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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At this odd moment on the timeline of moving-picture history, it’s hard to know whether to look forward or backward. You may have to train your eye to do both at once. It may hurt a little.\u003c/p>\n\u003cp>Or at least that’s how things may appear when you’re facing a vast retrospective of what once seemed so forward-looking. And so it is with \u003cb>Radical Light: Alternative Film and Video in the San Francisco Bay Area, 1945-2000\u003c/b>, the first official Pacific Film Archive book, due soon from UC Press and annotated by a whole season’s worth of screenings at the PFA and elsewhere (co-sponsored by San Francisco Cinematheque).\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/duo.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“Duo Concertantes”\u003c/p>\n\u003cp>It’s not easy to summarize the legacy of that which burgeoned in the 1940s filmmaking workshops at what is now the San Francisco Art Institute, among other local creative nooks. But it is safe to say, as \u003cb>Radical Light\u003c/b> does, that “the Bay Area has been a global center for an extraordinary constellation of artists who use film and video not for entertainment or documentation, but as an apparatus for the untethered pursuit of personal expression.”\u003c/p>\n\u003cp>Any given film will seem like a fine example, even if selected randomly. Take Allen Willis, Philip Greene and David Myers’ \u003cb>Have You Sold Your Dozen Roses?\u003c/b>, from 1957, in which images of a San Francisco garbage dump — hovering gulls, trash avalanches — get a poetic narration of sorts from Lawrence Ferlinghetti: “Oh say can you see by the dawn’s early blight?” Or Gunvor Nelson and Dorothy Wiley’s fiercely feminist pop pastiche \u003cb>Schmeeerguntz\u003c/b>, from 1966, which runs a gamut of culturally approved female experience, and sets up a behavioral dialectic — between prissy beauty pageants and brawny roller derbies — that’s still in play today. Or Curt McDowell’s \u003cb>A Visit to Indiana\u003c/b>, an unseen 1970 dialogue played over quaint home-movie imagery to characteristically sad and funny effect, implying that for Bay Area artists who hail from the mid-century Midwest, at least, you really can’t go home again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, you’re right to worry that any retrospective of the untethered pursuit of personal expression might soon enough become self-enclosing — like how, after a while, some old Beat poets couldn’t seem to write anything besides the names of their Beat poet friends. But \u003cb>Radical Light\u003c/b> is an astutely sophisticated sort of scrapbook, and inherently pluralistic. Its whole point is to chronicle our collective cinematic forays into political activism, sexual liberation, literary translation, formal interrogation, technological enhancement, and the timeless art-making impulse to just feel less alone in a weird and variously alienating world.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bed.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“The Bed”\u003c/p>\n\u003cp>And it is apt for this historical moment, when their exploded abundance practically demands a reevaluation of what moving images mean to us. Or what they someday will mean. If \u003cb>Radical Light\u003c/b> doesn’t go out of its way to point out that even the cleverest stuff on YouTube already has been done, and often done better, maybe it’s just to suggest that the real benefit of the well-trained eye is a sense of perspective.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Radical Light: Alternative Film and Video in the San Francisco Bay Area\u003c/b> begins September 17, 2010, at the Berkeley Art Museum and Pacific Film Archive in Berkeley, with related screenings thereafter at SFMOMA, Artists’ Television Access and the Victoria Theatre in San Francisco. For \u003ca href=\"http://www.bampfa.berkeley.edu\">tickets and more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Americans consume more movies than ever, but films (or film, for those of us who esteem the medium more as an art form than as entertainment or commerce) are no longer an especially important part in our culture. You’ll be more likely to disagree with that bold assertion, I expect, if you embrace the increasingly common practice of watching movies on your laptop or cell phone or wireless portable tablet. But it’s pretty self-evident to me that where we see movies, and the size of the screen, affects their power to lodge themselves in our minds.\u003c/p>\n\u003cp>“Rebecca Solnit’s Infinite City: A San Francisco Atlas,” SFMOMA’s ongoing series inspired by her new book, contemplates the ephemeral and mysterious nature of movies as well as the sacred splendor and status of theaters with this week’s focus on “Cinema City.” I submit that the world is divided into two groups, those who are endlessly fascinated by the ways in which films work on us (and talk about it at any opportunity with friends and strangers alike) and those who enjoy eating popcorn in the dark. Now, I can accept people who don’t get pleasure out of discussing or analyzing movies. But I don’t much fancy those who dismiss theaters, and seeing movies with the masses, as an outmoded vestige of an earlier era.\u003c/p>\n\u003cp>“Housing Shadows and Projecting Fog” (Thursday, September 9 at 9pm at SFMOMA) engages these philosophical and sociological concerns with a pair of works in progress by gifted Bay Area documentary makers. Christian Bruno’s long-in-the-works \u003cb>Strand: A Natural History of Cinema\u003c/b> revisits the golden age of S.F. movie palaces and rep houses, when the notions of urban living and public spaces were at their peak. Andy Black and Sam Green’s \u003cb>Fog City\u003c/b> is a geographically specific mood piece that echoes and evokes the experience we’ve all had of this city on those occasions when it feels like a state of mind — or a set for a “B” movie — rather than a real place.\u003c/p>\n\u003cp>The second stage of SFMOMA’s dream inquiry consists of a field trip — four, actually — on Saturday, September 11. The sequence of site-specific screenings begins at noon at the Balboa Theater (3630 Balboa St.), a short, brisk breeze from the Cliff House, where avant-garde filmmaker extraordinaire Ernie Gehr documented the Musée Mécanique’s curious collection of coin-operated artifacts in \u003cb>Cotton Candy\u003c/b> (2001) before it relocated to the Wharf.\u003c/p>\n\u003cp>The nearby Four Star (2200 Clement) plays host at 3pm to “Mean Streets,” a series of short films by Chip Lord, Lourdes Portillo, Konrad Steiner and Graham Connah inspired by Hollywood’s action-oriented exploitation of our hills, curves and swerves. (Yes, \u003cb>Bullitt\u003c/b> is a favored point of reference.) The neighborhood and the vibe shifts dramatically at 6pm, when \u003cb>Pickup’s Tricks\u003c/b>, Gregory Pickup’s 1973 documentary portrait of the Cockettes’ master ringleader, Hibiscus, spooks the horses at the Roxie (3117 16th St.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The tour of San Francisco’s endangered single-screen theaters concludes at midnight at the Vogue (3290 Sacramento) with — what else — \u003cb>Vertigo\u003c/b>. Alfred Hitchcock’s 1958 masterpiece of manipulation (his of us, and Scottie’s of Judy) etched San Francisco forever as a city where beauty was truly skin deep, identity was fungible and corruption thrived like a Venus flytrap in the broad California daylight. We all live in some variation of that movie version of San Francisco, even if you’ve only seen \u003cb>Vertigo\u003c/b> on a computer monitor. And even, or especially, if you’d rather not talk about it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Infinite City: Cinema City\u003c/b> comprises two events: “Housing Shadows and Projecting Fog” screens Thursday, September 9, 2010 at the San Francisco Museum of Modern Art, 151 Third St. “A Few Dream Palaces of San Francisco” unspools at four theaters on Saturday, September 11, 2010. For \u003ca href=\"http://www.sfmoma.org/events/1722\">more information\u003c/a> visit sfmoma.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Americans consume more movies than ever, but films (or film, for those of us who esteem the medium more as an art form than as entertainment or commerce) are no longer an especially important part in our culture. You’ll be more likely to disagree with that bold assertion, I expect, if you embrace the increasingly common practice of watching movies on your laptop or cell phone or wireless portable tablet. But it’s pretty self-evident to me that where we see movies, and the size of the screen, affects their power to lodge themselves in our minds.\u003c/p>\n\u003cp>“Rebecca Solnit’s Infinite City: A San Francisco Atlas,” SFMOMA’s ongoing series inspired by her new book, contemplates the ephemeral and mysterious nature of movies as well as the sacred splendor and status of theaters with this week’s focus on “Cinema City.” I submit that the world is divided into two groups, those who are endlessly fascinated by the ways in which films work on us (and talk about it at any opportunity with friends and strangers alike) and those who enjoy eating popcorn in the dark. Now, I can accept people who don’t get pleasure out of discussing or analyzing movies. But I don’t much fancy those who dismiss theaters, and seeing movies with the masses, as an outmoded vestige of an earlier era.\u003c/p>\n\u003cp>“Housing Shadows and Projecting Fog” (Thursday, September 9 at 9pm at SFMOMA) engages these philosophical and sociological concerns with a pair of works in progress by gifted Bay Area documentary makers. Christian Bruno’s long-in-the-works \u003cb>Strand: A Natural History of Cinema\u003c/b> revisits the golden age of S.F. movie palaces and rep houses, when the notions of urban living and public spaces were at their peak. Andy Black and Sam Green’s \u003cb>Fog City\u003c/b> is a geographically specific mood piece that echoes and evokes the experience we’ve all had of this city on those occasions when it feels like a state of mind — or a set for a “B” movie — rather than a real place.\u003c/p>\n\u003cp>The second stage of SFMOMA’s dream inquiry consists of a field trip — four, actually — on Saturday, September 11. The sequence of site-specific screenings begins at noon at the Balboa Theater (3630 Balboa St.), a short, brisk breeze from the Cliff House, where avant-garde filmmaker extraordinaire Ernie Gehr documented the Musée Mécanique’s curious collection of coin-operated artifacts in \u003cb>Cotton Candy\u003c/b> (2001) before it relocated to the Wharf.\u003c/p>\n\u003cp>The nearby Four Star (2200 Clement) plays host at 3pm to “Mean Streets,” a series of short films by Chip Lord, Lourdes Portillo, Konrad Steiner and Graham Connah inspired by Hollywood’s action-oriented exploitation of our hills, curves and swerves. (Yes, \u003cb>Bullitt\u003c/b> is a favored point of reference.) The neighborhood and the vibe shifts dramatically at 6pm, when \u003cb>Pickup’s Tricks\u003c/b>, Gregory Pickup’s 1973 documentary portrait of the Cockettes’ master ringleader, Hibiscus, spooks the horses at the Roxie (3117 16th St.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The tour of San Francisco’s endangered single-screen theaters concludes at midnight at the Vogue (3290 Sacramento) with — what else — \u003cb>Vertigo\u003c/b>. Alfred Hitchcock’s 1958 masterpiece of manipulation (his of us, and Scottie’s of Judy) etched San Francisco forever as a city where beauty was truly skin deep, identity was fungible and corruption thrived like a Venus flytrap in the broad California daylight. We all live in some variation of that movie version of San Francisco, even if you’ve only seen \u003cb>Vertigo\u003c/b> on a computer monitor. And even, or especially, if you’d rather not talk about it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Infinite City: Cinema City\u003c/b> comprises two events: “Housing Shadows and Projecting Fog” screens Thursday, September 9, 2010 at the San Francisco Museum of Modern Art, 151 Third St. “A Few Dream Palaces of San Francisco” unspools at four theaters on Saturday, September 11, 2010. For \u003ca href=\"http://www.sfmoma.org/events/1722\">more information\u003c/a> visit sfmoma.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In his Criterion Collection DVD commentary on Laurence Olivier’s \u003cb>Henry V\u003c/b>, from 1944, film historian Bruce Eder proclaims this the first successful attempt to bring a Shakespeare play to the silver screen. “Up until its release, film adaptations of Shakespeare had succeeded neither as Shakespeare, nor as films,” Eder intones. “Olivier’s was the first to succeed on both counts.” He goes on, reasonably enough, to decry all earlier efforts as hampered by awe, and “respectful to the point of cold sterility.” \u003c/p>\n\u003cp>Wait, what? Had Eder not seen Max Reinhardt’s glittery \u003cb>A Midsummer Night’s Dream\u003c/b>, from 1935, with the little moonlight-kissed Mickey Rooney, the spastic James Cagney, the eager Olivia de Havilland — not to mention the immortal music of Felix Mendelssohn? Or how about that silent German production of \u003cb>Hamlet\u003c/b> (subtitled “The Drama of VENGEANCE”) from 1920? That’s the one that ends with the brooding Dane’s grief-stricken pal Horatio copping a feel of his friend’s fresh corpse, only to announce, “Death reveals thy tragic secret!” Namely, that Hamlet was a girl.