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"content": "\u003cp>The U.S.A. imprisons more people per capita than any country in the world. Behind the 2.4 million prisoners lies an infinite ripple effect of incarceration on the family and community. \u003cstrong>A Sentence Apart\u003c/strong> weaves three intimate stories exploring how families cope and live with a loved one in prison.\u003c/p>\n\u003cp>Tenea is a high school senior with a father in prison and is passionately fighting to avoid the generational curse of incarceration. Linda Williams makes a 20-hour bus trip to visit her daughter Natasha, who is serving a 68-year sentence in prison. Soon after Cheyenne’s dad gets out of jail, she confronts her father about the financial and emotional toll that his incarceration has taken on her. These intimate and moving stories, told with striking images, start to scratch the surface of the complex toll incarceration takes on the world outside of the prison walls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Co-written and co-directed by Israeli Arab Scandar Copti and Israeli Jew Yaron Shani, \u003cb>Ajami\u003c/b> is a momentous achievement of such ambition, scope and force that it makes 95 percent of the films currently playing look like kid flicks. Ringing culture-specific changes on the adolescent crime film, the filmmakers blow a genre pic into a dazzling sociopolitical commentary on the tormented Arab-Jewish relationship. If your pulse isn’t racing just yet, the first five minutes will assuredly do the trick.\u003c/p>\n\u003cp>A drive-by assassination by two guys on a motorcycle leaves a child bleeding to death on the streets of Ajami, a seething mixed neighborhood of Jaffa (near Tel Aviv). Our horrified concern switches in a flash to the intended target, a teenager named Omar who’s on the hook because his uncle shot the Bedouin gang member who was harassing him for protection money. Now desperate for protection himself, Omar turns to Abu Elias, a Christian Arab restaurant owner with connections. (By the end of the film, you’ll be wondering just how far this businessman’s influence extends.)\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ajami-1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>The price that Omar must pay for peace is far more than he has, and he shuffles through various ideas and schemes trying to raise the dough. Seemingly out of options, and accompanied by a too-trusting Palestinian teen who works in Abu Elias’ kitchen and needs cash for his mother’s surgery, Omar takes a major gamble. Underscoring the tension, confusion and desperation that leads to such misguided decisions, the film employs non-professional actors, excellent handheld camerawork and a deviously clever time scheme.\u003c/p>\n\u003cp>The drama plays out, for the first hour or so, among characters on various rungs of the Arab socioeconomic hierarchy. We’re not used to seeing Arab-on-Arab violence, and the exploitation of Arabs by Arabs (Palestinians by Israeli Arabs; Muslims by Christians). On one hand, this internecine activity reflects the same low-level (albeit bloody) turf conflict that drives American crime movies set among dispossessed immigrant or inner city populations. But we’re also meant to understand that this pressure-cooker environment of limited options and scarce resources derives from Israel’s control of the Occupied Territories.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ajami-2.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>You forget this at your peril, savvy viewer, even though we don’t see or meet any Israeli characters for a good long while. And when they do arrive on the scene, the plot thickens and the film’s themes become even thornier. Much of this derives from Copti and Shani’s brilliant use of shifting points of view and time, with events that we’ve already witnessed subsequently reenacted from another character’s perspective (and fears).\u003c/p>\n\u003cp>\u003c/p>\u003cp>This may sound like a familiar gimmick from \u003cb>Babel\u003c/b>, \u003cb>Traffic\u003c/b> and \u003cb>Reservoir Dogs\u003c/b>. However, the intention here is not to show off the filmmakers’ cleverness or illuminate the role that fate and chance play in our lives. Shani and Copti are using the techniques of storytelling — and the expectations of story watching — to gut-punch us with the direct experience that we make decisions about people in movies, \u003ci>and real life\u003c/i>, based on initial impressions and unreliable information.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ajami-3.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>Ajami\u003c/b> is the third consecutive Israeli film to receive an Academy Award nomination (after \u003cb>Beaufort\u003c/b> and \u003cb>Waltz With Bashir\u003c/b>), which attests, above all, to the tough subjects Israeli filmmakers are tackling with rare, unflinching skill. All three movies intertwine the personal and the political with exceptional dexterity, albeit with widely different aesthetics and approaches. In case it needs to be said: See \u003cb>Ajami\u003c/b> this week with a friend, and plan on a long cup of coffee afterward.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Ajami\u003c/b> opens Friday, March 12, 2010 at the Embarcadero Center Cinemas in San Francisco, the Albany Twin in Berkeley, and Camera 3 in San Jose.\u003c/p>\n\n",
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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/ajami-2.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>You forget this at your peril, savvy viewer, even though we don’t see or meet any Israeli characters for a good long while. And when they do arrive on the scene, the plot thickens and the film’s themes become even thornier. Much of this derives from Copti and Shani’s brilliant use of shifting points of view and time, with events that we’ve already witnessed subsequently reenacted from another character’s perspective (and fears).\u003c/p>\n\u003cp>\u003c/p>\u003cp>This may sound like a familiar gimmick from \u003cb>Babel\u003c/b>, \u003cb>Traffic\u003c/b> and \u003cb>Reservoir Dogs\u003c/b>. However, the intention here is not to show off the filmmakers’ cleverness or illuminate the role that fate and chance play in our lives. Shani and Copti are using the techniques of storytelling — and the expectations of story watching — to gut-punch us with the direct experience that we make decisions about people in movies, \u003ci>and real life\u003c/i>, based on initial impressions and unreliable information.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ajami-3.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>Ajami\u003c/b> is the third consecutive Israeli film to receive an Academy Award nomination (after \u003cb>Beaufort\u003c/b> and \u003cb>Waltz With Bashir\u003c/b>), which attests, above all, to the tough subjects Israeli filmmakers are tackling with rare, unflinching skill. All three movies intertwine the personal and the political with exceptional dexterity, albeit with widely different aesthetics and approaches. In case it needs to be said: See \u003cb>Ajami\u003c/b> this week with a friend, and plan on a long cup of coffee afterward.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Ajami\u003c/b> opens Friday, March 12, 2010 at the Embarcadero Center Cinemas in San Francisco, the Albany Twin in Berkeley, and Camera 3 in San Jose.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Four from the SF Int'l Asian American Film Fest",
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"content": "\u003cp>\u003cb>The San Francisco International Asian American Film Festival\u003c/b> starts tonight and runs through March 21, 2010 at various Bay Area locations (\u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=28247\">See Jonathan Kiefer’s overview\u003c/a>). When faced with the massive amount of films to choose from, including a huge range of genres, from Animation to Documentary, Family-friendly to Sci Fi, I decided to take a close look at four of the festival’s 29 narrative features.\u003c/p>\n\u003cp>Writer-director Kit Hui’s feature debut, \u003cb>Fog\u003c/b>, is a fine, subdued film about a man who has lost his memory, and therefore his past and identity. The best thing about the movie is that it’s not a remake of \u003ca href=\"http://www.imdb.com/title/tt0209144/\">Memento\u003c/a>, nor is its approach akin to a melodramatic soap opera. Instead, there’s a refreshing amount of disorientation that we share with the main character, Wai, and a surprising lack of information as to what caused his memory to disappear. The emphasis, rather, is on the protagonist’s mental fuzziness: what was Wai like before, and what will he become now that he’s been given a clean slate? There are moving passages between Wai and people from his past. The pace, at times, halts and stalls, but you quickly figure out that this is Wai’s pace in the world, as he slowly rebuilds his consciousness, one moment at a time.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/make-yourself.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Make Yourself at Home\u003c/p>\n\u003cp>\u003cb>Make Yourself at Home\u003c/b> is set in a gorgeous suburb of upstate New York. The basic plot sounds promising: Sookhy, a Korean woman moves to the U.S. for an arranged marriage with a Korean American lawyer. How will she adjust to her new life and culture, and a demanding mother-in-law? Sounds like an interesting premise, yes? Unfortunately, this film, whose alternate title is \u003cb>Fetish\u003c/b>, suffers from an undercooked sense of menace that reads as a sullen and unintended pretentiousness. Uprooted and entirely misplaced in her new home and country, Sookhy suddenly has no morals or conscience to guide her behavior. There is a back story about her ancestry that has something to do with shamanism, but this explanation detracts even further from her inability to make practical decisions. Instead, she becomes enmeshed with an overprivileged couple, neighbors from up the street who spend endless hours undressed in their swimming pool, which is filled with as much ennui as chlorinated water. The director clearly believed that the beauty of the lead actress, Song Hye-Kyo, would carry this aimless, plodding film. It doesn’t.