappings also foster a craving for legitimacy and a pretense to craft. When Dirk sweeps the adult film awards to the adulation of his peers, he is earnest in his resolution to “keep rocking and rolling and making better films.” The notion that cinematic quality can flourish alongside big tits and money shots is most faithfully carried by director Jack Horner (Burt Reynolds), whose soul of an artist must coexist with the aesthetics of a pornographer. Jack is in search of what sounds like the holy grail of thoughtful erotic visual stylists everywhere: making a film in which “after [the audience climaxes], they can’t leave until they find out how the story ends.” Later, when Horner and his cinematographer/editor (Ricky Jay) are looking at the rough cut of a patently ridiculous scene from the lurid action-adventure boy’s fantasy they’ve put to film, Jack says in all sincerity, “This is the best work we’ve ever done…This is the film I want them to remember me by.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bn-reynolds.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>This notion of porno-integrity is also expressed in the film’s central, symbolic conflict: A cinematic purist, Jack is reluctant to make the transition to shooting on video, even in the face of the obvious economic advantages. “I will never make a movie on videotape,” says Jack to a rival porn maven (Philip Baker Hall) pushing for the changeover. “If it looks like shit and it sounds like shit, it’s shit.”\u003c/p>\n\u003cp>And that is exactly what is so poignantly terrific about \u003ci>Boogie Nights\u003c/i>. The attempt to sustain a compelling narrative, an artful look, in the midst of the base visual gratification that is really on offer is emblematic of the ethos of Anderson’s entire suite of characters. Broken individuals, born of shattered homes, drug addiction, ditsy thinking and a distinct lack of talent and taste, they nevertheless aspire to writing poetry, making music, opening businesses, painting pictures… with virtually no facility for any of it. There’s a reason these people have wound up in porn, one thinks, but the seeds of dignity survive in the striving.\u003c/p>\n\u003cp>These are complex portraits, achieved by avoiding depictions of obvious victimhood and by granting the characters moments of comic grace. More important, Anderson has downplayed the kind of cynicism you’d think would be an occupational hazard in the industry. One of the film’s most forlorn shots is of Jack, having finally succumbed to marketplace realities, walking through a warehouse full of thousands of videotapes, whatever magic-of-cinema that had previously trickled down to his level now completely used up.\u003c/p>\n\u003cp>That shift to a mass-produced medium is intercut and paralleled with the downward trajectory of the characters’ lives. As the community that Jack’s troupe members have found and the illusion of normalcy they have indulged in falls apart, Philip Baker Hall’s character offers this maxim for the future: “Video tells the truth.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bn-rollergirl.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>And an unflattering truth it is. In that sequence, Jack and his porn starlet “Roller Girl” (“I never take off my skates”), played by Heather Graham, make a video in which they pick up a college student in order to capture on tape the fulfillment of an average Joe’s fantasy. But he turns out to be the same kid who made a disturbingly lewd gesture to Roller Girl in high school. As her pre-porn identity comes rushing back with a vengeance, the kid mauls her while Jack admonishes him to “show some respect.”\u003c/p>\n\u003cp>“This is Roller Girl,” he says, incredulously. “Make it sexy.”\u003c/p>\n\u003cp>But it’s not. At that point, the limo they are riding in, the tux Jack is wearing, and the mirage of Roller Girl all dolled up like Marilyn Monroe cannot ward off the true nature of the carnal transactions they have been engaging in. And when the veneer of glamour and high-minded artistry falls away, what are you left with but the same sex-crazed jerk who harassed you in high school? The sequence concludes with a brutal act of violence.\u003c/p>\n\u003cp>\u003ci>Boogie Nights\u003c/i>, its filmmaking both flamboyant and nuanced, seamlessly sustains several such tonal shifts. Right from the dazzling start, Anderson coalesces just the right elements to make his points. The opening Scorsese-esque long take cranes and dollies and pans as it moves from the street into a disco, weaving through the dance floor while introducing us to a small platoon of characters in remarkably economical hits of dialogue. The effect is one of community and group intimacy; only when the camera finally comes to rest on outsider Mark Wahlberg’s sourpuss mug is this feeling of fluidity jarred.That’s just one virtuoso sequence of several, the sum of which may have been considered a triumph of style over story if Anderson weren’t so unerring in his deployment of technique in the service of the latter. He introduces the plot-changing Philip Baker Hall’s character, for instance, by shooting him entering a room from four different angles, each one dissolving into the next. He zooms in on a coke-snorting Julianne Moore (playing porn star “Amber Waves”) as the heartbreaking and purely visual solution to one scene’s mini-mystery: whether a boy telephone caller’s mother is in the house. And he knows to linger on Don Cheadle ordering different varieties of donuts for a full minute, exploiting to the fullest the individual childlike facial expressions the actor marries to each choice.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bn-cheadle.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Many of the standout sequences comprise scenes unified by a soundtrack that consists at various times of period pop songs, original music, and punctuating noises like the metronomic tolling of a bell. This blend of sound and visuals reaches an apex in the penultimate scene, one of the best-directed you or I will ever see on this earth. Riffing off of the real-life \u003ca href=\"http://en.wikipedia.org/wiki/Wonderland_murders\">Wonderland murders\u003c/a>, it features a hopped-up Alfred Molina in a silver robe and underwear talking crazy to three nearly-as-stoned would-be ripoff artists, while an armed bodyguard scrutinizes the fake drugs they have brought to sell. Throw in an impromptu round of Russian Roulette and a shootout, set it all to the ’80s pop hits “Sister Christian,” “Jessie’s Girl,” and “99 Luftballons,” then complete the filmic concoction by tossing in a young Chinese male intermittently setting off firecrackers, and you’ve got a scene so filled to the brim with tension it’s practically preternatural.