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"content": "\u003cp>The ’60s are the gift that keeps on giving, at least as far as documentary filmmakers (of all generations, so don’t go blaming aging boomers) are concerned. In just the last few years, we’ve had nonfiction films about the Weather Underground, Woodstock, the Chicago 10 trial, Hunter Thompson (he came to fame in ’66, with the publication of \u003cb>Hells Angels\u003c/b>), the Doors, the Vietnam War and William Kunstler. It’s pretty obvious that they represent a collective roar against the public apathy and powerlessness of the Bush years, but also something more: Diligent, well-researched pushback against the revisionist history promulgated by the conservative and mainstream media, namely that the ’60s’ lasting legacy is drugs and sex.\u003c/p>\n\u003cp>Berkeley filmmakers Judith Ehrlich and Rick Goldsmith’s \u003cb>The Most Dangerous Man In America: Daniel Ellsberg and the Pentagon Papers\u003c/b> centers on a man who was the antithesis of a weed-happy hippie or free-love opportunist. His incredibly principled and gutsy action against the Vietnam War, consequently, is impossible to dismiss or refute. An Ivy League-educated Marine with on-the-ground service in Vietnam, Ellsberg was a pro-war analyst in the State Dept. and then the Rand Corporation as the war heated up. But gradually, with his girlfriend (and future wife) Patricia arguing relentlessly against the war, Ellsberg came to see its immorality.\u003c/p>\n\u003cp>More than anything, what he was forced to confront were his government’s lies. They were evident from the Pentagon’s massive secret history of Vietnam, which delineated the gap between what bureaucrats and politicians knew and what they told the American people. Ellsberg made copies of the voluminous documents and slipped them to numerous newspapers and Congressmen. And that’s when \u003cb>Most Dangerous Man\u003c/b> gets really interesting.\u003c/p>\n\u003cp>The film is structured, paced and scored like a thriller, and it works beautifully. It helps that Ellsberg (who’s made the East Bay his home for many years) narrates — mostly passages taken from his own writings — giving us an insider’s tense, profoundly thoughtful point of view. As we’re drawn in so intimately, we can’t help but ask ourselves what we would have done in the same situation. (I’m reminded, completely inappropriately, of the classic question Moe, Larry or Curly would ask each other: “Are we men or are we mice?” The answer was always, “Mice!” Then again, maybe it wasn’t the Stooges.)\u003c/p>\n\u003cp>The other factor that puts \u003cb>Most Dangerous Man\u003c/b> over is its timeliness. The major challenge that historical documentaries face — as even Ken Burns will admit — is getting contemporary viewers to see their relevance. That’s not remotely a problem with the Ellsberg doc. The bloody and costly pursuit of an unattainable victory in Vietnam has its current parallels in Iraq and potentially Afghanistan. Why isn’t there the same outcry? If the draft was still in effect, I daresay tens of thousands of Americans would be in the streets. That there isn’t and they’re not does not negate the similarities in the wars.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, the film devotes considerable time to the internal debates and ultimate decisions of the \u003ci>New York Times\u003c/i> and other newspapers that published excerpts of the Pentagon Papers in the face of threats from Richard Nixon’s Justice Dept. Listening to these witnesses discuss the responsibilities of a free press in a democracy with the utmost seriousness is inspiring, frankly. Of course, it also throws into sharp relief those same papers’ abdication of their responsibility in the run-up to the invasion of Iraq.\u003c/p>\n\u003cp>As gripping as any political whodunit that Hollywood has made in the last 20 years, starring a patriot and hero who puts Jack Bauer and Jason Bourne to shame, \u003cb>The Most Dangerous Man In America: Daniel Ellsberg and the Pentagon Papers\u003c/b> is a splendid contribution to the burgeoning history of the ’60s on film. It’s also, unfortunately, a movie for our times.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Most Dangerous Man In America: Daniel Ellsberg and the Pentagon Papers\u003c/b> opens Friday, February 19, 2010 at Landmark Theatres in San Francisco and Berkeley.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The ’60s are the gift that keeps on giving, at least as far as documentary filmmakers (of all generations, so don’t go blaming aging boomers) are concerned. In just the last few years, we’ve had nonfiction films about the Weather Underground, Woodstock, the Chicago 10 trial, Hunter Thompson (he came to fame in ’66, with the publication of \u003cb>Hells Angels\u003c/b>), the Doors, the Vietnam War and William Kunstler. It’s pretty obvious that they represent a collective roar against the public apathy and powerlessness of the Bush years, but also something more: Diligent, well-researched pushback against the revisionist history promulgated by the conservative and mainstream media, namely that the ’60s’ lasting legacy is drugs and sex.\u003c/p>\n\u003cp>Berkeley filmmakers Judith Ehrlich and Rick Goldsmith’s \u003cb>The Most Dangerous Man In America: Daniel Ellsberg and the Pentagon Papers\u003c/b> centers on a man who was the antithesis of a weed-happy hippie or free-love opportunist. His incredibly principled and gutsy action against the Vietnam War, consequently, is impossible to dismiss or refute. An Ivy League-educated Marine with on-the-ground service in Vietnam, Ellsberg was a pro-war analyst in the State Dept. and then the Rand Corporation as the war heated up. But gradually, with his girlfriend (and future wife) Patricia arguing relentlessly against the war, Ellsberg came to see its immorality.\u003c/p>\n\u003cp>More than anything, what he was forced to confront were his government’s lies. They were evident from the Pentagon’s massive secret history of Vietnam, which delineated the gap between what bureaucrats and politicians knew and what they told the American people. Ellsberg made copies of the voluminous documents and slipped them to numerous newspapers and Congressmen. And that’s when \u003cb>Most Dangerous Man\u003c/b> gets really interesting.\u003c/p>\n\u003cp>The film is structured, paced and scored like a thriller, and it works beautifully. It helps that Ellsberg (who’s made the East Bay his home for many years) narrates — mostly passages taken from his own writings — giving us an insider’s tense, profoundly thoughtful point of view. As we’re drawn in so intimately, we can’t help but ask ourselves what we would have done in the same situation. (I’m reminded, completely inappropriately, of the classic question Moe, Larry or Curly would ask each other: “Are we men or are we mice?” The answer was always, “Mice!” Then again, maybe it wasn’t the Stooges.)\u003c/p>\n\u003cp>The other factor that puts \u003cb>Most Dangerous Man\u003c/b> over is its timeliness. The major challenge that historical documentaries face — as even Ken Burns will admit — is getting contemporary viewers to see their relevance. That’s not remotely a problem with the Ellsberg doc. The bloody and costly pursuit of an unattainable victory in Vietnam has its current parallels in Iraq and potentially Afghanistan. Why isn’t there the same outcry? If the draft was still in effect, I daresay tens of thousands of Americans would be in the streets. That there isn’t and they’re not does not negate the similarities in the wars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, the film devotes considerable time to the internal debates and ultimate decisions of the \u003ci>New York Times\u003c/i> and other newspapers that published excerpts of the Pentagon Papers in the face of threats from Richard Nixon’s Justice Dept. Listening to these witnesses discuss the responsibilities of a free press in a democracy with the utmost seriousness is inspiring, frankly. Of course, it also throws into sharp relief those same papers’ abdication of their responsibility in the run-up to the invasion of Iraq.\u003c/p>\n\u003cp>As gripping as any political whodunit that Hollywood has made in the last 20 years, starring a patriot and hero who puts Jack Bauer and Jason Bourne to shame, \u003cb>The Most Dangerous Man In America: Daniel Ellsberg and the Pentagon Papers\u003c/b> is a splendid contribution to the burgeoning history of the ’60s on film. It’s also, unfortunately, a movie for our times.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Most Dangerous Man In America: Daniel Ellsberg and the Pentagon Papers\u003c/b> opens Friday, February 19, 2010 at Landmark Theatres in San Francisco and Berkeley.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When David Thomson brought out \u003cb>The Moment of Psycho\u003c/b> a few months back, I quipped that he ought to be careful, lest he condition his loyalists to expect a whole book for each of the 1,000 films he discussed in the recent reference compendium \u003cb>Have You Seen…?\u003c/b> And why stop there? While we were at it, why not one book each for all the figures Thomson discussed in his \u003ci>other\u003c/i> reference compendium, the seminal \u003cb>New Biographical Dictionary of Film\u003c/b>?\u003c/p>\n\u003cp>Apparently it is not a bother. Of course the prolific London-born San Francisco author has been writing full-length show-business biographies throughout his career, but now he really seems to be humming along. Now Thomson has launched his “Great Stars” series, so far four compact and delicious book-length essays revisiting the lives and films of Ingrid Bergman, Humphrey Bogart, Gary Cooper and Bette Davis.\u003c/p>\n\u003cp>So here we have four new angles on the cultivation of mystique. New contexts for, among other things, Bergman’s promiscuity, Bogart’s insecurity, Cooper’s passivity and Davis’s determination. With a nimble spring in his step, and his usual poet-historian proclivities, Thomson runs us through his subjects’ formative experiences, their tellingly turbulent family lives, and, not least, their highly varied bodies of work.\u003c/p>\n\u003cp>Even at his most digressive, he’s forcefully pithy. “What \u003cb>Casablanca\u003c/b> discovers,” Thomson writes, “is Ingrid Bergman’s profound aptitude for being a prisoner, for feeling torture and the agonies of indecision.” As for what it discovers in her leading man, there is the important notion that his “rueful gaze and his wary voice were a proper task force to face fascism and to discard neutrality and self-concern.”