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/slept-with.jpg\" style=\"margin-bottom: 10px\">\u003cbr>The People I’ve Slept With\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Quentin Lee returns to the film festival this year with \u003cb>The People I’ve Slept With\u003c/b>, a racy sitcom writ large for the big screen, just not large enough. Of course, LGBT cinema needs to have more diversity on screen than white folks dancing the night away in NYC and LA, but is this the kind of movie that queer Asian Americans have been waiting for? The movie is a one trick pony that rides around in circles, exhausting itself within minutes. Angela, played by the wry Karin Anna Cheung, immediately defines herself as a “slut,” and Lee creates an agonizing montage of Angela and her many partners in various stages of mutual pleasuring. (Yes, the scene is as awful as that euphemism sounds.) Turns out, she gets pregnant (!) and has to figure out who the father is. With the help of her gay Latino best friend, who has commitment problems of his own (shocker!), they set out on a quest for… adulthood, maturity, morality? Who knows? Those concepts have lost their meaning in Lee’s fictional world. Many repetitive scenes show this delightful duo partying to excess, which is supposed to account for their louche bedroom behavior. Instead, the movie depicts this cross-section of twentysomethings as a self-absorbed, spoiled, self-gratifying generation. It was even more troubling to reach the ending, the moral of the story: only please yourself and you’re good. Movies about the apocalypse don’t inspire in me this much dread about the future of our civilization.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/know-it-all.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Like You Know It All\u003c/p>\n\u003cp>Last, and absolutely not least on my list, \u003cb>Like You Know it All\u003c/b>, a delightful, breezy film from South Korea’s Hong Sang-soo. Ku is a successful, young director who has been invited to be a judge at a film festival. We watch Ku from a reality camera’s distance a la \u003ca href=\"http://www.nbc.com/parks-and-recreation/\">\u003cb>Parks and Recreation\u003c/b>\u003c/a>. The camera is always centered on Ku, but also lovingly encompasses the other characters, the setting, including houses and buildings, and the movement of trees and tall grasses. In addition, there are small asides that only the lens appears to notice, like a chartreuse caterpillar inching along a gravel path. The film is suffused with light and sunshine, which is a perfect complement to the overall tone. It’s one of those summery movies that makes you feel nostalgic for a holiday by the beach, and for absent friends and lovers from the past.\u003c/p>\n\u003cp>Ku is a solitary journeyman but is surrounded by people who want to accompany him, at least for a time. This film is surprisingly reminiscent of \u003ca href=\"http://en.wikipedia.org/wiki/%C3%89ric_Rohmer\">Eric Rohmer\u003c/a>‘s films: the documentary feel of eavesdropping on real conversations, the natural lighting and sound design, the accumulation of emotion from scene to scene, and an appropriate catharsis to end the story. There are just as many hangovers pounding inside the heads of Hong Sang-soo’s characters as Quentin Lee’s, the difference is they become acutely aware of the consequences and still hold some capacity for grace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 28th annual \u003cb>San Francisco International Asian American Film Festival\u003c/b> runs March 11-21, 2010, at multiple venues in San Francisco, Berkeley and San Jose. For \u003ca href=\"http://festival.asianamericanmedia.org/\">tickets and information\u003c/a> visit asianamericanmedia.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>The San Francisco International Asian American Film Festival\u003c/b> starts tonight and runs through March 21, 2010 at various Bay Area locations (\u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=28247\">See Jonathan Kiefer’s overview\u003c/a>). When faced with the massive amount of films to choose from, including a huge range of genres, from Animation to Documentary, Family-friendly to Sci Fi, I decided to take a close look at four of the festival’s 29 narrative features.\u003c/p>\n\u003cp>Writer-director Kit Hui’s feature debut, \u003cb>Fog\u003c/b>, is a fine, subdued film about a man who has lost his memory, and therefore his past and identity. The best thing about the movie is that it’s not a remake of \u003ca href=\"http://www.imdb.com/title/tt0209144/\">Memento\u003c/a>, nor is its approach akin to a melodramatic soap opera. Instead, there’s a refreshing amount of disorientation that we share with the main character, Wai, and a surprising lack of information as to what caused his memory to disappear. The emphasis, rather, is on the protagonist’s mental fuzziness: what was Wai like before, and what will he become now that he’s been given a clean slate? There are moving passages between Wai and people from his past. The pace, at times, halts and stalls, but you quickly figure out that this is Wai’s pace in the world, as he slowly rebuilds his consciousness, one moment at a time.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/make-yourself.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Make Yourself at Home\u003c/p>\n\u003cp>\u003cb>Make Yourself at Home\u003c/b> is set in a gorgeous suburb of upstate New York. The basic plot sounds promising: Sookhy, a Korean woman moves to the U.S. for an arranged marriage with a Korean American lawyer. How will she adjust to her new life and culture, and a demanding mother-in-law? Sounds like an interesting premise, yes? Unfortunately, this film, whose alternate title is \u003cb>Fetish\u003c/b>, suffers from an undercooked sense of menace that reads as a sullen and unintended pretentiousness. Uprooted and entirely misplaced in her new home and country, Sookhy suddenly has no morals or conscience to guide her behavior. There is a back story about her ancestry that has something to do with shamanism, but this explanation detracts even further from her inability to make practical decisions. Instead, she becomes enmeshed with an overprivileged couple, neighbors from up the street who spend endless hours undressed in their swimming pool, which is filled with as much ennui as chlorinated water. The director clearly believed that the beauty of the lead actress, Song Hye-Kyo, would carry this aimless, plodding film. It doesn’t.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/slept-with.jpg\" style=\"margin-bottom: 10px\">\u003cbr>The People I’ve Slept With\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Quentin Lee returns to the film festival this year with \u003cb>The People I’ve Slept With\u003c/b>, a racy sitcom writ large for the big screen, just not large enough. Of course, LGBT cinema needs to have more diversity on screen than white folks dancing the night away in NYC and LA, but is this the kind of movie that queer Asian Americans have been waiting for? The movie is a one trick pony that rides around in circles, exhausting itself within minutes. Angela, played by the wry Karin Anna Cheung, immediately defines herself as a “slut,” and Lee creates an agonizing montage of Angela and her many partners in various stages of mutual pleasuring. (Yes, the scene is as awful as that euphemism sounds.) Turns out, she gets pregnant (!) and has to figure out who the father is. With the help of her gay Latino best friend, who has commitment problems of his own (shocker!), they set out on a quest for… adulthood, maturity, morality? Who knows? Those concepts have lost their meaning in Lee’s fictional world. Many repetitive scenes show this delightful duo partying to excess, which is supposed to account for their louche bedroom behavior. Instead, the movie depicts this cross-section of twentysomethings as a self-absorbed, spoiled, self-gratifying generation. It was even more troubling to reach the ending, the moral of the story: only please yourself and you’re good. Movies about the apocalypse don’t inspire in me this much dread about the future of our civilization.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/know-it-all.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Like You Know It All\u003c/p>\n\u003cp>Last, and absolutely not least on my list, \u003cb>Like You Know it All\u003c/b>, a delightful, breezy film from South Korea’s Hong Sang-soo. Ku is a successful, young director who has been invited to be a judge at a film festival. We watch Ku from a reality camera’s distance a la \u003ca href=\"http://www.nbc.com/parks-and-recreation/\">\u003cb>Parks and Recreation\u003c/b>\u003c/a>. The camera is always centered on Ku, but also lovingly encompasses the other characters, the setting, including houses and buildings, and the movement of trees and tall grasses. In addition, there are small asides that only the lens appears to notice, like a chartreuse caterpillar inching along a gravel path. The film is suffused with light and sunshine, which is a perfect complement to the overall tone. It’s one of those summery movies that makes you feel nostalgic for a holiday by the beach, and for absent friends and lovers from the past.\u003c/p>\n\u003cp>Ku is a solitary journeyman but is surrounded by people who want to accompany him, at least for a time. This film is surprisingly reminiscent of \u003ca href=\"http://en.wikipedia.org/wiki/%C3%89ric_Rohmer\">Eric Rohmer\u003c/a>‘s films: the documentary feel of eavesdropping on real conversations, the natural lighting and sound design, the accumulation of emotion from scene to scene, and an appropriate catharsis to end the story. There are just as many hangovers pounding inside the heads of Hong Sang-soo’s characters as Quentin Lee’s, the difference is they become acutely aware of the consequences and still hold some capacity for grace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 28th annual \u003cb>San Francisco International Asian American Film Festival\u003c/b> runs March 11-21, 2010, at multiple venues in San Francisco, Berkeley and San Jose. For \u003ca href=\"http://festival.asianamericanmedia.org/\">tickets and information\u003c/a> visit asianamericanmedia.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you imagine the venn diagram of identity signifiers for the 28th annual San Francisco International Asian American Film Festival, you might get the impression that this beloved Spring-inaugurating feast of cinema is rather parochial in scope.