\u003c/p>\n\u003cp>Granted, these films do have their limitations. Neither title cards nor Warner Brothers production budgets do much justice to the nuance of Shakespeare’s poetry, for instance. But they also rebuke the logic of Eder’s introductory assertion. As if England’s national history and myth were the Bard’s personal property, and solely his invention. As if Olivier’s admittedly rich and marvelous directorial debut wasn’t only one element of an enduring cultural continuum.\u003c/p>\n\u003cp>Anyway, it’s no matter. You won’t need the Pacific Film Archive’s \u003cb>Shakespeare on Screen\u003c/b> series merely as ammunition for debating DVD commentary. You’ll need it for getting caught up. After Olivier’s \u003cb>Henry V\u003c/b>, to be sure, the gates were open; we have no shortage now of Shakespeare films (with still more on the way, like a new take on \u003cb>The Tempest\u003c/b> starring Helen Mirren), and this small batch — a baker’s dozen, in total — should serve to show off the full range of cinematic adaptation techniques.\u003c/p>\n\u003cp>Classics are classics because they’re worth revisiting. So you ask yourself: Is Baz Luhrmann’s \u003cb>Romeo + Juliet\u003c/b>, the one with Leonardo DiCaprio and Claire Danes, as preposterous as you remember? Is Kurosawa’s \u003cb>Throne of Blood\u003c/b> as essential? The answer is of course.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Which should not imply any foreclosure of discoveries, rhapsodies and abstractions. Try Aki Kaurismäki’s black-comedy \u003cb>Hamlet Goes Business\u003c/b>; or the intellectually impish \u003cb>King Lear\u003c/b> written by Norman Mailer and directed by Jean-Luc Godard; or Derek Jarman’s \u003cb>The Angelic Conversation\u003c/b>, in which a reverby Judi Dench reads the sonnets over homo-erotic Super-8 home movies; or Orson Welles’ \u003cb>Chimes at Midnight\u003c/b>, a biographical interrogation of that deliciously Shakespearean recurring character, Sir John Falstaff.\u003c/p>\n\u003cp>Try them all, actually, and then keep going, beyond this series’ regrettable if understandable limitations: toward, say, Polanski’s \u003cb>Macbeth\u003c/b>, or Peter Greenaway’s \u003cb>Prospero’s Books\u003c/b>, or the classic Cole Porter musical \u003cb>Kiss Me, Kate\u003c/b>. Check your findings against whatever the younger you once scrawled in the margins of those now yellowing Signet Classics. And do it as the master himself might suggest: “with pomp, with triumph, and with reveling.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Shakespeare on Screen\u003c/b> runs from September 3 through October 29, 2010, at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu\">tickets and more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In his Criterion Collection DVD commentary on Laurence Olivier’s \u003cb>Henry V\u003c/b>, from 1944, film historian Bruce Eder proclaims this the first successful attempt to bring a Shakespeare play to the silver screen. “Up until its release, film adaptations of Shakespeare had succeeded neither as Shakespeare, nor as films,” Eder intones. “Olivier’s was the first to succeed on both counts.” He goes on, reasonably enough, to decry all earlier efforts as hampered by awe, and “respectful to the point of cold sterility.” \u003c/p>\n\u003cp>Wait, what? Had Eder not seen Max Reinhardt’s glittery \u003cb>A Midsummer Night’s Dream\u003c/b>, from 1935, with the little moonlight-kissed Mickey Rooney, the spastic James Cagney, the eager Olivia de Havilland — not to mention the immortal music of Felix Mendelssohn? Or how about that silent German production of \u003cb>Hamlet\u003c/b> (subtitled “The Drama of VENGEANCE”) from 1920? That’s the one that ends with the brooding Dane’s grief-stricken pal Horatio copping a feel of his friend’s fresh corpse, only to announce, “Death reveals thy tragic secret!” Namely, that Hamlet was a girl.\u003c/p>\n\u003cp>Granted, these films do have their limitations. Neither title cards nor Warner Brothers production budgets do much justice to the nuance of Shakespeare’s poetry, for instance. But they also rebuke the logic of Eder’s introductory assertion. As if England’s national history and myth were the Bard’s personal property, and solely his invention. As if Olivier’s admittedly rich and marvelous directorial debut wasn’t only one element of an enduring cultural continuum.\u003c/p>\n\u003cp>Anyway, it’s no matter. You won’t need the Pacific Film Archive’s \u003cb>Shakespeare on Screen\u003c/b> series merely as ammunition for debating DVD commentary. You’ll need it for getting caught up. After Olivier’s \u003cb>Henry V\u003c/b>, to be sure, the gates were open; we have no shortage now of Shakespeare films (with still more on the way, like a new take on \u003cb>The Tempest\u003c/b> starring Helen Mirren), and this small batch — a baker’s dozen, in total — should serve to show off the full range of cinematic adaptation techniques.\u003c/p>\n\u003cp>Classics are classics because they’re worth revisiting. So you ask yourself: Is Baz Luhrmann’s \u003cb>Romeo + Juliet\u003c/b>, the one with Leonardo DiCaprio and Claire Danes, as preposterous as you remember? Is Kurosawa’s \u003cb>Throne of Blood\u003c/b> as essential? The answer is of course.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Which should not imply any foreclosure of discoveries, rhapsodies and abstractions. Try Aki Kaurismäki’s black-comedy \u003cb>Hamlet Goes Business\u003c/b>; or the intellectually impish \u003cb>King Lear\u003c/b> written by Norman Mailer and directed by Jean-Luc Godard; or Derek Jarman’s \u003cb>The Angelic Conversation\u003c/b>, in which a reverby Judi Dench reads the sonnets over homo-erotic Super-8 home movies; or Orson Welles’ \u003cb>Chimes at Midnight\u003c/b>, a biographical interrogation of that deliciously Shakespearean recurring character, Sir John Falstaff.\u003c/p>\n\u003cp>Try them all, actually, and then keep going, beyond this series’ regrettable if understandable limitations: toward, say, Polanski’s \u003cb>Macbeth\u003c/b>, or Peter Greenaway’s \u003cb>Prospero’s Books\u003c/b>, or the classic Cole Porter musical \u003cb>Kiss Me, Kate\u003c/b>. Check your findings against whatever the younger you once scrawled in the margins of those now yellowing Signet Classics. And do it as the master himself might suggest: “with pomp, with triumph, and with reveling.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Shakespeare on Screen\u003c/b> runs from September 3 through October 29, 2010, at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu\">tickets and more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It may be nigh impossible to rehabilitate the image of zombies (although the likable 2007 Canadian comedy \u003cb>Fido\u003c/b> came close, imagining the gruesome creatures as robotic servants), but vampires are a different breed. Much like George Hamilton and Clint Eastwood, they have transformed from punch lines and parasites into paragons of taste and figures of respect. Elegant, well mannered, needy and romantic, nowadays vampires are portrayed in movies as victims of their “condition” as much as (reluctant) predators. But scary? Not so much.\u003c/p>\n\u003cp>Yerba Buena Center For the Arts film curator Joel Shepherd, one of the most adventurous programmers in the Bay Area, has unearthed a trio of wildly diverse and generally rewarding flicks for a bite-and-run series he calls \u003cb>Dark In August: Rare Vampire Films\u003c/b>. It would be foolish to extrapolate grand revisionist themes from these random points on the vampire-film continuum, which range from the sublime to the ridiculous, so let’s just deal with them individually.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/near-dark.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>The weekend chowdown begins at 7:30pm tonight with \u003cb>Near Dark\u003c/b> (1987), the second feature directed by future Academy Award-winner Kathryn Bigelow. This halfway good movie (the patient, subtle first half) alternates a soft-centered love story with a superficial saga of familial loyalty, augmented by a couple of showy set pieces (a taunting, strutting massacre in a redneck bar, a high-noon motel shootout with the cops).\u003c/p>\n\u003cp>Adrian Pasdar is taken in by a Southwest-marauding “family” of vampires after his late-late-late-night pass at one of them (Jenny Wright) is met with a fang to the neck. (It’s not completely her fault, mind you.) Lance Henriksen and Bill Paxton supply most of the fun, as charming bloodsucking villains, along with Adam Greenberg’s sun-sensitive lensing. Original and thoughtful for a good chunk of its running time, the movie turns pulpy and sentimental in the final reels. You will not be surprised to learn, though, that Bigelow had a penchant for fiery explosions long before \u003cb>The Hurt Locker\u003c/b>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The colorfully titled \u003cb>Vampire Hookers\u003c/b> (1978), Cirio H. Santiago’s no-budget slice of exploitation chum, follows a pair of horny U.S. sailors on shore leave in San Francisco who get more than they bargained for. You won’t recognize any of the local fauna, however, as the movie was shot in the Philippines. You will recognize a lanky, 70-something John Carradine as an undead literature buff who quotes aphorisms and lines of poetry to the, ahem, vampire hookers under his control.\u003c/p>\n\u003cp>\u003cb>Vampire Hookers\u003c/b> (Friday, August 7 at 7:30pm) is good, dirty fun, with an oddball intelligence and welcome understanding of basic storytelling. (One never takes those two things for granted in movies with bargain-basement production values.) Low expectations are obviously encouraged, but if you bring the proper attitude, a good time is assured.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/vampyr.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Shepard has wisely included one flat-out masterpiece in his weekend binge, Carl Theodor Dreyer’s \u003cb>Vampyr\u003c/b> (1932). As you should expect from the director of the silent masterpiece \u003cb>The Passion of Joan of Arc\u003c/b>, \u003cb>Vampyr\u003c/b> (Saturday, August 28 at 7:30pm and Sunday, August 29 at 4:30pm) instantly and stunningly achieves a blend of foreboding and spirituality. The story centers on another interloper, a student of the supernatural whose stay at a minimalist yet creepy inn is, shall we say, eventful.\u003c/p>\n\u003cp>Dreyer does brilliant things with sound, but especially light and shadow, to erase the seemingly concrete distinction between the deceased and the living. The effect is to make the dead live once again, and the living to seem on the cusp of joining the afterlife. The great thing about film, of course, is that everyone within the borders of the frame lives forever. Perhaps that explains why screen actors, in all genres, seem eternally romantic, and needy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Dark In August: Rare Vampire Films\u003c/b> plays August 26â??29, 2010 at Yerba Buena Center for the Arts. For \u003ca href=\"http://www.ybca.org/tickets/production/view.aspx?id=11580\">more information\u003c/a> visit ybca.org.\u003c/p>\n\n",