\u003c/p>\n\u003cp>“It is time for a reappraisal,” Thomson had said of Bogart in his last edition of the \u003cb>Biographical Dictionary\u003c/b>. Well, here it is, and in good company, too. Which is only to say that the author has not squandered or taken for granted the many opportunities this new series provides. Yes, these are stars from another century, all seeming at once long gone and exhaustively well-recorded for posterity. Yet none of these new books feels padded or phoned in; each in its way becomes newly essential.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of Cooper, Thomson notes, “One of the openings available for a book like this is the chance to detect when it is that anxiety creeps into Coop’s looks.” A good part of that volume is devoted to puzzling out what such a transformation could mean. Similarly, it’s not long into the Bette Davis book that Thomson has made contact with those famous eyes: “It was a sadness against which the pluck of her demeanor seemed all the more admirable. It is not crying, but a refusal to cry — and perhaps it leads to a determination that someone else, the man, will cry first.” From there, he’s just getting warmed up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What’s most impressive, as usual, is that Thomson’s deep knowledge of Hollywood history has neither contaminated his enthusiasm nor dulled his insight. Like the great stars to whom we perpetually return, he never seems to run out of true and splendid things to tell us.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When David Thomson brought out \u003cb>The Moment of Psycho\u003c/b> a few months back, I quipped that he ought to be careful, lest he condition his loyalists to expect a whole book for each of the 1,000 films he discussed in the recent reference compendium \u003cb>Have You Seen…?\u003c/b> And why stop there? While we were at it, why not one book each for all the figures Thomson discussed in his \u003ci>other\u003c/i> reference compendium, the seminal \u003cb>New Biographical Dictionary of Film\u003c/b>?\u003c/p>\n\u003cp>Apparently it is not a bother. Of course the prolific London-born San Francisco author has been writing full-length show-business biographies throughout his career, but now he really seems to be humming along. Now Thomson has launched his “Great Stars” series, so far four compact and delicious book-length essays revisiting the lives and films of Ingrid Bergman, Humphrey Bogart, Gary Cooper and Bette Davis.\u003c/p>\n\u003cp>So here we have four new angles on the cultivation of mystique. New contexts for, among other things, Bergman’s promiscuity, Bogart’s insecurity, Cooper’s passivity and Davis’s determination. With a nimble spring in his step, and his usual poet-historian proclivities, Thomson runs us through his subjects’ formative experiences, their tellingly turbulent family lives, and, not least, their highly varied bodies of work.\u003c/p>\n\u003cp>Even at his most digressive, he’s forcefully pithy. “What \u003cb>Casablanca\u003c/b> discovers,” Thomson writes, “is Ingrid Bergman’s profound aptitude for being a prisoner, for feeling torture and the agonies of indecision.” As for what it discovers in her leading man, there is the important notion that his “rueful gaze and his wary voice were a proper task force to face fascism and to discard neutrality and self-concern.”\u003c/p>\n\u003cp>“It is time for a reappraisal,” Thomson had said of Bogart in his last edition of the \u003cb>Biographical Dictionary\u003c/b>. Well, here it is, and in good company, too. Which is only to say that the author has not squandered or taken for granted the many opportunities this new series provides. Yes, these are stars from another century, all seeming at once long gone and exhaustively well-recorded for posterity. Yet none of these new books feels padded or phoned in; each in its way becomes newly essential.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of Cooper, Thomson notes, “One of the openings available for a book like this is the chance to detect when it is that anxiety creeps into Coop’s looks.” A good part of that volume is devoted to puzzling out what such a transformation could mean. Similarly, it’s not long into the Bette Davis book that Thomson has made contact with those famous eyes: “It was a sadness against which the pluck of her demeanor seemed all the more admirable. It is not crying, but a refusal to cry — and perhaps it leads to a determination that someone else, the man, will cry first.” From there, he’s just getting warmed up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What’s most impressive, as usual, is that Thomson’s deep knowledge of Hollywood history has neither contaminated his enthusiasm nor dulled his insight. Like the great stars to whom we perpetually return, he never seems to run out of true and splendid things to tell us.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Most people are fond of grandparents. Whether sweet and wise, or slow and grumpy, senior citizens are generally respected and endeared. That’s why this YouTube video of \u003ca href=\"http://www.youtube.com/watch?v=7G3bTuHo7qw\">grannies on a roller coaster\u003c/a> is so popular. But nobody wants to look up grandma’s skirt or think about grandpa sans pants. Nobody except Gina M. Contreras, this month’s featured artist at the Adobe Books Back Room Gallery. The artist shows her support for the elderly and their return to innocence, depicting them adrift in flowers, carefree, childlike, and ready to make out.\u003c/p>\n\u003cp>The titles and characters’ facial expressions carry the narrative in \u003cb>My Love is Another Kind\u003c/b>, Contreras’s exhibition of paintings and drawings. In “My Heart Was Interrupted by the Assholeness of Yours” an old woman glares at her presumed partner, an old man looking helpless and sorry. But the scene is ambiguous, and the figures appear more than once, indicating various actions or moods. They peek out from behind flourishing flowers and aqua glitter, making the paintings feel almost decorative, like an old teacup. Besides being pretty, the flowers also hint at the fragility of old age; flowers fade like we do.\u003c/p>\n\u003cp>The paintings don’t seem perverted, even though in one of them grandpa is hiding his exposed junk behind a pink pansy. These subtle sexual hints are Contreras’s way of trying to make us comfortable with the fact that old people are lusty human beings who explore a new sense of freedom and what the artist refers to as “possibility” in their golden years. But because the artist is only in her early 20s and comes up with titles like \u003cb>Bonerific\u003c/b>, I could also see her paintings as the personal narrative of a young adult with an old soul and naughty sense of humor. Sometimes young couples act like old fogies, too.\u003c/p>\n\u003cp>Color is important in this artist’s work because the warm tones tug at nostalgic heartstrings. Contreras painted the gallery walls beige to enhance her palette, creating a comfort zone for the viewer before revealing her rarely explored subject matter, and addressing what curator Nicole Lattuca describes as “the social tendency to be dismissive and easily repulsed by our inevitable future existence.” The art certainly stirs up that conversation, but what I liked best was Contreras’s knack for rendering expressive, wrinkly faces.\u003c/p>\n\u003cp>Also included in the show is a selection of hand-printed pages from Contreras’s book \u003cb>If Only Things Were Like That\u003c/b>, which was recently acquired by SFMoMA. In this series, the geriatric are pictured in everyday life, kissing in the park or taking a nap — their faces look so aged and weary, but you can see they are happy. Contreras’s printmaking background stokes her skilled drawing hand, creating a style that is memorable and magnetic. Her show is worth a look, even if you have to face your inevitable future as a randy old geezer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>My Love is Another Kind\u003c/b> is on view through February 21, 2010 at Adobe Books Back Room Gallery. \u003ca href=\"http://adobebooksbackroomgallery.blogspot.com\">More information\u003c/a> available on the gallery’s blog.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most people are fond of grandparents. Whether sweet and wise, or slow and grumpy, senior citizens are generally respected and endeared. That’s why this YouTube video of \u003ca href=\"http://www.youtube.com/watch?v=7G3bTuHo7qw\">grannies on a roller coaster\u003c/a> is so popular. But nobody wants to look up grandma’s skirt or think about grandpa sans pants. Nobody except Gina M. Contreras, this month’s featured artist at the Adobe Books Back Room Gallery. The artist shows her support for the elderly and their return to innocence, depicting them adrift in flowers, carefree, childlike, and ready to make out.\u003c/p>\n\u003cp>The titles and characters’ facial expressions carry the narrative in \u003cb>My Love is Another Kind\u003c/b>, Contreras’s exhibition of paintings and drawings. In “My Heart Was Interrupted by the Assholeness of Yours” an old woman glares at her presumed partner, an old man looking helpless and sorry. But the scene is ambiguous, and the figures appear more than once, indicating various actions or moods. They peek out from behind flourishing flowers and aqua glitter, making the paintings feel almost decorative, like an old teacup. Besides being pretty, the flowers also hint at the fragility of old age; flowers fade like we do.\u003c/p>\n\u003cp>The paintings don’t seem perverted, even though in one of them grandpa is hiding his exposed junk behind a pink pansy. These subtle sexual hints are Contreras’s way of trying to make us comfortable with the fact that old people are lusty human beings who explore a new sense of freedom and what the artist refers to as “possibility” in their golden years. But because the artist is only in her early 20s and comes up with titles like \u003cb>Bonerific\u003c/b>, I could also see her paintings as the personal narrative of a young adult with an old soul and naughty sense of humor. Sometimes young couples act like old fogies, too.