\u003c/p>\n\u003cp>Not so. For one thing, just the word “Asian” alone is inherently multitudinous. For another, the festival’s ongoing accumulation of nuance can’t help but be broadening. For instance, look closely at this year’s program, just above the cursive graffiti “iloveyouiloveyouilove” in its cover photograph, at that overlaid column of telling statistics. From these you will discern that SFIAAFF has screened 1,998 films over the course of 28 years, and that this year’s crop of 109, culled from 900 prospects, includes 65 shorts, 29 narrative features and 15 documentary features. You will learn that the number of miles traveled by festival organizers to scout these films was 41,950.\u003c/p>\n\u003cp>You won’t learn from the program, but will learn from me and can verify on the Internet that 41,950 miles is more than five times the length of the Earth’s diameter. So if you’re looking for a word to describe the range of SFIAFF offerings, it’s safe to say that “wide” would be a good one.\u003c/p>\n\u003cp>Highlights? There are many. Lu Chan’s epic about the 1937 \u003ca href=\"http://en.wikipedia.org/wiki/Nanking_Massacre\">Nanking Massacre\u003c/a>, \u003ca href=\"http://filmguide.festival.asianamericanmedia.org/tixSYS/2010/films/1019\">\u003cb>City of Life and Death\u003c/b>\u003c/a>, is one. Likewise parts four and five of Yang Fudong’s much lauded \u003ca href=\"http://findarticles.com/p/articles/mi_m0268/is_1_42/ai_108691799/\">\u003cb>Seven Intellectuals in a Bamboo Forest\u003c/b>\u003c/a>, a five-part series loosely adapting and updating a 3rd-century parable about a group of Taoist scholars who deliberately withdrew themselves from a noisy and corrupt society.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/seven-intellectuals.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Seven Intellectuals in a Bamboo Forest\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A re-introduction to the rather disturbed titular seductress in South Korean cult director Kim Ki-young?s classic 1960 domestic-drama shocker \u003cb>The Housemaid\u003c/b> should be cause for celebration. And certainly the work-in-progress screening of a film about local author Amy Tan’s SF Opera adaptation of her novel \u003cb>The Bonesetter’s Daughter\u003c/b> should generate some buzz.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/housemaid.jpg\" style=\"margin-bottom: 10px\">\u003cbr>The Housemaid\u003c/p>\n\u003cp>This year’s focus on Filipino and Filipino-American cinema includes a retrospective of four films (1974’s \u003cb>You Have Been Weighed and Found Wanting\u003c/b>, 1975’s \u003cb>Manila in the Claws of Neon\u003c/b>, 1976’s \u003cb>Insiang\u003c/b> and 1985’s \u003cb>Bayan Ko\u003c/b>) from the Marcos-averse queer melodrama maven \u003ca href=\"http://en.wikipedia.org/wiki/Lino_Brocka\">Lino Brocka\u003c/a>, the first Filipino director ever to get into Cannes — and have his citizenship revoked for social critique. And hell, I’d even count the free \u003ca href=\"http://festival.asianamericanmedia.org/2010/interactive/sfiaaff-iphone-app/\">SFIAFF iPhone app\u003c/a>, for its comprehensiveness and good design, as a festival highlight too.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/manila-claws.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Manila in the Claws of Neon\u003c/p>\n\u003cp>But if for some strange reason you’re still not convinced of the astonishing breadth and dynamism of 2010 SFIAAFF offerings, perhaps you should start with a new film from South Korea called \u003ca href=\"http://filmguide.festival.asianamericanmedia.org/tixSYS/2010/films/1053\">\u003cb>Like You Know It All\u003c/b>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The 28th annual San Francisco International Asian American Film Festival \u003c/b> runs March 11-21, 2010, at multiple venues in San Francisco, Berkeley and San Jose. For \u003ca href=\"http://asianamericanmedia.org\">tickets and information\u003c/a>, visit asianamericanmedia.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you imagine the venn diagram of identity signifiers for the 28th annual San Francisco International Asian American Film Festival, you might get the impression that this beloved Spring-inaugurating feast of cinema is rather parochial in scope.\u003c/p>\n\u003cp>Not so. For one thing, just the word “Asian” alone is inherently multitudinous. For another, the festival’s ongoing accumulation of nuance can’t help but be broadening. For instance, look closely at this year’s program, just above the cursive graffiti “iloveyouiloveyouilove” in its cover photograph, at that overlaid column of telling statistics. From these you will discern that SFIAAFF has screened 1,998 films over the course of 28 years, and that this year’s crop of 109, culled from 900 prospects, includes 65 shorts, 29 narrative features and 15 documentary features. You will learn that the number of miles traveled by festival organizers to scout these films was 41,950.\u003c/p>\n\u003cp>You won’t learn from the program, but will learn from me and can verify on the Internet that 41,950 miles is more than five times the length of the Earth’s diameter. So if you’re looking for a word to describe the range of SFIAFF offerings, it’s safe to say that “wide” would be a good one.\u003c/p>\n\u003cp>Highlights? There are many. Lu Chan’s epic about the 1937 \u003ca href=\"http://en.wikipedia.org/wiki/Nanking_Massacre\">Nanking Massacre\u003c/a>, \u003ca href=\"http://filmguide.festival.asianamericanmedia.org/tixSYS/2010/films/1019\">\u003cb>City of Life and Death\u003c/b>\u003c/a>, is one. Likewise parts four and five of Yang Fudong’s much lauded \u003ca href=\"http://findarticles.com/p/articles/mi_m0268/is_1_42/ai_108691799/\">\u003cb>Seven Intellectuals in a Bamboo Forest\u003c/b>\u003c/a>, a five-part series loosely adapting and updating a 3rd-century parable about a group of Taoist scholars who deliberately withdrew themselves from a noisy and corrupt society.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/seven-intellectuals.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Seven Intellectuals in a Bamboo Forest\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A re-introduction to the rather disturbed titular seductress in South Korean cult director Kim Ki-young?s classic 1960 domestic-drama shocker \u003cb>The Housemaid\u003c/b> should be cause for celebration. And certainly the work-in-progress screening of a film about local author Amy Tan’s SF Opera adaptation of her novel \u003cb>The Bonesetter’s Daughter\u003c/b> should generate some buzz.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/housemaid.jpg\" style=\"margin-bottom: 10px\">\u003cbr>The Housemaid\u003c/p>\n\u003cp>This year’s focus on Filipino and Filipino-American cinema includes a retrospective of four films (1974’s \u003cb>You Have Been Weighed and Found Wanting\u003c/b>, 1975’s \u003cb>Manila in the Claws of Neon\u003c/b>, 1976’s \u003cb>Insiang\u003c/b> and 1985’s \u003cb>Bayan Ko\u003c/b>) from the Marcos-averse queer melodrama maven \u003ca href=\"http://en.wikipedia.org/wiki/Lino_Brocka\">Lino Brocka\u003c/a>, the first Filipino director ever to get into Cannes — and have his citizenship revoked for social critique. And hell, I’d even count the free \u003ca href=\"http://festival.asianamericanmedia.org/2010/interactive/sfiaaff-iphone-app/\">SFIAFF iPhone app\u003c/a>, for its comprehensiveness and good design, as a festival highlight too.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/manila-claws.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Manila in the Claws of Neon\u003c/p>\n\u003cp>But if for some strange reason you’re still not convinced of the astonishing breadth and dynamism of 2010 SFIAAFF offerings, perhaps you should start with a new film from South Korea called \u003ca href=\"http://filmguide.festival.asianamericanmedia.org/tixSYS/2010/films/1053\">\u003cb>Like You Know It All\u003c/b>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The 28th annual San Francisco International Asian American Film Festival \u003c/b> runs March 11-21, 2010, at multiple venues in San Francisco, Berkeley and San Jose. For \u003ca href=\"http://asianamericanmedia.org\">tickets and information\u003c/a>, visit asianamericanmedia.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "There's a Method to Tim Burton's Madness",
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"content": "\u003cp>Tim Burton and \u003cb>Alice in Wonderland\u003c/b> were made for each other. Tim Burton was born to make 3D, and Lewis Carroll’s \u003cb>Alice in Wonderland\u003c/b> was born to go 3D.\u003c/p>\n\u003cp>\u003cb>Alice in Wonderland\u003c/b> is the original portal story. To go through a portal means you have to go somewhere infinitely more magical than real life, to a place where your mind is blown. This Wonderland blows our mind and its three-dimensionality electrifies our senses in the way Oz did, back when something as simple as switching to color was breathtaking.\u003c/p>\n\u003cp>More recently, \u003cb>Avatar\u003c/b> is the IT film for those seeking an immersive experience. Critics have gushed about Avatar’s intoxicating visuals and its game-changing technology. In \u003cb>Avatar\u003c/b>, (another portal film) 3D is not used simply for 3D’s sake. It’s integral.\u003c/p>\n\u003cp>Burton’s psychotropic \u003cb>Alice\u003c/b> is very much an \u003cb> Avatar\u003c/b> for the elementary school set. With its gorgeous integration of animation and live action, Wonderland is permeated with lush, exotic vegetation, strange birds and far-out critters (a rocking-horse humming bird is one of countless fanciful flash details). Like \u003cb>Avatar’s\u003c/b> paraplegic Jake Scully, Alice, a young woman in Victorian society, is constrained by real life. Wonderland, like Pandora, is her escape hatch.\u003c/p>\n\u003cp>While this Wonderland has all the iconic characters — the white rabbit, the dormouse, the Cheshire Cat, the story itself has been three-dimensionalized. Lewis Carroll’s 1865 novel and the forgettable 1951 animated Disney film were a stringing together of episodic adventures without plot, character development or emotional depth. Alice 2010 is more satisfying.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burton’s \u003cb>Alice\u003c/b> blends Carroll’s two books — \u003cb> Alice’s Adventures in Wonderland\u003c/b> and \u003cb>Through the Looking-Glass\u003c/b> — and expands on the poem, “Jabberwocky” to give the story structure. But it’s the three-dimensionalized Alice — a fabulous performance by Mia Wasikowska — that gives the film its greater substance.