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"excerpt": "The undead, by definition, are with us forever. Lucky for them, filmmakers never tire of making them feel welcome.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It may be nigh impossible to rehabilitate the image of zombies (although the likable 2007 Canadian comedy \u003cb>Fido\u003c/b> came close, imagining the gruesome creatures as robotic servants), but vampires are a different breed. Much like George Hamilton and Clint Eastwood, they have transformed from punch lines and parasites into paragons of taste and figures of respect. Elegant, well mannered, needy and romantic, nowadays vampires are portrayed in movies as victims of their “condition” as much as (reluctant) predators. But scary? Not so much.\u003c/p>\n\u003cp>Yerba Buena Center For the Arts film curator Joel Shepherd, one of the most adventurous programmers in the Bay Area, has unearthed a trio of wildly diverse and generally rewarding flicks for a bite-and-run series he calls \u003cb>Dark In August: Rare Vampire Films\u003c/b>. It would be foolish to extrapolate grand revisionist themes from these random points on the vampire-film continuum, which range from the sublime to the ridiculous, so let’s just deal with them individually.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/near-dark.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>The weekend chowdown begins at 7:30pm tonight with \u003cb>Near Dark\u003c/b> (1987), the second feature directed by future Academy Award-winner Kathryn Bigelow. This halfway good movie (the patient, subtle first half) alternates a soft-centered love story with a superficial saga of familial loyalty, augmented by a couple of showy set pieces (a taunting, strutting massacre in a redneck bar, a high-noon motel shootout with the cops).\u003c/p>\n\u003cp>Adrian Pasdar is taken in by a Southwest-marauding “family” of vampires after his late-late-late-night pass at one of them (Jenny Wright) is met with a fang to the neck. (It’s not completely her fault, mind you.) Lance Henriksen and Bill Paxton supply most of the fun, as charming bloodsucking villains, along with Adam Greenberg’s sun-sensitive lensing. Original and thoughtful for a good chunk of its running time, the movie turns pulpy and sentimental in the final reels. You will not be surprised to learn, though, that Bigelow had a penchant for fiery explosions long before \u003cb>The Hurt Locker\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The colorfully titled \u003cb>Vampire Hookers\u003c/b> (1978), Cirio H. Santiago’s no-budget slice of exploitation chum, follows a pair of horny U.S. sailors on shore leave in San Francisco who get more than they bargained for. You won’t recognize any of the local fauna, however, as the movie was shot in the Philippines. You will recognize a lanky, 70-something John Carradine as an undead literature buff who quotes aphorisms and lines of poetry to the, ahem, vampire hookers under his control.\u003c/p>\n\u003cp>\u003cb>Vampire Hookers\u003c/b> (Friday, August 7 at 7:30pm) is good, dirty fun, with an oddball intelligence and welcome understanding of basic storytelling. (One never takes those two things for granted in movies with bargain-basement production values.) Low expectations are obviously encouraged, but if you bring the proper attitude, a good time is assured.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/vampyr.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Shepard has wisely included one flat-out masterpiece in his weekend binge, Carl Theodor Dreyer’s \u003cb>Vampyr\u003c/b> (1932). As you should expect from the director of the silent masterpiece \u003cb>The Passion of Joan of Arc\u003c/b>, \u003cb>Vampyr\u003c/b> (Saturday, August 28 at 7:30pm and Sunday, August 29 at 4:30pm) instantly and stunningly achieves a blend of foreboding and spirituality. The story centers on another interloper, a student of the supernatural whose stay at a minimalist yet creepy inn is, shall we say, eventful.\u003c/p>\n\u003cp>Dreyer does brilliant things with sound, but especially light and shadow, to erase the seemingly concrete distinction between the deceased and the living. The effect is to make the dead live once again, and the living to seem on the cusp of joining the afterlife. The great thing about film, of course, is that everyone within the borders of the frame lives forever. Perhaps that explains why screen actors, in all genres, seem eternally romantic, and needy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Dark In August: Rare Vampire Films\u003c/b> plays August 26â??29, 2010 at Yerba Buena Center for the Arts. For \u003ca href=\"http://www.ybca.org/tickets/production/view.aspx?id=11580\">more information\u003c/a> visit ybca.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Life During Wartime\u003c/b> is Todd Solondz’s sequel, of sorts, to \u003cb>Happiness\u003c/b> from 1998. That ironically titled film observed the dissatisfactions of three sisters (Joy, Helen and Trish Jordan), and their unhappy clan, in excruciating detail. If you’ve forgotten its many depressive pleasures, in brief: Joy rejects a man who subsequently commits suicide; Helen, a successful novelist, is pursued by an obscene phone caller; and Trish, who insists she has it all, is married to a pedophile. Dysfunction — that familiar household god — bestowed its every blessing on the Jordan family.\u003c/p>\n\u003cp>The new film is set in the present, approximately a decade later, where we revisit the Jordan sisters, and their extended family. But every actor has been recast, and therefore, essentially reinvented. According to the press release, Solondz said, “It wouldn’t have been as interesting to bring back the same cast.” And after seeing the first film again, I have to agree. Shirley Henderson shades Joy’s vulnerability with touching despair; Ally Sheedy delivers a brilliant monologue, revealing the monstrous ego inside of Helen; and Allison Janney’s Trish is no longer just whiny and shrill: she’s deeper, more eccentric, and even more uncertain.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" src=\"http://a.s.kqed.net/img/arts/blog/ldw-janney.jpg\">\u003c/p>\n\u003cp>\u003cb>Life During Wartime\u003c/b> is about a particular family’s troubles, but a family that only exists in, and is peculiar to, America. Solondz, the director and screenwriter, has created yet another picture that stares, unforgivingly, at our private, domestic lives. He’s delved into the collective unconscious and unearthed more disturbances, displaying them on screen in a pastel-colored world of shopping malls and condominiums, a place he calls Generica.\u003c/p>\n\u003cp>I recently had the opportunity to speak with the director the day after \u003cb>Life During Wartime\u003c/b> screened in San Francisco. I asked him about the sunny climes of Southern Florida, where the movie is set, and began the interview by asking him about the title of the film, and how it related to the lives of the characters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> I’d like to start with a question about the title of your new film, \u003cb>Life During Wartime\u003c/b>. Ally Sheedy’s character, Helen, is the only character in the film to mention the fact that our country is currently at war.\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> Explicitly.\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> She makes the only explicit mention of the war, and justifies her self-absorption by referencing it. Her sister, Joy, then uses the title in a song she’s written. In the public and private spaces you’ve created for the set design, you employ pastel colors, with Muzak streaming in. It looks like a country that is anesthetized, longing to be soothed, and ignorant of the wars abroad.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" src=\"http://a.s.kqed.net/img/arts/blog/ldw-ally.jpg\">\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> I think the movie is very much informed by what you’re talking about, the process of actually writing it. Just for the record there is no Muzak, even though it might seem like there is. There’s no Muzak anywhere in the movie.\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> The instrumental music in the film is either jazz or classical?\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> Yes. That’s right. Or there’s some Brazilian. But even so, it’s as if there were. Certainly, South Florida is all about pastels. Pinks and turquoises are emblematic: toothpaste colors. Florida for me, that’s a place, where California used to be, where one can reinvent and recreate oneself. Tabula rasa. That’s where Trish goes to remove the past, and pays the price. It’s where O.J. Simpson went after that trial. You often hear the word Generica used to describe the land of malls and condos. It’s funny, usually I teach in Singapore in the fall, which is a lot like South Florida, condominiums and shopping malls. And the same climates, and the green. And instead of old Jews, it’s Chinese. But that’s another conversation… But when I wrote the script, I remember I was still living with that moment after the Twin Towers collapsed, because this is a more politically overt, post-9/11 movie than \u003cb>Happiness\u003c/b>. And there was something beautiful that happened in the country with people. After this terrible calamity, atrocity, they said, “What can I do? How can I help?” And it was a unique, a very precious moment in history, where there was that spirit of, “What can we do to come together to help?”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" src=\"http://a.s.kqed.net/img/arts/blog/ldw-florida.jpg\">\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> Were you in New York at the time?\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> I was in Italy doing press. I missed three weeks. I was away the whole time. When I finally came back, most of the smell had already gone away. But that spirit: I was very sensitized to it when I came back. I’ll never forget how Giuliani answered (the question “What can I do?”) with, “Go shopping.” I always felt that was such an obscenity, such a slap in the face of the dignity of this, an insult to the heart and soul and spirit of this beautiful moment. And what does “Go shopping” mean? It means to insulate yourself from the reality. It’s this sense of being insulated that I think informs a lot of the spirit of the film. Even to the extent the son says to the father, “You should have cut and run.” Or Joy, and her good intentions; as if good intentions are enough. You point out Helen, and the comedy is all about her narcissism, pathological narcissism.\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> And it looks as if everything in the set design is scrubbed clean, including the characters’ emotional lives. There’s no place for the mess of them.\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> Well, not for mess, but that doesn’t mean there’s no place for emotions. There’s a level of repression, a level of suppression. The movie, in a certain sense, is a kind of post-traumatic stress disorder genre film. The fallout. And Trish contending with, how does one contend with the reality that your ex is a pedophile? What is the protocol? But she makes mistakes, and pays a terrible price I think. But it’s not without hope. I always think the little boy (Trish’s son Timmy), who is on the cusp of manhood, I think so long as he hopes for, yearns for, has the quest for his father, there’s something beautiful in that.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" src=\"http://a.s.kqed.net/img/arts/blog/ldw-timmy.jpg\">\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> Beautiful, and disappointing.\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> It’s heartbreaking. There is a very big difference in having that sense of yearning, and not having it. You have to have someone to love, and someone to look up to, and look forward to. Just because it may be a dream, doesn’t make it any less valid.\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> You were talking about Trish, and how she makes mistakes after her marriage is destroyed, and how she fails to regain composure afterwards. Shirley Henderson aches with misery as Joy, and is another example of someone whose intimate relationships have all failed. Have you seen the film \u003cb>An Angel at My Table\u003c/b> by Jane Campion?\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> I did see it years ago.\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> Kerry Fox, as the New Zealand writer Janet Frame, brought a comparable level of vulnerability to the screen. And yet, despite the many tragedies in Frame’s life, at the end, she finds her voice in writing, in art. That’s not something you find in \u003cb>Life During Wartime\u003c/b> or \u003cb>Happiness\u003c/b>. There is no way for your characters to redeem themselves. Do you feel that redemption is a false concept?\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> I don’t see it quite that way. I don’t think that. For me, there are intangibles. There is a kind of connection or hope that, for me, serve as a kind of redemption. And yet at the same time, I’m not sure that redemption is always merited. We live in a society, where public figures all the time…a politician gets caught with prostitutes or with drugs, or sex scandals, and so forth. Then they find God, and they’re re-elected and redeemed. Or movie stars, the same sort of things. People say it’s over for Mel Gibson, but I don’t know in this country. He may have played it out one too many times. But it’s not a myth. There is a kind of will towards redemption in this country, that certain people, they fall from grace, and the public wants to see them come back no matter what. And others: Mel Gibson may be one who has overplayed that hand.\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> But what if we’re just talking about ordinary people. You depict ordinary lives.