\u003c/p>\n\u003cp>Color is important in this artist’s work because the warm tones tug at nostalgic heartstrings. Contreras painted the gallery walls beige to enhance her palette, creating a comfort zone for the viewer before revealing her rarely explored subject matter, and addressing what curator Nicole Lattuca describes as “the social tendency to be dismissive and easily repulsed by our inevitable future existence.” The art certainly stirs up that conversation, but what I liked best was Contreras’s knack for rendering expressive, wrinkly faces.\u003c/p>\n\u003cp>Also included in the show is a selection of hand-printed pages from Contreras’s book \u003cb>If Only Things Were Like That\u003c/b>, which was recently acquired by SFMoMA. In this series, the geriatric are pictured in everyday life, kissing in the park or taking a nap — their faces look so aged and weary, but you can see they are happy. Contreras’s printmaking background stokes her skilled drawing hand, creating a style that is memorable and magnetic. Her show is worth a look, even if you have to face your inevitable future as a randy old geezer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>My Love is Another Kind\u003c/b> is on view through February 21, 2010 at Adobe Books Back Room Gallery. \u003ca href=\"http://adobebooksbackroomgallery.blogspot.com\">More information\u003c/a> available on the gallery’s blog.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mike Tyson once said “Everybody’s got plans…until they get hit.” And while some might not think of Tyson as a particularly prophetic individual, I’d challenge them to find a more fitting way to describe Kirk Crippens’s photographs of Stockton, California, which has been called the epicenter of the housing crisis.\u003c/p>\n\u003cp>Stockton is a nice town (twice awarded the \u003ca href=\"http://ncl.org/aac/AACindex.htm\">All-America City Award\u003c/a> by the National Civic League). Being relatively inexpensive and within commuting distance to Sacramento and San Francisco made it prime real estate for speculators cashing in on the housing boom, and swathes of planned communities sprung up around the city. Two years ago, the same qualities left Stockton vulnerable; when the housing bubble popped, 1 in 27 Stockton homes ended up in foreclosure.\u003c/p>\n\u003cp>Kirk Crippens’s photographs chronicle the economic crisis at the most personal level, as it reverberates through the daily lives of Californians. The photographs in \u003cb>Foreclosure, USA\u003c/b>, taken during 2008 and 2009, feature the dissolution of planned communities: sidewalks abruptly dead-ending into dirt; the detritus left behind by squatters in foreclosed houses; swimming pools, empty except for a puddle of yellow scum and rings of dirt.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/crippens.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Photo: Kirk Crippens\u003c/p>\n\u003cp>Gallery info states Crippens was inspired by the famous documentary photographs of the dustbowl, but to me, the analogy doesn’t exactly work: when I think of most famous dustbowl photographs by artists like Dorthea Lange and Walker Evans, I think of the \u003ci>faces\u003c/i> of migrant workers and sharecroppers. Crippens’s photographs are different: they are gorgeous images that manage to capture the affective landscape of human emotion in upheaval, without ever including a single person on film. He does this by shooting emptied homes: abandoned by owners, repossessed by banks, and gutted by looters. The object is the same though: the Farm Security Administration hired photographers to show the human side of the dustbowl to people who weren’t directly experiencing it; Crippens’s project, funded in part by grants from SFMOMA, the Sierra Club, and the Museum of African Diaspora, functions similarly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I went to the SFMOMA Artists Gallery on a rainy Thursday night for the opening of \u003cb>Foreclosure USA\u003c/b> (which is in the “Loft Gallery”), but was surprised to find another show, \u003cb>Infix\u003c/b>, opening in the main gallery. In grammar, an “infix” refers to a suffix or prefix inserted into the middle of a word, changing the tense or the subject/object relationship. Infixes aren’t typically used in English (though they are common in Tagalog, Latin and Arabic) but they are becoming more common in modern parlance. Examples include Snoop Dogg’s in the “hizzouse,” and \u003cb>Sex and the City\u003c/b>‘s Mr. Big’s “abso-f@#*ing-lutely.”\u003c/p>\n\u003cp>\u003cb>Infix\u003c/b> features a number of Bay Area artists, Renée Billingslea, E. G. Crichton, Lisa R. Gould, Willie Little, Lewis Watts, and a collective called BARRIONICS, and posits their work, and the Bay Area arts, as an infix in the global arts scene. Some of the work, Lewis Watt’s documentary photography of Louisiana and New York and Renée Billingslea’s project repurposing historical photographs of a lynch mob, sit well alongside \u003cb>Foreclosure, USA\u003c/b>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ghosts.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Photo: Lewis Wattss\u003c/p>\n\u003cp>The most pleasant surprise was E.G. Crichton’s large-scale digital prints, made by combining household chemicals on plates of glass. While the component materials (Betadine, Palmolive, Comet, and Ex-Lax, to name a few) could be found in any given American home, the images produced from the combination have a distinctly other-worldly feel. They look like alien images shot from extreme Hubble Space Telescope-distance.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/aquafresh.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Photo: E.G. Chrichton\u003c/p>\n\u003cp>While I secretly wish that there had been more room for Crippens’s photographs, \u003cb>Infix\u003c/b> was a pleasant interruption of my plans…and if Crippens’s work illustrates anything, it is that things don’t always work out as planned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Infix: The Grammar of Insertion\u003c/b> and \u003cb>Foreclosure USA\u003c/b> are on display at the SFMOMA Artists Gallery at Ft. Mason in San Francisco through March 12, 2010. For \u003ca href=\"http://www.sfmoma.org/pages/artists_gallery_exhibitions\">more information\u003c/a> visit sfmoma.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mike Tyson once said “Everybody’s got plans…until they get hit.” And while some might not think of Tyson as a particularly prophetic individual, I’d challenge them to find a more fitting way to describe Kirk Crippens’s photographs of Stockton, California, which has been called the epicenter of the housing crisis.\u003c/p>\n\u003cp>Stockton is a nice town (twice awarded the \u003ca href=\"http://ncl.org/aac/AACindex.htm\">All-America City Award\u003c/a> by the National Civic League). Being relatively inexpensive and within commuting distance to Sacramento and San Francisco made it prime real estate for speculators cashing in on the housing boom, and swathes of planned communities sprung up around the city. Two years ago, the same qualities left Stockton vulnerable; when the housing bubble popped, 1 in 27 Stockton homes ended up in foreclosure.\u003c/p>\n\u003cp>Kirk Crippens’s photographs chronicle the economic crisis at the most personal level, as it reverberates through the daily lives of Californians. The photographs in \u003cb>Foreclosure, USA\u003c/b>, taken during 2008 and 2009, feature the dissolution of planned communities: sidewalks abruptly dead-ending into dirt; the detritus left behind by squatters in foreclosed houses; swimming pools, empty except for a puddle of yellow scum and rings of dirt.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/crippens.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Photo: Kirk Crippens\u003c/p>\n\u003cp>Gallery info states Crippens was inspired by the famous documentary photographs of the dustbowl, but to me, the analogy doesn’t exactly work: when I think of most famous dustbowl photographs by artists like Dorthea Lange and Walker Evans, I think of the \u003ci>faces\u003c/i> of migrant workers and sharecroppers. Crippens’s photographs are different: they are gorgeous images that manage to capture the affective landscape of human emotion in upheaval, without ever including a single person on film. He does this by shooting emptied homes: abandoned by owners, repossessed by banks, and gutted by looters. The object is the same though: the Farm Security Administration hired photographers to show the human side of the dustbowl to people who weren’t directly experiencing it; Crippens’s project, funded in part by grants from SFMOMA, the Sierra Club, and the Museum of African Diaspora, functions similarly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I went to the SFMOMA Artists Gallery on a rainy Thursday night for the opening of \u003cb>Foreclosure USA\u003c/b> (which is in the “Loft Gallery”), but was surprised to find another show, \u003cb>Infix\u003c/b>, opening in the main gallery. In grammar, an “infix” refers to a suffix or prefix inserted into the middle of a word, changing the tense or the subject/object relationship. Infixes aren’t typically used in English (though they are common in Tagalog, Latin and Arabic) but they are becoming more common in modern parlance. Examples include Snoop Dogg’s in the “hizzouse,” and \u003cb>Sex and the City\u003c/b>‘s Mr. Big’s “abso-f@#*ing-lutely.”\u003c/p>\n\u003cp>\u003cb>Infix\u003c/b> features a number of Bay Area artists, Renée Billingslea, E. G. Crichton, Lisa R. Gould, Willie Little, Lewis Watts, and a collective called BARRIONICS, and posits their work, and the Bay Area arts, as an infix in the global arts scene. Some of the work, Lewis Watt’s documentary photography of Louisiana and New York and Renée Billingslea’s project repurposing historical photographs of a lynch mob, sit well alongside \u003cb>Foreclosure, USA\u003c/b>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ghosts.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Photo: Lewis Wattss\u003c/p>\n\u003cp>The most pleasant surprise was E.G. Crichton’s large-scale digital prints, made by combining household chemicals on plates of glass. While the component materials (Betadine, Palmolive, Comet, and Ex-Lax, to name a few) could be found in any given American home, the images produced from the combination have a distinctly other-worldly feel. They look like alien images shot from extreme Hubble Space Telescope-distance.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/aquafresh.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Photo: E.G. Chrichton\u003c/p>\n\u003cp>While I secretly wish that there had been more room for Crippens’s photographs, \u003cb>Infix\u003c/b> was a pleasant interruption of my plans…and if Crippens’s work illustrates anything, it is that things don’t always work out as planned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Infix: The Grammar of Insertion\u003c/b> and \u003cb>Foreclosure USA\u003c/b> are on display at the SFMOMA Artists Gallery at Ft. Mason in San Francisco through March 12, 2010. For \u003ca href=\"http://www.sfmoma.org/pages/artists_gallery_exhibitions\">more information\u003c/a> visit sfmoma.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mostly British Film Festival",
