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"content": "\u003cp>\u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-haynes-vachon/#more-upcoming-events-80917\" rel=\"noopener\" target=\"_blank\">Modern Cinema\u003c/a>, the three-weekend, thrice-yearly collaboration of SFFILM and SFMOMA, spotlights a contemporary filmmaker amid a delectable buffet of movies that preceded and influenced him or her. New Queer Cinema pioneer Todd Haynes and his longtime producer, Christine Vachon, are in the spotlight this month, presumably on account of their new adaptation of Brian Selznick’s 2011 time-traveling children’s book \u003cem>\u003ca href=\"https://www.sfmoma.org/event/wonderstruck/\" rel=\"noopener\" target=\"_blank\">Wonderstruck\u003c/a>\u003c/em> (screening Sunday, Oct. 22 at 3:30pm, in advance of the Oct. 27 theatrical opening). \u003c/p>\n\u003cfigure id=\"attachment_13811752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Wonderstruck.jpg\" alt=\"Todd Haynes, Still from 'Wonderstruck,' 2017.\" width=\"800\" height=\"533\" class=\"size-full wp-image-13811752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Todd Haynes, Still from ‘Wonderstruck,’ 2017. \u003ccite>(Courtesy Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haynes is also represented by his TV adaptation of \u003cem>\u003ca href=\"https://www.sfmoma.org/event/mildred-pierce/\" rel=\"noopener\" target=\"_blank\">Mildred Pierce\u003c/a>\u003c/em> (Friday, Oct. 20 at 11am), his career breakthrough, \u003cem>\u003ca href=\"https://www.sfmoma.org/event/far-heaven/\" rel=\"noopener\" target=\"_blank\">Far From Heaven\u003c/a>\u003c/em> (8:30pm), the Dylan “biography” \u003cem>\u003ca href=\"https://www.sfmoma.org/event/im-not-there/\" rel=\"noopener\" target=\"_blank\">I’m Not There\u003c/a>\u003c/em>, (Saturday, Oct. 21 at 8pm) and the uptight and gorgeous \u003cem>\u003ca href=\"https://www.sfmoma.org/event/carol/\" rel=\"noopener\" target=\"_blank\">Carol\u003c/a>\u003c/em> (Saturday, Oct. 28 at 5pm).\u003c/p>\n\u003cp>The most savory treats, from my perspective, are other filmmakers’ takes on repressed sexuality and societal indifference that reverberated with Haynes. The melodramas of Rainer Werner Fassbinder (\u003cem>\u003ca href=\"https://www.sfmoma.org/event/ali-fear-eats-soul-chosen-todd-haynes/\" rel=\"noopener\" target=\"_blank\">Ali: Fear Eats the Soul\u003c/a>\u003c/em>, Friday, Oct. 20 at 6pm) and Douglas Sirk (\u003cem>\u003ca href=\"https://www.sfmoma.org/event/all-heaven-allows/\" rel=\"noopener\" target=\"_blank\">All That Heaven Allows\u003c/a>\u003c/em>, Sunday, Oct. 22 at 1pm) are obvious reference points, as are the horror shows perpetrated against innocents by the hung-up monsters in Peter Jackson’s \u003cem>\u003ca href=\"https://www.sfmoma.org/event/heavenly-creatures/\" rel=\"noopener\" target=\"_blank\">Heavenly Creatures\u003c/a>\u003c/em> (Sunday, Oct. 22 at 7pm) and Kimberly Peirce’s \u003cem>\u003ca href=\"https://www.sfmoma.org/event/boys-dont-cry/\" rel=\"noopener\" target=\"_blank\">Boys Don’t Cry\u003c/a>\u003c/em> (Saturday Oct. 21 at 5pm).\u003c/p>\n\u003cfigure id=\"attachment_13811753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows.jpg\" alt=\"Douglas Sirk, Still from 'All that Heaven Allows,' 1955. \" width=\"800\" height=\"609\" class=\"size-full wp-image-13811753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows-768x585.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows-240x183.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows-375x285.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows-520x396.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Douglas Sirk, Still from ‘All that Heaven Allows,’ 1955. \u003ccite>(Courtesy AF Archive/Alamy Stock Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Exuberant, unmitigated excess is not a hallmark of Haynes and Vachon’s work, yet their movies convey an appreciation for — or should I say envy of — people capable of such free expression. It typically manifests itself in their films as a yearning to live without inhibitions, if not without consequences. From that perspective, the inclusion of Bob Fosse’s wrenching adaptation of \u003cem>\u003ca href=\"https://www.sfmoma.org/event/cabaret/\" rel=\"noopener\" target=\"_blank\">Cabaret\u003c/a>\u003c/em> (Saturday, Oct. 21 at 2pm) in this series makes perfect sense. Not that any excuse is necessary to revive Fosse’s brilliant 1972 musical.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-haynes-vachon/#more-upcoming-events-80917\" rel=\"noopener\" target=\"_blank\">Modern Cinema\u003c/a>, the three-weekend, thrice-yearly collaboration of SFFILM and SFMOMA, spotlights a contemporary filmmaker amid a delectable buffet of movies that preceded and influenced him or her. New Queer Cinema pioneer Todd Haynes and his longtime producer, Christine Vachon, are in the spotlight this month, presumably on account of their new adaptation of Brian Selznick’s 2011 time-traveling children’s book \u003cem>\u003ca href=\"https://www.sfmoma.org/event/wonderstruck/\" rel=\"noopener\" target=\"_blank\">Wonderstruck\u003c/a>\u003c/em> (screening Sunday, Oct. 22 at 3:30pm, in advance of the Oct. 27 theatrical opening). \u003c/p>\n\u003cfigure id=\"attachment_13811752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Wonderstruck.jpg\" alt=\"Todd Haynes, Still from 'Wonderstruck,' 2017.\" width=\"800\" height=\"533\" class=\"size-full wp-image-13811752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Todd Haynes, Still from ‘Wonderstruck,’ 2017. \u003ccite>(Courtesy Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haynes is also represented by his TV adaptation of \u003cem>\u003ca href=\"https://www.sfmoma.org/event/mildred-pierce/\" rel=\"noopener\" target=\"_blank\">Mildred Pierce\u003c/a>\u003c/em> (Friday, Oct. 20 at 11am), his career breakthrough, \u003cem>\u003ca href=\"https://www.sfmoma.org/event/far-heaven/\" rel=\"noopener\" target=\"_blank\">Far From Heaven\u003c/a>\u003c/em> (8:30pm), the Dylan “biography” \u003cem>\u003ca href=\"https://www.sfmoma.org/event/im-not-there/\" rel=\"noopener\" target=\"_blank\">I’m Not There\u003c/a>\u003c/em>, (Saturday, Oct. 21 at 8pm) and the uptight and gorgeous \u003cem>\u003ca href=\"https://www.sfmoma.org/event/carol/\" rel=\"noopener\" target=\"_blank\">Carol\u003c/a>\u003c/em> (Saturday, Oct. 28 at 5pm).\u003c/p>\n\u003cp>The most savory treats, from my perspective, are other filmmakers’ takes on repressed sexuality and societal indifference that reverberated with Haynes. The melodramas of Rainer Werner Fassbinder (\u003cem>\u003ca href=\"https://www.sfmoma.org/event/ali-fear-eats-soul-chosen-todd-haynes/\" rel=\"noopener\" target=\"_blank\">Ali: Fear Eats the Soul\u003c/a>\u003c/em>, Friday, Oct. 20 at 6pm) and Douglas Sirk (\u003cem>\u003ca href=\"https://www.sfmoma.org/event/all-heaven-allows/\" rel=\"noopener\" target=\"_blank\">All That Heaven Allows\u003c/a>\u003c/em>, Sunday, Oct. 22 at 1pm) are obvious reference points, as are the horror shows perpetrated against innocents by the hung-up monsters in Peter Jackson’s \u003cem>\u003ca href=\"https://www.sfmoma.org/event/heavenly-creatures/\" rel=\"noopener\" target=\"_blank\">Heavenly Creatures\u003c/a>\u003c/em> (Sunday, Oct. 22 at 7pm) and Kimberly Peirce’s \u003cem>\u003ca href=\"https://www.sfmoma.org/event/boys-dont-cry/\" rel=\"noopener\" target=\"_blank\">Boys Don’t Cry\u003c/a>\u003c/em> (Saturday Oct. 21 at 5pm).\u003c/p>\n\u003cfigure id=\"attachment_13811753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows.jpg\" alt=\"Douglas Sirk, Still from 'All that Heaven Allows,' 1955. \" width=\"800\" height=\"609\" class=\"size-full wp-image-13811753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows-768x585.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows-240x183.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows-375x285.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows-520x396.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Douglas Sirk, Still from ‘All that Heaven Allows,’ 1955. \u003ccite>(Courtesy AF Archive/Alamy Stock Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Exuberant, unmitigated excess is not a hallmark of Haynes and Vachon’s work, yet their movies convey an appreciation for — or should I say envy of — people capable of such free expression. It typically manifests itself in their films as a yearning to live without inhibitions, if not without consequences. From that perspective, the inclusion of Bob Fosse’s wrenching adaptation of \u003cem>\u003ca href=\"https://www.sfmoma.org/event/cabaret/\" rel=\"noopener\" target=\"_blank\">Cabaret\u003c/a>\u003c/em> (Saturday, Oct. 21 at 2pm) in this series makes perfect sense. Not that any excuse is necessary to revive Fosse’s brilliant 1972 musical.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "is-virtual-reality-the-future-of-dance",
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"content": "\u003cp>Those who think virtual reality (VR) is solely the province of gamers, adventure-seekers, and simulation builders may be startled to see how dance-makers are employing the technology on screen. For the first time, the \u003ca href=\"http://www.sfdancefilmfest.org/2017-schedule/virtual-reality-experience/\" target=\"_blank\" rel=\"noopener\">San Francisco Dance Film Festival\u003c/a>, which opens on Thursday, Oct. 19 at San Francisco’s Brava Theater, will be screening a handful of 360° and VR dance films that play around with a variety of effects designed to yank the viewer into another world.\u003c/p>\n\u003cp>I previewed these films with skepticism — not just because of the ungainly contraption you have to strap onto your forehead to view them, but also because no film can replicate the thrill of live dance or the dancer’s sense of precariousness. “Unless you find something to replace that, it will always feel like a shadow of the real thing,” film director Saschka Unseld says.\u003c/p>\n\u003cfigure id=\"attachment_13811571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13811571 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-800x533.jpg\" alt=\"Marni Wood and Amari Cheatom in 'Through You' (Directors: Saschka Unseld, Lily Baldwin)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marni Wood and Amari Cheatom in ‘Through You’ (Directors: Saschka Unseld, Lily Baldwin) \u003ccite>(Photo: Courtesy of Saschka Unseld and Lily Baldwin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unseld teamed up with director and choreographer Lily Baldwin to make \u003cem>Through You\u003c/em>, one of the films to be screened at the festival. The pair sought to create an authentic sense of place and a palpable connection to the dancers by shooting on location. They also pushed the camera a lot closer to the performers than is typical and moved it in response to the dancers’ movements. This runs counter to the prevailing wisdom that these kinds of camera movements tend to make viewers motion sick. In addition, the filmmakers pushed the post-production process. They ended up with close to 200 cuts – versus the 10 to 20 cuts typical of the VR filmmaking process. This gives the film a dreamlike quality.\u003c/p>\n\u003cp>\u003cem>Through You\u003c/em> is a cascade of impressions of a romantic relationship that unfolds from the 1970s into the future, telescoping time and capturing a couple as they age. Scenes are painted in vivid, painstaking detail, and bleed into each other in such a way that it is hard to tell what is memory and what is dream or hallucination. As a viewer teleported into these scenes, I felt somehow complicit in what was happening to the couple, and frustrated that I couldn’t comfort them in the aftermath of loss.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IMuuFGZRJA0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though Unseld and Baldwin used visual effects in some of the scenes, like setting a room on fire, Baldwin says they refrained from embellishing the presentation of the human body: “The raw imperfections of the human body as seen in VR bring us back to our bodies, to our mortality,” Baldwin says.\u003c/p>\n\u003cp>This is in striking contrast to the way VR is used in making video games, which often revolve around imaginary worlds peopled by superhuman bodies or inhuman forms. “Our avatar selves inhabit ideal worlds of invincibility,” Baldwin says. “Gaming invokes the what-if world. What if I was not mortal?”\u003c/p>\n\u003cp>But with her dance film, Baldwin says, she wanted to give viewers a different sense of the human body. “It’s about being startled by the hard-knock reality of this articulate body which is engaging you,” Baldwin says. To that end, the filmmakers put a powerful, older dancer on screen – the legendary Marni Thomas Wood – to confront a culture which Baldwin describes as being “so hooked on a sense of perfection, on youth.”