\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> The point I’m getting at here, even with Bill Maplewood (Ciarian Hinds) and what he’s done, I don’t know that there is or needs to be redemption for him. I believe there is solace he finds in seeing that his son will not share the same fate. But that’s not the same thing as redemption. But I don’t feel the need to give him that.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" src=\"http://a.s.kqed.net/img/arts/blog/ldw-bill.jpg\">\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> What about Joy?\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> I think that Joy, at the end, the last we see of her is in her dream. She’s lost these two people in her life who have killed themselves over her. But for me I sense there is hope. Her husband says, or she has him say (in the dream), “An eye for an eye, then comes forgiveness.” It’s a very harsh thing to say. There’s the Hebrew prayer, Avinu Malkeinu: it’s about forgiveness, and really it’s God who is in the position, ultimately, to offer that. I think that this is something that we struggle with, to what extent we are capable of accepting others’ flaws and failings. There is validity and a meaning to be found no matter what horrors you’ve lived through. I think most people are not artists and find it in ways that I think are less tangible. And those ways have to do with the hope that there will be someone with whom they can connect. For many people it may be God, it may be someone intimate in their lives.\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> Often in ensemble films with a diverse cast, not all of the actors read as if they’re acting in the same movie. In your films, everybody appears to be in the same fictional world you’ve created. How do you get everybody on the same page? Do you meet with the cast as a whole before shooting?\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> It’s a result of the text. And a result of me being there and knowing what I want to evoke from each scene. It would be something of a waste of time to have them all meet each other because they don’t know what they’re looking for. And it’s not something that I’m going to explain to anyone. I wouldn’t see anything to be gained from that. I have to know what I’m looking for, and that’s what I extract. I have a sense of what I want and what I need and what I can get from an actor.\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> While you’re filming, you’re able to keep in mind…\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> You have to keep everything in mind. It’s a puzzle. A lot of the work, in terms of performance, is achieved once you’ve cast the person. And then it’s modifying. Sometimes I have to step in a little bit more, than at other times. But once I’ve cast a person, and especially since 90% of my actors audition for me, that’s the rehearsal.\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> There was a noticeable difference in the camera work between \u003cb>Happiness\u003c/b> and \u003cb>Life During Wartime\u003c/b>: you used a tighter frame, which reduced the presence of street scenes and the noise of crowds.\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> It’s hard to separate the writing from the directing. As you write, you’re imagining how things will play. Every movie also takes on its own life. As you find locations, as you cast and so forth. You find yourself discovering that it’s a little bit different, maybe, than what you’d imagined. You’re always in pursuit of finding, what is this thing that I have wrought? And when people ask me, did it turn out the way you anticipated? It never does. But if you’re lucky, it turns out better. It’s a constant quest. Why did I put pen to paper? And what is going on here, and what is this life? It takes on its own life. You have to respect it. As much as there’s a level of guidance, there’s also a level of impotence in the process of making it. You plan, you may have lots of plans and so forth, but a movie, a story, it follows a certain plan and resists it at the same time. As I say, it takes on its own life. You see that and discover it as you go through the process.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" src=\"http://a.s.kqed.net/img/arts/blog/ldw-trish.jpg\">\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> One scene never happens in either movie: a confrontation between Trish and Bill after she finds out he’s a pedophile. Did you ever write a scene for them?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> Dramatically speaking, I didn’t feel the need for it. In \u003cb>Happiness\u003c/b>, it was more his story. If the love life, if his relationship, if what was afflicting and tormenting him, had much more to do with her, then that would have been dramatized, but it wasn’t about her. In \u003cb>Life During Wartime\u003c/b>, Allison Janney’s part is much richer, and yet it’s not about… It’s all oblique. I didn’t feel the need. They’re on separate trajectories, let’s say, and I didn’t see anything that would ever be gained from bringing them together. It didn’t seem to make sense. His quest had to do with the son. Everything was about the son. With Allison, it’s about her creating a new life, and trying to build from that, and tragically failing. Making irrevocable mistakes. But that never would have occurred to me as dramatically useful.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Life During Wartime\u003c/b> is Todd Solondz’s sequel, of sorts, to \u003cb>Happiness\u003c/b> from 1998. That ironically titled film observed the dissatisfactions of three sisters (Joy, Helen and Trish Jordan), and their unhappy clan, in excruciating detail. If you’ve forgotten its many depressive pleasures, in brief: Joy rejects a man who subsequently commits suicide; Helen, a successful novelist, is pursued by an obscene phone caller; and Trish, who insists she has it all, is married to a pedophile. Dysfunction — that familiar household god — bestowed its every blessing on the Jordan family.\u003c/p>\n\u003cp>The new film is set in the present, approximately a decade later, where we revisit the Jordan sisters, and their extended family. But every actor has been recast, and therefore, essentially reinvented. According to the press release, Solondz said, “It wouldn’t have been as interesting to bring back the same cast.” And after seeing the first film again, I have to agree. Shirley Henderson shades Joy’s vulnerability with touching despair; Ally Sheedy delivers a brilliant monologue, revealing the monstrous ego inside of Helen; and Allison Janney’s Trish is no longer just whiny and shrill: she’s deeper, more eccentric, and even more uncertain.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" src=\"http://a.s.kqed.net/img/arts/blog/ldw-janney.jpg\">\u003c/p>\n\u003cp>\u003cb>Life During Wartime\u003c/b> is about a particular family’s troubles, but a family that only exists in, and is peculiar to, America. Solondz, the director and screenwriter, has created yet another picture that stares, unforgivingly, at our private, domestic lives. He’s delved into the collective unconscious and unearthed more disturbances, displaying them on screen in a pastel-colored world of shopping malls and condominiums, a place he calls Generica.\u003c/p>\n\u003cp>I recently had the opportunity to speak with the director the day after \u003cb>Life During Wartime\u003c/b> screened in San Francisco. I asked him about the sunny climes of Southern Florida, where the movie is set, and began the interview by asking him about the title of the film, and how it related to the lives of the characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> I’d like to start with a question about the title of your new film, \u003cb>Life During Wartime\u003c/b>. Ally Sheedy’s character, Helen, is the only character in the film to mention the fact that our country is currently at war.\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> Explicitly.\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> She makes the only explicit mention of the war, and justifies her self-absorption by referencing it. Her sister, Joy, then uses the title in a song she’s written. In the public and private spaces you’ve created for the set design, you employ pastel colors, with Muzak streaming in. It looks like a country that is anesthetized, longing to be soothed, and ignorant of the wars abroad.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" src=\"http://a.s.kqed.net/img/arts/blog/ldw-ally.jpg\">\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> I think the movie is very much informed by what you’re talking about, the process of actually writing it. Just for the record there is no Muzak, even though it might seem like there is. There’s no Muzak anywhere in the movie.\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> The instrumental music in the film is either jazz or classical?\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> Yes. That’s right. Or there’s some Brazilian. But even so, it’s as if there were. Certainly, South Florida is all about pastels. Pinks and turquoises are emblematic: toothpaste colors. Florida for me, that’s a place, where California used to be, where one can reinvent and recreate oneself. Tabula rasa. That’s where Trish goes to remove the past, and pays the price. It’s where O.J. Simpson went after that trial. You often hear the word Generica used to describe the land of malls and condos. It’s funny, usually I teach in Singapore in the fall, which is a lot like South Florida, condominiums and shopping malls. And the same climates, and the green. And instead of old Jews, it’s Chinese. But that’s another conversation… But when I wrote the script, I remember I was still living with that moment after the Twin Towers collapsed, because this is a more politically overt, post-9/11 movie than \u003cb>Happiness\u003c/b>. And there was something beautiful that happened in the country with people. After this terrible calamity, atrocity, they said, “What can I do? How can I help?” And it was a unique, a very precious moment in history, where there was that spirit of, “What can we do to come together to help?”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" src=\"http://a.s.kqed.net/img/arts/blog/ldw-florida.jpg\">\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> Were you in New York at the time?\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> I was in Italy doing press. I missed three weeks. I was away the whole time. When I finally came back, most of the smell had already gone away. But that spirit: I was very sensitized to it when I came back. I’ll never forget how Giuliani answered (the question “What can I do?”) with, “Go shopping.” I always felt that was such an obscenity, such a slap in the face of the dignity of this, an insult to the heart and soul and spirit of this beautiful moment. And what does “Go shopping” mean? It means to insulate yourself from the reality. It’s this sense of being insulated that I think informs a lot of the spirit of the film. Even to the extent the son says to the father, “You should have cut and run.” Or Joy, and her good intentions; as if good intentions are enough. You point out Helen, and the comedy is all about her narcissism, pathological narcissism.\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> And it looks as if everything in the set design is scrubbed clean, including the characters’ emotional lives. There’s no place for the mess of them.\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> Well, not for mess, but that doesn’t mean there’s no place for emotions. There’s a level of repression, a level of suppression. The movie, in a certain sense, is a kind of post-traumatic stress disorder genre film. The fallout. And Trish contending with, how does one contend with the reality that your ex is a pedophile? What is the protocol? But she makes mistakes, and pays a terrible price I think. But it’s not without hope. I always think the little boy (Trish’s son Timmy), who is on the cusp of manhood, I think so long as he hopes for, yearns for, has the quest for his father, there’s something beautiful in that.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" src=\"http://a.s.kqed.net/img/arts/blog/ldw-timmy.jpg\">\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> Beautiful, and disappointing.\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> It’s heartbreaking. There is a very big difference in having that sense of yearning, and not having it. You have to have someone to love, and someone to look up to, and look forward to. Just because it may be a dream, doesn’t make it any less valid.\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> You were talking about Trish, and how she makes mistakes after her marriage is destroyed, and how she fails to regain composure afterwards. Shirley Henderson aches with misery as Joy, and is another example of someone whose intimate relationships have all failed. Have you seen the film \u003cb>An Angel at My Table\u003c/b> by Jane Campion?