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bn-julianne.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Finally, the acting: Wahlberg has never been better, and Anderson coaxes a fine, modulated performance from Burt Reynolds. But it’s the remarkable Julianne Moore who you can barely take your eyes off of. Sometimes coked out, but mostly numbed by a restraint that conceals a deep despair, she’s as remote as if separated from the world by some sort of cellophane membrane. Meanwhile, John C. Riley as Dirk Diggler’s dim-bulb sidekick, a multifaceted hack, paints every move a burlesque of self-importance. Trust me, you haven’t really lived until you’ve seen a hopelessly off-key Wahlberg laying down godawful vocals to an original rock opus, followed by a reverse shot of Riley grooving to the sound. Take note of unforgettable turns in smaller roles by Robert Ridgely, Philip Seymour Hoffman, and Thomas Jane (later of \u003ci>Hung\u003c/i> fame).\u003c/p>\n\u003cp>The film concludes bittersweetly, before the inevitable destructive end that many in the porn business have suffered. The troupe has recoalesced as a makeshift family at Jack Horner’s home, and as what Anderson calls “broken circus music” plays, we get a visual echo of the opening shot in the disco. As the camera comes to rest on Jack standing behind Amber, readying herself in the mirror before a scene, she asks him, “What are you looking at?”\u003c/p>\n\u003cp>“The foxiest bitch in the world,” he says, oblivious that this is anything but a compliment. Amber stares sadly on, and we cut to Dirk psyching himself up to perform. It’s only then that we finally get a look at his member (a prosthesis, per Anderson and common sense), which has up till then done admirable service as the film’s MacGuffin. It’s flaccid, and Dirk tries to work himself into fighting shape by invoking his porn personas, the Valley kid he once was forever lost.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nineteen seventies porn in the Valley — in lesser hands, \u003ci>Boogie Nights\u003c/i> would have been a joke on a joke … on a joke. But instead it’s a work of art.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Performance Sorceress Mary Zimmerman Spins 'The White Snake'",
"headTitle": "Performance Sorceress Mary Zimmerman Spins ‘The White Snake’ | KQED",
"content": "\u003cp>The specter of a snake as symbol of sorcery, temptation, and duality is ubiquitous. We’ve heard about Eve’s encounter, but less familiar to Westerners is the legend of the white snake. The legend can be traced back to ancient China where it continued in the oral tradition before being written down sometime during the Ming Dynasty. The fable of the white snake itself has been retold as folktales, anime films, operas and even, last year, as the basis for a Chinese 3D action movie.\u003c/p>\n\u003cp>In its newest incarnation, \u003ca href=\"http://www.berkeleyrep.org/season/1213/6331.asp\">\u003c/a>\u003ci>The White Snake\u003c/i> is a stunningly-staged play recently opened at Berkeley Rep. As the play’s adaptor and director, Mary Zimmerman’s immense talents are in full bloom in this world premiere production about a supernatural snake who transforms herself into a woman to join the mortals on Earth and seduce a trusting man.\u003c/p>\n\u003cp>Like the story’s shape-shifting snake enchantress, Zimmerman uses her beguiling magic to bridge two worlds; a world that speaks to a contemporary audience and a more mysterious and exotic land.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/18/Cfakepathwhitesnake.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Photo: Allesandra Mello\u003cbr>\u003c/center>\n\u003cp>Zimmerman has made a career of revamping classics, reinventing ancient myths and fables in surprising ways to remind us of their relevance. This time, Zimmerman’s take even has political undertones. This adaptation reveals that the practices of religious hypocrisy and moral outrage which are alive and well in our churches and houses of Congress, are in fact, old as antiquity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Amy Kim Waschke plays the White Snake, a spirit who, in this version, deceives her husband out of love instead of evil intent. Tanya Thai McBride plays the Green Snake, the comic sidekick, who has much the same role as the crafty servant stock character in the tradition of Commedia dell’Arte.\u003c/p>\n\u003cp>Christopher Livingston plays Xu Xian, the naïve and trusting husband of Madame White Snake, who acknowledges that people do not believe what they see, they see what they believe. For the most part, the play’s performances are stylized and the characters are more mythic than down-to-earth. But Livingston’s performance is vaguely out of place — his affect and delivery are too casual. Jack Willis plays the villainous monk, bent on restoring the natural order, a moral command that forbids a mortal from marrying an immortal. The theme of piety in the face of love and marriage equality may resonate with audiences.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/18/Cfakepathwhitesnake2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Photo: Allesandra Mello\u003cbr>\u003c/center>\n\u003cp>Zimmerman’s previous works, including the terrific \u003ci>Metamorphosis\u003c/i>, \u003ci>Argonautika\u003c/i> and \u003ca href=\"http://www.7x7.com/arts/revamped-arabian-nights-something-ululate-about/\">\u003ci>The Arabian Nights\u003c/i>\u003c/a>, are modernized takes on classics sprinkled with contemporary wit. \u003ci>The White Snake\u003c/i> doesn’t have the same visual wit as its precursors. The play is something to be admired, but not adored.\u003c/p>\n\u003cp>It is the visual design that makes \u003ci>The White Snake\u003c/i> an extraordinary theatrical achievement. While the production is strikingly beautiful, the play itself is less engaging. It is more a performance-as-art than a piece of dramatic material.\u003c/p>\n\u003cp>Up in the realm of the immortals, the White Snake is initially seen as a puppet. First she is a silky fabric snake whose slithery motions are maneuvered by a woman moving two attached rods. Later, a choreographed line of women hold white paper umbrellas angled to become snake scales coiled in unison. Shimmering fabric billows create skies, clouds, and waves. Unfurled ribbons of paper create a rainstorm. The set — and all the movement on the set creates a gorgeous impressionistic tableau.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/18/Cfakepathwhitesnake4.