\u003c/p>\n\u003cp>Johnny Depp is more than superficially wacko as the Mad Hatter. He becomes Alice’s friend, a scarecrow to her Dorothy. Beneath his dazzlingly bizarre garb, the Hatter has a skittish kindness. In a kingdom ruled by the impetuous, decapitation-happy Red Queen, The Hatter is literally scared out of his wits.\u003c/p>\n\u003cp>As the Red Queen, Helena Bonham Carter is a sheer delight. Her giant bulbous head is one of the film’s best special effects. Like most everything here, the queen’s big head is not just for show; it accentuates her monarchistic brattiness. Her absurd commands and predilections (like using live animals as furniture) would be creepy if they weren’t so funny. \u003c/p>\n\u003cp>In Linda Woolverton’s screenplay (she wrote screenplays for \u003cb>The Lion King\u003c/b> and \u003cb>Beauty and the Beast\u003c/b>), Alice has returned to Wonderland at the age of 19, having first visited at age 7. It’s such a smart twist; At 19, the character isn’t merely a precocious kid rescuing the Mad Hatter and battling the vicious Jabberwocky; at 19 she can consider her own childhood.\u003c/p>\n\u003cp>As it turns out, this place is actually called Underland — at 7, Alice had mistakenly called it Wonderland. It’s a tidbit that reflects so much about the perceptions of children and adults.\u003c/p>\n\u003cp>There are a million rites of passage action-adventure films where boys do battle, gain glory and come of age. Alice’s growth cuts both ways. At first, the inhabitants of Wonderland are not convinced she is the right Alice. They’ve been waiting for the return of Alice to fulfill a prophecy, to do battle with the jabberwocky and to dethrone the evil Red Queen. But this Alice is reluctant; she is “hardly Alice.” Recalling the 7 year old, the Mad Hatter tells Alice, “You were much more muchier. You’ve lost your muchness.” Which is in fact, the heart-wrenching truth about growing up isn’t it?\u003c/p>\n\u003cp>Tim Burton’s multi-dimensional \u003cb>Alice in Wonderland\u003c/b> is robust enough to entertain big and small, those who’ve drunk the potion and those who’ve eaten the cake. This is an Alice that fully realizes the story’s true potential. It has much muchness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Alice in Wonderland\u003c/b> is now playing in several Bay Area theaters including the Castro Theater, where it plays through April 1, 2010.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tim Burton and \u003cb>Alice in Wonderland\u003c/b> were made for each other. Tim Burton was born to make 3D, and Lewis Carroll’s \u003cb>Alice in Wonderland\u003c/b> was born to go 3D.\u003c/p>\n\u003cp>\u003cb>Alice in Wonderland\u003c/b> is the original portal story. To go through a portal means you have to go somewhere infinitely more magical than real life, to a place where your mind is blown. This Wonderland blows our mind and its three-dimensionality electrifies our senses in the way Oz did, back when something as simple as switching to color was breathtaking.\u003c/p>\n\u003cp>More recently, \u003cb>Avatar\u003c/b> is the IT film for those seeking an immersive experience. Critics have gushed about Avatar’s intoxicating visuals and its game-changing technology. In \u003cb>Avatar\u003c/b>, (another portal film) 3D is not used simply for 3D’s sake. It’s integral.\u003c/p>\n\u003cp>Burton’s psychotropic \u003cb>Alice\u003c/b> is very much an \u003cb> Avatar\u003c/b> for the elementary school set. With its gorgeous integration of animation and live action, Wonderland is permeated with lush, exotic vegetation, strange birds and far-out critters (a rocking-horse humming bird is one of countless fanciful flash details). Like \u003cb>Avatar’s\u003c/b> paraplegic Jake Scully, Alice, a young woman in Victorian society, is constrained by real life. Wonderland, like Pandora, is her escape hatch.\u003c/p>\n\u003cp>While this Wonderland has all the iconic characters — the white rabbit, the dormouse, the Cheshire Cat, the story itself has been three-dimensionalized. Lewis Carroll’s 1865 novel and the forgettable 1951 animated Disney film were a stringing together of episodic adventures without plot, character development or emotional depth. Alice 2010 is more satisfying.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burton’s \u003cb>Alice\u003c/b> blends Carroll’s two books — \u003cb> Alice’s Adventures in Wonderland\u003c/b> and \u003cb>Through the Looking-Glass\u003c/b> — and expands on the poem, “Jabberwocky” to give the story structure. But it’s the three-dimensionalized Alice — a fabulous performance by Mia Wasikowska — that gives the film its greater substance.\u003c/p>\n\u003cp>Johnny Depp is more than superficially wacko as the Mad Hatter. He becomes Alice’s friend, a scarecrow to her Dorothy. Beneath his dazzlingly bizarre garb, the Hatter has a skittish kindness. In a kingdom ruled by the impetuous, decapitation-happy Red Queen, The Hatter is literally scared out of his wits.\u003c/p>\n\u003cp>As the Red Queen, Helena Bonham Carter is a sheer delight. Her giant bulbous head is one of the film’s best special effects. Like most everything here, the queen’s big head is not just for show; it accentuates her monarchistic brattiness. Her absurd commands and predilections (like using live animals as furniture) would be creepy if they weren’t so funny. \u003c/p>\n\u003cp>In Linda Woolverton’s screenplay (she wrote screenplays for \u003cb>The Lion King\u003c/b> and \u003cb>Beauty and the Beast\u003c/b>), Alice has returned to Wonderland at the age of 19, having first visited at age 7. It’s such a smart twist; At 19, the character isn’t merely a precocious kid rescuing the Mad Hatter and battling the vicious Jabberwocky; at 19 she can consider her own childhood.\u003c/p>\n\u003cp>As it turns out, this place is actually called Underland — at 7, Alice had mistakenly called it Wonderland. It’s a tidbit that reflects so much about the perceptions of children and adults.\u003c/p>\n\u003cp>There are a million rites of passage action-adventure films where boys do battle, gain glory and come of age. Alice’s growth cuts both ways. At first, the inhabitants of Wonderland are not convinced she is the right Alice. They’ve been waiting for the return of Alice to fulfill a prophecy, to do battle with the jabberwocky and to dethrone the evil Red Queen. But this Alice is reluctant; she is “hardly Alice.” Recalling the 7 year old, the Mad Hatter tells Alice, “You were much more muchier. You’ve lost your muchness.” Which is in fact, the heart-wrenching truth about growing up isn’t it?\u003c/p>\n\u003cp>Tim Burton’s multi-dimensional \u003cb>Alice in Wonderland\u003c/b> is robust enough to entertain big and small, those who’ve drunk the potion and those who’ve eaten the cake. This is an Alice that fully realizes the story’s true potential. It has much muchness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Alice in Wonderland\u003c/b> is now playing in several Bay Area theaters including the Castro Theater, where it plays through April 1, 2010.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Exile does strange things to a film director. Good things, sometimes. You hear a lot about the Europeans — the likes of Billy Wilder, Max Ophuls, Otto Preminger, Douglas Sirk — who blessed us with their presence when the going in Hitler’s hellhole got tough. But what of those occasional Americans who had good cause to skip out for points east?\u003c/p>\n\u003cp>Joseph Losey is an interesting case. At his best, he had a way with outsiderhood. The Wisconsin-born, ivy-educated director made his way through theater into for-hire work at MGM, then sovereignty at RKO, and eventually — perhaps inevitably — banishment from Hollywood altogether. Why inevitably? Having come up during the Depression, Losey had liked the looks of communism for a time, but maybe it also had something to do with his oft-reported gift for estranging friends.\u003c/p>\n\u003cp>With an improbably strong remake of Fritz Lang’s masterpiece, \u003cb>M\u003c/b> in 1951, Losey showed prescient intuition about the mechanics of alienation and hysteria: The story concerns a compulsive killer of children and, what is evidently worse, the mob madness by which he’s subdued. (It would be a while yet before the cave full of radioactive children in Losey’s \u003cb>These Are the Damned\u003c/b>; meanwhile, a few more genre-elevating films with cat-like camera moves and titular variations of the word “prowl.”)\u003c/p>\n\u003cp>That same year, Losey blew off his HUAC summons, got blacklisted, and skedaddled to England. It turned out to be a productive move — not least due to some highly fruitful recurring collaborations, with actor Dirk Bogarde, playwright Harold Pinter, and jazz composer John Dankworth. Before long Losey had adeptly picked the scab of Britain’s upper crust. The films became more personal and confined, unveiling volatile states of mind through highly controlled environments. They were peppered with pervy power games and vehement little class-war duets. Probably the pinnacle of Losey’s artful sadism is the Pinter-scripted Bogarde showcase \u003cb>The Servant\u003c/b> of 1963, but it still depends who you ask.\u003c/p>\n\u003cp>Losey’s subsequent ventures into arty ’60s chic and parodies thereof would become historic head-scratchers. The comic-book-based spy-thriller spoof \u003cb>Modesty Blaise\u003c/b> (1966), with Bogarde, Monica Vitti, and Terence Stamp, has been widely reviled, but John Waters adores it. And what about Liz Taylor and Richard Burton doing Tennessee Williams — was Losey absolutely the wrong director for such a thing, or does his presence tip it over into something somehow appallingly right? It’s not called \u003cb>Boom!\u003c/b> (1968) for nothing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the later years, consensus says, Losey had a sort of public petering out. He became boring, then perked up, then relocated to France, dipped briefly back into the theater, returned to England, kept working and died: like many an emigre, a disappointed romantic.