\u003c/p>\n\u003cfigure id=\"attachment_13811570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13811570 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/bburgs2-800x533.jpg\" alt=\"The making of 'Paul Taylor Dance Company 360° Brochure' \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The making of ‘Paul Taylor Dance Company 360° Brochure’ \u003ccite>(Photo: Francisco Graziano)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To get these ideas across requires “absolute clarity of image,” Baldwin says. This is where the technology falls down. Although VR headsets are becoming \u003ca href=\"https://techcrunch.com/2017/10/11/oculus-announces-199-oculus-go-standalone-headset/?ncid=rss&utm_source=tctwreshare&utm_medium=feed&utm_campaign=Feed%3A+Techcrunch+%28TechCrunch%29&sr_share=twitter\" target=\"_blank\" rel=\"noopener\">cheaper\u003c/a> and more \u003ca href=\"http://fortune.com/2017/03/01/google-cardboard-virtual-reality-shipments/\" target=\"_blank\" rel=\"noopener\">ubiquitous\u003c/a>, display resolution falls far short of that which we’re used to on our laptops, tablets and smartphones. Some of the dances made for VR are available for viewing without a headset, but you trade the immersive quality of the virtual experience for a sharper image.\u003c/p>\n\u003cp>Research engineer Bhautik Joshi, who builds \u003ca href=\"http://fortune.com/2017/01/20/kristen-stewart-artificial-intelligence-machine-learning-come-swim/\" target=\"_blank\" rel=\"noopener\">software tools to help creative people tell stories through VR\u003c/a>, tells me that the display resolution we’re looking for is probably about two years out. But he doesn’t see today’s technical shortcomings as necessarily hampering the impact of the best dance films. “If your film is compelling enough, even with a low-resolution display, if you can suspend disbelief in the viewer, you can get away with it,” Joshi says.\u003c/p>\n\u003cp>I was swayed by this argument after watching a couple of the films.\u003c/p>\n\u003cp>\u003cem>Lifeboat\u003c/em>, a music video by Luke Willis, starring dancer-singer-songwriter Shannon Rugani, was shot against the landscape of what looks like a parched riverbed. I lost interest momentarily in the dance and started looking around, at one point looking down to where my hands and feet should have been. When I saw nothing but cracked earth, I felt the shock of disembodiment. From that point, I connected more viscerally to the dancers; they suddenly became more “real” because I wasn’t.\u003c/p>\n\u003cfigure id=\"attachment_13811572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13811572 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-800x400.jpg\" alt=\"Shannon Rugani and Luke Willis in 'Lifeboat' \" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Rugani and Luke Willis in ‘Lifeboat’ \u003ccite>(Photo: Courtesy of Luke Willis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in \u003cem>Silent Resonance\u003c/em>, a film from Pacific Northwest Ballet, visual effects enhance an intimate duet between two ballet dancers. As their limbs sweep through space and intertwine, they appear to leave a ghostly vapor trail (known in the industry as a ‘tracer effect’). Floating in darkness, the disembodied viewer is drawn into the dancers’ iridescent orbit – as if the pair were celestial bodies – in a way that conventional film would not.\u003c/p>\n\u003cfigure id=\"attachment_13811569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13811569 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-800x539.png\" alt=\"'Anicca' (Director: Cecilia Sweet-Coll)\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-768x518.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-1180x795.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-960x647.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-240x162.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-375x253.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-520x350.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2.png 1282w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Anicca’ (Director: Cecilia Sweet-Coll) \u003ccite>(Photo: Courtesy Cecilia Sweet-Coll)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even when there are no human dancers visible on screen, viewer disembodiment can amplify a mood. This is the case with Cecilia Sweet-Coll’s film \u003cem>Anicca\u003c/em>, in which motion captured from dancers animates a mysterious and whimsical landscape.\u003c/p>\n\u003cp>Then there are the dance films that seek to put viewers literally at the center of an unfolding tradition, rather than create a sense of disembodiment. Works like \u003cem>A History of Cuban Dance\u003c/em> and the \u003cem>Paul Taylor Dance Company 360° Brochure\u003c/em> offer viewers a unique perspective on the evolution of a body of work. Wandering around a virtual recreation of Cuba with a VR headset on gives you the powerful sensation of the live experience of dance – with no barriers between musicians, dancers and audience. In an amorphous performing space such as the street, I felt I could be drawn into the dance at any time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rFJL29Wv1L0\u003c/p>\n\u003cp>I ended up enjoying a number of the festival’s VR offerings. However, this is likely not a watershed moment for VR in dance. The hardware is still clunky, and the technology not within economic reach for most people involved in dance filmmaking. Yet interest is growing in \u003ca href=\"https://bachtrack.com/review-hubbard-street-dance-harris-theater-chicago-september-2017\" target=\"_blank\" rel=\"noopener\">“immersive” experiences\u003c/a> and \u003ca href=\"http://www.dancemagazine.com/abt-site-specific-benjamin-millepied-2492090951.html\" target=\"_blank\" rel=\"noopener\">site-specific dance\u003c/a>, and VR will likely become an increasingly powerful tool for nimble dance companies focused on aggressively building their\u003ca href=\"https://www.artsprofessional.co.uk/magazine/307/case-study/digital-season\" target=\"_blank\" rel=\"noopener\"> digital footprint\u003c/a> to reach broader and younger audiences.\u003c/p>\n\u003cp>\u003ca href=\"http://elenajessop.com\" target=\"_blank\" rel=\"noopener\">Elly Nattinger\u003c/a>, a software engineer who works in VR and who trained as a dancer and choreographer herself, believes that the field of VR has a lot to learn from dance and theater. Equipped with a VR headset, the viewer is free to gaze around – a freedom that threatens a filmmaker’s directorial lens. Nattinger says performing arts directors are experienced in controlling the audience’s eye. “The audience is often looking at the thing that is important – because there is so much stage tradition to help them pick that out,” Nattinger says. “So, the more that dance and performance experts start playing with VR, the more that everyone else using VR can take their techniques and learn from them.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=8&v=8UbSxSFLmx8\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"http://www.sfdancefilmfest.org\" target=\"_blank\" rel=\"noopener\">San Francisco Dance Film Festival\u003c/a> runs from Thursday, Oct. 19 to Sunday, Oct. 22 at the Brava Theater in San Francisco. Bhautik Joshi and Elly Nattinger will be among a group of panelists, including filmmakers, discussing the festival’s VR films on Sunday, Oct. 22 at 2 pm. More information \u003ca href=\"http://www.sfdancefilmfest.org/2017-schedule/virtual-reality-experience/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Those who think virtual reality (VR) is solely the province of gamers, adventure-seekers, and simulation builders may be startled to see how dance-makers are employing the technology on screen. For the first time, the \u003ca href=\"http://www.sfdancefilmfest.org/2017-schedule/virtual-reality-experience/\" target=\"_blank\" rel=\"noopener\">San Francisco Dance Film Festival\u003c/a>, which opens on Thursday, Oct. 19 at San Francisco’s Brava Theater, will be screening a handful of 360° and VR dance films that play around with a variety of effects designed to yank the viewer into another world.\u003c/p>\n\u003cp>I previewed these films with skepticism — not just because of the ungainly contraption you have to strap onto your forehead to view them, but also because no film can replicate the thrill of live dance or the dancer’s sense of precariousness. “Unless you find something to replace that, it will always feel like a shadow of the real thing,” film director Saschka Unseld says.\u003c/p>\n\u003cfigure id=\"attachment_13811571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13811571 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-800x533.jpg\" alt=\"Marni Wood and Amari Cheatom in 'Through You' (Directors: Saschka Unseld, Lily Baldwin)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marni Wood and Amari Cheatom in ‘Through You’ (Directors: Saschka Unseld, Lily Baldwin) \u003ccite>(Photo: Courtesy of Saschka Unseld and Lily Baldwin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unseld teamed up with director and choreographer Lily Baldwin to make \u003cem>Through You\u003c/em>, one of the films to be screened at the festival. The pair sought to create an authentic sense of place and a palpable connection to the dancers by shooting on location. They also pushed the camera a lot closer to the performers than is typical and moved it in response to the dancers’ movements. This runs counter to the prevailing wisdom that these kinds of camera movements tend to make viewers motion sick. In addition, the filmmakers pushed the post-production process. They ended up with close to 200 cuts – versus the 10 to 20 cuts typical of the VR filmmaking process. This gives the film a dreamlike quality.\u003c/p>\n\u003cp>\u003cem>Through You\u003c/em> is a cascade of impressions of a romantic relationship that unfolds from the 1970s into the future, telescoping time and capturing a couple as they age. Scenes are painted in vivid, painstaking detail, and bleed into each other in such a way that it is hard to tell what is memory and what is dream or hallucination. As a viewer teleported into these scenes, I felt somehow complicit in what was happening to the couple, and frustrated that I couldn’t comfort them in the aftermath of loss.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IMuuFGZRJA0'\n title='//www.youtube.com/embed/IMuuFGZRJA0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though Unseld and Baldwin used visual effects in some of the scenes, like setting a room on fire, Baldwin says they refrained from embellishing the presentation of the human body: “The raw imperfections of the human body as seen in VR bring us back to our bodies, to our mortality,” Baldwin says.\u003c/p>\n\u003cp>This is in striking contrast to the way VR is used in making video games, which often revolve around imaginary worlds peopled by superhuman bodies or inhuman forms. “Our avatar selves inhabit ideal worlds of invincibility,” Baldwin says. “Gaming invokes the what-if world. What if I was not mortal?”\u003c/p>\n\u003cp>But with her dance film, Baldwin says, she wanted to give viewers a different sense of the human body. “It’s about being startled by the hard-knock reality of this articulate body which is engaging you,” Baldwin says. To that end, the filmmakers put a powerful, older dancer on screen – the legendary Marni Thomas Wood – to confront a culture which Baldwin describes as being “so hooked on a sense of perfection, on youth.”\u003c/p>\n\u003cfigure id=\"attachment_13811570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13811570 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/bburgs2-800x533.jpg\" alt=\"The making of 'Paul Taylor Dance Company 360° Brochure' \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The making of ‘Paul Taylor Dance Company 360° Brochure’ \u003ccite>(Photo: Francisco Graziano)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To get these ideas across requires “absolute clarity of image,” Baldwin says. This is where the technology falls down. Although VR headsets are becoming \u003ca href=\"https://techcrunch.com/2017/10/11/oculus-announces-199-oculus-go-standalone-headset/?ncid=rss&utm_source=tctwreshare&utm_medium=feed&utm_campaign=Feed%3A+Techcrunch+%28TechCrunch%29&sr_share=twitter\" target=\"_blank\" rel=\"noopener\">cheaper\u003c/a> and more \u003ca href=\"http://fortune.com/2017/03/01/google-cardboard-virtual-reality-shipments/\" target=\"_blank\" rel=\"noopener\">ubiquitous\u003c/a>, display resolution falls far short of that which we’re used to on our laptops, tablets and smartphones. Some of the dances made for VR are available for viewing without a headset, but you trade the immersive quality of the virtual experience for a sharper image.\u003c/p>\n\u003cp>Research engineer Bhautik Joshi, who builds \u003ca href=\"http://fortune.com/2017/01/20/kristen-stewart-artificial-intelligence-machine-learning-come-swim/\" target=\"_blank\" rel=\"noopener\">software tools to help creative people tell stories through VR\u003c/a>, tells me that the display resolution we’re looking for is probably about two years out. But he doesn’t see today’s technical shortcomings as necessarily hampering the impact of the best dance films. “If your film is compelling enough, even with a low-resolution display, if you can suspend disbelief in the viewer, you can get away with it,” Joshi says.