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Photo: Jenny Graham\u003cbr>\u003c/center>\n\u003cp>Zimmerman’s artistry here has much in common with the avant-garde theatrical wonder of Julie Taymor’s \u003ca href=\"https://www.shnsf.com/online/lionking\">\u003ci>The Lion King\u003c/i>\u003c/a>, which opened last week at the Orpheum Theater. Fifteen years after the Broadway opening of \u003ci>The Lion King\u003c/i>, the stage musical continues to inspire awe — more than can be said for the new 3D version of the movie. Both Taymor and Zimmerman are visionaries who put digital realism to shame.\u003c/p>\n\u003cp>Just as Taymor used the colors and fabrics of Africa to create an organic mise en scène, Zimmerman furnishes \u003ci>The White Snake\u003c/i> with the sights and sounds of China. This includes paper umbrellas, bamboo accents, red blossoms, a minimalist and elegant amalgam of unplugged puppets, gentle, evocative projections and lighting (Shawn Sagady and T.J. Gerckens) and glorious costumes (Mara Blumenfeld). With Daniel Ostling’s brilliant scenic design, the play is a radiant reminder of the magic of low-tech theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The White Snake\u003c/i> runs through December 23, 2012 at Berkeley Rep Theater. For \u003ca href=\"http://www.berkeleyrep.org/season/1213/6327.asp\">tickets and information\u003c/a> visit berkeleyrep.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The specter of a snake as symbol of sorcery, temptation, and duality is ubiquitous. We’ve heard about Eve’s encounter, but less familiar to Westerners is the legend of the white snake. The legend can be traced back to ancient China where it continued in the oral tradition before being written down sometime during the Ming Dynasty. The fable of the white snake itself has been retold as folktales, anime films, operas and even, last year, as the basis for a Chinese 3D action movie.\u003c/p>\n\u003cp>In its newest incarnation, \u003ca href=\"http://www.berkeleyrep.org/season/1213/6331.asp\">\u003c/a>\u003ci>The White Snake\u003c/i> is a stunningly-staged play recently opened at Berkeley Rep. As the play’s adaptor and director, Mary Zimmerman’s immense talents are in full bloom in this world premiere production about a supernatural snake who transforms herself into a woman to join the mortals on Earth and seduce a trusting man.\u003c/p>\n\u003cp>Like the story’s shape-shifting snake enchantress, Zimmerman uses her beguiling magic to bridge two worlds; a world that speaks to a contemporary audience and a more mysterious and exotic land.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/18/Cfakepathwhitesnake.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Photo: Allesandra Mello\u003cbr>\u003c/center>\n\u003cp>Zimmerman has made a career of revamping classics, reinventing ancient myths and fables in surprising ways to remind us of their relevance. This time, Zimmerman’s take even has political undertones. This adaptation reveals that the practices of religious hypocrisy and moral outrage which are alive and well in our churches and houses of Congress, are in fact, old as antiquity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Amy Kim Waschke plays the White Snake, a spirit who, in this version, deceives her husband out of love instead of evil intent. Tanya Thai McBride plays the Green Snake, the comic sidekick, who has much the same role as the crafty servant stock character in the tradition of Commedia dell’Arte.\u003c/p>\n\u003cp>Christopher Livingston plays Xu Xian, the naïve and trusting husband of Madame White Snake, who acknowledges that people do not believe what they see, they see what they believe. For the most part, the play’s performances are stylized and the characters are more mythic than down-to-earth. But Livingston’s performance is vaguely out of place — his affect and delivery are too casual. Jack Willis plays the villainous monk, bent on restoring the natural order, a moral command that forbids a mortal from marrying an immortal. The theme of piety in the face of love and marriage equality may resonate with audiences.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/18/Cfakepathwhitesnake2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Photo: Allesandra Mello\u003cbr>\u003c/center>\n\u003cp>Zimmerman’s previous works, including the terrific \u003ci>Metamorphosis\u003c/i>, \u003ci>Argonautika\u003c/i> and \u003ca href=\"http://www.7x7.com/arts/revamped-arabian-nights-something-ululate-about/\">\u003ci>The Arabian Nights\u003c/i>\u003c/a>, are modernized takes on classics sprinkled with contemporary wit. \u003ci>The White Snake\u003c/i> doesn’t have the same visual wit as its precursors. The play is something to be admired, but not adored.\u003c/p>\n\u003cp>It is the visual design that makes \u003ci>The White Snake\u003c/i> an extraordinary theatrical achievement. While the production is strikingly beautiful, the play itself is less engaging. It is more a performance-as-art than a piece of dramatic material.\u003c/p>\n\u003cp>Up in the realm of the immortals, the White Snake is initially seen as a puppet. First she is a silky fabric snake whose slithery motions are maneuvered by a woman moving two attached rods. Later, a choreographed line of women hold white paper umbrellas angled to become snake scales coiled in unison. Shimmering fabric billows create skies, clouds, and waves. Unfurled ribbons of paper create a rainstorm. The set — and all the movement on the set creates a gorgeous impressionistic tableau.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/18/Cfakepathwhitesnake4.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Photo: Jenny Graham\u003cbr>\u003c/center>\n\u003cp>Zimmerman’s artistry here has much in common with the avant-garde theatrical wonder of Julie Taymor’s \u003ca href=\"https://www.shnsf.com/online/lionking\">\u003ci>The Lion King\u003c/i>\u003c/a>, which opened last week at the Orpheum Theater. Fifteen years after the Broadway opening of \u003ci>The Lion King\u003c/i>, the stage musical continues to inspire awe — more than can be said for the new 3D version of the movie. Both Taymor and Zimmerman are visionaries who put digital realism to shame.\u003c/p>\n\u003cp>Just as Taymor used the colors and fabrics of Africa to create an organic mise en scène, Zimmerman furnishes \u003ci>The White Snake\u003c/i> with the sights and sounds of China. This includes paper umbrellas, bamboo accents, red blossoms, a minimalist and elegant amalgam of unplugged puppets, gentle, evocative projections and lighting (Shawn Sagady and T.J. Gerckens) and glorious costumes (Mara Blumenfeld). With Daniel Ostling’s brilliant scenic design, the play is a radiant reminder of the magic of low-tech theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The White Snake\u003c/i> runs through December 23, 2012 at Berkeley Rep Theater. For \u003ca href=\"http://www.berkeleyrep.org/season/1213/6327.asp\">tickets and information\u003c/a> visit berkeleyrep.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'The Dust Bowl' Unearths American Values from Greed to Grift to Grit",