\u003c/p>\n\u003cp>\u003cb>Joseph Losey: Pictures of Provocation\u003c/b> runs through April 16, 2010, at the Pacific Film Archive in Berkeley. For \u003ca href=\"?http://www.bampfa.berkeley.edu\">more information\u003c/a>, visit bampfa.berkeley.edu\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Exile does strange things to a film director. Good things, sometimes. You hear a lot about the Europeans — the likes of Billy Wilder, Max Ophuls, Otto Preminger, Douglas Sirk — who blessed us with their presence when the going in Hitler’s hellhole got tough. But what of those occasional Americans who had good cause to skip out for points east?\u003c/p>\n\u003cp>Joseph Losey is an interesting case. At his best, he had a way with outsiderhood. The Wisconsin-born, ivy-educated director made his way through theater into for-hire work at MGM, then sovereignty at RKO, and eventually — perhaps inevitably — banishment from Hollywood altogether. Why inevitably? Having come up during the Depression, Losey had liked the looks of communism for a time, but maybe it also had something to do with his oft-reported gift for estranging friends.\u003c/p>\n\u003cp>With an improbably strong remake of Fritz Lang’s masterpiece, \u003cb>M\u003c/b> in 1951, Losey showed prescient intuition about the mechanics of alienation and hysteria: The story concerns a compulsive killer of children and, what is evidently worse, the mob madness by which he’s subdued. (It would be a while yet before the cave full of radioactive children in Losey’s \u003cb>These Are the Damned\u003c/b>; meanwhile, a few more genre-elevating films with cat-like camera moves and titular variations of the word “prowl.”)\u003c/p>\n\u003cp>That same year, Losey blew off his HUAC summons, got blacklisted, and skedaddled to England. It turned out to be a productive move — not least due to some highly fruitful recurring collaborations, with actor Dirk Bogarde, playwright Harold Pinter, and jazz composer John Dankworth. Before long Losey had adeptly picked the scab of Britain’s upper crust. The films became more personal and confined, unveiling volatile states of mind through highly controlled environments. They were peppered with pervy power games and vehement little class-war duets. Probably the pinnacle of Losey’s artful sadism is the Pinter-scripted Bogarde showcase \u003cb>The Servant\u003c/b> of 1963, but it still depends who you ask.\u003c/p>\n\u003cp>Losey’s subsequent ventures into arty ’60s chic and parodies thereof would become historic head-scratchers. The comic-book-based spy-thriller spoof \u003cb>Modesty Blaise\u003c/b> (1966), with Bogarde, Monica Vitti, and Terence Stamp, has been widely reviled, but John Waters adores it. And what about Liz Taylor and Richard Burton doing Tennessee Williams — was Losey absolutely the wrong director for such a thing, or does his presence tip it over into something somehow appallingly right? It’s not called \u003cb>Boom!\u003c/b> (1968) for nothing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the later years, consensus says, Losey had a sort of public petering out. He became boring, then perked up, then relocated to France, dipped briefly back into the theater, returned to England, kept working and died: like many an emigre, a disappointed romantic.\u003c/p>\n\u003cp>\u003cb>Joseph Losey: Pictures of Provocation\u003c/b> runs through April 16, 2010, at the Pacific Film Archive in Berkeley. For \u003ca href=\"?http://www.bampfa.berkeley.edu\">more information\u003c/a>, visit bampfa.berkeley.edu\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Until The Light Takes Us\u003c/b>, the first feature film about the rise and fall of Norwegian black metal, is back for another round of U.S. screenings. The film uncovers the truths and ideologies that formed the foundation for the infamous black metal scene — a movement that triggered an onslaught of murders, suicides, arson, and a media firestorm that framed the scene as a Satanist uprising.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>I checked in with directors Aaron Aites and Audrey Ewell to find out what it was like to travel to Norway and spend time with these artists who have garnered a cult-like status over the years.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cb>HG\u003c/b>: What inspired you to pack up and move to Norway for two years to work on this documentary?\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AA\u003c/b>: First of all, we didn’t know that we were going to be there for two years when we left! Neither of us had ever worked on a documentary before in any capacity (we both come from a narrative film background). We were inspired not only by the subject itself (which we find fascinating) but also the chance to examine several postmodern ideas including simulation and simulacra and the effects of the severing of a culture’s narrative thread in a kind of “practical” way, if that word applies.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cb>HG\u003c/b>: What sets your documentary apart from other works (print or video) that attempt to describe the same story?\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AA\u003c/b>: One basic thing is that no other project has all of the key players involved, telling their own stories. These other projects usually rely on people who weren’t actually involved talking about what happened. There are books, shorts, fan videos and parts of larger projects that deal with the subject, but this is truly the only feature length film about it. This isn’t an A-Z retelling of the history of events. This is a portrait of key players set within that world. The larger story of black metal is told through their individual stories, and through the story of their friendship.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cb>HG\u003c/b>: Describe what it was like to get everyone to open up to you. They had already experienced much manipulation of the truth by the media over the crimes attributed to Norwegian black metal followers.\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AE\u003c/b>: We gave them the opportunity to tell their story in their words without narration or “experts” to explain what they meant or what their actions meant. The whole idea of an expert in this context is so ludicrous. I think some of them saw it as an opportunity to set the record straight. Some were wary at first, which is completely understandable given their history with the hysterical media reports that were coming out during the heyday of the scene. Varg Vikernes [black metal artist and convicted murderer and arsonist — started one-man band, Burzum, and played with the band Mayhem] was the most difficult in that way, but his reticence is totally understandable. He was initially (and for eight months) completely opposed to taking part in the film. He was in jail, so we were writing letters back and forth and he just absolutely refused. I think he actually had a very bad experience in feeling misrepresented in the past and it was a huge obstacle. When he finally did agree to participate in the film, he was very open, but it took us a long time to get to that point. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cb>HG\u003c/b>: What’s your take on the popularity of black metal among the art world? In the film, Gylve Nagell’s [member of the influential band Darkthrone] reactions to one particular art opening focused on black metal made it seem like he felt out of place, but he does cooperate and lend his name and image to some of these shows.\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AA\u003c/b>: I think that the art world is a bit enamored with the scene for the same reason it’s fascinated with outsider art like \u003ca href=\"http://en.wikipedia.org/wiki/Henry_Darger\">Henry Darger\u003c/a> and \u003ca href=\"http://en.wikipedia.org/wiki/Howard_Finster\">Howard Finster\u003c/a>. To make an over-simplification, when the “Anti-Establishment” people are in fact “The Establishment” as they are in the art world, these kind of complete outsiders serve as the new “Anti-Establishment.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AE\u003c/b>: And to set the record straight, Gylve did not give his explicit blessing to be a part of Bjarne Melgaard’s [visual artist whose black metal inspired art was shown in the film] exhibit. What you see is our footage of Gylve, which Bjarne used. The film ends on a note of Gylve re-contextualized, trapped. I think this visually conveys a truth and reveals the tragedy of a misunderstanding and the identity this imposes, in a way that Gylve would respect. He hasn’t seen the film, by the way. We periodically ask him if he’d like to, and he ignores us on that. He told us before we started filming that he’d never watch the film, that we could get whatever we needed to tell the story we wanted to tell, and not to worry about his reaction because he wouldn’t see it. But I wish he would.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cb>HG\u003c/b>: What’s your reaction to criticism about the neo-Nazi remarks and Aryan pride within the black metal scene?\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AE\u003c/b>: First of all, what neo-Nazism? No, seriously, everyone talks about this like it’s a fact. For the record: the Norwegian black metal scene is not a neo-Nazi movement. It never has been. We understand that everyone is against neo-Nazism and wants everyone else to know that. We are against neo-Nazism. We are also against murder…what these guys were reacting against was the decimation of their culture by the blank corporate global culture which was changing their landscape, hearkening back to a past wave of cultural imperialism. Listen, there are like two Jewish people in Norway, and they’re lovely. There are about 500 Burger Kings, with more popping up every day. Varg talks about shooting out the windows of a McDonalds as his first act of violence. He talks about Christians razing pagan holy sites and erecting churches on top of them. The connection is there. Varg said some stupid stuff when he was in jail.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AA\u003c/b>: And I hear he still is. We try to show in the movie how he got to that point. We don’t want to play into the sensationalism, we don’t want to paint the rest of the scene with that brush, and we don’t want to give him a platform for talking about it either.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cb>HG\u003c/b>: Are there any rumors not cleared up in the film that you would like to settle? When I first started hearing about all of these murders and church burnings, I remember there were far-fetched stories of cannibalism, pagan rituals, necklaces made of bones, and all sorts of crazy stuff.