\u003c/p>\n\u003cp>I was swayed by this argument after watching a couple of the films.\u003c/p>\n\u003cp>\u003cem>Lifeboat\u003c/em>, a music video by Luke Willis, starring dancer-singer-songwriter Shannon Rugani, was shot against the landscape of what looks like a parched riverbed. I lost interest momentarily in the dance and started looking around, at one point looking down to where my hands and feet should have been. When I saw nothing but cracked earth, I felt the shock of disembodiment. From that point, I connected more viscerally to the dancers; they suddenly became more “real” because I wasn’t.\u003c/p>\n\u003cfigure id=\"attachment_13811572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13811572 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-800x400.jpg\" alt=\"Shannon Rugani and Luke Willis in 'Lifeboat' \" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Rugani and Luke Willis in ‘Lifeboat’ \u003ccite>(Photo: Courtesy of Luke Willis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in \u003cem>Silent Resonance\u003c/em>, a film from Pacific Northwest Ballet, visual effects enhance an intimate duet between two ballet dancers. As their limbs sweep through space and intertwine, they appear to leave a ghostly vapor trail (known in the industry as a ‘tracer effect’). Floating in darkness, the disembodied viewer is drawn into the dancers’ iridescent orbit – as if the pair were celestial bodies – in a way that conventional film would not.\u003c/p>\n\u003cfigure id=\"attachment_13811569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13811569 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-800x539.png\" alt=\"'Anicca' (Director: Cecilia Sweet-Coll)\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-768x518.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-1180x795.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-960x647.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-240x162.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-375x253.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-520x350.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2.png 1282w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Anicca’ (Director: Cecilia Sweet-Coll) \u003ccite>(Photo: Courtesy Cecilia Sweet-Coll)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even when there are no human dancers visible on screen, viewer disembodiment can amplify a mood. This is the case with Cecilia Sweet-Coll’s film \u003cem>Anicca\u003c/em>, in which motion captured from dancers animates a mysterious and whimsical landscape.\u003c/p>\n\u003cp>Then there are the dance films that seek to put viewers literally at the center of an unfolding tradition, rather than create a sense of disembodiment. Works like \u003cem>A History of Cuban Dance\u003c/em> and the \u003cem>Paul Taylor Dance Company 360° Brochure\u003c/em> offer viewers a unique perspective on the evolution of a body of work. Wandering around a virtual recreation of Cuba with a VR headset on gives you the powerful sensation of the live experience of dance – with no barriers between musicians, dancers and audience. In an amorphous performing space such as the street, I felt I could be drawn into the dance at any time.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rFJL29Wv1L0'\n title='//www.youtube.com/embed/rFJL29Wv1L0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I ended up enjoying a number of the festival’s VR offerings. However, this is likely not a watershed moment for VR in dance. The hardware is still clunky, and the technology not within economic reach for most people involved in dance filmmaking. Yet interest is growing in \u003ca href=\"https://bachtrack.com/review-hubbard-street-dance-harris-theater-chicago-september-2017\" target=\"_blank\" rel=\"noopener\">“immersive” experiences\u003c/a> and \u003ca href=\"http://www.dancemagazine.com/abt-site-specific-benjamin-millepied-2492090951.html\" target=\"_blank\" rel=\"noopener\">site-specific dance\u003c/a>, and VR will likely become an increasingly powerful tool for nimble dance companies focused on aggressively building their\u003ca href=\"https://www.artsprofessional.co.uk/magazine/307/case-study/digital-season\" target=\"_blank\" rel=\"noopener\"> digital footprint\u003c/a> to reach broader and younger audiences.\u003c/p>\n\u003cp>\u003ca href=\"http://elenajessop.com\" target=\"_blank\" rel=\"noopener\">Elly Nattinger\u003c/a>, a software engineer who works in VR and who trained as a dancer and choreographer herself, believes that the field of VR has a lot to learn from dance and theater. Equipped with a VR headset, the viewer is free to gaze around – a freedom that threatens a filmmaker’s directorial lens. Nattinger says performing arts directors are experienced in controlling the audience’s eye. “The audience is often looking at the thing that is important – because there is so much stage tradition to help them pick that out,” Nattinger says. “So, the more that dance and performance experts start playing with VR, the more that everyone else using VR can take their techniques and learn from them.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8UbSxSFLmx8'\n title='//www.youtube.com/embed/8UbSxSFLmx8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"http://www.sfdancefilmfest.org\" target=\"_blank\" rel=\"noopener\">San Francisco Dance Film Festival\u003c/a> runs from Thursday, Oct. 19 to Sunday, Oct. 22 at the Brava Theater in San Francisco. Bhautik Joshi and Elly Nattinger will be among a group of panelists, including filmmakers, discussing the festival’s VR films on Sunday, Oct. 22 at 2 pm. More information \u003ca href=\"http://www.sfdancefilmfest.org/2017-schedule/virtual-reality-experience/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You had to wonder how director Sean Baker would follow up his shot-on-an-iPhone, transgender-prostitute comedy \u003ca href=\"http://www.npr.org/2015/07/11/421452904/a-big-hearted-tangerine-vision-of-l-a-s-crime-riddled-streets\" target=\"_blank\" rel=\"noopener\">Tangerine\u003c/a> if he ever got a hold of enough cash to pay for a star and a Steadicam. His extraordinary, almost-homeless-family dramedy, \u003cem>The Florida Project\u003c/em>, provides the exhilarating answer.\u003c/p>\n\u003cp>It’s set in a pastel Orlando that feels spiritually far removed from all things Disney — call it a “less magical kingdom.” This sun-baked, off-ramp wasteland boasts brightly colored motels with knock-off mouse house names like Futureland Inn and Magic Castle. Built decades ago for budget-minded tourists, they’re now filled with itinerant families who pay $35 a night to live in purple-stuccoed splendor.\u003c/p>\n\u003cp>These surroundings may be dreary for the adults who live there, but for 6-year-old Moonee (Brooklynn Prince) and her buddies Scooty (Christopher Rivera) and Jancey (Valeria Cotto), they’re just the place to run wild — really, wild — without the benefit of Mickey, Goofy and other theme park mascots. Who needs organized attractions when you have sunshine, pals and all the time in the world?\u003c/p>\n\u003cp>https://youtu.be/WwQ-NH1rRT4\u003c/p>\n\u003cp>Moonee is their little gang’s irrepressible ringleader — champion windshield spitter, ice cream grifter extraordinaire, leader of expeditions to bring dead fish back to life in the motel pool. She’s adorably unstoppable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moonee’s mom, Halley (Bria Vinaite), seems barely more mature than her daughter. She has green-streaked hair and is unable to hold a job even at the local strip club. She’s not really cut out to be a mother, though she makes a general stab at being responsible by selling perfume (and sometimes her body) to tourists so she can pay their rent.\u003c/p>\n\u003cp>Halley means well, even if she can’t follow through. That’s enough to bring out the parental side of the Magic Castle’s curmudgeonly, long-suffering resident manager (Willem Dafoe), who rides herd over unruly tenants — and the occasional wayward egret — with almost alarming finesse.\u003c/p>\n\u003cp>This is Vinaite’s acting debut, and a striking one at that. Director Sean Baker found her on Instagram — he was following her account to show actors the qualities he wanted in the character. When he couldn’t find those qualities with established actors, he asked if Vinaite wanted to audition. She turned out to be a fascinating find — a fine complement to Prince’s tiny dynamo, who has the whole film riding on her tiny shoulders for quite a while.\u003c/p>\n\u003cp>\u003cem>The Florida Project\u003c/em> takes its title from the Disney organization’s in-house name for Disney World when it was still just a stack of blueprints on Uncle Walt’s desk in California. But there’s an unspoken irony in calling the film \u003cem>The Florida Project,\u003c/em> since the motels Moonee plays in have themselves devolved into housing projects.\u003c/p>\n\u003cp>That makes them fertile ground for Baker, whose reputation-making \u003cem>Tangerine\u003c/em> took place in an equally down-at-heels neighborhood in Los Angeles two years ago. Happily, the director’s aesthetic hasn’t been wrecked by his now having the money to pay for 35 mm cameras. Everything that was wonderful last time is even better here, from first-time performers who light up the screen to dialogue that is profane and \u003cem>very\u003c/em> funny for a while, then turns resonant and wrenching.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Baker has imbued this whole terrific movie with a child’s sense of discovery — the sort that can turn a decrepit, pastel corner of Orlando into a vibrant cinematic playground.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You had to wonder how director Sean Baker would follow up his shot-on-an-iPhone, transgender-prostitute comedy \u003ca href=\"http://www.npr.org/2015/07/11/421452904/a-big-hearted-tangerine-vision-of-l-a-s-crime-riddled-streets\" target=\"_blank\" rel=\"noopener\">Tangerine\u003c/a> if he ever got a hold of enough cash to pay for a star and a Steadicam. His extraordinary, almost-homeless-family dramedy, \u003cem>The Florida Project\u003c/em>, provides the exhilarating answer.\u003c/p>\n\u003cp>It’s set in a pastel Orlando that feels spiritually far removed from all things Disney — call it a “less magical kingdom.” This sun-baked, off-ramp wasteland boasts brightly colored motels with knock-off mouse house names like Futureland Inn and Magic Castle. Built decades ago for budget-minded tourists, they’re now filled with itinerant families who pay $35 a night to live in purple-stuccoed splendor.\u003c/p>\n\u003cp>These surroundings may be dreary for the adults who live there, but for 6-year-old Moonee (Brooklynn Prince) and her buddies Scooty (Christopher Rivera) and Jancey (Valeria Cotto), they’re just the place to run wild — really, wild — without the benefit of Mickey, Goofy and other theme park mascots. Who needs organized attractions when you have sunshine, pals and all the time in the world?\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WwQ-NH1rRT4'\n title='//www.youtube.com/embed/WwQ-NH1rRT4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Moonee is their little gang’s irrepressible ringleader — champion windshield spitter, ice cream grifter extraordinaire, leader of expeditions to bring dead fish back to life in the motel pool. She’s adorably unstoppable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moonee’s mom, Halley (Bria Vinaite), seems barely more mature than her daughter. She has green-streaked hair and is unable to hold a job even at the local strip club. She’s not really cut out to be a mother, though she makes a general stab at being responsible by selling perfume (and sometimes her body) to tourists so she can pay their rent.\u003c/p>\n\u003cp>Halley means well, even if she can’t follow through. That’s enough to bring out the parental side of the Magic Castle’s curmudgeonly, long-suffering resident manager (Willem Dafoe), who rides herd over unruly tenants — and the occasional wayward egret — with almost alarming finesse.\u003c/p>\n\u003cp>This is Vinaite’s acting debut, and a striking one at that. Director Sean Baker found her on Instagram — he was following her account to show actors the qualities he wanted in the character. When he couldn’t find those qualities with established actors, he asked if Vinaite wanted to audition. She turned out to be a fascinating find — a fine complement to Prince’s tiny dynamo, who has the whole film riding on her tiny shoulders for quite a while.\u003c/p>\n\u003cp>\u003cem>The Florida Project\u003c/em> takes its title from the Disney organization’s in-house name for Disney World when it was still just a stack of blueprints on Uncle Walt’s desk in California. But there’s an unspoken irony in calling the film \u003cem>The Florida Project,\u003c/em> since the motels Moonee plays in have themselves devolved into housing projects.