\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> I did see it years ago.\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> Kerry Fox, as the New Zealand writer Janet Frame, brought a comparable level of vulnerability to the screen. And yet, despite the many tragedies in Frame’s life, at the end, she finds her voice in writing, in art. That’s not something you find in \u003cb>Life During Wartime\u003c/b> or \u003cb>Happiness\u003c/b>. There is no way for your characters to redeem themselves. Do you feel that redemption is a false concept?\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> I don’t see it quite that way. I don’t think that. For me, there are intangibles. There is a kind of connection or hope that, for me, serve as a kind of redemption. And yet at the same time, I’m not sure that redemption is always merited. We live in a society, where public figures all the time…a politician gets caught with prostitutes or with drugs, or sex scandals, and so forth. Then they find God, and they’re re-elected and redeemed. Or movie stars, the same sort of things. People say it’s over for Mel Gibson, but I don’t know in this country. He may have played it out one too many times. But it’s not a myth. There is a kind of will towards redemption in this country, that certain people, they fall from grace, and the public wants to see them come back no matter what. And others: Mel Gibson may be one who has overplayed that hand.\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> But what if we’re just talking about ordinary people. You depict ordinary lives.\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> The point I’m getting at here, even with Bill Maplewood (Ciarian Hinds) and what he’s done, I don’t know that there is or needs to be redemption for him. I believe there is solace he finds in seeing that his son will not share the same fate. But that’s not the same thing as redemption. But I don’t feel the need to give him that.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" src=\"http://a.s.kqed.net/img/arts/blog/ldw-bill.jpg\">\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> What about Joy?\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> I think that Joy, at the end, the last we see of her is in her dream. She’s lost these two people in her life who have killed themselves over her. But for me I sense there is hope. Her husband says, or she has him say (in the dream), “An eye for an eye, then comes forgiveness.” It’s a very harsh thing to say. There’s the Hebrew prayer, Avinu Malkeinu: it’s about forgiveness, and really it’s God who is in the position, ultimately, to offer that. I think that this is something that we struggle with, to what extent we are capable of accepting others’ flaws and failings. There is validity and a meaning to be found no matter what horrors you’ve lived through. I think most people are not artists and find it in ways that I think are less tangible. And those ways have to do with the hope that there will be someone with whom they can connect. For many people it may be God, it may be someone intimate in their lives.\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> Often in ensemble films with a diverse cast, not all of the actors read as if they’re acting in the same movie. In your films, everybody appears to be in the same fictional world you’ve created. How do you get everybody on the same page? Do you meet with the cast as a whole before shooting?\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> It’s a result of the text. And a result of me being there and knowing what I want to evoke from each scene. It would be something of a waste of time to have them all meet each other because they don’t know what they’re looking for. And it’s not something that I’m going to explain to anyone. I wouldn’t see anything to be gained from that. I have to know what I’m looking for, and that’s what I extract. I have a sense of what I want and what I need and what I can get from an actor.\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> While you’re filming, you’re able to keep in mind…\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> You have to keep everything in mind. It’s a puzzle. A lot of the work, in terms of performance, is achieved once you’ve cast the person. And then it’s modifying. Sometimes I have to step in a little bit more, than at other times. But once I’ve cast a person, and especially since 90% of my actors audition for me, that’s the rehearsal.\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> There was a noticeable difference in the camera work between \u003cb>Happiness\u003c/b> and \u003cb>Life During Wartime\u003c/b>: you used a tighter frame, which reduced the presence of street scenes and the noise of crowds.\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> It’s hard to separate the writing from the directing. As you write, you’re imagining how things will play. Every movie also takes on its own life. As you find locations, as you cast and so forth. You find yourself discovering that it’s a little bit different, maybe, than what you’d imagined. You’re always in pursuit of finding, what is this thing that I have wrought? And when people ask me, did it turn out the way you anticipated? It never does. But if you’re lucky, it turns out better. It’s a constant quest. Why did I put pen to paper? And what is going on here, and what is this life? It takes on its own life. You have to respect it. As much as there’s a level of guidance, there’s also a level of impotence in the process of making it. You plan, you may have lots of plans and so forth, but a movie, a story, it follows a certain plan and resists it at the same time. As I say, it takes on its own life. You see that and discover it as you go through the process.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" src=\"http://a.s.kqed.net/img/arts/blog/ldw-trish.jpg\">\u003c/p>\n\u003cp>\u003cb>JE:\u003c/b> One scene never happens in either movie: a confrontation between Trish and Bill after she finds out he’s a pedophile. Did you ever write a scene for them?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>TS:\u003c/b> Dramatically speaking, I didn’t feel the need for it. In \u003cb>Happiness\u003c/b>, it was more his story. If the love life, if his relationship, if what was afflicting and tormenting him, had much more to do with her, then that would have been dramatized, but it wasn’t about her. In \u003cb>Life During Wartime\u003c/b>, Allison Janney’s part is much richer, and yet it’s not about… It’s all oblique. I didn’t feel the need. They’re on separate trajectories, let’s say, and I didn’t see anything that would ever be gained from bringing them together. It didn’t seem to make sense. His quest had to do with the son. Everything was about the son. With Allison, it’s about her creating a new life, and trying to build from that, and tragically failing. Making irrevocable mistakes. But that never would have occurred to me as dramatically useful.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The great aesthetic challenge of the 21st century is fundamentally a practical one: how best to arrange increasingly crowded space.\u003c/p>\n\u003cp>Handy, then, this series of Sunday matinees at Yerba Buena Center for the Arts, grouped together as \u003cb>Something from Nothing: Films on Design and Architecture\u003c/b>. The series is intended as a moving-picture companion piece to YBCA’s \u003cb>TechnoCRAFT\u003c/b> exhibit, which “explores how the boundary between the role of the designer and the consumer is disappearing.” The series draws a through-line all the way from film archivist Dennis Nyback’s \u003cb>Refrigerator Fetish: Vintage Industrial Design Films\u003c/b> to the documentary \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=24220\">\u003cb>Handmade Nation\u003c/b>\u003c/a>, about the DIY crafting movement, while touching on the work of a few world-famous architects along the way. If this seems like a difficult line to draw, perhaps that is why it has become necessary to do so.\u003c/p>\n\u003cp>Architecture is a very privileged medium, says the subject of \u003cb>Rem Koolhaas: A Kind of Architect\u003c/b>, “No matter how pretentious or unpretentious it is, it is always used.” This from a guy who did some of his best work by exploring the mass psychology of walls, of inclusion and exclusion. Koolhaas is right, of course, and his rule even applies to Southern California architect John Lautner, who once made a thing called the Chemosphere in the Hollywood Hills, and who is said by one observer, in \u003cb>Infinite Space: The Architecture of John Lautner\u003c/b>, to have concrete for a muse. Yes, even buildings like the Chemosphere actually do get used (and not for the unorthodox clinical experiments its nickname might imply).\u003c/p>\n\u003cp>Sometimes architecture is even used for socially conscious purposes — as in the poverty-ravaged areas of Alabama explored by \u003cb>Citizen Architect: Samuel Mockbee and the Spirit of the Rural Studio\u003c/b>, or the working-class Boston enclave brought up to enviro-code in \u003cb>The Greening of Southie\u003c/b>. But sometimes the spaces that most need filling are all in your head. To wit: \u003cb>wow+flutter\u003c/b>, a tweaky hodgepodge of short subjects in which spatial elements are investigated, recreated, pixellated, annotated, conjugated and occasionally desecrated. Not all of these are narratives so much as motion-graphic experiments or art-installation mock-ups. As such, they range from brilliant to boring, but the range itself is instructive.\u003c/p>\n\u003cp>It is strangely comforting to think that while the big ideas of architecture still get parsed by seersuckered WASPs twirling brandy snifters and pontificating on “significant structures” somewhere in Europe, a whole generation of fresh-faced, taper-jeaned hipsters will be taking up handicraft, and making fun and functional knick knacks for their families and friends much closer to home. Or, if that doesn’t work, turning virtual reality into something better.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Something from Nothing: Films on Design & Architecture\u003c/b> runs from July 11 through September 5, 2010, at Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org\">tickets and information\u003c/a>, visit ybca.org.\u003c/p>\n\n",
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"content": "\u003cp>Adam Sandler’s been a movie star for a long time now, so even viewers who are allergic to his charms have been pretty well immunized against his brand of 12-year-old-boy-in-a-dumpy-man’s-body humor. But there’s still one thing that can chill the Sandler-averse to the marrow: the scene where the jejune hostility drops away so the movie can deliver a lesson about how to be a cool dad.\u003c/p>\n\u003cp>Please, not that! Show us David Spade’s naked backside again instead!\u003c/p>\n\u003cp>By the current standards of the jock-shock comedy, there’s not a lot of male nudity in \u003cem>Grown Ups\u003c/em>, which is star and co-writer Sandler’s latest attempt to portray himself as something resembling an adult. Directed by longtime Sandler collaborator Dennis Dugan, the movie mostly sticks to the bad-boy classics: pratfalls, flatulence, sexual humiliation, public urination and nonstop insults.\u003c/p>\n\u003cp>Indeed, despite occasional attempts at plot and character, this is basically a roast with scenery: Sandler trades smirky, self-amused put-downs with co-stars Spade, Rob Schneider, Chris Rock and Kevin James. (Of these five, all but James joined the cast of \u003cem>Saturday Night Live\u003c/em> in 1990.)\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/grown-ups.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The comedians play characters who would seem to have nothing in common: Hollywood agent Lenny (Sandler), househusband Kurt (Rock), new-age loon Rob (Schneider), car detailer Eric (James) and professional partier Marcus (Spade). But it turns out that back in 1978, when they were 12, they all played on the only championship basketball team ever coached by the man they called “The Buzzer.”\u003c/p>\n\u003cp>(How gosh-darn cute is \u003cem>Grown Ups\u003c/em>? We learn the coach has died when Lenny’s kindergarten-age daughter crashes the family car while using its navigation system to search for the Buzzer’s new home: heaven.)\u003c/p>\n\u003cp>The coach’s demise reunites his ’78 stars, who follow the funeral with a getaway at the lakeside cabin where they once toasted their victory. They \u003ca href=\"NPR.Player.openPlayer(127993174,%20128030341,%20null,%20NPR.Player.Action.PLAY_NOW,%20NPR.Player.Type.STORY,%20'1')\">bring their wives and kids\u003c/a>, as well as a dog that can’t bark straight and Kurt’s fat, nasty mother-in-law.\u003c/p>\n\u003cp>Erotic queasiness spreads like Legionnaire’s disease. Rob’s latest wife is a sexually aggressive older (\u003cem>much\u003c/em> older) woman; Eric’s spouse regularly opens her top \u003ca href=\"NPR.Player.openPlayer(127993174,%20128033087,%20null,%20NPR.Player.Action.PLAY_NOW,%20NPR.Player.Type.STORY,%20'1')\">to breast-feed their 4-year-old son\u003c/a>; Kurt is emasculated by his stay-at-home status and his wife’s third pregnancy. And everyone expects Marcus to seduce one or both of Eric’s sexy, scantily clad daughters.\u003c/p>\n\u003cp>The main act, of course, involves Lenny and his family. The agent worries that his two sons have become pampered, tech-addled brats who don’t appreciate the traditional joys of childhood. Not so Lenny’s wife, Roxanne (Salma Hayek), a top fashion designer who’s in a hurry to leave the cabin for a trip to Milan. Sandler the auteur clearly thinks that what these fractious folk need is some time to appreciate rope swings, water slides and skipping stones across the lake.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Balancing this Norman Rockwell vision with the meaner aspects of Sandler’s humor might have been difficult, had the creative team bothered to try, but \u003cem>Grown Ups\u003c/em> doesn’t. It just dumps all the ingredients into the cinema blender — and then has the chutzpah to flip the dial from “puree” to “sports flick” in the final minutes. The anticlimactic climax — a basketball rematch — ends with another cool-dad lesson, revealing Lenny/Sandler’s essential benevolence. It’s a moment that doesn’t compare all that well to a shot of David Spade’s naked backside.\u003c/p>\n\n",