\u003c/i>\u003c/p>\n\u003cp>\u003cb>AA\u003c/b>: Actually, from what I’ve been told, the story of Euronymous [Øystein Aarseth – former guitarist of Mayhem] making a necklace out of some shards of Dead’s [Per Yngve Ohlin — former vocalist of Mayhem who committed suicide] skull is true.\u003c/p>\n\u003cp>\u003cb>AE\u003c/b>: Listen, we can’t destroy the whole mythos. Gylve still gets letters from kids around the world, dressed up in corpse paint, and standing in front of a — wait for it — Norwegian flag. That is an epic fail of comprehension.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Until the Light Takes Us\u003c/b> is screening at \u003ca href=\"http://www.rialtocinemas.com/index.php?location=elmwood\">Rialto Cinemas\u003c/a> in Berkeley starting Friday, March 5.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AA\u003c/b>: First of all, we didn’t know that we were going to be there for two years when we left! Neither of us had ever worked on a documentary before in any capacity (we both come from a narrative film background). We were inspired not only by the subject itself (which we find fascinating) but also the chance to examine several postmodern ideas including simulation and simulacra and the effects of the severing of a culture’s narrative thread in a kind of “practical” way, if that word applies.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cb>HG\u003c/b>: What sets your documentary apart from other works (print or video) that attempt to describe the same story?\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AA\u003c/b>: One basic thing is that no other project has all of the key players involved, telling their own stories. These other projects usually rely on people who weren’t actually involved talking about what happened. There are books, shorts, fan videos and parts of larger projects that deal with the subject, but this is truly the only feature length film about it. This isn’t an A-Z retelling of the history of events. This is a portrait of key players set within that world. The larger story of black metal is told through their individual stories, and through the story of their friendship.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cb>HG\u003c/b>: Describe what it was like to get everyone to open up to you. They had already experienced much manipulation of the truth by the media over the crimes attributed to Norwegian black metal followers.\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AE\u003c/b>: We gave them the opportunity to tell their story in their words without narration or “experts” to explain what they meant or what their actions meant. The whole idea of an expert in this context is so ludicrous. I think some of them saw it as an opportunity to set the record straight. Some were wary at first, which is completely understandable given their history with the hysterical media reports that were coming out during the heyday of the scene. Varg Vikernes [black metal artist and convicted murderer and arsonist — started one-man band, Burzum, and played with the band Mayhem] was the most difficult in that way, but his reticence is totally understandable. He was initially (and for eight months) completely opposed to taking part in the film. He was in jail, so we were writing letters back and forth and he just absolutely refused. I think he actually had a very bad experience in feeling misrepresented in the past and it was a huge obstacle. When he finally did agree to participate in the film, he was very open, but it took us a long time to get to that point. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cb>HG\u003c/b>: What’s your take on the popularity of black metal among the art world? In the film, Gylve Nagell’s [member of the influential band Darkthrone] reactions to one particular art opening focused on black metal made it seem like he felt out of place, but he does cooperate and lend his name and image to some of these shows.\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AA\u003c/b>: I think that the art world is a bit enamored with the scene for the same reason it’s fascinated with outsider art like \u003ca href=\"http://en.wikipedia.org/wiki/Henry_Darger\">Henry Darger\u003c/a> and \u003ca href=\"http://en.wikipedia.org/wiki/Howard_Finster\">Howard Finster\u003c/a>. To make an over-simplification, when the “Anti-Establishment” people are in fact “The Establishment” as they are in the art world, these kind of complete outsiders serve as the new “Anti-Establishment.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AE\u003c/b>: And to set the record straight, Gylve did not give his explicit blessing to be a part of Bjarne Melgaard’s [visual artist whose black metal inspired art was shown in the film] exhibit. What you see is our footage of Gylve, which Bjarne used. The film ends on a note of Gylve re-contextualized, trapped. I think this visually conveys a truth and reveals the tragedy of a misunderstanding and the identity this imposes, in a way that Gylve would respect. He hasn’t seen the film, by the way. We periodically ask him if he’d like to, and he ignores us on that. He told us before we started filming that he’d never watch the film, that we could get whatever we needed to tell the story we wanted to tell, and not to worry about his reaction because he wouldn’t see it. But I wish he would.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cb>HG\u003c/b>: What’s your reaction to criticism about the neo-Nazi remarks and Aryan pride within the black metal scene?\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AE\u003c/b>: First of all, what neo-Nazism? No, seriously, everyone talks about this like it’s a fact. For the record: the Norwegian black metal scene is not a neo-Nazi movement. It never has been. We understand that everyone is against neo-Nazism and wants everyone else to know that. We are against neo-Nazism. We are also against murder…what these guys were reacting against was the decimation of their culture by the blank corporate global culture which was changing their landscape, hearkening back to a past wave of cultural imperialism. Listen, there are like two Jewish people in Norway, and they’re lovely. There are about 500 Burger Kings, with more popping up every day. Varg talks about shooting out the windows of a McDonalds as his first act of violence. He talks about Christians razing pagan holy sites and erecting churches on top of them. The connection is there. Varg said some stupid stuff when he was in jail.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>AA\u003c/b>: And I hear he still is. We try to show in the movie how he got to that point. We don’t want to play into the sensationalism, we don’t want to paint the rest of the scene with that brush, and we don’t want to give him a platform for talking about it either.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cb>HG\u003c/b>: Are there any rumors not cleared up in the film that you would like to settle? When I first started hearing about all of these murders and church burnings, I remember there were far-fetched stories of cannibalism, pagan rituals, necklaces made of bones, and all sorts of crazy stuff.\u003c/i>\u003c/p>\n\u003cp>\u003cb>AA\u003c/b>: Actually, from what I’ve been told, the story of Euronymous [Øystein Aarseth – former guitarist of Mayhem] making a necklace out of some shards of Dead’s [Per Yngve Ohlin — former vocalist of Mayhem who committed suicide] skull is true.\u003c/p>\n\u003cp>\u003cb>AE\u003c/b>: Listen, we can’t destroy the whole mythos. Gylve still gets letters from kids around the world, dressed up in corpse paint, and standing in front of a — wait for it — Norwegian flag. That is an epic fail of comprehension.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Until the Light Takes Us\u003c/b> is screening at \u003ca href=\"http://www.rialtocinemas.com/index.php?location=elmwood\">Rialto Cinemas\u003c/a> in Berkeley starting Friday, March 5.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I hope you appreciate — or will, after you see the film — the restraint I displayed in my one-line teaser of this review. “The fraught reunion of two adult siblings propels Kimberly Reed’s alternately heart-warming and harrowing documentary.” Kimberly Reed’s unpredictable and terrific first-person documentary, \u003cb>Prodigal Sons\u003c/b>, has several sensational grabbers that beg to be trumpeted to prospective moviegoers. Gender switching! Mental illness! Hollywood superstar connections! Yet I resisted the overwhelming temptation to lure you in with cheap theatrics.\u003c/p>\n\u003cp>While eliciting an easy chuckle or ratcheting your blood pressure, I just illustrated the dilemma that Reed deftly dances with and around. Blending confession and reservation, she invites and insinuates us into her bizarrely atypical yet readily recognizable world, rotating continuously before our eyes from self-assurance to ambivalence to palpable discomfort. It requires exceptional footwork to be so intimate, revealing and vulnerable without exploiting one’s self, or one’s family. But she pulls it off, and we never feel like voyeuristic vultures or, conversely, that we’ve been excluded from crucial situations or events.\u003c/p>\n\u003cp>A male-to-female transsexual who made her transition during the decade she lived in San Francisco, Reed opens the film by announcing her intention to return to Helena, Montana, for her 20th high school reunion, and to reconnect with her problematic adopted older brother. We enlightened (and condescending) big-city types expect Kim’s arrival to prompt an entertaining brouhaha among Big Sky rednecks who remember her as Paul, the movie-star-blond quarterback.\u003c/p>\n\u003cp>In fact, her old friends are a pretty cool bunch, and take Kim’s appearance (in both senses of the word) smoothly in stride. It’s hard not to grin through this whole sequence at the clear evidence, amid reactionary debates about “don’t ask, don’t tell” and all the other conservative and mainstream-media efforts to deny progressive impulses and initiatives, how far the country has evolved in the last three decades.