\u003c/p>\n\u003cp>That makes them fertile ground for Baker, whose reputation-making \u003cem>Tangerine\u003c/em> took place in an equally down-at-heels neighborhood in Los Angeles two years ago. Happily, the director’s aesthetic hasn’t been wrecked by his now having the money to pay for 35 mm cameras. Everything that was wonderful last time is even better here, from first-time performers who light up the screen to dialogue that is profane and \u003cem>very\u003c/em> funny for a while, then turns resonant and wrenching.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Baker has imbued this whole terrific movie with a child’s sense of discovery — the sort that can turn a decrepit, pastel corner of Orlando into a vibrant cinematic playground.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ai Weiwei’s ambitious and valuable documentary \u003cem>Human Flow\u003c/em> (opening Oct. 20) confronts the viewer with the enormous number of refugees in our world. There are many, many catalysts, but the U.S. invasion of Iraq (and its aftermath) and the civil war in Syria deserve special mention for impelling hundreds of thousands of people to flee their homes. In what’s likely to be one of the most sobering programs in the \u003ca href=\"http://fest.arabfilmfestival.org/2017/\" rel=\"noopener\" target=\"_blank\">Arab Film Festival\u003c/a> (Oct. 13-22 in San Francisco, Berkeley and Oakland), “Refugee Stories: Migration, Displacement, Hope” (Oct. 18 at the New Parkway) collects five short documentary portraits that distill the humanity from the headlines.\u003c/p>\n\u003cfigure id=\"attachment_13810875\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/nilehilton_1200.jpg\" alt=\"Still from 'The Nile Hilton Incident.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13810875\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Nile Hilton Incident.’ \u003ccite>(Courtesy of the Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A form of displacement, as well as varying degrees of alienation, gnaw at the three vibrant Palestinian women sharing a Tel Aviv flat in writer-director Maysaloun Hamoud’s acclaimed feature debut, \u003cem>In Between\u003c/em> (Oct. 14 at the Roxie). Another behind-the-headlines saga, \u003cem>The Nile Hilton Incident\u003c/em> (also Oct. 14 at the Roxie), follows a corrupt Egyptian cop whose murder investigation leads to rarefied circles of power. (If you hadn’t noticed, the crime thriller has become the international go-to genre for examining institutional and governmental malfeasance.)\u003c/p>\n\u003cp>Clearly, the Arab Film Festival does not shy away from serious subjects. For something in a lighter vein, the opening night film Oct. 13 at the Castro, \u003cem>Solitaire\u003c/em> (\u003cem>Mahbas\u003c/em>), is a barbed comedy about a Lebanese woman’s efforts to derail the engagement of her daughter to a — wait for it — Syrian. The beat of reality, from decades-old war wounds to the present-day refugee crisis, underscores the high jinks. Dare we root for a happy ending?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ai Weiwei’s ambitious and valuable documentary \u003cem>Human Flow\u003c/em> (opening Oct. 20) confronts the viewer with the enormous number of refugees in our world. There are many, many catalysts, but the U.S. invasion of Iraq (and its aftermath) and the civil war in Syria deserve special mention for impelling hundreds of thousands of people to flee their homes. In what’s likely to be one of the most sobering programs in the \u003ca href=\"http://fest.arabfilmfestival.org/2017/\" rel=\"noopener\" target=\"_blank\">Arab Film Festival\u003c/a> (Oct. 13-22 in San Francisco, Berkeley and Oakland), “Refugee Stories: Migration, Displacement, Hope” (Oct. 18 at the New Parkway) collects five short documentary portraits that distill the humanity from the headlines.\u003c/p>\n\u003cfigure id=\"attachment_13810875\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/nilehilton_1200.jpg\" alt=\"Still from 'The Nile Hilton Incident.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13810875\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/nilehilton_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Nile Hilton Incident.’ \u003ccite>(Courtesy of the Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A form of displacement, as well as varying degrees of alienation, gnaw at the three vibrant Palestinian women sharing a Tel Aviv flat in writer-director Maysaloun Hamoud’s acclaimed feature debut, \u003cem>In Between\u003c/em> (Oct. 14 at the Roxie). Another behind-the-headlines saga, \u003cem>The Nile Hilton Incident\u003c/em> (also Oct. 14 at the Roxie), follows a corrupt Egyptian cop whose murder investigation leads to rarefied circles of power. (If you hadn’t noticed, the crime thriller has become the international go-to genre for examining institutional and governmental malfeasance.)\u003c/p>\n\u003cp>Clearly, the Arab Film Festival does not shy away from serious subjects. For something in a lighter vein, the opening night film Oct. 13 at the Castro, \u003cem>Solitaire\u003c/em> (\u003cem>Mahbas\u003c/em>), is a barbed comedy about a Lebanese woman’s efforts to derail the engagement of her daughter to a — wait for it — Syrian. The beat of reality, from decades-old war wounds to the present-day refugee crisis, underscores the high jinks. Dare we root for a happy ending?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“The goddamn punks are running the country!”\u003c/p>\n\u003cp>That outraged remark, delivered by the upright protagonist of \u003cem>Mark Felt: The Man Who Brought Down the White House\u003c/em>, might suggest to some viewers that the movie was made with one eye on the current White House. But that is an interpretation supported by only a few moments in the film, which wrapped production before the 2016 Republican National Convention.\u003c/p>\n\u003cp>In fact, writer-director Peter Landesman draws barely any contemporary parallels and offers little help to less history-minded viewers. \u003cem>Mark Felt\u003c/em> is designed for people who already know something about the Watergate affair — or at least have seen the most prominent previous treatment of the subject.\u003c/p>\n\u003cp>https://youtu.be/MR1IjeAdevI\u003c/p>\n\u003cp>\u003cem>Mark Felt\u003c/em> flips the setup of 1976’s \u003cem>All the President’s Men\u003c/em> by pulling Felt out of the shadows inhabited, in the earlier movie, by Hal Holbrook playing a leaker then known to the world only as Deep Throat. Liam Neeson’s Felt is the center of this story — even when Landesman occasionally attempts to disclose something about the people around him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film opens in police-procedural mode, as Felt gets dressed while an electronic score pulses and news crackles on the radio. He is off to the White House, where presidential counsel John Dean (Michael D. Hall) and a few other Nixon then-loyalists sound him out on how to remove FBI director J. Edgar Hoover.\u003c/p>\n\u003cp>Felt declines to assist them, responding with Oskar-Schindler-like nobility but also gentlemanly menace. Hoover soon dies, allowing Nixon to appoint his own acting FBI director just as word of a puzzling burglary at the Watergate complex reaches the bureau.\u003c/p>\n\u003cp>L. Patrick Gray (Martin Csokas) gets the job Felt wanted and, his colleagues believe, deserved. Felt’s disappointment, the script suggests, has as much to do with his becoming Deep Throat as his disgust at the White House bullies who order the FBI’s Watergate investigation closed.\u003c/p>\n\u003cp>There is also another factor: Gray announces his intention to name as his new No. 2 a former FBI agent (Tom Sizemore) who personifies the excesses of the Hoover years. Felt abhors the guy and what he represents.\u003c/p>\n\u003cp>And another: As he defends his beloved bureau from Nixonian mischief, Felt is himself bending rules in his investigations of the Weather Underground and similar organizations. Felt fears that his runaway daughter (Maika Monroe) might be involved with violent leftists and hopes that locating her might ease the pain of his alcoholic wife (Diane Lane).\u003c/p>\n\u003cp>Felt starts talking to journalists he already knows. He meets Bob Woodward (Julian Morris) in that parking garage, but the movie spends more time at Felt’s parleys with Time magazine’s Sandy Smith (Bruce Greenwood). Although the diner where they meet is less murky than the garage, Adam Kimmel’s camera is nearly always parked in some sort of gloom.\u003c/p>\n\u003cp>As complications pile up, \u003cem>Mark Felt\u003c/em> loses the drive that distinguishes its first half. That is due in part to the fact that the ultimate result of Felt and Nixon’s duel-by-proxy is so well-known and anticlimactic. No satisfying crime movie ends with the perp’s retirement to New Jersey to write public-policy books. Also, the final half-hour is rushed and patchy, with frustrating jumps in continuity that require viewers to fill in some pretty big blanks.\u003c/p>\n\u003cp>If the movie disappoints as a cops-and-burglars flick, its biggest failure is as a character study. Despite all the revelations about Felt’s career and family, he is no more complex a character at the end than at the beginning. Neeson’s performance is all steel-spined bearing and resonant intonation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s up to the actor to carry the movie, which he does. He just doesn’t lug it anyplace particularly illuminating.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The goddamn punks are running the country!”\u003c/p>\n\u003cp>That outraged remark, delivered by the upright protagonist of \u003cem>Mark Felt: The Man Who Brought Down the White House\u003c/em>, might suggest to some viewers that the movie was made with one eye on the current White House. But that is an interpretation supported by only a few moments in the film, which wrapped production before the 2016 Republican National Convention.\u003c/p>\n\u003cp>In fact, writer-director Peter Landesman draws barely any contemporary parallels and offers little help to less history-minded viewers. \u003cem>Mark Felt\u003c/em> is designed for people who already know something about the Watergate affair — or at least have seen the most prominent previous treatment of the subject.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MR1IjeAdevI'\n title='//www.youtube.com/embed/MR1IjeAdevI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Mark Felt\u003c/em> flips the setup of 1976’s \u003cem>All the President’s Men\u003c/em> by pulling Felt out of the shadows inhabited, in the earlier movie, by Hal Holbrook playing a leaker then known to the world only as Deep Throat. Liam Neeson’s Felt is the center of this story — even when Landesman occasionally attempts to disclose something about the people around him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film opens in police-procedural mode, as Felt gets dressed while an electronic score pulses and news crackles on the radio. He is off to the White House, where presidential counsel John Dean (Michael D. Hall) and a few other Nixon then-loyalists sound him out on how to remove FBI director J. Edgar Hoover.\u003c/p>\n\u003cp>Felt declines to assist them, responding with Oskar-Schindler-like nobility but also gentlemanly menace. Hoover soon dies, allowing Nixon to appoint his own acting FBI director just as word of a puzzling burglary at the Watergate complex reaches the bureau.\u003c/p>\n\u003cp>L. Patrick Gray (Martin Csokas) gets the job Felt wanted and, his colleagues believe, deserved. Felt’s disappointment, the script suggests, has as much to do with his becoming Deep Throat as his disgust at the White House bullies who order the FBI’s Watergate investigation closed.\u003c/p>\n\u003cp>There is also another factor: Gray announces his intention to name as his new No. 2 a former FBI agent (Tom Sizemore) who personifies the excesses of the Hoover years. Felt abhors the guy and what he represents.\u003c/p>\n\u003cp>And another: As he defends his beloved bureau from Nixonian mischief, Felt is himself bending rules in his investigations of the Weather Underground and similar organizations. Felt fears that his runaway daughter (Maika Monroe) might be involved with violent leftists and hopes that locating her might ease the pain of his alcoholic wife (Diane Lane).\u003c/p>\n\u003cp>Felt starts talking to journalists he already knows. He meets Bob Woodward (Julian Morris) in that parking garage, but the movie spends more time at Felt’s parleys with Time magazine’s Sandy Smith (Bruce Greenwood). Although the diner where they meet is less murky than the garage, Adam Kimmel’s camera is nearly always parked in some sort of gloom.\u003c/p>\n\u003cp>As complications pile up, \u003cem>Mark Felt\u003c/em> loses the drive that distinguishes its first half. That is due in part to the fact that the ultimate result of Felt and Nixon’s duel-by-proxy is so well-known and anticlimactic. No satisfying crime movie ends with the perp’s retirement to New Jersey to write public-policy books. Also, the final half-hour is rushed and patchy, with frustrating jumps in continuity that require viewers to fill in some pretty big blanks.