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"excerpt": "The funnyman teams up with some of his former \u003cem>Saturday Night Live\u003c/em> castmates in a lumpen comedy that tries to pair his bratty bathroom humor with a Norman Rockwell vision of family life.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Adam Sandler’s been a movie star for a long time now, so even viewers who are allergic to his charms have been pretty well immunized against his brand of 12-year-old-boy-in-a-dumpy-man’s-body humor. But there’s still one thing that can chill the Sandler-averse to the marrow: the scene where the jejune hostility drops away so the movie can deliver a lesson about how to be a cool dad.\u003c/p>\n\u003cp>Please, not that! Show us David Spade’s naked backside again instead!\u003c/p>\n\u003cp>By the current standards of the jock-shock comedy, there’s not a lot of male nudity in \u003cem>Grown Ups\u003c/em>, which is star and co-writer Sandler’s latest attempt to portray himself as something resembling an adult. Directed by longtime Sandler collaborator Dennis Dugan, the movie mostly sticks to the bad-boy classics: pratfalls, flatulence, sexual humiliation, public urination and nonstop insults.\u003c/p>\n\u003cp>Indeed, despite occasional attempts at plot and character, this is basically a roast with scenery: Sandler trades smirky, self-amused put-downs with co-stars Spade, Rob Schneider, Chris Rock and Kevin James. (Of these five, all but James joined the cast of \u003cem>Saturday Night Live\u003c/em> in 1990.)\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/grown-ups.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The comedians play characters who would seem to have nothing in common: Hollywood agent Lenny (Sandler), househusband Kurt (Rock), new-age loon Rob (Schneider), car detailer Eric (James) and professional partier Marcus (Spade). But it turns out that back in 1978, when they were 12, they all played on the only championship basketball team ever coached by the man they called “The Buzzer.”\u003c/p>\n\u003cp>(How gosh-darn cute is \u003cem>Grown Ups\u003c/em>? We learn the coach has died when Lenny’s kindergarten-age daughter crashes the family car while using its navigation system to search for the Buzzer’s new home: heaven.)\u003c/p>\n\u003cp>The coach’s demise reunites his ’78 stars, who follow the funeral with a getaway at the lakeside cabin where they once toasted their victory. They \u003ca href=\"NPR.Player.openPlayer(127993174,%20128030341,%20null,%20NPR.Player.Action.PLAY_NOW,%20NPR.Player.Type.STORY,%20'1')\">bring their wives and kids\u003c/a>, as well as a dog that can’t bark straight and Kurt’s fat, nasty mother-in-law.\u003c/p>\n\u003cp>Erotic queasiness spreads like Legionnaire’s disease. Rob’s latest wife is a sexually aggressive older (\u003cem>much\u003c/em> older) woman; Eric’s spouse regularly opens her top \u003ca href=\"NPR.Player.openPlayer(127993174,%20128033087,%20null,%20NPR.Player.Action.PLAY_NOW,%20NPR.Player.Type.STORY,%20'1')\">to breast-feed their 4-year-old son\u003c/a>; Kurt is emasculated by his stay-at-home status and his wife’s third pregnancy. And everyone expects Marcus to seduce one or both of Eric’s sexy, scantily clad daughters.\u003c/p>\n\u003cp>The main act, of course, involves Lenny and his family. The agent worries that his two sons have become pampered, tech-addled brats who don’t appreciate the traditional joys of childhood. Not so Lenny’s wife, Roxanne (Salma Hayek), a top fashion designer who’s in a hurry to leave the cabin for a trip to Milan. Sandler the auteur clearly thinks that what these fractious folk need is some time to appreciate rope swings, water slides and skipping stones across the lake.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Balancing this Norman Rockwell vision with the meaner aspects of Sandler’s humor might have been difficult, had the creative team bothered to try, but \u003cem>Grown Ups\u003c/em> doesn’t. It just dumps all the ingredients into the cinema blender — and then has the chutzpah to flip the dial from “puree” to “sports flick” in the final minutes. The anticlimactic climax — a basketball rematch — ends with another cool-dad lesson, revealing Lenny/Sandler’s essential benevolence. It’s a moment that doesn’t compare all that well to a shot of David Spade’s naked backside.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mattel might finally be accepting that their boy Ken is not your usual boy’s toy — because he is a boy toy.\u003c/p>\n\u003cp>There’s been a ton written about Barbie as a lightning rod and figurehead of retrograde female sexuality. While Barbie has been criticized as a bad role model for young girls, aspiring bulimics and augmenters alike, comparitively little has been written about Ken. He’s always been the sissy of boy dolls. He isn’t an action figure; his express purpose is to be Barbie’s boyfriend and a little girls’ plaything. He is pretty much a mimbo — a male bimbo.\u003c/p>\n\u003cp>Now that Ken is 51, mainstream culture seems willing to finally embrace his\u003cbr>\nswishier tendencies. In 1995, Pixar had wanted to include Ken and Barbie in the original \u003cb>Toy Story\u003c/b> film, but Mattel wasn’t interested. In \u003cb>Toy Story 3\u003c/b>, opening this weekend, Ken is now a central character, voiced by actor Michael Keaton.\u003c/p>\n\u003cp>If you wrangle together Woody, the cowboy, Buzz Lightyear, the space-ranger and Ken, the boy Barbie, \u003cb>Toy Story 3\u003c/b> begins to look a lot like The Village People. And the comic wizards at Pixar seem to know that you can’t animate a Ken doll in 2010 without a wink-wink nudge-nudge. Maybe Ken is gay or maybe he’s just a girly-man; with a dashing cowboy and a macho astro-hero in the room, Ken only has eyes for Barbie. One of the film’s best exchanges: Ken: “I like your leg-warmers.” Barbie: “Nice Ascot.”\u003c/p>\n\u003cp>And you know that montage in romantic comedies where the ingenue goes through her closet and tries on all her clothes as energizing pop music overwhelms the soundtrack? Ken might be the first male to be the subject of that rom-com mainstay. One of the chief conceits of \u003cb>Toy Story\u003c/b> Ken is that he’s a clothes horse, a toy boy Carrie Bradshaw with a Dream House full of outfits from every era. Thrilled to learn that Barbie shares his passion for fashion, he treats her to a fashion show — from Malibu Ken to Mod Ken to Scuba Ken, Pilot Ken to Disco Ken — modeled to the disco beat of “Le Freak.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the other toys taunt Ken — (“you’re a girl’s toy,” “you’re an accessory”) — but seem to take his metro-sexuality in stride. In one scene, Barbie dresses up as Astronaut Ken for an espionage mission. When she retrieves the operations manual she seeks, an old, stuffed bookworm notes Barbie’s pink high heels, “Sheesh,” he says.\u003c/p>\n\u003cp>Maybe Mattel is something like this sheeshing worm with its “what you gonna do?” attitude. In 1995, when they passed on \u003cb>Toy Story\u003c/b>, they may have wanted to preserve the doll’s dignity and authenticity. They have been known to be super litigious about the toys. They’ve sued artists for misappropriating their characters, they’ve sued musicians for singing about Barbie — they have claimed that such samplings of the Barbie brand “violated the Barbie trademark and turned Barbie into a sex object.”\u003c/p>\n\u003cp>They would likely have sued Todd Haynes for his 1987 film, \u003ca href=\"http://www.youtube.com/watch?v=F_URrerCU10&feature=related/\">\u003cb>Superstar: The Karen Carpenter Story\u003c/b>\u003c/a>, which starred Barbie as the pop singer who died from anorexia. The choice implies that “the Barbie Syndrome” contributes to body issues. But Karen’s brother, Richard, sued Haynes first, some say, for insinuating that he was gay.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/06/ken-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/06/ken-1.jpg\" alt=\"ken-1\" width=\"500\" height=\"500\" class=\"aligncenter size-full wp-image-128791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2010/06/ken-1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/06/ken-1-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/06/ken-1-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/06/ken-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/06/ken-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/06/ken-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/06/ken-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/06/ken-1-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>This summer, Mattel, like parents who have known their son is gay for a long time, seems to have gone from litigation to acceptance. Like overzealous parents at their first PFLAG march, Mattel is releasing the \u003ca href=\"http://www.advocate.com/Arts_and_Entertainment/Entertainment_News/Coming-Soon__Sugar_Daddy_Ken_Doll/\">\u003cb>Sugar Daddy Ken doll\u003c/b>\u003c/a>. The doll — part of the Palm Beach line — will be sporting a dashing jacquard-patterned jacket with a light pink polo shirt, crisp white pants — and a West Highland Terrier. He is pretty much the gay Ken.\u003c/p>\n\u003cp>Also, Mattel is coming out with a line of \u003cb>Mad Men\u003c/b> collector Barbies — including a Don Draper Ken. As one blogger quipped, \u003ca href=\"http://www.bestweekever.tv/2010-03-10/don-draper-ken-doll-still-sleeps-around-despite-lack-of-genitals/\">“Don Draper Ken Doll Still Sleeps Around Despite Lack of Genitals.”\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/06/ken-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/06/ken-2.jpg\" alt=\"ken-2\" width=\"500\" height=\"549\" class=\"aligncenter size-full wp-image-128792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2010/06/ken-2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/06/ken-2-400x439.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/06/ken-2-273x300.jpg 273w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>Ironic adults are probably the target audience for these evolved Ken dolls. Barbie and Ken have long been the focal point of campy and political art and activism. An art form/hobby referred to as \u003ca href=\"http://en.wikipedia.org/wiki/Playscale_Miniaturism\">Playscale Miniaturism\u003c/a> often uses Barbie dolls to subvert traditional values. (The 8th annual \u003ca href=\"http://alteredbarbie.com/\">Altered Barbie Exhibition\u003c/a> arrives in San Francisco this fall.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Back in the ’80s, \u003ca href=\"http://sniggle.net/barbie.php\">The Barbie Liberation Organization\u003c/a> switched the voice boxes of talking G.I. Joe dolls with talking Barbies — and then returned them to the toy store shelves. Such underground activism is no longer necessary with mom and dad Mattel giving their blessing to the Sugar Daddy Ken.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mattel might finally be accepting that their boy Ken is not your usual boy’s toy — because he is a boy toy.\u003c/p>\n\u003cp>There’s been a ton written about Barbie as a lightning rod and figurehead of retrograde female sexuality. While Barbie has been criticized as a bad role model for young girls, aspiring bulimics and augmenters alike, comparitively little has been written about Ken. He’s always been the sissy of boy dolls. He isn’t an action figure; his express purpose is to be Barbie’s boyfriend and a little girls’ plaything. He is pretty much a mimbo — a male bimbo.