"headTitle": "‘The Dust Bowl’ Unearths American Values from Greed to Grift to Grit | KQED",
"content": "\u003cp>Contrary to what we were taught in elementary school, history is subjective. Every chronicle, biography, textbook, and documentary about the past has a point of view. It’s an interpretation, whether it’s Robert A. Caro’s four-volume \u003ci>The Years of Lyndon Johnson\u003c/i>, The Band’s four-minute \u003ci>The Night They Drove Old Dixie Down\u003c/i>, or the latest fundamentalist social studies book adopted by the Texas State Board of Education.\u003c/p>\n\u003cp>This extends beyond the glib insight that history is written by the winners (an inconvenient truth that conservative revisionists never tire of waging guerilla warfare against), and recognizes that hindsight has many potential benefits. Alas, our track record with respect to learning from history is admittedly spotty.\u003c/p>\n\u003cp>My little prologue leads us to Ken Burns’ stark assertion underlying his latest immersive dive into a specific and volatile period in our nation’s checkered past, \u003ci>The Dust Bowl\u003c/i> (airing Sunday, November 18 and Monday, November 19 at 8 and 10pm on KQED-Channel 9): The environmental disaster that devastated the southern Plains states in the 1930s was man-made. The three contemporary historians convened for the occasion by the filmmaker describe the opportunistic and greedy stampede to turn grasslands into wheat fields via the mechanized plowing of hundreds of thousands of acres, in a region where the wind blew hard and steady and rainfall couldn’t be counted on. The impetus? The Federal government, needing to feed the troops during World War I and seeking an incentive to boost grain production, arbitrarily increased the price of wheat.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/13/CfakepathLangeWoman.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Dorthea Lange, \u003ci>Woman standing outside wooden shack with two small children and baby, Tulare County, California\u003c/i>, 1936. Courtesy of The Library of Congress.\u003c/p>\n\u003cp>The good times for farmers lasted all the way through the 1920s, and even after the Crash of 1929. But a drought combined with the Great Depression produced the aberration of small yields \u003ci>and\u003c/i> low prices. Poverty was compounded by the nightmare of incredible (and unprecedented) dust and sand storms seemingly without end. A lot of defiant and hard-working farmers in Kansas, Oklahoma, Colorado, New Mexico, and Texas blamed the plague of storms on the continual lack of rain. Nature and/or God was responsible, they said, and took no responsibility for the large-scale adoption of misguided practices that had led to mass erosion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Make no mistake, \u003ci>The Dust Bowl\u003c/i> is unwavering throughout its four hours in its admiration for the resilience and persistence of farmers, and its empathy for the suffering of fathers, wives, and children. (Burns devotes a substantial chunk of time to “dust pneumonia,” a potentially fatal respiratory condition to which children were particularly susceptible.) In fact, the saga is primarily recounted by folks who grew up on farms in the southern Plains states in those dark, dry years.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/13/CfakepathRothstein.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Arthur Rothstein, \u003ci>A car is chased by a “black blizzard” in the Texas Panhandle\u003c/i>, March 1936. Courtesy of The Library of Congress.\u003c/p>\n\u003cp>Burns employed the same ground-level approach to history in \u003ci>The War\u003c/i> and other films, pushing the so-called “major” historical figures to the sidelines. FDR and Secretary of Agriculture Henry Wallace are given a few necessary cameos here, but this is not their story.\u003c/p>\n\u003cp>That said, \u003ci>The Dust Bowl\u003c/i> details the many ways Federal action alleviated the crisis, from the nationwide Works Progress Administration to specific programs designed to help Dust Bowlers. The film unambiguously argues that only Big Government could marshal the resources and assistance to combat such Big Problems. You can’t miss the contemporary relevance, and wonder how \u003ci>The Dust Bowl\u003c/i> will play in the now-red states of Oklahoma, Kansas, and Texas. One of the wonderful things about history is that exposure to facts tends to shatter myths and misconceptions.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=MYOmjQO_UMw&w=480&h=270]\u003c/p>\n\u003cp>From a filmmaking standpoint, Burns springs precious few surprises in \u003ci>The Dust Bowl\u003c/i>. He uses several Woody Guthrie tunes to excellent effect in a refreshing relief from the wash of familiar, generic banjo picking and tinkling piano. Peter Coyote, whose wall-to-wall narration turned Burns’ \u003ci>Prohibition\u003c/i> (2011) into an illustrated monologue (through no fault of his own), once again carries a good deal of the load. The first-hand recollections of the septuagenarian and octogenarian Dust Bowl survivors are unquestionably the heart and soul of the film. Unfortunately, their anecdotes and memories can’t sustain their power and hold on us for four hours.\u003c/p>\n\u003cp>\u003ci>The Dust Bowl\u003c/i> concludes with a present-day warning about our short-sighted and misguided use of resources. The Ogallala Aquifer, a vast underground reserve of fresh water in the middle of the country, is being drained to irrigate corn for hogs and cattle. That is, the drinking water of future generations is being used up to satisfy our appetite for meat.\u003c/p>\n\u003cp>Historians like Ken Burns tend to see history repeating itself in various ways before our eyes. \u003ci>The Dust Bowl\u003c/i> is a deeply personal, quietly restrained appeal to remove our blinders.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Dust Bowl \u003c/i> airs Sunday, November 18 and Monday, November 19, 2012, 8-10pm on KQED-Channel 9. For \u003ca href=\"http://www.pbs.org/kenburns/dustbowl/\">more information\u003c/a> visit pbs.org/kenburns/dustbowl.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Contrary to what we were taught in elementary school, history is subjective. Every chronicle, biography, textbook, and documentary about the past has a point of view. It’s an interpretation, whether it’s Robert A. Caro’s four-volume \u003ci>The Years of Lyndon Johnson\u003c/i>, The Band’s four-minute \u003ci>The Night They Drove Old Dixie Down\u003c/i>, or the latest fundamentalist social studies book adopted by the Texas State Board of Education.