\u003c/p>\n\u003cp>If the movie disappoints as a cops-and-burglars flick, its biggest failure is as a character study. Despite all the revelations about Felt’s career and family, he is no more complex a character at the end than at the beginning. Neeson’s performance is all steel-spined bearing and resonant intonation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s up to the actor to carry the movie, which he does. He just doesn’t lug it anyplace particularly illuminating.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Once a month at the Berkeley Art Museum and Pacific Film Archive, visitors will find themselves in the presence of an unusually expansive range of cultural practitioners, from poets to pastors — and those who do a little of both. These guests are part of a new monthly series of public programs called \u003cem>\u003ca href=\"https://bampfa.org/program/black-life-2017\" target=\"_blank\" rel=\"noopener noreferrer\">Black Life\u003c/a>\u003c/em>, organized by freelance curators Chika Okoye and David Brazil, that focuses on the cultural production of the African diaspora.\u003c/p>\n\u003cp>Untied to the exhibition or film calendar at BAMPFA, the list of performers and speakers for \u003cem>Black Life\u003c/em> is necessarily broad, and intentionally hard to pin down. The lack of discipline-based constraints allows Okoye and Brazil to explore black epistemology, a core idea behind the series.\u003c/p>\n\u003cfigure id=\"attachment_13809677\" class=\"wp-caption aligncenter\" style=\"max-width: 1210px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809677\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Curators.jpg\" alt=\"Curators Chika Okoye and David Brazil.\" width=\"1210\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators.jpg 1210w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-520x309.jpg 520w\" sizes=\"(max-width: 1210px) 100vw, 1210px\">\u003cfigcaption class=\"wp-caption-text\">Curators Chika Okoye and David Brazil. \u003ccite>(Courtesy of Chika Okoye; Russell W. Southall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Epistemology, according to the \u003ca href=\"https://plato.stanford.edu/entries/epistemology/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Stanford Encyclopedia of Philosophy\u003c/i>\u003c/a>, is “the study of knowledge and justified belief.” It’s a way of looking at what beliefs are held to be true, and exploring the factors that enable those beliefs.\u003c/p>\n\u003cp>Okoye explains, “Our dominant cultural epistemologies have segmented and sedimented categories — like how museum spaces typically show and value only certain types of cultural production, work that [figuratively] you can look at under a microscope. The idea of black life is more alive than that, and we’re interested in showing different types of knowledge.”\u003c/p>\n\u003cp>The history of museums as collecting institutions inherently carries the torch of “disembodied” study, a way of seeing that is distinctly white and European in origin; this has affected what are considered “intellectual” and, thus, valid cultural forms and beliefs. In contrast, \u003cem>Black Life\u003c/em> takes on cultural production from the point of view of \u003cem>embodied knowledge\u003c/em> — and opens space for work created in resistance to, or in spite of, the dominant ways of knowing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The name of the series comes from \u003ca href=\"https://vimeo.com/116111740\" target=\"_blank\" rel=\"noopener noreferrer\">a talk with professors Fred Moten and Robin D.G. Kelly\u003c/a>. “To paraphrase Moten, people talk a lot about how black lives matter in this moment, but he says it’s also important to talk about how black \u003cem>life\u003c/em> matters, too,” Brazil explains. That is, the continuous survival — the day-to-day existing, and also thriving — of black people in America is an act of resistance, given that black presence in itself is perceived to be threatening by a white-dominated social order.\u003c/p>\n\u003cp>“We’re speaking against some of the dominant norms of what is knowledge and what is valued in a white supremacist society. [We are featuring] this vibrance and aliveness, even in a time of attempted subjugation and attempted denigration; this is indefatigable life,” says Okoye.\u003c/p>\n\u003cfigure id=\"attachment_13809680\" class=\"wp-caption aligncenter\" style=\"max-width: 850px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809680\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850.jpg\" alt=\"Phavia Kujichagulia\" width=\"850\" height=\"638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850.jpg 850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-520x390.jpg 520w\" sizes=\"(max-width: 850px) 100vw, 850px\">\u003cfigcaption class=\"wp-caption-text\">Phavia Kujichagulia \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music and dance are readily obvious forms of embodied knowing. The series has included a participatory \u003ca href=\"https://bampfa.org/event/black-life-afia-walking-tree\" target=\"_blank\" rel=\"noopener noreferrer\">drumming workshop\u003c/a> with \u003ca href=\"https://www.afiawalkingtree.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Afia Walking Tree\u003c/a>, as well as a \u003ca href=\"https://bampfa.org/event/black-life-rashad-pridgen\" target=\"_blank\" rel=\"noopener noreferrer\">multidisciplinary dance-performance and masquerade\u003c/a> by artist and creative director \u003ca href=\"https://www.usfca.edu/faculty/rashad-pridgen\">Rashad Pridgen\u003c/a>.\u003c/p>\n\u003cp>Brazil notes that another part of black epistemology included in the series is the cultural production stemming from black church communities, including poet and preacher \u003ca href=\"http://www.marvinkwhite.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marvin K. White\u003c/a>. “Working with leaders from black churches is not normal for an art museum, and not normal for all kinds of white spaces. We’re consciously trying to push against the force of white space.”\u003c/p>\n\u003cp>The series highlights black artists, thinkers and creatives living and working in the Bay Area, all without needing to loudly proclaim its local-centric programming. To the curators, it is a natural choice to feature and uplift black artists and thinkers living here now, though they’re interested in expanding beyond the region in the future.\u003c/p>\n\u003cp>The next installment of the series, on \u003ca href=\"https://bampfa.org/event/black-life-phavia-kujichagulia\" target=\"_blank\" rel=\"noopener noreferrer\">Oct. 15\u003c/a>, \u003ca href=\"http://www.kujichaguliaphavia.com/\">Phavia Kujichagulia & Ma’at\u003c/a> presents an interdisciplinary musical event blending spoken word with traditional African music, African-American classical music/jazz, pop and rap.\u003c/p>\n\u003cfigure id=\"attachment_13809682\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/TBA_1200.jpg\" alt=\"Top (L-R): Jamal Batts, Christian Johnson, Leila Weefur; Middle: Ryanaustin Dennis, Yetunde Olagbaju (Black Mail Collective); Front: Malika Imhotep, Zoé Samudzi, Soleil Summer (Black Mail Collective)\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Top (L-R): Jamal Batts, Christian Johnson, Leila Weefur; Middle: Ryanaustin Dennis, Yetunde Olagbaju (Black Mail Collective); Front: Malika Imhotep, Zoé Samudzi, Soleil Summer (Black Mail Collective) \u003ccite>(Photo by Ed Ntiri)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On \u003ca href=\"https://bampfa.org/event/black-life-black-aesthetic\" target=\"_blank\" rel=\"noopener noreferrer\">Nov. 10\u003c/a>, \u003cem>Black Life\u003c/em> intersects with another East Bay creative organization, \u003ca href=\"https://www.theblkaesthetic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Black Aesthetic\u003c/a> (TBA). \u003ca href=\"https://ww2.kqed.org/arts/2017/04/10/oakland-film-series-asks-is-there-a-black-aesthetic/\">Founded by Christian Johnson and Ryannaustin Dennis\u003c/a> in 2016, TBA now includes Leila Weefur, Zoé Samudzi, Jamal Batts, and Malika “Ra” Imhotep; they also work closely with other groups, such as \u003ca href=\"https://www.blackmailcollective.com/\">Black Mail Collective\u003c/a>. The group has already presented two seasons of screenings by and about black filmmakers, each with a culminating publication, and \u003ca href=\"http://mailchi.mp/5558afcba5a7/tba-season-iii-is-almost-here\" target=\"_blank\" rel=\"noopener noreferrer\">the third season\u003c/a>, which begins on Oct. 5, concludes at BAMPFA.\u003c/p>\n\u003cp>This upcoming event features filmmaker Johnson’s first film, with cinematography by Weefur. \u003cem>A Moment of Truth + Sin\u003c/em>, is, according to them, a “pseudo-autobiographical, racially and politically charged thriller.” Johnson, who grew up in the Bay Area learning about film — in part by studying Pacific Film Archive program calendars — notes that premiering his work at BAMPFA is both “exciting and terrifying.”\u003c/p>\n\u003cp>For both TBA and \u003cem>Black Life\u003c/em>, the curators operate from a sense of abundance. Rather than curating with a focus on the issues of under-representation (though the topic is omnipresent), both series emphasize elevating what’s happening \u003ci>now\u003c/i> and what it is that black creatives are \u003cem>doing\u003c/em>. There is an open-ended sense to the programming, as though \u003cem>Black Life\u003c/em> is in a constant state of unfolding without a definable road map — and that’s because it is.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Black Life’ takes place on Oct. 15, Nov. 11, and Dec. 9 at the Berkeley Art Museum and Pacific Film Archive. For more information, \u003ca href=\"https://bampfa.org/program/black-life-2017\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Once a month at the Berkeley Art Museum and Pacific Film Archive, visitors will find themselves in the presence of an unusually expansive range of cultural practitioners, from poets to pastors — and those who do a little of both. These guests are part of a new monthly series of public programs called \u003cem>\u003ca href=\"https://bampfa.org/program/black-life-2017\" target=\"_blank\" rel=\"noopener noreferrer\">Black Life\u003c/a>\u003c/em>, organized by freelance curators Chika Okoye and David Brazil, that focuses on the cultural production of the African diaspora.\u003c/p>\n\u003cp>Untied to the exhibition or film calendar at BAMPFA, the list of performers and speakers for \u003cem>Black Life\u003c/em> is necessarily broad, and intentionally hard to pin down. The lack of discipline-based constraints allows Okoye and Brazil to explore black epistemology, a core idea behind the series.\u003c/p>\n\u003cfigure id=\"attachment_13809677\" class=\"wp-caption aligncenter\" style=\"max-width: 1210px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809677\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Curators.jpg\" alt=\"Curators Chika Okoye and David Brazil.\" width=\"1210\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators.jpg 1210w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-520x309.jpg 520w\" sizes=\"(max-width: 1210px) 100vw, 1210px\">\u003cfigcaption class=\"wp-caption-text\">Curators Chika Okoye and David Brazil. \u003ccite>(Courtesy of Chika Okoye; Russell W. Southall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Epistemology, according to the \u003ca href=\"https://plato.stanford.edu/entries/epistemology/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Stanford Encyclopedia of Philosophy\u003c/i>\u003c/a>, is “the study of knowledge and justified belief.” It’s a way of looking at what beliefs are held to be true, and exploring the factors that enable those beliefs.\u003c/p>\n\u003cp>Okoye explains, “Our dominant cultural epistemologies have segmented and sedimented categories — like how museum spaces typically show and value only certain types of cultural production, work that [figuratively] you can look at under a microscope. The idea of black life is more alive than that, and we’re interested in showing different types of knowledge.”\u003c/p>\n\u003cp>The history of museums as collecting institutions inherently carries the torch of “disembodied” study, a way of seeing that is distinctly white and European in origin; this has affected what are considered “intellectual” and, thus, valid cultural forms and beliefs. In contrast, \u003cem>Black Life\u003c/em> takes on cultural production from the point of view of \u003cem>embodied knowledge\u003c/em> — and opens space for work created in resistance to, or in spite of, the dominant ways of knowing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The name of the series comes from \u003ca href=\"https://vimeo.com/116111740\" target=\"_blank\" rel=\"noopener noreferrer\">a talk with professors Fred Moten and Robin D.G. Kelly\u003c/a>. “To paraphrase Moten, people talk a lot about how black lives matter in this moment, but he says it’s also important to talk about how black \u003cem>life\u003c/em> matters, too,” Brazil explains. That is, the continuous survival — the day-to-day existing, and also thriving — of black people in America is an act of resistance, given that black presence in itself is perceived to be threatening by a white-dominated social order.