\u003c/p>\n\u003cp>Now that Ken is 51, mainstream culture seems willing to finally embrace his\u003cbr>\nswishier tendencies. In 1995, Pixar had wanted to include Ken and Barbie in the original \u003cb>Toy Story\u003c/b> film, but Mattel wasn’t interested. In \u003cb>Toy Story 3\u003c/b>, opening this weekend, Ken is now a central character, voiced by actor Michael Keaton.\u003c/p>\n\u003cp>If you wrangle together Woody, the cowboy, Buzz Lightyear, the space-ranger and Ken, the boy Barbie, \u003cb>Toy Story 3\u003c/b> begins to look a lot like The Village People. And the comic wizards at Pixar seem to know that you can’t animate a Ken doll in 2010 without a wink-wink nudge-nudge. Maybe Ken is gay or maybe he’s just a girly-man; with a dashing cowboy and a macho astro-hero in the room, Ken only has eyes for Barbie. One of the film’s best exchanges: Ken: “I like your leg-warmers.” Barbie: “Nice Ascot.”\u003c/p>\n\u003cp>And you know that montage in romantic comedies where the ingenue goes through her closet and tries on all her clothes as energizing pop music overwhelms the soundtrack? Ken might be the first male to be the subject of that rom-com mainstay. One of the chief conceits of \u003cb>Toy Story\u003c/b> Ken is that he’s a clothes horse, a toy boy Carrie Bradshaw with a Dream House full of outfits from every era. Thrilled to learn that Barbie shares his passion for fashion, he treats her to a fashion show — from Malibu Ken to Mod Ken to Scuba Ken, Pilot Ken to Disco Ken — modeled to the disco beat of “Le Freak.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the other toys taunt Ken — (“you’re a girl’s toy,” “you’re an accessory”) — but seem to take his metro-sexuality in stride. In one scene, Barbie dresses up as Astronaut Ken for an espionage mission. When she retrieves the operations manual she seeks, an old, stuffed bookworm notes Barbie’s pink high heels, “Sheesh,” he says.\u003c/p>\n\u003cp>Maybe Mattel is something like this sheeshing worm with its “what you gonna do?” attitude. In 1995, when they passed on \u003cb>Toy Story\u003c/b>, they may have wanted to preserve the doll’s dignity and authenticity. They have been known to be super litigious about the toys. They’ve sued artists for misappropriating their characters, they’ve sued musicians for singing about Barbie — they have claimed that such samplings of the Barbie brand “violated the Barbie trademark and turned Barbie into a sex object.”\u003c/p>\n\u003cp>They would likely have sued Todd Haynes for his 1987 film, \u003ca href=\"http://www.youtube.com/watch?v=F_URrerCU10&feature=related/\">\u003cb>Superstar: The Karen Carpenter Story\u003c/b>\u003c/a>, which starred Barbie as the pop singer who died from anorexia. The choice implies that “the Barbie Syndrome” contributes to body issues. But Karen’s brother, Richard, sued Haynes first, some say, for insinuating that he was gay.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/06/ken-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/06/ken-1.jpg\" alt=\"ken-1\" width=\"500\" height=\"500\" class=\"aligncenter size-full wp-image-128791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2010/06/ken-1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/06/ken-1-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/06/ken-1-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/06/ken-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/06/ken-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/06/ken-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/06/ken-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/06/ken-1-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>This summer, Mattel, like parents who have known their son is gay for a long time, seems to have gone from litigation to acceptance. Like overzealous parents at their first PFLAG march, Mattel is releasing the \u003ca href=\"http://www.advocate.com/Arts_and_Entertainment/Entertainment_News/Coming-Soon__Sugar_Daddy_Ken_Doll/\">\u003cb>Sugar Daddy Ken doll\u003c/b>\u003c/a>. The doll — part of the Palm Beach line — will be sporting a dashing jacquard-patterned jacket with a light pink polo shirt, crisp white pants — and a West Highland Terrier. He is pretty much the gay Ken.\u003c/p>\n\u003cp>Also, Mattel is coming out with a line of \u003cb>Mad Men\u003c/b> collector Barbies — including a Don Draper Ken. As one blogger quipped, \u003ca href=\"http://www.bestweekever.tv/2010-03-10/don-draper-ken-doll-still-sleeps-around-despite-lack-of-genitals/\">“Don Draper Ken Doll Still Sleeps Around Despite Lack of Genitals.”\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/06/ken-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2010/06/ken-2.jpg\" alt=\"ken-2\" width=\"500\" height=\"549\" class=\"aligncenter size-full wp-image-128792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2010/06/ken-2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/06/ken-2-400x439.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2010/06/ken-2-273x300.jpg 273w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>Ironic adults are probably the target audience for these evolved Ken dolls. Barbie and Ken have long been the focal point of campy and political art and activism. An art form/hobby referred to as \u003ca href=\"http://en.wikipedia.org/wiki/Playscale_Miniaturism\">Playscale Miniaturism\u003c/a> often uses Barbie dolls to subvert traditional values. (The 8th annual \u003ca href=\"http://alteredbarbie.com/\">Altered Barbie Exhibition\u003c/a> arrives in San Francisco this fall.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Back in the ’80s, \u003ca href=\"http://sniggle.net/barbie.php\">The Barbie Liberation Organization\u003c/a> switched the voice boxes of talking G.I. Joe dolls with talking Barbies — and then returned them to the toy store shelves. Such underground activism is no longer necessary with mom and dad Mattel giving their blessing to the Sugar Daddy Ken.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Pride of place means a lot when the time comes every year for Frameline, the International LGBT Film Festival, in San Francisco. But as the ten films from Argentina, Brazil and Peru collected under the banner of \u003cb>South America’s New Queer Cinema\u003c/b> will attest, the festival has reason enough for pride of geographical breadth, too.\u003c/p>\n\u003cp>This particular group has the good collective sense to ask: What sorts of LGBT-themed films might be emerging from places so often identified by patriarchal Catholicism and intolerant politics? As Lucho Ramirez writes in the program notes, “It has been the tradition of many of these countries to have highly defined gender expectations, where queer sexuality or gender variance stand apart from culturally policed ideals.”\u003c/p>\n\u003cp>When change does come, as it evidently has, so does a strange aura: the simultaneous feelings of dying and being born. This must at least partly explain why a few of the standouts in Frameline’s South American group have seemed so preoccupied with cycles of life.\u003c/p>\n\u003cp>\u003cb>Undertow (Contracorriente)\u003c/b> (June 22, 7pm, Castro Theatre) begins and ends with burials at sea, and comes to a high point in the middle with a baby being born. Beneath the easygoing lyricism and sun-kissed pastel palate of its setting, a Peruvian seaside fishing village, this is the potentially harrowing and literally haunting tale of a man so closeted that he’s willing to swear on his newborn son that nothing happened with that other guy.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/elvis-madona.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>In \u003cb>Elvis & Madona\u003c/b> (June 19, 4pm, Castro Theatre), a gangling charmer and proven crowd-pleaser from Brazil, the blooming romance between a trans woman cabaret performer and her lovely pizza-delivery dyke is, shall we say, complicated. “I’ve never had anything with a woman who’s not a woman but who is a woman,” says Elvis. But there is also the matter of somebody’s adult-industry past — and, perhaps most importantly, the matter of somebody else’s unintended pregnancy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/croquettes.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cb>Dzi Croquettes\u003c/b> (June 21, 11am, Castro Theatre) documents the eponymous queer Brazilian performance troupe, clearly the kindred spirits of San Francisco’s own Cockettes, by lacing footage from the glamorous 1970s glory days together with many fond talking-head remembrances. It’s a film about the birth of a moment, but notably pervaded by a eulogizing tone.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/one-another.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Even the pauses are pregnant in \u003cb>One for Another\u003c/b> (in the \u003cb>Gayby\u003c/b> shorts program, June 22, 7pm, Roxie Theater), a short subject in which two male partners try to talk their female friend out of having an abortion — and to ready themselves for the end of life as they’ve known it. It questions the certitude of pregnancy as a female condition, and of the male role therein. And it further illuminates the life cycle of a society in transition.\u003c/p>\n\u003cp>Yes, beginnings and endings have made for movie plot points since the dawn of film. But they seem to assume a new resonance here, with cultural foundations rendered so newly permeable that the results can be fatal, or natal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Frameline34\u003c/b> runs June 17-27, 2010 at the Castro, Roxie and Victoria Theatres in San Francisco and the Rialto Cinemas Elmwood in Berkeley. For \u003ca href=\"http://www.frameline.org/festival/\">tickets and information\u003c/a>, call (415) 703-8655 or visit frameline.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pride of place means a lot when the time comes every year for Frameline, the International LGBT Film Festival, in San Francisco. But as the ten films from Argentina, Brazil and Peru collected under the banner of \u003cb>South America’s New Queer Cinema\u003c/b> will attest, the festival has reason enough for pride of geographical breadth, too.\u003c/p>\n\u003cp>This particular group has the good collective sense to ask: What sorts of LGBT-themed films might be emerging from places so often identified by patriarchal Catholicism and intolerant politics? As Lucho Ramirez writes in the program notes, “It has been the tradition of many of these countries to have highly defined gender expectations, where queer sexuality or gender variance stand apart from culturally policed ideals.”\u003c/p>\n\u003cp>When change does come, as it evidently has, so does a strange aura: the simultaneous feelings of dying and being born. This must at least partly explain why a few of the standouts in Frameline’s South American group have seemed so preoccupied with cycles of life.\u003c/p>\n\u003cp>\u003cb>Undertow (Contracorriente)\u003c/b> (June 22, 7pm, Castro Theatre) begins and ends with burials at sea, and comes to a high point in the middle with a baby being born. Beneath the easygoing lyricism and sun-kissed pastel palate of its setting, a Peruvian seaside fishing village, this is the potentially harrowing and literally haunting tale of a man so closeted that he’s willing to swear on his newborn son that nothing happened with that other guy.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/elvis-madona.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>In \u003cb>Elvis & Madona\u003c/b> (June 19, 4pm, Castro Theatre), a gangling charmer and proven crowd-pleaser from Brazil, the blooming romance between a trans woman cabaret performer and her lovely pizza-delivery dyke is, shall we say, complicated. “I’ve never had anything with a woman who’s not a woman but who is a woman,” says Elvis. But there is also the matter of somebody’s adult-industry past — and, perhaps most importantly, the matter of somebody else’s unintended pregnancy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/croquettes.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cb>Dzi Croquettes\u003c/b> (June 21, 11am, Castro Theatre) documents the eponymous queer Brazilian performance troupe, clearly the kindred spirits of San Francisco’s own Cockettes, by lacing footage from the glamorous 1970s glory days together with many fond talking-head remembrances. It’s a film about the birth of a moment, but notably pervaded by a eulogizing tone.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/one-another.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Even the pauses are pregnant in \u003cb>One for Another\u003c/b> (in the \u003cb>Gayby\u003c/b> shorts program, June 22, 7pm, Roxie Theater), a short subject in which two male partners try to talk their female friend out of having an abortion — and to ready themselves for the end of life as they’ve known it. It questions the certitude of pregnancy as a female condition, and of the male role therein. And it further illuminates the life cycle of a society in transition.