\u003c/p>\n\u003cp>This extends beyond the glib insight that history is written by the winners (an inconvenient truth that conservative revisionists never tire of waging guerilla warfare against), and recognizes that hindsight has many potential benefits. Alas, our track record with respect to learning from history is admittedly spotty.\u003c/p>\n\u003cp>My little prologue leads us to Ken Burns’ stark assertion underlying his latest immersive dive into a specific and volatile period in our nation’s checkered past, \u003ci>The Dust Bowl\u003c/i> (airing Sunday, November 18 and Monday, November 19 at 8 and 10pm on KQED-Channel 9): The environmental disaster that devastated the southern Plains states in the 1930s was man-made. The three contemporary historians convened for the occasion by the filmmaker describe the opportunistic and greedy stampede to turn grasslands into wheat fields via the mechanized plowing of hundreds of thousands of acres, in a region where the wind blew hard and steady and rainfall couldn’t be counted on. The impetus? The Federal government, needing to feed the troops during World War I and seeking an incentive to boost grain production, arbitrarily increased the price of wheat.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/13/CfakepathLangeWoman.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Dorthea Lange, \u003ci>Woman standing outside wooden shack with two small children and baby, Tulare County, California\u003c/i>, 1936. Courtesy of The Library of Congress.\u003c/p>\n\u003cp>The good times for farmers lasted all the way through the 1920s, and even after the Crash of 1929. But a drought combined with the Great Depression produced the aberration of small yields \u003ci>and\u003c/i> low prices. Poverty was compounded by the nightmare of incredible (and unprecedented) dust and sand storms seemingly without end. A lot of defiant and hard-working farmers in Kansas, Oklahoma, Colorado, New Mexico, and Texas blamed the plague of storms on the continual lack of rain. Nature and/or God was responsible, they said, and took no responsibility for the large-scale adoption of misguided practices that had led to mass erosion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Make no mistake, \u003ci>The Dust Bowl\u003c/i> is unwavering throughout its four hours in its admiration for the resilience and persistence of farmers, and its empathy for the suffering of fathers, wives, and children. (Burns devotes a substantial chunk of time to “dust pneumonia,” a potentially fatal respiratory condition to which children were particularly susceptible.) In fact, the saga is primarily recounted by folks who grew up on farms in the southern Plains states in those dark, dry years.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/13/CfakepathRothstein.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Arthur Rothstein, \u003ci>A car is chased by a “black blizzard” in the Texas Panhandle\u003c/i>, March 1936. Courtesy of The Library of Congress.\u003c/p>\n\u003cp>Burns employed the same ground-level approach to history in \u003ci>The War\u003c/i> and other films, pushing the so-called “major” historical figures to the sidelines. FDR and Secretary of Agriculture Henry Wallace are given a few necessary cameos here, but this is not their story.\u003c/p>\n\u003cp>That said, \u003ci>The Dust Bowl\u003c/i> details the many ways Federal action alleviated the crisis, from the nationwide Works Progress Administration to specific programs designed to help Dust Bowlers. The film unambiguously argues that only Big Government could marshal the resources and assistance to combat such Big Problems. You can’t miss the contemporary relevance, and wonder how \u003ci>The Dust Bowl\u003c/i> will play in the now-red states of Oklahoma, Kansas, and Texas. One of the wonderful things about history is that exposure to facts tends to shatter myths and misconceptions.\u003c/p>\n\u003cp>\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/MYOmjQO_UMw'\n title='//www.youtube.com/embed/MYOmjQO_UMw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>From a filmmaking standpoint, Burns springs precious few surprises in \u003ci>The Dust Bowl\u003c/i>. He uses several Woody Guthrie tunes to excellent effect in a refreshing relief from the wash of familiar, generic banjo picking and tinkling piano. Peter Coyote, whose wall-to-wall narration turned Burns’ \u003ci>Prohibition\u003c/i> (2011) into an illustrated monologue (through no fault of his own), once again carries a good deal of the load. The first-hand recollections of the septuagenarian and octogenarian Dust Bowl survivors are unquestionably the heart and soul of the film. Unfortunately, their anecdotes and memories can’t sustain their power and hold on us for four hours.\u003c/p>\n\u003cp>\u003ci>The Dust Bowl\u003c/i> concludes with a present-day warning about our short-sighted and misguided use of resources. The Ogallala Aquifer, a vast underground reserve of fresh water in the middle of the country, is being drained to irrigate corn for hogs and cattle. That is, the drinking water of future generations is being used up to satisfy our appetite for meat.\u003c/p>\n\u003cp>Historians like Ken Burns tend to see history repeating itself in various ways before our eyes. \u003ci>The Dust Bowl\u003c/i> is a deeply personal, quietly restrained appeal to remove our blinders.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Dust Bowl \u003c/i> airs Sunday, November 18 and Monday, November 19, 2012, 8-10pm on KQED-Channel 9. For \u003ca href=\"http://www.pbs.org/kenburns/dustbowl/\">more information\u003c/a> visit pbs.org/kenburns/dustbowl.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Stage Left: A Story of Theater in San Francisco\u003c/i>, Austin Forbord’s compact yet ambitious history of Bay Area stagecraft, reminds us how much duller and more conservative this city is today than even 20 years ago. That’s not its primary intent, nor is the documentary overly nostalgic. I should also note that adventurous productions are presently performed in countless small venues most nights of the week. But the straight truth is that the once-palpable excitement and unpredictability — and the way in which the artists and the audience were so intertwined and fed off each other — no longer exists.