\u003c/p>\n\u003cp>“We’re speaking against some of the dominant norms of what is knowledge and what is valued in a white supremacist society. [We are featuring] this vibrance and aliveness, even in a time of attempted subjugation and attempted denigration; this is indefatigable life,” says Okoye.\u003c/p>\n\u003cfigure id=\"attachment_13809680\" class=\"wp-caption aligncenter\" style=\"max-width: 850px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809680\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850.jpg\" alt=\"Phavia Kujichagulia\" width=\"850\" height=\"638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850.jpg 850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-520x390.jpg 520w\" sizes=\"(max-width: 850px) 100vw, 850px\">\u003cfigcaption class=\"wp-caption-text\">Phavia Kujichagulia \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music and dance are readily obvious forms of embodied knowing. The series has included a participatory \u003ca href=\"https://bampfa.org/event/black-life-afia-walking-tree\" target=\"_blank\" rel=\"noopener noreferrer\">drumming workshop\u003c/a> with \u003ca href=\"https://www.afiawalkingtree.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Afia Walking Tree\u003c/a>, as well as a \u003ca href=\"https://bampfa.org/event/black-life-rashad-pridgen\" target=\"_blank\" rel=\"noopener noreferrer\">multidisciplinary dance-performance and masquerade\u003c/a> by artist and creative director \u003ca href=\"https://www.usfca.edu/faculty/rashad-pridgen\">Rashad Pridgen\u003c/a>.\u003c/p>\n\u003cp>Brazil notes that another part of black epistemology included in the series is the cultural production stemming from black church communities, including poet and preacher \u003ca href=\"http://www.marvinkwhite.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marvin K. White\u003c/a>. “Working with leaders from black churches is not normal for an art museum, and not normal for all kinds of white spaces. We’re consciously trying to push against the force of white space.”\u003c/p>\n\u003cp>The series highlights black artists, thinkers and creatives living and working in the Bay Area, all without needing to loudly proclaim its local-centric programming. To the curators, it is a natural choice to feature and uplift black artists and thinkers living here now, though they’re interested in expanding beyond the region in the future.\u003c/p>\n\u003cp>The next installment of the series, on \u003ca href=\"https://bampfa.org/event/black-life-phavia-kujichagulia\" target=\"_blank\" rel=\"noopener noreferrer\">Oct. 15\u003c/a>, \u003ca href=\"http://www.kujichaguliaphavia.com/\">Phavia Kujichagulia & Ma’at\u003c/a> presents an interdisciplinary musical event blending spoken word with traditional African music, African-American classical music/jazz, pop and rap.\u003c/p>\n\u003cfigure id=\"attachment_13809682\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/TBA_1200.jpg\" alt=\"Top (L-R): Jamal Batts, Christian Johnson, Leila Weefur; Middle: Ryanaustin Dennis, Yetunde Olagbaju (Black Mail Collective); Front: Malika Imhotep, Zoé Samudzi, Soleil Summer (Black Mail Collective)\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Top (L-R): Jamal Batts, Christian Johnson, Leila Weefur; Middle: Ryanaustin Dennis, Yetunde Olagbaju (Black Mail Collective); Front: Malika Imhotep, Zoé Samudzi, Soleil Summer (Black Mail Collective) \u003ccite>(Photo by Ed Ntiri)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On \u003ca href=\"https://bampfa.org/event/black-life-black-aesthetic\" target=\"_blank\" rel=\"noopener noreferrer\">Nov. 10\u003c/a>, \u003cem>Black Life\u003c/em> intersects with another East Bay creative organization, \u003ca href=\"https://www.theblkaesthetic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Black Aesthetic\u003c/a> (TBA). \u003ca href=\"https://ww2.kqed.org/arts/2017/04/10/oakland-film-series-asks-is-there-a-black-aesthetic/\">Founded by Christian Johnson and Ryannaustin Dennis\u003c/a> in 2016, TBA now includes Leila Weefur, Zoé Samudzi, Jamal Batts, and Malika “Ra” Imhotep; they also work closely with other groups, such as \u003ca href=\"https://www.blackmailcollective.com/\">Black Mail Collective\u003c/a>. The group has already presented two seasons of screenings by and about black filmmakers, each with a culminating publication, and \u003ca href=\"http://mailchi.mp/5558afcba5a7/tba-season-iii-is-almost-here\" target=\"_blank\" rel=\"noopener noreferrer\">the third season\u003c/a>, which begins on Oct. 5, concludes at BAMPFA.\u003c/p>\n\u003cp>This upcoming event features filmmaker Johnson’s first film, with cinematography by Weefur. \u003cem>A Moment of Truth + Sin\u003c/em>, is, according to them, a “pseudo-autobiographical, racially and politically charged thriller.” Johnson, who grew up in the Bay Area learning about film — in part by studying Pacific Film Archive program calendars — notes that premiering his work at BAMPFA is both “exciting and terrifying.”\u003c/p>\n\u003cp>For both TBA and \u003cem>Black Life\u003c/em>, the curators operate from a sense of abundance. Rather than curating with a focus on the issues of under-representation (though the topic is omnipresent), both series emphasize elevating what’s happening \u003ci>now\u003c/i> and what it is that black creatives are \u003cem>doing\u003c/em>. There is an open-ended sense to the programming, as though \u003cem>Black Life\u003c/em> is in a constant state of unfolding without a definable road map — and that’s because it is.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Black Life’ takes place on Oct. 15, Nov. 11, and Dec. 9 at the Berkeley Art Museum and Pacific Film Archive. For more information, \u003ca href=\"https://bampfa.org/program/black-life-2017\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s an oft-told tale, in Hollywood: A good man wracked by his envy of others he deems more successful than he at scoring the usual American-Dream jackpots of money, status, and fame. He eats himself alive over this at self-defeating length that’s both funny and sad. At the climax other, mostly female, not-rich salts of the earth swoop in to persuade him that, OMG, it’s a wonderful life just as it is. \u003c/p>\n\u003cp>Should we smell a rat when such tales are peddled by men whose bling exceeds all our blah prospects put together? Maybe, but when Mike White weighs in, it’s worth following along with the nervously inventive mind that brought wonderfully skewed angles to bear on the lives of disgruntled plebs in movies from \u003cem>The Good Girl\u003c/em> to \u003cem>Chuck & Buck\u003c/em> to the recent \u003cem>Beatriz at Dinner\u003c/em>.\u003c/p>\n\u003cp>https://youtu.be/eJQWL74p02Q\u003c/p>\n\u003cp>“First-world problems,” I heard someone mutter coming out of a critics’ screening of \u003cem>Brad’s Status\u003c/em>, a dramedy written and directed by White about a middle-aged, middle-income family man freaking out while on a college tour with his teenaged son. Maybe so, but a Mike White movie rarely goes where you think it’s going, even if it slots into place by the finish. Though it’s less a departure from the mold than a meander home, \u003cem>Brad’s Status\u003c/em> offers usefully excruciating insights into the wild swings between hubris and self-laceration that fuel our daily efforts to solidify a coherent self. \u003c/p>\n\u003cp>No center holds for long in the head of Brad Sloan (Ben Stiller), a comfortably-off fellow who runs a non-profit in Sacramento, where his loving wife (Jenna Fischer) works for the Government. Even before he sets off with his college-bound son, Troy (\u003cem>The Walking Dead\u003c/em>‘s Austin Abrams), Brad lies awake at night obsessing over the achievements of his former college posse at Tufts University, now pulling in the big bucks respectively as a Hollywood big cheese (White himself), a hedge fund manager (Luke Wilson), a retired tech entrepreneur (Jemaine Clement) living it up on a pleasure island, and a preening political pundit amusingly undercooked by Michael Sheen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once arrived in Boston, the perfect stage for a face-off between elite dreams and rest-of-the-world reality, Brad misses no opportunity to act out. He embarrasses his son and alienates everyone from Harvard Deans to other parents patiently waiting their turns, to some pretty cool undergrads with life-lessons to impart if he were only listening. There’s some situational goofball here, interspersed with frequent cutaways to lurid scenarios in which Brad fantasizes how his former college pals live. \u003c/p>\n\u003cp>Like many comic actors Stiller can be tenaciously dour in a dramatic role, but, give or take a few too many close-ups of Brad gazing like a frightened deer into the camera, he makes a pretty convincing Everyman in free fall. Still, the movie is really a two-man show, and Abrams is magnificently downbeat as Troy, a remarkably sane, strategically monosyllabic kid who knows intuitively that he doesn’t yet know what he wants from life, nor should he. The serious joke that drives \u003cem>Brad’s Status\u003c/em> is that at 17 years old, Troy is way more together and less tortured than his father and putative guide.\u003c/p>\n\u003cp>The less Brad knows, the more he projects his fears and desires onto others. It goes without saying that he will learn, via a clued-in stranger who’s younger than he by several decades, that real people are complicated and mysterious: one friend with a rather crooked success story can also be a devoted family man, another a self-promoting opportunist who’s also genuinely delighted to catch up with an old college friend, still another who’s too strung out to notice he’s supposed to be having the time of his life. \u003c/p>\n\u003cp>But the most interesting moments in \u003cem>Brad’s Status\u003c/em> unfold inside its protagonist’s head — always the place where White as a filmmakeris most at home — with a suitably whiny atonal violin sawing away on the soundtrack to mirror his feverishly insecure voiceover. Instead of the usual steady advance to enlightenment, Brad’s journey is a choppy sequence of clouds forming and parting. Every return to equilibrium presages a detour into a fresh illusory fantasy, a new source of envy, followed by a desperate clawing back to equilibrium, and so on. Things fall into place with disarming ease, and I came out wishing that \u003cem>Brad’s Status\u003c/em> militated a little less for an individual attitude adjustment and a little more for a reset of the American Dreams that drive us crazy. Rarely, though, has a mainstream movie so pointedly documented the free-floating anxieties of our time and place along the way. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Luckily, the kids are all right.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s an oft-told tale, in Hollywood: A good man wracked by his envy of others he deems more successful than he at scoring the usual American-Dream jackpots of money, status, and fame. He eats himself alive over this at self-defeating length that’s both funny and sad. At the climax other, mostly female, not-rich salts of the earth swoop in to persuade him that, OMG, it’s a wonderful life just as it is. \u003c/p>\n\u003cp>Should we smell a rat when such tales are peddled by men whose bling exceeds all our blah prospects put together? Maybe, but when Mike White weighs in, it’s worth following along with the nervously inventive mind that brought wonderfully skewed angles to bear on the lives of disgruntled plebs in movies from \u003cem>The Good Girl\u003c/em> to \u003cem>Chuck & Buck\u003c/em> to the recent \u003cem>Beatriz at Dinner\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eJQWL74p02Q'\n title='//www.youtube.com/embed/eJQWL74p02Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“First-world problems,” I heard someone mutter coming out of a critics’ screening of \u003cem>Brad’s Status\u003c/em>, a dramedy written and directed by White about a middle-aged, middle-income family man freaking out while on a college tour with his teenaged son. Maybe so, but a Mike White movie rarely goes where you think it’s going, even if it slots into place by the finish. Though it’s less a departure from the mold than a meander home, \u003cem>Brad’s Status\u003c/em> offers usefully excruciating insights into the wild swings between hubris and self-laceration that fuel our daily efforts to solidify a coherent self. \u003c/p>\n\u003cp>No center holds for long in the head of Brad Sloan (Ben Stiller), a comfortably-off fellow who runs a non-profit in Sacramento, where his loving wife (Jenna Fischer) works for the Government. Even before he sets off with his college-bound son, Troy (\u003cem>The Walking Dead\u003c/em>‘s Austin Abrams), Brad lies awake at night obsessing over the achievements of his former college posse at Tufts University, now pulling in the big bucks respectively as a Hollywood big cheese (White himself), a hedge fund manager (Luke Wilson), a retired tech entrepreneur (Jemaine Clement) living it up on a pleasure island, and a preening political pundit amusingly undercooked by Michael Sheen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once arrived in Boston, the perfect stage for a face-off between elite dreams and rest-of-the-world reality, Brad misses no opportunity to act out. He embarrasses his son and alienates everyone from Harvard Deans to other parents patiently waiting their turns, to some pretty cool undergrads with life-lessons to impart if he were only listening. There’s some situational goofball here, interspersed with frequent cutaways to lurid scenarios in which Brad fantasizes how his former college pals live. \u003c/p>\n\u003cp>Like many comic actors Stiller can be tenaciously dour in a dramatic role, but, give or take a few too many close-ups of Brad gazing like a frightened deer into the camera, he makes a pretty convincing Everyman in free fall. Still, the movie is really a two-man show, and Abrams is magnificently downbeat as Troy, a remarkably sane, strategically monosyllabic kid who knows intuitively that he doesn’t yet know what he wants from life, nor should he. The serious joke that drives \u003cem>Brad’s Status\u003c/em> is that at 17 years old, Troy is way more together and less tortured than his father and putative guide.