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"content": "\u003cp>The second annual \u003cb>Mostly British Film Festival\u003c/b>, a co-presentation of the San Francisco Neighborhood Theater Foundation and the California Film Institute, begins this week. Over the course of seven solid days of programming, a true anglophile may find it difficult to stay away from the lineup for longer than an afternoon matinee. The opening night film, \u003cb>London River\u003c/b>, stars Brenda Blethyn, most famous stateside for her Oscar-nominated role in Mike Leigh’s \u003cb>Secrets & Lies\u003c/b> (1996). This fine caliber of actors and directors continues throughout the series to the closing night film, where you’ll find a Ken Loach movie that, astonishingly, isn’t a drama: \u003cb>Looking for Eric\u003c/b> (2009).\u003c/p>\n\u003cp>Among the many other films to choose from are an adaptation of the remarkable novel \u003cb>Disgrace\u003c/b> by the Nobel Prize-winning author J.M. Coetzee; two Australian thrillers starring Anthony La Paglia: \u003cb>Lantana\u003c/b> (2001) an impeccably well-acted drama that was overlooked and underrated when it was first released, and \u003cb>Balibo\u003c/b> (2009) set in East Timor in 1975, during an era of political upheaval; \u003cb>The Daisy Chain\u003c/b>, featuring Samantha Morton, who has created any number of troubled and troubling character studies; and one of this year’s Oscar nominees for Animated Feature Film \u003cb>The Secret of Kells\u003c/b>.\u003c/p>\n\u003cp>If, however, you have a limited amount of time or money, then your must-see films should be the \u003cb>Red Riding Trilogy\u003c/b>, which originally aired last year as a television series in Britain. Based on four novels by the British author David Peace, the story fictionalizes the journalistic and criminal investigations surrounding the Yorkshire Ripper, a serial killer who terrified the inhabitants of the north of England during the 1970s and ’80s. This trio of films vividly brings to life a specific era (starting in 1974, and ending in 1983) and place (the north of England, Yorkshire). Most movies reach for this kind of verisimilitude (the unassuming yet authentic costume and set design), this cohesion of purpose (despite the presence of three different directors), but very few approach this production’s fluency and intelligence as it covers such dark territory.\u003c/p>\n\u003cp>In the Mesozoic Era before YouTube, BBC America and DVDs, the PBS series \u003cb>Masterpiece Theatre\u003c/b> and \u003cb>Mystery!\u003c/b> were the sole outlets for Americans who liked to get their fix of U.K. telly. Remember the disquieting thrill of watching the original \u003cb>Prime Suspect\u003c/b> (1992) series with Helen Mirren? Every halfway decent TV mystery or police procedural series since then owes something aesthetically in its approach to characters who must sift through grisly material, including \u003cb>Red Riding\u003c/b>.\u003c/p>\n\u003cp>I loved those Thursday night mysteries and Sunday night dramas, whether they were set in gritty, urban streets, or on posh country estates. Watching them made me feel like I was going through the looking glass; these characters spoke the same language that I did but they were reflected back in odd perspectives, slightly askew, or wrong-sized. Their accents not only changed the sound of familiar words, but altered their meanings as well. Even when the plots dissolved into cliché, every actor fit into the action, in his or her right place. Casting is the genius of British television in general, and of the \u003cb>Red Riding\u003c/b> series in particular.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Consider an actress like Cara Seymour. She first registered in my consciousness as one of Christian Bale’s victims in \u003cb>American Psycho\u003c/b>, but more recently as Carey Mulligan’s mother in the sweet, but overly restrained, film \u003cb>An Education\u003c/b>. Seymour is one of those actresses who is pitch perfect as a supporting character, an ideal everywoman. Another actress in the series, Rebecca Hall, is not only affecting as a grieving mother, but unrecognizable here from her role as an ingénue in Woody Allen’s \u003cb>Vicky Cristina Barcelona\u003c/b>. As in each episode of the trilogy, it is her character — a woman’s — that forces change or offers redemption to the men in this world. And to describe this part of England as a man’s world would be a gross understatement.\u003c/p>\n\u003cp>As in the actual case, the serial killer’s victims are women, and girls. In every episode, the resounding theme is of (female) innocence lost, corrupted by (male) ambition and greed. In this Orwellian world, the government, and the agencies it funds (like the police force), holds authority over the poor and powerless. For every good woman who appears on screen, a cabal of ugliness forms, comprised of men who hold their self-interests above stopping the violent crimes.\u003c/p>\n\u003cp>When one of those British mysteries I used to watch failed to linger in my mind past Monday morning, it was usually because the plot was too predictable, and therefore, finally, unsatisfying. The \u003cb>Red Riding Trilogy\u003c/b> plot is intense, and the tone solemn, but the humans who populate this fictional Yorkshire all have real, combustible emotions: they provide the series with its brilliant and/or terrible light. Unless you’ve read the books, you won’t be able to anticipate the endings. And, even if you have, I guarantee you’ll leave the hushed theatre appalled by man’s continued capacity to do harm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Mostly British Film Festival\u003c/b> runs from February 4 through February 11, 2010, at the Vogue Theatre in San Francisco and the Rafael Film Center in San Rafael. For \u003ca href=\"http://www.voguesf.com\">tickets and information\u003c/a>, visit voguesf.com and cafilm.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The second annual \u003cb>Mostly British Film Festival\u003c/b>, a co-presentation of the San Francisco Neighborhood Theater Foundation and the California Film Institute, begins this week. Over the course of seven solid days of programming, a true anglophile may find it difficult to stay away from the lineup for longer than an afternoon matinee. The opening night film, \u003cb>London River\u003c/b>, stars Brenda Blethyn, most famous stateside for her Oscar-nominated role in Mike Leigh’s \u003cb>Secrets & Lies\u003c/b> (1996). This fine caliber of actors and directors continues throughout the series to the closing night film, where you’ll find a Ken Loach movie that, astonishingly, isn’t a drama: \u003cb>Looking for Eric\u003c/b> (2009).\u003c/p>\n\u003cp>Among the many other films to choose from are an adaptation of the remarkable novel \u003cb>Disgrace\u003c/b> by the Nobel Prize-winning author J.M. Coetzee; two Australian thrillers starring Anthony La Paglia: \u003cb>Lantana\u003c/b> (2001) an impeccably well-acted drama that was overlooked and underrated when it was first released, and \u003cb>Balibo\u003c/b> (2009) set in East Timor in 1975, during an era of political upheaval; \u003cb>The Daisy Chain\u003c/b>, featuring Samantha Morton, who has created any number of troubled and troubling character studies; and one of this year’s Oscar nominees for Animated Feature Film \u003cb>The Secret of Kells\u003c/b>.\u003c/p>\n\u003cp>If, however, you have a limited amount of time or money, then your must-see films should be the \u003cb>Red Riding Trilogy\u003c/b>, which originally aired last year as a television series in Britain. Based on four novels by the British author David Peace, the story fictionalizes the journalistic and criminal investigations surrounding the Yorkshire Ripper, a serial killer who terrified the inhabitants of the north of England during the 1970s and ’80s. This trio of films vividly brings to life a specific era (starting in 1974, and ending in 1983) and place (the north of England, Yorkshire). Most movies reach for this kind of verisimilitude (the unassuming yet authentic costume and set design), this cohesion of purpose (despite the presence of three different directors), but very few approach this production’s fluency and intelligence as it covers such dark territory.\u003c/p>\n\u003cp>In the Mesozoic Era before YouTube, BBC America and DVDs, the PBS series \u003cb>Masterpiece Theatre\u003c/b> and \u003cb>Mystery!\u003c/b> were the sole outlets for Americans who liked to get their fix of U.K. telly. Remember the disquieting thrill of watching the original \u003cb>Prime Suspect\u003c/b> (1992) series with Helen Mirren? Every halfway decent TV mystery or police procedural series since then owes something aesthetically in its approach to characters who must sift through grisly material, including \u003cb>Red Riding\u003c/b>.\u003c/p>\n\u003cp>I loved those Thursday night mysteries and Sunday night dramas, whether they were set in gritty, urban streets, or on posh country estates. Watching them made me feel like I was going through the looking glass; these characters spoke the same language that I did but they were reflected back in odd perspectives, slightly askew, or wrong-sized. Their accents not only changed the sound of familiar words, but altered their meanings as well. Even when the plots dissolved into cliché, every actor fit into the action, in his or her right place. Casting is the genius of British television in general, and of the \u003cb>Red Riding\u003c/b> series in particular.