\u003c/p>\n\u003cp>The focus of \u003ci>Stage Left\u003c/i>, which airs Sunday, November 11, 2012 as part of KQED-TV’s long-running “Truly CA” documentary series, is the period when remarkable talents such as Hibiscus, Sam Shepard, John O’Keefe, Bill Irwin, George Coates, and Chris Hardman made San Francisco the nation’s capital of daring theater. The film opens with a rapid-fire montage of Beats, hippies, and Lenny Bruce that evokes the tradition of tolerance that made this city a destination for political radicals, queer pioneers, and genre-busting performers drawn to the stage.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/08/CfakepathStageLeft1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>The first tip of the fedora goes to the Actor’s Workshop, founded in 1952, which introduced subversive playwrights such as Brecht, Beckett, Pinter, Albee, and Genet to local audiences (including numerous artists, naturally). Its reputation and influence was so widely recognized that New York’s Lincoln Center lured the company away a mere 15 years on.\u003c/p>\n\u003cp>The swath carved locally by Actor’s Workshop was considerable, from alumnus R.G. Davis’ founding of the S.F. Mime Troupe in 1959 to the courting of William Ball (to fill the void left by the Workshop’s departure) that resulted in American Conservatory Theatre making San Francisco its home in 1967. Among its highlights, the film treats us to rare performance footage of the Mime Troupe’s controversial 1965 production, \u003ci>A Minstrel Show (or Civil Rights in a Cracker Barrel)\u003c/i>, performed in blackface, and \u003ci>Tartuffe\u003c/i>, with which ACT began its admirable run.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/08/CfakepathStageLeft2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Former Mime Trouper Peter Coyote is one of three recurring interviewees, along with \u003ci>San Francisco Chronicle\u003c/i> (and previously \u003ci>East Bay Express\u003c/i>) critic Robert Hurwitt and documentary filmmaker David Weissman (\u003ci>The Cockettes\u003c/i>). Weissman contributes his insights into the flamboyant and popular (and often LSD-influenced) gay/drag shows of the Cockettes and their immediate successor, the Angels of Light. Theatre Rhinoceros is saluted for the brave act of staging \u003ci>The AIDS Show\u003c/i>, the first play in the country about the epidemic whose toll inevitably included many, many, many gifted theater artists. “Most of the people you should be interviewing died off,” performer and director John LeFan tells the camera. “AIDS killed them.”\u003c/p>\n\u003cp>Deftly organized and edited, \u003ci>Stage Left\u003c/i> gracefully weaves in every important movement and company without us ever feeling that a (politically correct) box is being checked off. Attention must be paid (as Willy Loman’s wife said), and is, to Luis Valdez’s El Teatro Campesino, Larry Pisoni’s “new vaudeville” Pickle Family Circus (and his brilliant co-clowns Bill Irwin and Geoff Hoyle), playwright Philip Gotanda and Asian American Theatre Company, and the physical and visceral Blake Street Hawkeyes of Robert Ernst, Cynthia Moore, and John O’Keefe.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=gBMwFU96krQ&w=480&h=270]\u003c/p>\n\u003cp>We are reminded that Magic Theatre founder John Lion and dramaturg Martin Esslin were astute enough to promise Sam Shepard that they’d produce a new play of his every year, which paid off with masterworks like \u003ci>Buried Child\u003c/i> and \u003ci>True West\u003c/i> (though the Steppenwolf Theater clip of John Malkovich and Gary Sinise in the admittedly amazing Chicago production feels out of place in a film about the Bay Area theater scene). And, lest anyone forget, the Eureka Theatre on 16th Street commissioned Tony Kushner’s coast-to-coast hit, \u003ci>Angels in America\u003c/i>, in 1991.\u003c/p>\n\u003cp>\u003ci>Stage Left\u003c/i> isn’t a then-and-now film that overtly tries to convince us of the value of live theater. Nor does it consider its role in a disembodied smartphone/Facebook world. The attentive viewer may be compelled to initiate such a conversation at the conclusion of the one-hour broadcast. Or, for that matter, to debate whether modern-day San Francisco still meets the requirement voiced by performance artist Guillermo Gómez-Pena: “I am a citizen of difference. I want to live in a city that expresses difference, that exudes difference.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Stage Left\u003c/i> airs Sunday, November 11 at 10pm on KQED-Channel 9. For \u003ca href=\"http://stageleft-movie.com/\">more information\u003c/a>, visit stageleft-movie.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/08/CfakepathStageLeft2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Former Mime Trouper Peter Coyote is one of three recurring interviewees, along with \u003ci>San Francisco Chronicle\u003c/i> (and previously \u003ci>East Bay Express\u003c/i>) critic Robert Hurwitt and documentary filmmaker David Weissman (\u003ci>The Cockettes\u003c/i>). Weissman contributes his insights into the flamboyant and popular (and often LSD-influenced) gay/drag shows of the Cockettes and their immediate successor, the Angels of Light. Theatre Rhinoceros is saluted for the brave act of staging \u003ci>The AIDS Show\u003c/i>, the first play in the country about the epidemic whose toll inevitably included many, many, many gifted theater artists. “Most of the people you should be interviewing died off,” performer and director John LeFan tells the camera. “AIDS killed them.”\u003c/p>\n\u003cp>Deftly organized and edited, \u003ci>Stage Left\u003c/i> gracefully weaves in every important movement and company without us ever feeling that a (politically correct) box is being checked off. Attention must be paid (as Willy Loman’s wife said), and is, to Luis Valdez’s El Teatro Campesino, Larry Pisoni’s “new vaudeville” Pickle Family Circus (and his brilliant co-clowns Bill Irwin and Geoff Hoyle), playwright Philip Gotanda and Asian American Theatre Company, and the physical and visceral Blake Street Hawkeyes of Robert Ernst, Cynthia Moore, and John O’Keefe.\u003c/p>\n\u003cp>\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/gBMwFU96krQ'\n title='//www.youtube.com/embed/gBMwFU96krQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>We are reminded that Magic Theatre founder John Lion and dramaturg Martin Esslin were astute enough to promise Sam Shepard that they’d produce a new play of his every year, which paid off with masterworks like \u003ci>Buried Child\u003c/i> and \u003ci>True West\u003c/i> (though the Steppenwolf Theater clip of John Malkovich and Gary Sinise in the admittedly amazing Chicago production feels out of place in a film about the Bay Area theater scene). And, lest anyone forget, the Eureka Theatre on 16th Street commissioned Tony Kushner’s coast-to-coast hit, \u003ci>Angels in America\u003c/i>, in 1991.