\u003c/p>\n\u003cp>The less Brad knows, the more he projects his fears and desires onto others. It goes without saying that he will learn, via a clued-in stranger who’s younger than he by several decades, that real people are complicated and mysterious: one friend with a rather crooked success story can also be a devoted family man, another a self-promoting opportunist who’s also genuinely delighted to catch up with an old college friend, still another who’s too strung out to notice he’s supposed to be having the time of his life. \u003c/p>\n\u003cp>But the most interesting moments in \u003cem>Brad’s Status\u003c/em> unfold inside its protagonist’s head — always the place where White as a filmmakeris most at home — with a suitably whiny atonal violin sawing away on the soundtrack to mirror his feverishly insecure voiceover. Instead of the usual steady advance to enlightenment, Brad’s journey is a choppy sequence of clouds forming and parting. Every return to equilibrium presages a detour into a fresh illusory fantasy, a new source of envy, followed by a desperate clawing back to equilibrium, and so on. Things fall into place with disarming ease, and I came out wishing that \u003cem>Brad’s Status\u003c/em> militated a little less for an individual attitude adjustment and a little more for a reset of the American Dreams that drive us crazy. Rarely, though, has a mainstream movie so pointedly documented the free-floating anxieties of our time and place along the way. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Luckily, the kids are all right.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A Hollywood producer apologized profusely Monday after a film crew shooting in Vallejo painted over a beloved mural earlier this week.\u003c/p>\n\u003cp>Lorenzo di Bonaventura, one of the producers behind \u003ci>Transformers Universe: Bumblebee\u003c/i> told the \u003ca href=\"http://www.eastbaytimes.com/2017/09/19/bumblebee-producers-apologizes-for-painting-over-vallejo-mural/\" target=\"_blank\" rel=\"noopener\">\u003cem>Vallejo Times-Herald\u003c/em>\u003c/a> that a miscommunication led to a crew painting over the Vallejo Rising mural, which memorialized several local residents. \u003c/p>\n\u003cp>“I’m sorry about this,” di Bonaventura told the \u003cem>Times-Herald\u003c/em>, adding that Paramount Pictures, the company making the film, would do what it could to replace the mural. “Our guys didn’t realize the importance of the mural.”\u003c/p>\n\u003cp>Painted in 2012 by local teacher Alvaro Garcia, the mural included depictions of locals tragically killed, such as 12-year-old Joey Tafoya who died after being hit by a garbage truck; and Dewey Tucker, the 24-year-old bassist for Lauryn Hill, Bobby Brown and The Coup, who was murdered while driving on I-80 by a gang member \u003ca href=\"http://www.mercurynews.com/2012/10/26/vallejo-man-convicted-of-murder-in-death-of-musician-dewey-tucker/\" target=\"_blank\" rel=\"noopener\">who thought Tucker was a rival\u003c/a>. \u003c/p>\n\u003cp>Vallejo Mayor Bob Sampayan spoke with representatives from Paramount Monday afternoon and said they were working to rectify the situation. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Paramount has stepped up and they acknowledge that they should have done research, that they should have reached out to the artist and those who were depicted in the mural,” Sampayan told \u003ca href=\"http://sanfrancisco.cbslocal.com/2017/09/19/well-known-vallejo-mural-accidentally-painted-over-by-film-crew/\" target=\"_blank\" rel=\"noopener\">CBS Local\u003c/a>. “They were absolutely mortified that they did this.”\u003c/p>\n\u003cp>Champaygne Tafoya, Joey’s mother, said that she broke down over the loss of the mural, which she hoped “would be there forever.”\u003c/p>\n\u003cp>But Mark Reed, the owner of the building that the mural was painted on, said that he had planned to remove the mural anyway because the wall needed to be repaired. \u003c/p>\n\u003cp>Still, Paramount Pictures reached out to Tafoya and Garcia on Tuesday to discuss painting a new mural.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m excited on what we are going to see with the new mural,” Tafoya told the \u003ca href=\"http://www.eastbaytimes.com/2017/09/20/bumblebee-officials-meet-with-mural-artist-mom-in-vallejo/\" target=\"_blank\" rel=\"noopener\">\u003cem>Vallejo Times-Herald\u003c/em>\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Hollywood producer apologized profusely Monday after a film crew shooting in Vallejo painted over a beloved mural earlier this week.\u003c/p>\n\u003cp>Lorenzo di Bonaventura, one of the producers behind \u003ci>Transformers Universe: Bumblebee\u003c/i> told the \u003ca href=\"http://www.eastbaytimes.com/2017/09/19/bumblebee-producers-apologizes-for-painting-over-vallejo-mural/\" target=\"_blank\" rel=\"noopener\">\u003cem>Vallejo Times-Herald\u003c/em>\u003c/a> that a miscommunication led to a crew painting over the Vallejo Rising mural, which memorialized several local residents. \u003c/p>\n\u003cp>“I’m sorry about this,” di Bonaventura told the \u003cem>Times-Herald\u003c/em>, adding that Paramount Pictures, the company making the film, would do what it could to replace the mural. “Our guys didn’t realize the importance of the mural.”\u003c/p>\n\u003cp>Painted in 2012 by local teacher Alvaro Garcia, the mural included depictions of locals tragically killed, such as 12-year-old Joey Tafoya who died after being hit by a garbage truck; and Dewey Tucker, the 24-year-old bassist for Lauryn Hill, Bobby Brown and The Coup, who was murdered while driving on I-80 by a gang member \u003ca href=\"http://www.mercurynews.com/2012/10/26/vallejo-man-convicted-of-murder-in-death-of-musician-dewey-tucker/\" target=\"_blank\" rel=\"noopener\">who thought Tucker was a rival\u003c/a>. \u003c/p>\n\u003cp>Vallejo Mayor Bob Sampayan spoke with representatives from Paramount Monday afternoon and said they were working to rectify the situation. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Paramount has stepped up and they acknowledge that they should have done research, that they should have reached out to the artist and those who were depicted in the mural,” Sampayan told \u003ca href=\"http://sanfrancisco.cbslocal.com/2017/09/19/well-known-vallejo-mural-accidentally-painted-over-by-film-crew/\" target=\"_blank\" rel=\"noopener\">CBS Local\u003c/a>. “They were absolutely mortified that they did this.”\u003c/p>\n\u003cp>Champaygne Tafoya, Joey’s mother, said that she broke down over the loss of the mural, which she hoped “would be there forever.”\u003c/p>\n\u003cp>But Mark Reed, the owner of the building that the mural was painted on, said that he had planned to remove the mural anyway because the wall needed to be repaired. \u003c/p>\n\u003cp>Still, Paramount Pictures reached out to Tafoya and Garcia on Tuesday to discuss painting a new mural.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m excited on what we are going to see with the new mural,” Tafoya told the \u003ca href=\"http://www.eastbaytimes.com/2017/09/20/bumblebee-officials-meet-with-mural-artist-mom-in-vallejo/\" target=\"_blank\" rel=\"noopener\">\u003cem>Vallejo Times-Herald\u003c/em>\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Gorgeous 'An American in Paris' Musical has Soulless Lead Character",
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"content": "\u003cp>To live and die for dreaminess and glamour is the inherent promise of \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">An American in Paris\u003c/a>. \u003c/em>That’s evident in both Vincent Minnelli’s 1951 film starring Gene Kelly with a George Gershwin score, and choreographer and director Christopher Wheeldon’s hit 2014 Broadway adaption, currently playing at San Francisco’s Orpheum Theatre.\u003c/p>\n\u003cp>Yet that promise is compromised in the musical by anxiety, pain, and a dawning belief that the world that we yearn for, the people we fall madly in love with, might just drift out of reach. And it suggests that our fantasies might be no more than a nasty, taunting illusion to everything we hold dear.\u003c/p>\n\u003cfigure id=\"attachment_13808896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle but want to believe in true romance in 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle to believe in true romance in ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so the musical asks us to acknowledge that our lead — the painter and American of the title Jerry Mulligan — is not just navigating the trails and tribulations of love, but of the past war as well. The same is true of the supporting characters: Mulligan’s friend and fellow American, pianist-composer Arthur Hochberg; local scion and wannabe cabaret star Henri Baurel, and the love of their lives, Lise Dassin, a dancer suffering from a mysterious past and many injustices.\u003c/p>\n\u003cp>However, unlike the supporting characters, Mulligan’s anguish seems tacked-on, more character window-dressing than actual feeling. When he speaks of the ravages of war, you never believe that he knows what he’s talking about, or that he’s actually experiencing any pain. And pain, strangely enough, is the fuel this musical\u003cem> \u003c/em>relies on.\u003c/p>\n\u003cp>Wheeldon and librettist Craig Lucas make an interesting narrative bet: just how much are we willing to pay for the sweetness of a dream? I would say a lot, but much of it depends on the nature of the dream and how it’s assembled. Coming from the world of ballet, Wheeldon places an inordinate amount of faith in dance to resolve the emotional conflicts that haunt these characters.\u003c/p>\n\u003cfigure id=\"attachment_13808894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg\" alt=\"Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Mulligan chases down Dassin at the department store where she works, it is his dancing — not what he says or sings — that proves irresistible. And it is dancing that transforms the stage into a colorful explosion of light and movement, a gigantic flower literally bursting open above the frenzy of human tumult beneath it. It’s the type of glorious surrealism that 1950s MGM musicals produced with ease, and the experience of seeing Wheeldon take that aesthetic from the sound stage to the live stage is a pleasure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Our desire to see dreams come to life, to believe that anything might be possible, rests almost entirely with a realism of the spirit. If we believe in the characters, we’re ready and willing to accept the wildest incongruities. But it’s hard to believe in the dream at the center of \u003cem>An American in Paris \u003c/em>when our hero, Mulligan, is just a set of gestures. McGee Maddox is a talented actor, dancer, and singer, but there’s nothing for him to play. And in some sense, his talent keeps reminding us of what we’re missing, the emptiness at the core of our hero.\u003c/p>\n\u003cp>When Maddox tries to infuse meaning into lines about how Mulligan wishes he could forget the war or how much art means to him, the actor is stymied by the perfunctory nature of the writing. We need a leading man. But what we get instead is a function of the plot, a pastiche of qualities rather than a real human being.\u003c/p>\n\u003cp>Mulligan is clearly not an artist. He has no qualities that suggest a suffering soldier, and in many ways this character barely seems American. He’s just an idea. Now, I would say that this problem goes all the way back to the source material: the character’s an odd defect in the movie too, even with Gene Kelly’s star power. And in both cases, the failure is pure poison to the delicate fantasy before us.\u003c/p>\n\u003cfigure id=\"attachment_13808893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What we’re left with is Gershwin’s majestic music, which tempers its wild forays with a rhythmic force that suggests everything you hear is part of the same world. It’s a fascinating rebuke to the bland soul at the heart of what should have been a marvelous adventure.