\u003c/p>\n\u003cp>Yes, beginnings and endings have made for movie plot points since the dawn of film. But they seem to assume a new resonance here, with cultural foundations rendered so newly permeable that the results can be fatal, or natal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Frameline34\u003c/b> runs June 17-27, 2010 at the Castro, Roxie and Victoria Theatres in San Francisco and the Rialto Cinemas Elmwood in Berkeley. For \u003ca href=\"http://www.frameline.org/festival/\">tickets and information\u003c/a>, call (415) 703-8655 or visit frameline.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Residents, for those who have somehow escaped their sway for the last 35-plus years, are the venerable Bay Area-based practitioners of a singular amalgam of performance art and rock ‘n’ roll, aided and abetted by a dose of leading-edge digital technology. They are simultaneously omnipresent and invisible, infamous and unknown, perennially ahead of their time and deeply enmeshed in the past. How can this be? Because the Residents have deemed it so.\u003c/p>\n\u003cp>The group, a trio (I believe) augmented by various collaborators across the decades, has adamantly and diligently hidden the identity of its core members. Onstage and in their numerous videos, they’re outfitted in top hats, tuxes and eyeball headpieces that, like any uniform, sublimate the individual to the group. Neither shy nor agoraphobic, The Residents originally suggested a kind of rebuke of the megalomania and hero worship of rock superstars in the ’70s. In the 21st century, when \u003cb>American Idol\u003c/b> spits out a new household name every week (or is that overstating things? I can’t bring myself to watch) and everyone in America aspires to be a 15-minute fame whore, the idea of a performer seeking anonymity is nothing short of perverse.\u003c/p>\n\u003cp>The spotlight is on the group’s visual art this week, with the Pacific Film Archive screening 15 works in the amusingly titled program, \u003cb>Icky Flix Remix: Videos by The Residents\u003c/b>. The great majority of the pieces were made between 1972 and 2000, and were collected on the 2001 DVD \u003cb>Icky Flix\u003c/b>. No matter. The big screen always beats the small screen, especially with all the weird production design and detail that the Residents typically pack into a piece.\u003c/p>\n\u003cp>Endlessly creative and undeniably restless, the band never seems to repeat themselves visually. Their oeuvre encompasses seductive stop-motion animation, quasi-grotesque live-action and primitive and sophisticated computer graphics. Their influences cover the waterfront of moving-image detritus, from silent film to Japanese monster movies, from vaudeville to underground comics.\u003c/p>\n\u003cp>Frankly, I’d be hard-pressed to decipher and explain the meaning of any particular Residents video, although “Songs for Swinging Larvae” (which I picked primarily to share the pleasure of its title) seems to be about a child’s desire to trade his boring, kitchen-captive mother for a magic-inclined playmate. Experimental, nonlinear and unclassifiable, The Residents’ music videos — buoyed and enhanced by delicious tunes with equally mysterious lyrics — are somehow simultaneously juvenile and sophisticated. How can that be? Because the Residents have deemed it so.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Icky Flix Remix: Videos by The Residents, 1975-2010\u003c/b> screens at 7:30pm, Wednesday, June 9, 2010 at Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/\">tickets and information\u003c/a>, call (510) 642-0808 or visit www.bampfa.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Residents, for those who have somehow escaped their sway for the last 35-plus years, are the venerable Bay Area-based practitioners of a singular amalgam of performance art and rock ‘n’ roll, aided and abetted by a dose of leading-edge digital technology. They are simultaneously omnipresent and invisible, infamous and unknown, perennially ahead of their time and deeply enmeshed in the past. How can this be? Because the Residents have deemed it so.\u003c/p>\n\u003cp>The group, a trio (I believe) augmented by various collaborators across the decades, has adamantly and diligently hidden the identity of its core members. Onstage and in their numerous videos, they’re outfitted in top hats, tuxes and eyeball headpieces that, like any uniform, sublimate the individual to the group. Neither shy nor agoraphobic, The Residents originally suggested a kind of rebuke of the megalomania and hero worship of rock superstars in the ’70s. In the 21st century, when \u003cb>American Idol\u003c/b> spits out a new household name every week (or is that overstating things? I can’t bring myself to watch) and everyone in America aspires to be a 15-minute fame whore, the idea of a performer seeking anonymity is nothing short of perverse.\u003c/p>\n\u003cp>The spotlight is on the group’s visual art this week, with the Pacific Film Archive screening 15 works in the amusingly titled program, \u003cb>Icky Flix Remix: Videos by The Residents\u003c/b>. The great majority of the pieces were made between 1972 and 2000, and were collected on the 2001 DVD \u003cb>Icky Flix\u003c/b>. No matter. The big screen always beats the small screen, especially with all the weird production design and detail that the Residents typically pack into a piece.\u003c/p>\n\u003cp>Endlessly creative and undeniably restless, the band never seems to repeat themselves visually. Their oeuvre encompasses seductive stop-motion animation, quasi-grotesque live-action and primitive and sophisticated computer graphics. Their influences cover the waterfront of moving-image detritus, from silent film to Japanese monster movies, from vaudeville to underground comics.\u003c/p>\n\u003cp>Frankly, I’d be hard-pressed to decipher and explain the meaning of any particular Residents video, although “Songs for Swinging Larvae” (which I picked primarily to share the pleasure of its title) seems to be about a child’s desire to trade his boring, kitchen-captive mother for a magic-inclined playmate. Experimental, nonlinear and unclassifiable, The Residents’ music videos — buoyed and enhanced by delicious tunes with equally mysterious lyrics — are somehow simultaneously juvenile and sophisticated. How can that be? Because the Residents have deemed it so.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This month in local concerts: the outsider folk-rock of Woods headlines two showcases of one of indie music’s best labels, Mates of State return to SF with an eclectic mixtape to share, and Hunx and his Punx’s Gay Singles aim to steal your heart.\u003c/p>\n\u003cp>Few labels are putting out great records with the consistency of New York’s \u003ca href=\"http://www.woodsist.com/\">Woodsist\u003c/a>, whose recent output includes two of my 2009 favorites, Real Estate’s self-titled album and The Fresh & Onlys’ \u003cstrong>Grey-Eyed Girls\u003c/strong>, along with records from Ganglians, The Art Museums, and label head Jeremy Earl’s \u003ca href=\"http://www.myspace.com/woodsfamilyband\">Woods\u003c/a>. Released in April, \u003cstrong>At Echo Lake\u003c/strong> is Woods’ fifth album, a collection of outsider folk-rock with a layered, almost pastiche feel. Old labelmate-turned-Matador man \u003ca href=\"http://www.myspace.com/kurtvileofphilly\">Kurt Vile\u003c/a> joins Woods for a handful of California shows. The psychy singer-songwriter’s new \u003cstrong>Square Shells\u003c/strong> EP finds Vile experimenting in a number of different directions. There are instrumental tracks, some more spare guitar-and-voice songs, and the 7-minute plus \u003ca href=\"http://www.matadorrecords.com/mpeg/kurt_vile/kurt_vile_invisibility_nonexistent.mp3\">“Invisibility: Nonexistent,”\u003c/a> an enchanting track that showcases the artist’s Yo La Tengo-level ability to keep his noisier deviations tethered to a robust melodic rock-pop. Woods and Kurt Vile will be performing on June 11, 2010 at Slim’s, with \u003ca href=\"http://www.myspace.com/theartmuseums\">The Art Museums\u003c/a> and \u003ca href=\"http://www.myspace.com/mantles\">The Mantles\u003c/a>. For \u003ca href=\"http://slims-sf.com\">tickets and information\u003c/a>, visit slims-sf.com. All four bands will also be part of \u003cb>Woodsist Fest Big Sur\u003c/b> on June 12, 2010 at the Henry Miller Library in Big Sur. More \u003ca href=\"http://www.henrymiller.org/events.html#wood\">information about that sold-out festival\u003c/a> is at henrymiller.org.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=sCkhhPTXvV0&hl=en_US&fs=1&]\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director at \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Why spend the summer with Akira Kurosawa? Because you can. Any conceivable combination of the Criterion Collection’s \u003cb>AK100: 25 Films by Akira Kurosawa\u003c/b> DVD box and the Pacific Film Archive’s \u003cb>Akira Kurosawa Centennial\u003c/b> is recommended.\u003c/p>\n\u003cp>The PFA’s program, beginning tonight with a double feature of \u003cb>Rashomon\u003c/b> and \u003cb>Drunken Angel\u003c/b>, has the benefit of a big screen, plus a few films unavailable in the box. But aside from missing out on it entirely, there’s really no wrong way to survey the busy 50 years from 1943’s \u003cb>Sanshiro Sugata\u003c/b>, Kurosawa’s debut, to 1993’s \u003cb>Madadayo\u003c/b>, his career capstone.\u003c/p>\n\u003cp>True, it may seem a daunting prospect to spend the beach season embroiled in battles with stinging insects, sharp objects, festering cesspools, terminal diseases, relentless elements, cultural deformations, and national identity crises. But try to think of it as indulgent escapist nostalgia, for a return to that great mid-century moment when world cinema as we know it began inventing itself.\u003c/p>\n\u003cp>Anyway, it becomes periodically necessary to revisit the filmmaker’s work just to excavate it from his own enormous legacy, in which East and West and Past and Future can be seen colliding. “The first Japanese director seen by the West,” as biographer Stephen Prince reminds us in a preface to the DVD set, “Kurosawa’s international tastes made him the perfect emissary for foreign viewers, and his bold synthesis of artistic traditions epitomized cinematic modernism.”\u003c/p>\n\u003cp>Clearly he got a lot from the great Russian writers (\u003cb>The Idiot\u003c/b> from Dostoevsky, \u003cb>The Lower Depths\u003c/b> from Gorky, \u003cb>Ikiru\u003c/b> from Tolstoy’s \u003cb>The Death of Ivan Ilyich\u003c/b>), and from a certain greatest English one (with \u003cb>Throne of Blood\u003c/b> as a Noh \u003cb>Macbeth\u003c/b>, \u003cb>Ran\u003c/b> as a Sengoku-era battle-epic \u003cb>King Lear\u003c/b>, and \u003cb>The Bad Sleep Well\u003c/b>, a riff on \u003cb>Hamlet\u003c/b> that Francis Ford Coppola later described as “better than Shakespeare”). And he gave back much more than a fleeting frisson, having since inspired — from major names including Leone, Lucas, Tarantino — some of the most imaginative ripoffs in film history.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, \u003cb>Star Wars\u003c/b> didn’t open with C3P0 and R2D2 telling each other, “Stay away from me; you stink of dead bodies” and “You’re a shitworm; you make me sick.” So there is something to be said for returning to the source. (In this case, \u003cb>The Hidden Fortress\u003c/b>.)\u003c/p>\n\u003cp>There are too many enduring moments. In \u003cb>Drunken Angel\u003c/b>, when the doctor tells the gangster, “I’ve killed more people than you.” In \u003cb>Ran\u003c/b>, when the castle-breach battle goes wholly silent, save for Toru Takemitsu’s chilling score, until one fateful gunshot tears it open. In \u003cb>Madadayo\u003c/b>, when the old professor goes nearly mad with heartbreak just from losing his cat. Dozens more.\u003c/p>\n\u003cp>In retrospect it’s amazing how well Kurosawa bore up under the beautiful burden of socially conscious heroic individualism. But then, he had many gifts — including total command of forces of nature (epic rainstorms, Toshiro Mifune), perpetual rightness about casting, tireless formal agility, and abiding thematic humility. Honor is of the essence, along with the shame of having to wonder whether mankind actually has any.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Akira Kurosawa Centennial runs from June 4 through August 29, 2010, at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu\">tickets and information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\n",
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"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
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