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Consider an actress like Cara Seymour. She first registered in my consciousness as one of Christian Bale’s victims in \u003cb>American Psycho\u003c/b>, but more recently as Carey Mulligan’s mother in the sweet, but overly restrained, film \u003cb>An Education\u003c/b>. Seymour is one of those actresses who is pitch perfect as a supporting character, an ideal everywoman. Another actress in the series, Rebecca Hall, is not only affecting as a grieving mother, but unrecognizable here from her role as an ingénue in Woody Allen’s \u003cb>Vicky Cristina Barcelona\u003c/b>. As in each episode of the trilogy, it is her character — a woman’s — that forces change or offers redemption to the men in this world. And to describe this part of England as a man’s world would be a gross understatement.\u003c/p>\n\u003cp>As in the actual case, the serial killer’s victims are women, and girls. In every episode, the resounding theme is of (female) innocence lost, corrupted by (male) ambition and greed. In this Orwellian world, the government, and the agencies it funds (like the police force), holds authority over the poor and powerless. For every good woman who appears on screen, a cabal of ugliness forms, comprised of men who hold their self-interests above stopping the violent crimes.\u003c/p>\n\u003cp>When one of those British mysteries I used to watch failed to linger in my mind past Monday morning, it was usually because the plot was too predictable, and therefore, finally, unsatisfying. The \u003cb>Red Riding Trilogy\u003c/b> plot is intense, and the tone solemn, but the humans who populate this fictional Yorkshire all have real, combustible emotions: they provide the series with its brilliant and/or terrible light. Unless you’ve read the books, you won’t be able to anticipate the endings. And, even if you have, I guarantee you’ll leave the hushed theatre appalled by man’s continued capacity to do harm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Mostly British Film Festival\u003c/b> runs from February 4 through February 11, 2010, at the Vogue Theatre in San Francisco and the Rafael Film Center in San Rafael. For \u003ca href=\"http://www.voguesf.com\">tickets and information\u003c/a>, visit voguesf.com and cafilm.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Of the two dozen some odd movies I plowed through (and sometimes even enjoyed) while at Sundance, two in particular have stayed on my mind. As it happens, they’re both experimental nonfiction works from Bay Area filmmakers. That’s handy!\u003c/p>\n\u003cp>The movies are Rob Epstein and Jeffrey Friedman’s \u003cb>HOWL\u003c/b>, in which James Franco plays a young Allen Ginsberg reading and discussing his landmark poem; and Sam Green and Dave Cerf’s \u003cb>Utopia in Four Movements\u003c/b>, in which James Franco does not appear but that’s OK. One reason these two films have stayed on my mind is that they have some intriguing things in common.\u003c/p>\n\u003cp>Both are works of poetic intelligence and singular personality, self-evidently labors of love. Both will be tough sells to mainstream audiences, and will depend on a special kind of viewer receptiveness to achieve any palpable measure of success. (Not that Epstein, best known for his Oscar-winning doc, \u003cb>The Times of Harvey Milk\u003c/b>, and Green, for his Oscar-nominated doc \u003cb>The Weather Underground\u003c/b>, need to worry about mainstream success.) The films are quite similar in structure, and even in theme.\u003c/p>\n\u003cp>The four movements of \u003cb>Utopia\u003c/b> are these: “The Universal Language,” by which at last some cultural context is provided for that weird old movie of William Shatner speaking only in Esperanto; “The Revolution,” in which Green notes the absence of corporate billboards and golden arches in Cuba today; “The World’s Largest Shopping Mall,” wherein Green explores the otherworldly oddity of an economic experiment in contemporary China; and “Elegy for the 20th Century,” in which he laments the “big ideas that turned out to be bad ideas,” and counter-intuitively nominates the grim work of forensic anthropology as torch-bearer of the utopian impulse. I’m being reductive here, obviously, but only to emphasize the impressive range of the filmmaker’s curiosity.\u003c/p>\n\u003cp>Green’s piece was billed as a “live documentary,” with on-site music performed by Dennis Cronin, Todd Griffin and Catherine McCrae, plus Green’s co-director and editor, Dave Cerf. \u003cb>Utopia\u003c/b> has evolved since I saw it as a work in progress at the Exploratorium last year. The real difference is the surety of Green’s amiable and engaged narration, which now seems more essential to the overall experience. “I didn’t want to make a documentary interviewing experts,” he told his Sundance audience. “My patience for somebody talking is a lot more if they’re in the room.” He also spoke about the importance of realizing the project as a communal event, adding, “It’s about utopia; do you really want to watch this alone on your iPod?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>HOWL\u003c/b>, the movie, has four movements too: Ginsberg’s first public reading of the poem at San Francisco’s Six Gallery in 1955; an unseen journalist’s taped interview with the poet from a couple years later; the precedent-setting obscenity trial from which City Lights publisher Lawrence Ferlinghetti emerged victorious with a longstanding bestseller; and several animated rhapsodies, by Ginsberg collaborator Eric Drooker, dramatizing the poem itself.\u003c/p>\n\u003cp>This is a nervy work, and it registers the poet’s mind and spirit strongly. With such superb material, Franco had an easy job, and also a hard one, and he delivers the goods. Still, it’s no surprise that the film’s structural oddity earned it a mixed reaction from Sundance audiences. “We’re expecting to start a stampede of Hollywood poetry films,” Epstein joked at a festival press conference, acknowledging the uphill battle of adapting what Friedman had called “sort of the first spoken-word performance art” into the inherently visual medium of cinema. True enough: For me, \u003cb>HOWL\u003c/b> offered the real thrill of remembering Ginsberg’s brilliance, but also revealed the real and perhaps impossible difficulty of trying to make a movie about it.\u003c/p>\n\u003cp>In that recreated interview, Franco’s Ginsberg describes his poem as “a promotion of frankness,” which he considered “socially useful” for the era in which it was written. The film of \u003cb>HOWL\u003c/b> seems similarly duty-minded; thank goodness it also has the good sense to give in to enchantment once in a while as well.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And maybe that radical optimism is the most crucial element that \u003cb>HOWL\u003c/b> and \u003cb>Utopia\u003c/b> have in common. “I saw the best minds of my generation destroyed by madness, starving hysterical naked,” Ginsberg famously began, yet he found a way to end by proclaiming “Holy the supernatural extra brilliant intelligent kindness of the soul.” Similarly, perhaps, when asked what he’d learned about the plausibility of a human utopia from making a film that occasionally and inevitably testifies against it, Green told his audience, “You’ve got to hope, irrationally.”\u003c/p>\n\n",
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"content": "\u003cp>Virginia Ramos, a.k.a. the Tamale Lady, has become a local legend in San Francisco since the early ’90s, selling homemade tamales to hungry patrons in watering holes around the city’s Mission District.\u003c/p>\n\u003cp>In 2003, after seeing the premiere of Cecil B. Feeder’s debut film, “Meter Maid Me Mad,” Ramos asked the director to make a documentary of her life to be shown at her upcoming 50th birthday celebration. Feeder agreed and called on San Francisco’s music community to write and record 30-second songs about Ramos and her contribution to the city’s nightlife and culture.\u003c/p>\n\u003cp>More than fifty original tracks were submitted and Feeder wove many of them into \u003cstrong>Our Lady of Tamale\u003c/strong>. This rockumentary premiered at the Zeitgeist bar for Ramos’s birthday as originally intended and then went on to show at the Film Arts Foundation Festival, The Roxie Theater, The Castro Theater, the Xenix Festival in Zurich, and the Artivist Film Festival in Los Angeles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Admit it, at one point or another in your life, you’ve indulged in the fantasy that suddenly, in the middle of an otherwise unremarkable day, you and everyone around you would burst into a perfectly choreographed song and dance number. Okay, maybe you haven’t, but the emergence of flash-mobs around the world — The Sound of Music in an Antwerp train station, Michael Jackson in Stockholm, and “Single Ladies” in London’s Piccadilly Circus — are a testament to the almost universal appeal of the musical.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"480\" height=\"295\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/7EYAUazLI9k&hl=en_US&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/7EYAUazLI9k&hl=en_US&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"480\" height=\"295\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>Once upon a time, the musical was the reigning format in popular film. From the moment that technology made it possible to synchronize a film with a soundtrack, musicals dominated studio offerings, beginning with \u003cb>The Jazz Singer\u003c/b> in 1927 — the first “talkie” and the first musical film — and continuing well through the 1950s. Then rock n’ roll came along and changed all that, as taste in popular music began to diverge from the more traditional numbers in musical films. Production took a nosedive: 65 musical films were produced in 1943, compared with just 4 in 1963.\u003c/p>\n\u003cp>What happened after the popularity of the genre died off is the subject of a film series this month at Berkeley’s Pacific Film Archive, entitled \u003cb>The Kids Are Alright: Post-Fifties Musicals and the Rise of Youth Culture\u003c/b>. The curator of the series, Steve Seid, says that beginning in the sixties, “rowdier scores appeared, along with pop storylines and an attitude that reflected current culture… the musical became a medium of contemporary kid-culled values.”