\u003c/p>\n\u003cp>\u003ci>Stage Left\u003c/i> isn’t a then-and-now film that overtly tries to convince us of the value of live theater. Nor does it consider its role in a disembodied smartphone/Facebook world. The attentive viewer may be compelled to initiate such a conversation at the conclusion of the one-hour broadcast. Or, for that matter, to debate whether modern-day San Francisco still meets the requirement voiced by performance artist Guillermo Gómez-Pena: “I am a citizen of difference. I want to live in a city that expresses difference, that exudes difference.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Stage Left\u003c/i> airs Sunday, November 11 at 10pm on KQED-Channel 9. For \u003ca href=\"http://stageleft-movie.com/\">more information\u003c/a>, visit stageleft-movie.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Dadaists — or was it the Surrealists? — conjured the delirious idea of watching films as if they were dreams. It could be the dream of the main character, perhaps, which is as valid a way as any of appreciating \u003ci>Vertigo\u003c/i> or \u003ci>Chinatown\u003c/i>, or the dream of the filmmaker (Buster Keaton, David Lynch and Belá Tarr, notably, invite us into their heads).\u003c/p>\n\u003cp>This month’s array of cinematic temptations offers a wealth of disorienting opportunities to drift into bizarre flights of fancy. Fasten your seatbelts, it’s going to be a — heck, I wouldn’t presume to tell you what kind of ride you’re in for. Every film is ultimately \u003ci>your\u003c/i> dream, after all.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/janalice.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Alice\u003c/i>\u003c/p>\n\u003cp>The astonishing animator Jan Svankmajer was born in Prague in 1934, and the twisted and darkly funny world of his films is infused with an off-center Eastern European sensibility inevitably informed by the alternate-universe propaganda of Soviet-style communism. (It’s no surprise that he has adapted writers such as Poe, Goethe and Lewis Carroll.) The Yerba Buena Center for the Arts series \u003cb>Animating Dark Dreams: The Films of Jan Svankmajer\u003c/b>, running Nov. 8-29, 2012, features a new 35mm print of \u003ci>Alice\u003c/i> (1989), as well as the Bay Area premiere of his latest feature, \u003ci>Surviving Life\u003c/i> (2010), the story of a married man whose waking and dream lives overlap, mingle and meld. For \u003ca href=\"http://www.ybca.org/animating-dark-dreams-films-jan-svankmajer/\">more information\u003c/a>, visit ybca.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/girllikeher.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>A Girl Like Her\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Do you still insist, at this late date, that nothing is more absolutely, unequivocally real than daily life? Then how do you explain Herman Cain’s campaign for the Presidency, or dog-grooming competitions, or Keanu Reeves’ career? Life is weird s—, man. The 11th annual San Francisco Documentary Festival, more familiarly known as DocFest (Nov. 8-21, 2012), is partial to films that locate the strangeness in everyday settings. This year’s typically wide-ranging lineup encompasses \u003ci>A Girl Like Her\u003c/i> (about unwed mothers before Roe. v. Wade), \u003ci>Herman’s House\u003c/i> (which traces the unlikely collaboration between artist Jackie Sumell and Herman Wallace, one of the Angola 3 convicted in 1972 — and sentenced to decades of solitary confinement — for allegedly murdering a prison guard), and much, much more. For \u003ca href=\"http://sfdocfest.festivalgenius.com/2012/films/\">more information\u003c/a> visit sfdocfest.festivalgenius.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sunrise.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Sunrise\u003c/i>\u003c/p>\n\u003cp>The lack of dialogue may put you off silent films, but consider for a moment what’s gained by eliminating the annoying chatter that, in contemporary movies, tends to distract rather than reveal. Does it not evoke a kind of dream state, and speak to us as a missive from a world that exists on the other side of a veil (or screen)? Author, artist, photographer and bookmaker Peter Linenthal, the director (as near as we can ascertain) of the Potrero Hill Archive Project and producer of the annual Potrero Hill History Night (taking place this year on Nov. 3, 2012) presents three shows of silent movies at the New Potrero Theater on Fri., Nov. 9 and Sat., Nov. 10. The program includes 1930s home movies shot on the Hill, followed by F.W. Murnau’s pioneering (and still moving) 1927 feature, \u003ci>Sunrise\u003c/i>. For \u003ca href=\"http://www.potreroarchives.com/Archives/Welcome.html/\">more information\u003c/a> visit potreroarchives.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nataliewood.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>San Francisco native Natalia Nikolaevna Zakharenko, aka Natasha Gurdin, aka Natalie Wood, had three Oscar nominations before her 26th birthday (for \u003ci>Rebel Without a Cause\u003c/i>, \u003ci>Splendor in the Grass\u003c/i> and \u003ci>Love With the Proper Stranger\u003c/i>). The dream factory of Hollywood extracted a price for fame and fortune, one could say, for Wood drowned in a mysterious boating/drinking accident off Catalina Island 31 years ago this month at the age of 43. Another S.F. icon, events maestro Marc Huestis, marks the downbeat anniversary with an upbeat retrospective of Wood’s films and a rare, candid onstage interview with her sister, Lana. Glamour makes a comeback when \u003cb>Forever Natalie Wood\u003c/b> takes over the Castro Theatre, Nov. 9-11, 2012. For \u003ca href=\"http://www.castrotheatre.com/s-events.html/\">more information\u003c/a> visit www.castrotheatre.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lvportrait.jpg\" style=\"margin-bottom: 10px\" alt=\"\">>\u003cbr>\u003ci>Portrait of Las Vegas\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The brilliant and uncompromising experimental filmmaker and college instructor Craig Baldwin — an icon of the San Francisco underground who deserves a statue, or at the very least a permanent installation in his favorite Mission District taqueria — has programmed Other Cinema at ATA Gallery with unflagging verve and passion for literally decades. A Saturday night bastion of formally and thematically subversive and poetic film and video, Other presents mind-blowing new work by veteran and newly minted artists. The Nov. 17 show, \u003cb>Desert Rats\u003c/b>, includes the latest heat-inspired offerings from S. F. faves Sam Green (\u003ci>Portrait of Las Vegas\u003c/i>), Scott Stark (\u003ci>Bloom\u003c/i>), Bill Daniel, Laura Kraning and others. When all else fails, there’s nothing like a little sunstroke to push your mind into an alternate dimension. For \u003ca href=\"http://www.othercinema.com/calendar/index.html/\">more information\u003c/a> visit othercinema.