\u003c/p>\n\u003cp>Unexpectedly, Kim’s sexual orientation is overshadowed by brother Marc’s old grudges and erratic behavior. A loose cannon throughout his youth, or so we gather, he suffered a brain injury in a car accident when he was 21 (although resulting complications didn’t start surfacing for a few years). A couple of operations solved some problems and created others, and we increasingly feel trepidation whenever he’s in the room (or the frame).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Prodigal Sons\u003c/b> is a relentlessly involving film with barely a moment of downtime between shocks (and aftershocks). If one demands drama and revelation and confrontation from a documentary, this film delivers in spades. GLBT viewers will relate on a whole other level, reveling in a strong male-to-female character with a steadfast girlfriend and a supportive mother and younger gay brother. In most families, a transsexual child would be the odd duck, if not the black sheep. In this clan, Marc willfully and aggressively claims the title.\u003c/p>\n\u003cp>One doesn’t walk out of \u003cb>Prodigal Sons\u003c/b> more informed or better educated, or moved to take action or change a behavioral pattern. You may find yourself reminded, though, that it takes courage to acknowledge and accept one’s self, and often entails an ongoing effort. Not just reminded, in fact, but inspired. And that’s pretty sensational.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Prodigal Sons\u003c/b> opens Friday, March 5, 2010 at the Lumiere Theatre in San Francisco and the Shattuck Cinema in Berkeley. Filmmaker Kimberly Reed will be on hand to answer questions after the 7 & 9:45pm shows at the Lumiere on Friday and Saturday; and after the 5:25pm show at the Shattuck on Sunday, followed by an informal get-together at the adjacent Lot 68 bar.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I hope you appreciate — or will, after you see the film — the restraint I displayed in my one-line teaser of this review. “The fraught reunion of two adult siblings propels Kimberly Reed’s alternately heart-warming and harrowing documentary.” Kimberly Reed’s unpredictable and terrific first-person documentary, \u003cb>Prodigal Sons\u003c/b>, has several sensational grabbers that beg to be trumpeted to prospective moviegoers. Gender switching! Mental illness! Hollywood superstar connections! Yet I resisted the overwhelming temptation to lure you in with cheap theatrics.\u003c/p>\n\u003cp>While eliciting an easy chuckle or ratcheting your blood pressure, I just illustrated the dilemma that Reed deftly dances with and around. Blending confession and reservation, she invites and insinuates us into her bizarrely atypical yet readily recognizable world, rotating continuously before our eyes from self-assurance to ambivalence to palpable discomfort. It requires exceptional footwork to be so intimate, revealing and vulnerable without exploiting one’s self, or one’s family. But she pulls it off, and we never feel like voyeuristic vultures or, conversely, that we’ve been excluded from crucial situations or events.\u003c/p>\n\u003cp>A male-to-female transsexual who made her transition during the decade she lived in San Francisco, Reed opens the film by announcing her intention to return to Helena, Montana, for her 20th high school reunion, and to reconnect with her problematic adopted older brother. We enlightened (and condescending) big-city types expect Kim’s arrival to prompt an entertaining brouhaha among Big Sky rednecks who remember her as Paul, the movie-star-blond quarterback.\u003c/p>\n\u003cp>In fact, her old friends are a pretty cool bunch, and take Kim’s appearance (in both senses of the word) smoothly in stride. It’s hard not to grin through this whole sequence at the clear evidence, amid reactionary debates about “don’t ask, don’t tell” and all the other conservative and mainstream-media efforts to deny progressive impulses and initiatives, how far the country has evolved in the last three decades.\u003c/p>\n\u003cp>Unexpectedly, Kim’s sexual orientation is overshadowed by brother Marc’s old grudges and erratic behavior. A loose cannon throughout his youth, or so we gather, he suffered a brain injury in a car accident when he was 21 (although resulting complications didn’t start surfacing for a few years). A couple of operations solved some problems and created others, and we increasingly feel trepidation whenever he’s in the room (or the frame).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Prodigal Sons\u003c/b> is a relentlessly involving film with barely a moment of downtime between shocks (and aftershocks). If one demands drama and revelation and confrontation from a documentary, this film delivers in spades. GLBT viewers will relate on a whole other level, reveling in a strong male-to-female character with a steadfast girlfriend and a supportive mother and younger gay brother. In most families, a transsexual child would be the odd duck, if not the black sheep. In this clan, Marc willfully and aggressively claims the title.\u003c/p>\n\u003cp>One doesn’t walk out of \u003cb>Prodigal Sons\u003c/b> more informed or better educated, or moved to take action or change a behavioral pattern. You may find yourself reminded, though, that it takes courage to acknowledge and accept one’s self, and often entails an ongoing effort. Not just reminded, in fact, but inspired. And that’s pretty sensational.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Prodigal Sons\u003c/b> opens Friday, March 5, 2010 at the Lumiere Theatre in San Francisco and the Shattuck Cinema in Berkeley. Filmmaker Kimberly Reed will be on hand to answer questions after the 7 & 9:45pm shows at the Lumiere on Friday and Saturday; and after the 5:25pm show at the Shattuck on Sunday, followed by an informal get-together at the adjacent Lot 68 bar.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The other day I popped a Jordan Belson DVD into my laptop. I wanted to compare his fluvial, prismatic motion-picture abstractions of nearly 50 years ago with the latest in Macintosh screen savers.\u003c/p>\n\u003cp>Now, before you accuse me of sacrilege, dear two or three Bay Area experimental film purists who are reading this, ask yourselves how many DVDs of Jordan Belson films you own. And let me explain that Belson’s work stands up to my screen savers pretty damn well. For starters, you can tell a person made it, and you can tell that person was Belson.\u003c/p>\n\u003cp>That’s assuming you know who he is. Belson’s work isn’t widely seen nowadays, save for 1983’s \u003cb>The Right Stuff\u003c/b>, whose special effects he made. With that one, I always imagine director Philip Kaufman, then Belson’s North Beach neighbor, telling himself, “OK, for these scenes of flying up out of the atmosphere and into the real mystery, I want something a little \u003cb>2001\u003c/b>, but maybe a little \u003cb>Vertigo\u003c/b> too. Oh, I’ve got it: Belson!”\u003c/p>\n\u003cp>Of course the real reason to own a Belson DVD is not to fully experience the work. It is to let the artist know, through a fraction of a royalty check, that the work endures. For the whole fully experiencing thing, even my mega-huge flat-screen TV isn’t good enough. You know what is? Yes: The Phyllis Wattis Theater at SFMOMA.\u003c/p>\n\u003cp>And, in particular, tonight’s section of the ongoing \u003cb>75 Years in the Dark: A Partial History of Film at SFMOMA\u003c/b> program, which is called \u003cb>The Bay Area Arrives\u003c/b>. It’s called that because it’s a survey of the heavy hitters of the local avant-garde, who quite clearly had something special going on here in the middle of the last century.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The evening was curated by film historian Scott MacDonald, who has assembled two essential books on that subject: \u003cb>Art in Cinema: Documents Toward a History of the Film Society\u003c/b>, and \u003cb>Canyon Cinema: The Life and Times of an Independent Film Distributor\u003c/b>. So it should be a good way to see how Belson’s jewel-like \u003cb>Allures\u003c/b>, with its whirling spirographs and flickering diamonds, compares not just with my screen saver but also with the contemporaneous work of his peers.\u003c/p>\n\u003cp>Like the other hand-made moving color fields in Harry Smith’s \u003cb>No. 2 and No. 3\u003c/b>. Or to the deliberately disorienting, warped-lens viewpoint of Sidney Peterson’s \u003cb>The Lead Shoes\u003c/b>. Or the readymade surrealism of a detached San Francisco Victorian house facade in James Broughton’s \u003cb>Mother’s Day\u003c/b>. Or Vincent Price reading Robert Louis Stevenson in Frank Stauffacher’s \u003cb>Notes on the Port of St. Francis\u003c/b>.\u003c/p>\n\u003cp>It’ll also be a good way to see how these filmmakers’ experiments have stood the test of time. Belson might gag to think of his vivid mystical mists as the progenitors of so many digital lava lamps. Or he might get a kick out of it. Hard to say. But in the consecrated space of a world-class modern art museum, among the exploratory visions of like-minded associates, Belson’s bright lights should really shine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Bay Area Arrives\u003c/b> at 7:00pm, Thursday, February 25, 2010, at SFMOMA in San Francisco. For \u003ca href=\"http://www.sfmoma.org\">tickets and information\u003c/a>, visit sfmoma.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The other day I popped a Jordan Belson DVD into my laptop. I wanted to compare his fluvial, prismatic motion-picture abstractions of nearly 50 years ago with the latest in Macintosh screen savers.\u003c/p>\n\u003cp>Now, before you accuse me of sacrilege, dear two or three Bay Area experimental film purists who are reading this, ask yourselves how many DVDs of Jordan Belson films you own. And let me explain that Belson’s work stands up to my screen savers pretty damn well. For starters, you can tell a person made it, and you can tell that person was Belson.\u003c/p>\n\u003cp>That’s assuming you know who he is. Belson’s work isn’t widely seen nowadays, save for 1983’s \u003cb>The Right Stuff\u003c/b>, whose special effects he made. With that one, I always imagine director Philip Kaufman, then Belson’s North Beach neighbor, telling himself, “OK, for these scenes of flying up out of the atmosphere and into the real mystery, I want something a little \u003cb>2001\u003c/b>, but maybe a little \u003cb>Vertigo\u003c/b> too. Oh, I’ve got it: Belson!”