\u003c/p>\n\u003cp>The ten films selected are variations on a theme: sticking it to “the Man.” Whether it’s Officer Krupke in \u003cb>West Side Story\u003c/b> or Professor Hill trying to shut down River City’s pool hall in \u003cb>The Music Man\u003c/b> (’cause that place is Trouble: “with a capital T and that rhymes with P and the stand for Pool! That game with the 15 numbered balls is the Devil’s tool!”), the selections articulate a tension between the older generation and the younger one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"425\" height=\"344\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/pq28qCklEHc&hl=en_US&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/pq28qCklEHc&hl=en_US&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"425\" height=\"344\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>The series kicks off January 31 with \u003cb>Paint Your Wagon\u003c/b>, the 1969 musical featuring Clint Eastwood in a Gold Rush boom-town — and a polyamorous relationship — (the trailer trumpets the tagline: “Based on the Lerner and Loewe Broadway musical about a lusty group of people who one day looked civilization in the eye… and spit!”).\u003c/p>\n\u003cp>The films are arranged in order of era depicted and run through the ’90s, with some selections that prove studios eventually found ways to integrate pop music into film, with \u003cb>Pink Floyd The Wall\u003c/b>, a tap-dancing David Bowie in \u003cb>Absolute Beginners\u003c/b>, and Talking Heads’ David Byrne in \u003cb>True Stories\u003c/b>. Trailblazers, all of them, laying the groundwork for a genre-revival… so now we can all enjoy \u003cb>Glee\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"480\" height=\"295\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/ShReqGoNeXk&hl=en_US&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/ShReqGoNeXk&hl=en_US&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"480\" height=\"295\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Kids Are Alright: Post-Fifties Musicals and the Rise of Youth Culture\u003c/b> begins January 31, 2010 with \u003cb>Paint Your Wagon\u003c/b>, and will wrap-up February 28 with \u003cb>Fruit Fly\u003c/b>. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/youth_culture\">tickets and information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Admit it, at one point or another in your life, you’ve indulged in the fantasy that suddenly, in the middle of an otherwise unremarkable day, you and everyone around you would burst into a perfectly choreographed song and dance number. Okay, maybe you haven’t, but the emergence of flash-mobs around the world — The Sound of Music in an Antwerp train station, Michael Jackson in Stockholm, and “Single Ladies” in London’s Piccadilly Circus — are a testament to the almost universal appeal of the musical.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"480\" height=\"295\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/7EYAUazLI9k&hl=en_US&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/7EYAUazLI9k&hl=en_US&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"480\" height=\"295\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>Once upon a time, the musical was the reigning format in popular film. From the moment that technology made it possible to synchronize a film with a soundtrack, musicals dominated studio offerings, beginning with \u003cb>The Jazz Singer\u003c/b> in 1927 — the first “talkie” and the first musical film — and continuing well through the 1950s. Then rock n’ roll came along and changed all that, as taste in popular music began to diverge from the more traditional numbers in musical films. Production took a nosedive: 65 musical films were produced in 1943, compared with just 4 in 1963.\u003c/p>\n\u003cp>What happened after the popularity of the genre died off is the subject of a film series this month at Berkeley’s Pacific Film Archive, entitled \u003cb>The Kids Are Alright: Post-Fifties Musicals and the Rise of Youth Culture\u003c/b>. The curator of the series, Steve Seid, says that beginning in the sixties, “rowdier scores appeared, along with pop storylines and an attitude that reflected current culture… the musical became a medium of contemporary kid-culled values.”\u003c/p>\n\u003cp>The ten films selected are variations on a theme: sticking it to “the Man.” Whether it’s Officer Krupke in \u003cb>West Side Story\u003c/b> or Professor Hill trying to shut down River City’s pool hall in \u003cb>The Music Man\u003c/b> (’cause that place is Trouble: “with a capital T and that rhymes with P and the stand for Pool! That game with the 15 numbered balls is the Devil’s tool!”), the selections articulate a tension between the older generation and the younger one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In French it’s called \u003cb>Panique Au Village\u003c/b>, implying, merely, a town where panic has occurred. But the English title of Belgian animators Stéphane Aubier and Vincent Patar’s strange and silly film goes right ahead and establishes its own municipality, whose very identity stems directly from the sudden uncontrollable anxiety and wildly unthinking behavior that goes on there. After spending 75 minutes in the place, you’ll understand why.\u003c/p>\n\u003cp>Oddity is afoot at 1 Flowery Lane, Village, where Cowboy (voiced by Aubier), Indian (Bruce Ellison) and Horse (Patar) share a rundown but bright yellow house. It’s Horse’s birthday, and in addition to a chocolate hay bale and a dance party with the neighbors, his roommates decide to order up some bricks from the Internet and build their pal a barbecue. But by accident they order a million times as many bricks as they need, and the mishap sets in motion a journey to the center of the Earth, to the undersea world of the fish people who keep stealing our heroes’ walls, and to the frozen tundra where they become briefly trapped inside a snowball ladling, penguin-shaped tank piloted by maniacal lab-coated scientists.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/panic-penguin.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>How this all involves the trio’s loud-mouthed tractor-fetishist neighbor, the postman, the octopus drummer, or the bright-maned music-teacher mare on whom Horse has a crush, is not easy to explain. Nor is it even worth trying to explain. Just what did you expect from a central cast of old-fashioned fixed-posed figurines, which the filmmakers have described as flea-market orphans? Suffice to say that later there will be a battle using pigs and swordfish as ammunition.\u003c/p>\n\u003cp>A feature-length elaboration of their popular series of short TV spots, \u003cb>A Town Called Panic\u003c/b> advances Aubier and Patar’s manic and apparently meaningless agenda — with delectable, unpredictable and totally irrational results. Unlike some other highlights from the great new wave of recent animation, this one wastes no time congratulating itself for achieving a childlike state. Instead it just stays resolutely in that playroom moment. Although children can enjoy it, the movie isn’t for them so much as it is for the parents who’d let them tip over a trunk full of toys in the living room, then ask what they’re up to and actually listen to the answer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/panic-house.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Probably that answer will be breathless, undaunted, a little hard to follow and a little exhausting. But it’s also a refreshing approach to characterization and narrative logic. The process of stop-action animation is by nature not spontaneous, yet in \u003cb>A Town Called Panic\u003c/b>, spontaneity rules. If anything, it’s as if the filmmakers’ labor-intensive technique has served only to keep their frivolity (barely) contained. Panic really can be reduced to child’s play, apparently, and that makes it seem like a place worth visiting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>A Town Called Panic\u003c/b> opens Friday, January 22, 2010 in Bay Area theaters.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In French it’s called \u003cb>Panique Au Village\u003c/b>, implying, merely, a town where panic has occurred. But the English title of Belgian animators Stéphane Aubier and Vincent Patar’s strange and silly film goes right ahead and establishes its own municipality, whose very identity stems directly from the sudden uncontrollable anxiety and wildly unthinking behavior that goes on there. After spending 75 minutes in the place, you’ll understand why.\u003c/p>\n\u003cp>Oddity is afoot at 1 Flowery Lane, Village, where Cowboy (voiced by Aubier), Indian (Bruce Ellison) and Horse (Patar) share a rundown but bright yellow house. It’s Horse’s birthday, and in addition to a chocolate hay bale and a dance party with the neighbors, his roommates decide to order up some bricks from the Internet and build their pal a barbecue. But by accident they order a million times as many bricks as they need, and the mishap sets in motion a journey to the center of the Earth, to the undersea world of the fish people who keep stealing our heroes’ walls, and to the frozen tundra where they become briefly trapped inside a snowball ladling, penguin-shaped tank piloted by maniacal lab-coated scientists.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/panic-penguin.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>How this all involves the trio’s loud-mouthed tractor-fetishist neighbor, the postman, the octopus drummer, or the bright-maned music-teacher mare on whom Horse has a crush, is not easy to explain. Nor is it even worth trying to explain. Just what did you expect from a central cast of old-fashioned fixed-posed figurines, which the filmmakers have described as flea-market orphans? Suffice to say that later there will be a battle using pigs and swordfish as ammunition.\u003c/p>\n\u003cp>A feature-length elaboration of their popular series of short TV spots, \u003cb>A Town Called Panic\u003c/b> advances Aubier and Patar’s manic and apparently meaningless agenda — with delectable, unpredictable and totally irrational results. Unlike some other highlights from the great new wave of recent animation, this one wastes no time congratulating itself for achieving a childlike state. Instead it just stays resolutely in that playroom moment. Although children can enjoy it, the movie isn’t for them so much as it is for the parents who’d let them tip over a trunk full of toys in the living room, then ask what they’re up to and actually listen to the answer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/panic-house.