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Dadaists — or was it the Surrealists? — conjured the delirious idea of watching films as if they were dreams. It could be the dream of the main character, perhaps, which is as valid a way as any of appreciating \u003ci>Vertigo\u003c/i> or \u003ci>Chinatown\u003c/i>, or the dream of the filmmaker (Buster Keaton, David Lynch and Belá Tarr, notably, invite us into their heads).\u003c/p>\n\u003cp>This month’s array of cinematic temptations offers a wealth of disorienting opportunities to drift into bizarre flights of fancy. Fasten your seatbelts, it’s going to be a — heck, I wouldn’t presume to tell you what kind of ride you’re in for. Every film is ultimately \u003ci>your\u003c/i> dream, after all.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/janalice.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Alice\u003c/i>\u003c/p>\n\u003cp>The astonishing animator Jan Svankmajer was born in Prague in 1934, and the twisted and darkly funny world of his films is infused with an off-center Eastern European sensibility inevitably informed by the alternate-universe propaganda of Soviet-style communism. (It’s no surprise that he has adapted writers such as Poe, Goethe and Lewis Carroll.) The Yerba Buena Center for the Arts series \u003cb>Animating Dark Dreams: The Films of Jan Svankmajer\u003c/b>, running Nov. 8-29, 2012, features a new 35mm print of \u003ci>Alice\u003c/i> (1989), as well as the Bay Area premiere of his latest feature, \u003ci>Surviving Life\u003c/i> (2010), the story of a married man whose waking and dream lives overlap, mingle and meld. For \u003ca href=\"http://www.ybca.org/animating-dark-dreams-films-jan-svankmajer/\">more information\u003c/a>, visit ybca.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/girllikeher.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>A Girl Like Her\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Do you still insist, at this late date, that nothing is more absolutely, unequivocally real than daily life? Then how do you explain Herman Cain’s campaign for the Presidency, or dog-grooming competitions, or Keanu Reeves’ career? Life is weird s—, man. The 11th annual San Francisco Documentary Festival, more familiarly known as DocFest (Nov. 8-21, 2012), is partial to films that locate the strangeness in everyday settings. This year’s typically wide-ranging lineup encompasses \u003ci>A Girl Like Her\u003c/i> (about unwed mothers before Roe. v. Wade), \u003ci>Herman’s House\u003c/i> (which traces the unlikely collaboration between artist Jackie Sumell and Herman Wallace, one of the Angola 3 convicted in 1972 — and sentenced to decades of solitary confinement — for allegedly murdering a prison guard), and much, much more. For \u003ca href=\"http://sfdocfest.festivalgenius.com/2012/films/\">more information\u003c/a> visit sfdocfest.festivalgenius.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sunrise.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Sunrise\u003c/i>\u003c/p>\n\u003cp>The lack of dialogue may put you off silent films, but consider for a moment what’s gained by eliminating the annoying chatter that, in contemporary movies, tends to distract rather than reveal. Does it not evoke a kind of dream state, and speak to us as a missive from a world that exists on the other side of a veil (or screen)? Author, artist, photographer and bookmaker Peter Linenthal, the director (as near as we can ascertain) of the Potrero Hill Archive Project and producer of the annual Potrero Hill History Night (taking place this year on Nov. 3, 2012) presents three shows of silent movies at the New Potrero Theater on Fri., Nov. 9 and Sat., Nov. 10. The program includes 1930s home movies shot on the Hill, followed by F.W. Murnau’s pioneering (and still moving) 1927 feature, \u003ci>Sunrise\u003c/i>. For \u003ca href=\"http://www.potreroarchives.com/Archives/Welcome.html/\">more information\u003c/a> visit potreroarchives.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nataliewood.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>San Francisco native Natalia Nikolaevna Zakharenko, aka Natasha Gurdin, aka Natalie Wood, had three Oscar nominations before her 26th birthday (for \u003ci>Rebel Without a Cause\u003c/i>, \u003ci>Splendor in the Grass\u003c/i> and \u003ci>Love With the Proper Stranger\u003c/i>). The dream factory of Hollywood extracted a price for fame and fortune, one could say, for Wood drowned in a mysterious boating/drinking accident off Catalina Island 31 years ago this month at the age of 43. Another S.F. icon, events maestro Marc Huestis, marks the downbeat anniversary with an upbeat retrospective of Wood’s films and a rare, candid onstage interview with her sister, Lana. Glamour makes a comeback when \u003cb>Forever Natalie Wood\u003c/b> takes over the Castro Theatre, Nov. 9-11, 2012. For \u003ca href=\"http://www.castrotheatre.com/s-events.html/\">more information\u003c/a> visit www.castrotheatre.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lvportrait.jpg\" style=\"margin-bottom: 10px\" alt=\"\">>\u003cbr>\u003ci>Portrait of Las Vegas\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The brilliant and uncompromising experimental filmmaker and college instructor Craig Baldwin — an icon of the San Francisco underground who deserves a statue, or at the very least a permanent installation in his favorite Mission District taqueria — has programmed Other Cinema at ATA Gallery with unflagging verve and passion for literally decades. A Saturday night bastion of formally and thematically subversive and poetic film and video, Other presents mind-blowing new work by veteran and newly minted artists. The Nov. 17 show, \u003cb>Desert Rats\u003c/b>, includes the latest heat-inspired offerings from S. F. faves Sam Green (\u003ci>Portrait of Las Vegas\u003c/i>), Scott Stark (\u003ci>Bloom\u003c/i>), Bill Daniel, Laura Kraning and others. When all else fails, there’s nothing like a little sunstroke to push your mind into an alternate dimension. For \u003ca href=\"http://www.othercinema.com/calendar/index.html/\">more information\u003c/a> visit othercinema.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"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": "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.",
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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"tagline": "True-life supernatural stories",
"info": "",
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