\u003c/p>\n\u003cp>Of course the real reason to own a Belson DVD is not to fully experience the work. It is to let the artist know, through a fraction of a royalty check, that the work endures. For the whole fully experiencing thing, even my mega-huge flat-screen TV isn’t good enough. You know what is? Yes: The Phyllis Wattis Theater at SFMOMA.\u003c/p>\n\u003cp>And, in particular, tonight’s section of the ongoing \u003cb>75 Years in the Dark: A Partial History of Film at SFMOMA\u003c/b> program, which is called \u003cb>The Bay Area Arrives\u003c/b>. It’s called that because it’s a survey of the heavy hitters of the local avant-garde, who quite clearly had something special going on here in the middle of the last century.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The evening was curated by film historian Scott MacDonald, who has assembled two essential books on that subject: \u003cb>Art in Cinema: Documents Toward a History of the Film Society\u003c/b>, and \u003cb>Canyon Cinema: The Life and Times of an Independent Film Distributor\u003c/b>. So it should be a good way to see how Belson’s jewel-like \u003cb>Allures\u003c/b>, with its whirling spirographs and flickering diamonds, compares not just with my screen saver but also with the contemporaneous work of his peers.\u003c/p>\n\u003cp>Like the other hand-made moving color fields in Harry Smith’s \u003cb>No. 2 and No. 3\u003c/b>. Or to the deliberately disorienting, warped-lens viewpoint of Sidney Peterson’s \u003cb>The Lead Shoes\u003c/b>. Or the readymade surrealism of a detached San Francisco Victorian house facade in James Broughton’s \u003cb>Mother’s Day\u003c/b>. Or Vincent Price reading Robert Louis Stevenson in Frank Stauffacher’s \u003cb>Notes on the Port of St. Francis\u003c/b>.\u003c/p>\n\u003cp>It’ll also be a good way to see how these filmmakers’ experiments have stood the test of time. Belson might gag to think of his vivid mystical mists as the progenitors of so many digital lava lamps. Or he might get a kick out of it. Hard to say. But in the consecrated space of a world-class modern art museum, among the exploratory visions of like-minded associates, Belson’s bright lights should really shine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Bay Area Arrives\u003c/b> at 7:00pm, Thursday, February 25, 2010, at SFMOMA in San Francisco. For \u003ca href=\"http://www.sfmoma.org\">tickets and information\u003c/a>, visit sfmoma.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Viewing a film has tremendous mystical implications,” Nathaniel Dorsky writes in his 2003 lecture-cum-monograph \u003cb>Devotional Cinema\u003c/b>. “It can be, at its best, a way of approaching and manifesting the ineffable. This respect for the ineffable is an essential aspect of devotion.”\u003c/p>\n\u003cp>That’s as good an introduction as any to Dorsky’s own work, and a relief, as his are precisely the sort of ephemeral, experimental short subjects for which attempts at written elucidation seem — well, if not futile, then certainly at risk of disrespecting the ineffable. And maybe that’s all you really need to know before going to see the San Francisco artist demonstrate his secular visual liturgy in four installments at the Pacific Film Archive this evening.\u003c/p>\n\u003cp>Introspective is a word that occurs a lot in conversations about Dorsky, and so it should given his films’ solitude-reinforcing silence, but what about his way, too, of looking so intently \u003ci>out\u003c/i> at the world, and at its abundance? What about his prioritization of peripheral mysteries?\u003c/p>\n\u003cp>By so mindfully observing the undulations of natural and manmade textures that inspire and apparently surround him, Dorsky somehow achieves translucence and opacity at the same time. It’s weird, and beautiful. Sometimes there is the feeling of allowing your eyes to relax their focus, and the enthralling new way of seeing that results. Often there is a feeling of closeness to what’s being seen. It can be intimate.\u003c/p>\n\u003cp>“If a film fails to take advantage of the self-existing magic of things, if it uses objects merely to mean something,” he writes, “it has thrown away one of its great possibilities.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This must at least partly explain how all those blossom blasts and gleaming water beads and cloud-smudged celestial objects, so alertly enshrined in the matte hues of a now-extinct film stock, could still seem so vital and so much truer than, for instance, anything you’ll see in \u003cb>Avatar\u003c/b>.\u003c/p>\n\u003cp>Dorsky showed a couple of these films, \u003cb>Sarabande\u003c/b> and \u003cb>Winter\u003c/b>, at SFMOMA at around this time last year. Discussing them afterward, he described, among other things, the San Francisco winter, an “odd, long dissolve between autumn and spring” that took him 20 years to like and presumably at least one more to make a 22-minute movie about. So that’s devotion.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dorsky-compline.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>As its title suggests, \u003cb>Compline\u003c/b>, one of this evening’s two premieres, could be said to be seeking a kind of closure. But it’s no surprise that for Dorsky, closure can be an opening. The other premiere is called \u003cb>Aubade\u003c/b>, and he only finished it just recently.\u003c/p>\n\u003cp>“An aubade,” Dorsky reminds us, “is a poem or morning song evoking the first rays of the sun at daybreak. Often, it includes the atmosphere of lovers parting. This film is my first venture into shooting in color negative after having spent a lifetime shooting Kodachrome. In some sense, it is a new beginning for me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb> Four by Nathaniel Dorsky\u003c/b>, with the filmmaker in person, Tuesday February 23, 2010, 7:30pm at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu\">more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Viewing a film has tremendous mystical implications,” Nathaniel Dorsky writes in his 2003 lecture-cum-monograph \u003cb>Devotional Cinema\u003c/b>. “It can be, at its best, a way of approaching and manifesting the ineffable. This respect for the ineffable is an essential aspect of devotion.”\u003c/p>\n\u003cp>That’s as good an introduction as any to Dorsky’s own work, and a relief, as his are precisely the sort of ephemeral, experimental short subjects for which attempts at written elucidation seem — well, if not futile, then certainly at risk of disrespecting the ineffable. And maybe that’s all you really need to know before going to see the San Francisco artist demonstrate his secular visual liturgy in four installments at the Pacific Film Archive this evening.\u003c/p>\n\u003cp>Introspective is a word that occurs a lot in conversations about Dorsky, and so it should given his films’ solitude-reinforcing silence, but what about his way, too, of looking so intently \u003ci>out\u003c/i> at the world, and at its abundance? What about his prioritization of peripheral mysteries?\u003c/p>\n\u003cp>By so mindfully observing the undulations of natural and manmade textures that inspire and apparently surround him, Dorsky somehow achieves translucence and opacity at the same time. It’s weird, and beautiful. Sometimes there is the feeling of allowing your eyes to relax their focus, and the enthralling new way of seeing that results. Often there is a feeling of closeness to what’s being seen. It can be intimate.\u003c/p>\n\u003cp>“If a film fails to take advantage of the self-existing magic of things, if it uses objects merely to mean something,” he writes, “it has thrown away one of its great possibilities.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This must at least partly explain how all those blossom blasts and gleaming water beads and cloud-smudged celestial objects, so alertly enshrined in the matte hues of a now-extinct film stock, could still seem so vital and so much truer than, for instance, anything you’ll see in \u003cb>Avatar\u003c/b>.\u003c/p>\n\u003cp>Dorsky showed a couple of these films, \u003cb>Sarabande\u003c/b> and \u003cb>Winter\u003c/b>, at SFMOMA at around this time last year. Discussing them afterward, he described, among other things, the San Francisco winter, an “odd, long dissolve between autumn and spring” that took him 20 years to like and presumably at least one more to make a 22-minute movie about. So that’s devotion.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dorsky-compline.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>As its title suggests, \u003cb>Compline\u003c/b>, one of this evening’s two premieres, could be said to be seeking a kind of closure. But it’s no surprise that for Dorsky, closure can be an opening. The other premiere is called \u003cb>Aubade\u003c/b>, and he only finished it just recently.\u003c/p>\n\u003cp>“An aubade,” Dorsky reminds us, “is a poem or morning song evoking the first rays of the sun at daybreak. Often, it includes the atmosphere of lovers parting. This film is my first venture into shooting in color negative after having spent a lifetime shooting Kodachrome. In some sense, it is a new beginning for me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb> Four by Nathaniel Dorsky\u003c/b>, with the filmmaker in person, Tuesday February 23, 2010, 7:30pm at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu\">more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
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"meta": {
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"source": "WNYC"
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"id": "fresh-air",
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"hidden-brain": {
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"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": {
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"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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"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",
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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"
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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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"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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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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