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Probably that answer will be breathless, undaunted, a little hard to follow and a little exhausting. But it’s also a refreshing approach to characterization and narrative logic. The process of stop-action animation is by nature not spontaneous, yet in \u003cb>A Town Called Panic\u003c/b>, spontaneity rules. If anything, it’s as if the filmmakers’ labor-intensive technique has served only to keep their frivolity (barely) contained. Panic really can be reduced to child’s play, apparently, and that makes it seem like a place worth visiting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>A Town Called Panic\u003c/b> opens Friday, January 22, 2010 in Bay Area theaters.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sergio Leone’s spaghetti westerns are buddy movies. The buddies are usually cranky killers who seem to despise one another, but the dusty, loner, sharp-shooters are still buddies at heart. Blondie (Clint Eastwood) and Tuco (Eli Wallach) have a reluctant rapport in \u003cb>The Good, the Bad, and the Ugly\u003c/b>, and Harmonica (Charles Bronson) and Cheyenne (Jason Robards) work together in \u003cb>Once Upon a Time in the West\u003c/b>. Then there’s the pair in the largely overlooked \u003cb>Duck, You Sucker\u003c/b>. Irish revolutionary and explosives expert John Mallory (James Coburn) is on the run in Mexico when he meets bandit Juan Miranda (Rod Steiger), who forcefully recruits Mallory to help him and his pack of lost boy-like sons rob a bank.\u003c/p>\n\u003cp>\u003cb>Duck, You Sucker\u003c/b>, also known in various releases as \u003cb>Once Upon a Time, the Revolution\u003c/b>, and \u003cb>A Fistful of Dynamite\u003c/b>, didn’t open with great success in America when it came out in 1971, and it was tough to track down until MGM released the DVD a few years ago (I first saw it on a videotape dubbed from a laserdisc; thank you ’90s technology). It has the distant dusky landscapes of Leone’s other movies, the tense close-ups, cartoonish violence, Ennio Morricone soundtrack, and ambivalent morality he established years earlier with the “Man With No Name” trilogy. It was Leone’s last western, and second-to-last film, lumped together with \u003cb>Once Upon a Time in the West\u003c/b> and \u003cb>Once Upon a Time in America\u003c/b> as a trilogy of epics about North America’s violent foundations.\u003c/p>\n\u003cp>Mallory and Miranda make a volatile odd couple. World-weary Mallory really just wants to be left alone to blow stuff up, but Miranda won’t stop hounding him. Miranda maintains that it’s destiny that they team up, pointing out that they have the same name. They also share a violent distrust of authority, which, in the Leone rulebook, means they’re the good — or at least the better — guys. They become accidental heroes of the Mexican Revolution, though Miranda’s never sold on socialist revolution doing anything for anyone, especially poor people. He’s in it for himself, his family, and — by the end — his friend Mallory.\u003c/p>\n\u003cp>The movie opens with a quote from Mao and a disgusting view of the ruling class, but it’s no more political than any other Leone story. Anti-heroes stumble into situations they can fix because they lack any allegiances. If anything, the final statement is that political organization is a scam; you’re better off riding into the sunset, or, in this case, going out with a bang.\u003c/p>\n\u003cp>The Italian Cultural Institute of San Francisco is showing \u003cb>Duck, You Sucker\u003c/b> and the other \u003cb>Once Upon a Time…\u003c/b> movies in honor of the publication of a new Leone book, \u003cb>Sergio Leone: L’America, la nostalgia, e il mito\u003c/b> by Italian journalist Roberto Donati (it hasn’t been translated into English yet). The Leone film series starts tonight, Tuesday, January 19 at 6pm and runs for three Tuesdays through February 2, 2010 as part of the Italian Cultural Institute’s regular Tuesday night film series. \u003cb>Duck, You Sucker\u003c/b> plays January 26. For \u003ca href=\"http://www.iicsanfrancisco.esteri.it/IIC_SanFrancisco/Menu/Gli_Eventi/Calendario/\">a full schedule and more information\u003c/a>, visit iicsanfrancisco.esteri.it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sergio Leone’s spaghetti westerns are buddy movies. The buddies are usually cranky killers who seem to despise one another, but the dusty, loner, sharp-shooters are still buddies at heart. Blondie (Clint Eastwood) and Tuco (Eli Wallach) have a reluctant rapport in \u003cb>The Good, the Bad, and the Ugly\u003c/b>, and Harmonica (Charles Bronson) and Cheyenne (Jason Robards) work together in \u003cb>Once Upon a Time in the West\u003c/b>. Then there’s the pair in the largely overlooked \u003cb>Duck, You Sucker\u003c/b>. Irish revolutionary and explosives expert John Mallory (James Coburn) is on the run in Mexico when he meets bandit Juan Miranda (Rod Steiger), who forcefully recruits Mallory to help him and his pack of lost boy-like sons rob a bank.\u003c/p>\n\u003cp>\u003cb>Duck, You Sucker\u003c/b>, also known in various releases as \u003cb>Once Upon a Time, the Revolution\u003c/b>, and \u003cb>A Fistful of Dynamite\u003c/b>, didn’t open with great success in America when it came out in 1971, and it was tough to track down until MGM released the DVD a few years ago (I first saw it on a videotape dubbed from a laserdisc; thank you ’90s technology). It has the distant dusky landscapes of Leone’s other movies, the tense close-ups, cartoonish violence, Ennio Morricone soundtrack, and ambivalent morality he established years earlier with the “Man With No Name” trilogy. It was Leone’s last western, and second-to-last film, lumped together with \u003cb>Once Upon a Time in the West\u003c/b> and \u003cb>Once Upon a Time in America\u003c/b> as a trilogy of epics about North America’s violent foundations.\u003c/p>\n\u003cp>Mallory and Miranda make a volatile odd couple. World-weary Mallory really just wants to be left alone to blow stuff up, but Miranda won’t stop hounding him. Miranda maintains that it’s destiny that they team up, pointing out that they have the same name. They also share a violent distrust of authority, which, in the Leone rulebook, means they’re the good — or at least the better — guys. They become accidental heroes of the Mexican Revolution, though Miranda’s never sold on socialist revolution doing anything for anyone, especially poor people. He’s in it for himself, his family, and — by the end — his friend Mallory.\u003c/p>\n\u003cp>The movie opens with a quote from Mao and a disgusting view of the ruling class, but it’s no more political than any other Leone story. Anti-heroes stumble into situations they can fix because they lack any allegiances. If anything, the final statement is that political organization is a scam; you’re better off riding into the sunset, or, in this case, going out with a bang.\u003c/p>\n\u003cp>The Italian Cultural Institute of San Francisco is showing \u003cb>Duck, You Sucker\u003c/b> and the other \u003cb>Once Upon a Time…\u003c/b> movies in honor of the publication of a new Leone book, \u003cb>Sergio Leone: L’America, la nostalgia, e il mito\u003c/b> by Italian journalist Roberto Donati (it hasn’t been translated into English yet). The Leone film series starts tonight, Tuesday, January 19 at 6pm and runs for three Tuesdays through February 2, 2010 as part of the Italian Cultural Institute’s regular Tuesday night film series. \u003cb>Duck, You Sucker\u003c/b> plays January 26. For \u003ca href=\"http://www.iicsanfrancisco.esteri.it/IIC_SanFrancisco/Menu/Gli_Eventi/Calendario/\">a full schedule and more information\u003c/a>, visit iicsanfrancisco.esteri.it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>They call it “a bimonthly social screening series,” which might sound a little ominously medical, but clearly the San Francisco Film Society and SF360’s Film+Club is on to something good.\u003c/p>\n\u003cp>Testing again the durable old idea that cinema works best by being greater than the sum of its parts, the club has a treat in store this Tuesday evening. What could be better live-entertainment fodder, it asks, than the obsessive subconscious mind of a sexually frustrated priest, as surreally probed by a lesbian feminist avant-gardist? Answer: Setting it all to music by arty post-punk trailblazer and Siouxsie and the Banshees co-founder Steven Severin. Good answer.\u003c/p>\n\u003cp>We’re taught to believe that Surrealism in cinema began with Luis Buñuel and Salvador Dalí’s \u003cb>Un Chien Andalou\u003c/b>, but that momentous film had a less well-known formal predecessor in \u003cb>The Seashell and the Clergyman\u003c/b>, an uneasy collaboration between poet-playwright-theorist Antonin Artaud and proto-feminist filmmaker Germaine Dulac. Both movies made a difference to modern consciousness — the former has ants erupting from a hand and an eyeball sliced open by a razor blade; the latter cleaves a military man’s head in two and tears off a woman’s blouse to reveal her breasts. Which would you rather watch?\u003c/p>\n\u003cp>In any case, \u003cb>The Seashell and the Clergyman\u003c/b> is at least enduring enough to have become the centerpiece of Severin’s recent \u003cb>Music for Silents\u003c/b> project, which also includes scores for six contemporary silent shorts. Artaud and Dulac’s penetrating vision seems especially well suited to illuminating the inky darkness of Severin’s sonic depths.\u003c/p>\n\u003cp>“I demand phantasmagorical films!” Artaud once said; this one, he explained, “does not tell a story but develops a series of mental states which are deduced from each other as thought is from thought.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a scenarist, Artaud was not easy to work with. It takes rare confidence for a Surrealist to accuse a director of ruining his script. But that’s how it went between him and Dulac, who reportedly arranged the production of \u003cb>The Seashell and the Clergyman\u003c/b> to occur while Artaud was too busy (acting in Carl Dreyer’s \u003cb>The Passion of Joan of Arc\u003c/b>, among other things) to interfere. Consequently, the disgruntled writer may or may not have instigated the riot that disrupted \u003cb>Seashell\u003c/b>‘s 1928 Paris premiere.\u003c/p>\n\u003cp>Later, the British Board of Film Censors famously sniffed, “The film is so cryptic as to be almost meaningless. If there is a meaning, it is doubtless objectionable.”\u003c/p>\n\u003cp>Since then, reception of \u003cb>The Seashell and the Clergyman\u003c/b> has warmed. “Watch this while listening to Massive Attack,” someone says on YouTube. Better: Watch it live with an original dedicated score by a musician without whom there would be no Massive Attack.\u003c/p>\n\u003cp>“It’s got it all,” Severin recently told SFFS. “A rampant man of the cloth, a besieged heroine, murder, chase scenes, a dream world and even a flash of nudity. It’s like it was made for me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Steven Severin: Music for Silents\u003c/b> is Tuesday, January 12, 8pm at Mezzanine in San Francisco. For \u003ca href=\"http://www.sffs.org/\">tickets and more information\u003c/a>, visit sffs.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They call it “a bimonthly social screening series,” which might sound a little ominously medical, but clearly the San Francisco Film Society and SF360’s Film+Club is on to something good.\u003c/p>\n\u003cp>Testing again the durable old idea that cinema works best by being greater than the sum of its parts, the club has a treat in store this Tuesday evening. What could be better live-entertainment fodder, it asks, than the obsessive subconscious mind of a sexually frustrated priest, as surreally probed by a lesbian feminist avant-gardist? Answer: Setting it all to music by arty post-punk trailblazer and Siouxsie and the Banshees co-founder Steven Severin. Good answer.\u003c/p>\n\u003cp>We’re taught to believe that Surrealism in cinema began with Luis Buñuel and Salvador Dalí’s \u003cb>Un Chien Andalou\u003c/b>, but that momentous film had a less well-known formal predecessor in \u003cb>The Seashell and the Clergyman\u003c/b>, an uneasy collaboration between poet-playwright-theorist Antonin Artaud and proto-feminist filmmaker Germaine Dulac. Both movies made a difference to modern consciousness — the former has ants erupting from a hand and an eyeball sliced open by a razor blade; the latter cleaves a military man’s head in two and tears off a woman’s blouse to reveal her breasts. Which would you rather watch?\u003c/p>\n\u003cp>In any case, \u003cb>The Seashell and the Clergyman\u003c/b> is at least enduring enough to have become the centerpiece of Severin’s recent \u003cb>Music for Silents\u003c/b> project, which also includes scores for six contemporary silent shorts. Artaud and Dulac’s penetrating vision seems especially well suited to illuminating the inky darkness of Severin’s sonic depths.\u003c/p>\n\u003cp>“I demand phantasmagorical films!” Artaud once said; this one, he explained, “does not tell a story but develops a series of mental states which are deduced from each other as thought is from thought.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a scenarist, Artaud was not easy to work with. It takes rare confidence for a Surrealist to accuse a director of ruining his script. But that’s how it went between him and Dulac, who reportedly arranged the production of \u003cb>The Seashell and the Clergyman\u003c/b> to occur while Artaud was too busy (acting in Carl Dreyer’s \u003cb>The Passion of Joan of Arc\u003c/b>, among other things) to interfere. Consequently, the disgruntled writer may or may not have instigated the riot that disrupted \u003cb>Seashell\u003c/b>‘s 1928 Paris premiere.\u003c/p>\n\u003cp>Later, the British Board of Film Censors famously sniffed, “The film is so cryptic as to be almost meaningless. If there is a meaning, it is doubtless objectionable.”\u003c/p>\n\u003cp>Since then, reception of \u003cb>The Seashell and the Clergyman\u003c/b> has warmed. “Watch this while listening to Massive Attack,” someone says on YouTube. Better: Watch it live with an original dedicated score by a musician without whom there would be no Massive Attack.\u003c/p>\n\u003cp>“It’s got it all,” Severin recently told SFFS. “A rampant man of the cloth, a besieged heroine, murder, chase scenes, a dream world and even a flash of nudity. It’s like it was made for me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Steven Severin: Music for Silents\u003c/b> is Tuesday, January 12, 8pm at Mezzanine in San Francisco. For \u003ca href=\"http://www.sffs.org/\">tickets and more information\u003c/a>, visit sffs.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Maybe your mind is all made up about the devastation visited on New Orleans by Hurricane Katrina, and the victims, the villains, the lessons and the class and racial divisions that were so nakedly revealed. Maybe you think it’s old news; a dead horse we should stop beating. Alas, the story is still unfolding. In \u003cb>Mine\u003c/b>, San Francisco filmmaker Geralyn Pezanoski returns to the scene of the crime and, with great grace and tenderness, insinuates us into the lives of a few people whose wounds have yet to heal.\u003c/p>\n\u003cp>Her entry point is the pets of New Orleans, in particular the thousands that were not evacuated with their owners. Some had previously endured ill treatment (as in any human settlement), some were abandoned, but most were reluctantly left behind. Like countless other Americans, Pezanoski went to New Orleans after Katrina — out of an urgent desire to help in some way, and got involved in animal rescue. She also brought a camera, and began documenting what she saw.\u003c/p>\n\u003cp>\u003cb>Mine\u003c/b> is a smoothly constructed roller-coaster ride that segues at the outset from the storm’s horrific aftermath and the toll it took on animals to the heartwarming efforts to collect, feed and treat hundreds of pets and ship them to helpful, willing shelters around the country. A happy resolution, except for people like homeless advocate Jesse Pullins or 82-year-old Malvin Cavalier, who return after the water recedes and can’t find their dogs. Rebuilding is difficult, but being deprived of their canine companions is excruciating. Meanwhile, the animals have been adopted, and those households don’t want to relinquish the newest beloved family members.\u003c/p>\n\u003cp>Is the dog better off in its new suburban home in Northern California or central Florida? Of the owners/guardians, who has the more pressing need, or the better case? (This being America, lawyers are inevitably involved.) You will assuredly have an opinion about all three of the stories that Pezanoski follows — it’s only human — and your biases, judgments and, yes, prejudices may come as an unwelcome surprise.\u003c/p>\n\u003cp>Without rancor or vilification, \u003cb>Mine\u003c/b> offers rubber-meets-the-road evidence of Jean Renoir’s immortal dictum, uttered in his masterpiece, \u003cb>Rules of the Game\u003c/b>: “The terrible thing in life is that everyone has his reasons.” Only a Solomon could fairly resolve the disputes in \u003cb>Mine\u003c/b>, especially when the truth of another aphorism becomes apparent: “No good deed goes unpunished.” Pezanoski allows in interviews that her ability to evenly balance both sides has a lot to do with her own adoption of a New Orleans rescue animal (which she named Nola).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I suppose that pet owners will have the most visceral response to this seductive, engrossing film, although the love, loyalty and need on all sides comes through potently enough to gut-punch any viewer. (As evidence of its efficacy as a crowdpleaser, \u003cb>Mine\u003c/b> won the Audience Award when it premiered at the South by Southwest Film Festival last spring.) \u003cb>Mine\u003c/b> is not, nor does it pretend to be, the definitive documentary on post-Katrina New Orleans. But it is a rich, satisfying and provocative film that leaves us with a smidgen of hope for the American character, if not the American dream.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Mine\u003c/b> opens Friday, January 8, 2010 at the Roxie Theater, 3117 16th St. (at Valencia) in San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I suppose that pet owners will have the most visceral response to this seductive, engrossing film, although the love, loyalty and need on all sides comes through potently enough to gut-punch any viewer. (As evidence of its efficacy as a crowdpleaser, \u003cb>Mine\u003c/b> won the Audience Award when it premiered at the South by Southwest Film Festival last spring.) \u003cb>Mine\u003c/b> is not, nor does it pretend to be, the definitive documentary on post-Katrina New Orleans. But it is a rich, satisfying and provocative film that leaves us with a smidgen of hope for the American character, if not the American dream.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Mine\u003c/b> opens Friday, January 8, 2010 at the Roxie Theater, 3117 16th St. (at Valencia) in San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 8
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},
"link": "https://www.cityarts.net",
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"order": 1
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"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.",
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"source": "Commonwealth Club of California"
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"order": 9
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"hidden-brain": {
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"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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"airtime": "SUN 7pm-8pm",
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"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. ",
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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. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"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/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"masters-of-scale": {
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"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"
},
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"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>",
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"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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