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘An American in Paris’ runs through Sunday, Oct. 8 at the Orpheum Theatre in San Francisco. For tickets and information click \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Despite compelling music, dance and design, there is simply no overcoming the emptiness of the American in Christopher Wheeldon's 'An American in Paris.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To live and die for dreaminess and glamour is the inherent promise of \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">An American in Paris\u003c/a>. \u003c/em>That’s evident in both Vincent Minnelli’s 1951 film starring Gene Kelly with a George Gershwin score, and choreographer and director Christopher Wheeldon’s hit 2014 Broadway adaption, currently playing at San Francisco’s Orpheum Theatre.\u003c/p>\n\u003cp>Yet that promise is compromised in the musical by anxiety, pain, and a dawning belief that the world that we yearn for, the people we fall madly in love with, might just drift out of reach. And it suggests that our fantasies might be no more than a nasty, taunting illusion to everything we hold dear.\u003c/p>\n\u003cfigure id=\"attachment_13808896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle but want to believe in true romance in 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle to believe in true romance in ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so the musical asks us to acknowledge that our lead — the painter and American of the title Jerry Mulligan — is not just navigating the trails and tribulations of love, but of the past war as well. The same is true of the supporting characters: Mulligan’s friend and fellow American, pianist-composer Arthur Hochberg; local scion and wannabe cabaret star Henri Baurel, and the love of their lives, Lise Dassin, a dancer suffering from a mysterious past and many injustices.\u003c/p>\n\u003cp>However, unlike the supporting characters, Mulligan’s anguish seems tacked-on, more character window-dressing than actual feeling. When he speaks of the ravages of war, you never believe that he knows what he’s talking about, or that he’s actually experiencing any pain. And pain, strangely enough, is the fuel this musical\u003cem> \u003c/em>relies on.\u003c/p>\n\u003cp>Wheeldon and librettist Craig Lucas make an interesting narrative bet: just how much are we willing to pay for the sweetness of a dream? I would say a lot, but much of it depends on the nature of the dream and how it’s assembled. Coming from the world of ballet, Wheeldon places an inordinate amount of faith in dance to resolve the emotional conflicts that haunt these characters.\u003c/p>\n\u003cfigure id=\"attachment_13808894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg\" alt=\"Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Mulligan chases down Dassin at the department store where she works, it is his dancing — not what he says or sings — that proves irresistible. And it is dancing that transforms the stage into a colorful explosion of light and movement, a gigantic flower literally bursting open above the frenzy of human tumult beneath it. It’s the type of glorious surrealism that 1950s MGM musicals produced with ease, and the experience of seeing Wheeldon take that aesthetic from the sound stage to the live stage is a pleasure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Our desire to see dreams come to life, to believe that anything might be possible, rests almost entirely with a realism of the spirit. If we believe in the characters, we’re ready and willing to accept the wildest incongruities. But it’s hard to believe in the dream at the center of \u003cem>An American in Paris \u003c/em>when our hero, Mulligan, is just a set of gestures. McGee Maddox is a talented actor, dancer, and singer, but there’s nothing for him to play. And in some sense, his talent keeps reminding us of what we’re missing, the emptiness at the core of our hero.\u003c/p>\n\u003cp>When Maddox tries to infuse meaning into lines about how Mulligan wishes he could forget the war or how much art means to him, the actor is stymied by the perfunctory nature of the writing. We need a leading man. But what we get instead is a function of the plot, a pastiche of qualities rather than a real human being.\u003c/p>\n\u003cp>Mulligan is clearly not an artist. He has no qualities that suggest a suffering soldier, and in many ways this character barely seems American. He’s just an idea. Now, I would say that this problem goes all the way back to the source material: the character’s an odd defect in the movie too, even with Gene Kelly’s star power. And in both cases, the failure is pure poison to the delicate fantasy before us.\u003c/p>\n\u003cfigure id=\"attachment_13808893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What we’re left with is Gershwin’s majestic music, which tempers its wild forays with a rhythmic force that suggests everything you hear is part of the same world. It’s a fascinating rebuke to the bland soul at the heart of what should have been a marvelous adventure.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘An American in Paris’ runs through Sunday, Oct. 8 at the Orpheum Theatre in San Francisco. For tickets and information click \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘mother!’ Invents a Bleak Mythology for Jennifer Lawrence",
"headTitle": "‘mother!’ Invents a Bleak Mythology for Jennifer Lawrence | KQED",
"content": "\u003cp>The camera hovers behind Jennifer Lawrence’s shoulders throughout \u003cem>mother!\u003c/em> Unlike an omniscient drone, Darren Aronofsky’s lens is entirely subjective, seeing and understanding only what her character does. It’s not simply capturing her movements down a staircase or into a poorly lit basement, the director stays near to create the illusion — and, more crucially, the feeling — that he’s revealing her disturbed consciousness to those of us watching.\u003c/p>\n\u003cp>As Mother, Lawrence’s every emotion registers on screen in each successively distressing close-up. Because this is an Aronofsky movie, joy isn’t one of those emotions.\u003c/p>\n\u003cfigure id=\"attachment_13808521\" class=\"wp-caption alignright\" style=\"max-width: 710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808521\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/poster.jpg\" alt=\"\" width=\"710\" height=\"1062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/poster.jpg 710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/poster-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/poster-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/poster-375x561.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/poster-520x778.jpg 520w\" sizes=\"(max-width: 710px) 100vw, 710px\">\u003cfigcaption class=\"wp-caption-text\">mother! (Courtesy of Paramount Pictures)\u003c/figcaption>\u003c/figure>\n\u003cp>Self-sacrifice is a recurring theme in his work — from \u003cem>The Fountain\u003c/em> to \u003cem>The Wrestler\u003c/em> to \u003cem>Black Swan.\u003c/em> \u003cem>mother!\u003c/em> isn’t an exception to the rule. We need only look at a promotional poster released earlier this year: Lawrence holds her own bleeding heart out to us, torn from the open wound in the center of her still-seeping chest.\u003c/p>\n\u003cp>Katniss Everdeen, the avenging huntress she played in \u003cem>The Hunger Games\u003c/em>, has been erased. In her stead stands a sylph, a creature without guile, some ephemeral yet vulnerable spirit of nature.\u003c/p>\n\u003cp>Mother lives with Him (Javier Bardem) in an immense country house surrounded by nothing but trees. Bardem brings as much menace to this role as he did playing a remorseless killer in 2008’s \u003cem>No Country for Old Men\u003c/em>. Him is a celebrated poet with writer’s block and a mean streak of narcissism. If it’s not yet clear, Aronofsky doesn’t provide any given names in the film. The supporting cast is identified with Biblical or possibly tarot card referents, such as Fool, Damsel, Zealot, Cupbearer and Idler. Like the other characters, Him isn’t just an artist — he represents every man, especially those with the basest, cruelest instincts when it comes to the (mis)treatment of women.\u003c/p>\n\u003cfigure id=\"attachment_13808563\" class=\"wp-caption aligncenter\" style=\"max-width: 1393px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/mother-08222R.jpg\" alt=\"Jennifer Lawrence in 'mother!'\" width=\"1393\" height=\"800\" class=\"size-full wp-image-13808563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R.jpg 1393w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-800x459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-768x441.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-1020x586.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-1180x678.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-960x551.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-520x299.jpg 520w\" sizes=\"(max-width: 1393px) 100vw, 1393px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lawrence in ‘mother!’ \u003ccite>(Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Him and Mother’s brief idyll is disturbed by Man (Ed Harris) and Woman (Michelle Pfeiffer), who arrive at the house by accident, believing it to be a bed and breakfast. When Him offers to let them stay without consulting Mother, it’s the first troubling sign that her wishes — for privacy — will be ignored. What follows is a series of violations of her domestic need for order. She wants her nest to remain inviolable. Instead, the unwanted house guests are careless with her things, disputing her sense of ownership and breaking the unwritten laws that transform a home into a sanctuary.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pfeiffer’s Woman is an immoral goddess of chaos and carnality. Her performance disturbs the atmosphere of this world even more than Bardem’s because nothing she does is predictable. We know he’s the personification of evil, but we don’t know if Woman’s giving Mother warnings or threats — or both. When Aronofsky leaves Pfeiffer behind for his overly-determined plot, he’s leaving something vital and real on the cutting room floor. We wish for Woman to be the key to the complex mystery of \u003ci>mother!\u003c/i> just to see what else Pfeiffer will do.\u003c/p>\n\u003cfigure id=\"attachment_13808562\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/mother-00043R.jpg\" alt=\"Jennifer Lawrence in 'mother!'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13808562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lawrence in ‘mother!’ \u003ccite>(Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mother, on the other hand, projects passivity and deference. She genuflects towards Him; in many scenes she employs a broom or a cloth to clean up after inconsiderate guests. Combined with the poster imagery, Aronofsky has invented his own mythology. Or, if you prefer, synthesized some old ones and applied them to the 21st century.\u003c/p>\n\u003cp>During a \u003ca href=\"http://video.vanityfair.com/watch/toronto-international-film-festival-fear-terror-and-vulnerability-with-jennifer-lawrence-2017-09-12?c=series\" target=\"_blank\" rel=\"noopener noreferrer\">recent interview\u003c/a> at the Toronto International Film Festival, Lawrence said that she wanted the audience to feel “empathy for our earth” after watching \u003ci>mother!\u003c/i> She and Aronofsky would like us to view the movie as an allegory, something along the lines of, “We’re destroying Mother Earth.”\u003c/p>\n\u003cp>https://youtu.be/XpICoc65uh0\u003c/p>\n\u003cp>Will that message resonate or remain oblique when you see Mother suffering toward sainthood? To answer that question, it’s worth comparing Lawrence’s role here with Isabelle Huppert’s in last year’s \u003cem>Elle\u003c/em>, in which her character endures several brutal sexual assaults. Are we watching the abuse of allegorical figure or another highly paid actresses being cowed by another male director? The destruction of the planet is an obvious cause for concern, but so too is another movie with violent imagery directed at women, beautifully photographed, once again written by a man.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘mother!’ opens Friday, Sept. 15 at the AMC Kabuki 8. For more information, \u003ca href=\"https://www.facebook.com/OfficialMotherMovie/\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The camera hovers behind Jennifer Lawrence’s shoulders throughout \u003cem>mother!\u003c/em> Unlike an omniscient drone, Darren Aronofsky’s lens is entirely subjective, seeing and understanding only what her character does. It’s not simply capturing her movements down a staircase or into a poorly lit basement, the director stays near to create the illusion — and, more crucially, the feeling — that he’s revealing her disturbed consciousness to those of us watching.\u003c/p>\n\u003cp>As Mother, Lawrence’s every emotion registers on screen in each successively distressing close-up. Because this is an Aronofsky movie, joy isn’t one of those emotions.\u003c/p>\n\u003cfigure id=\"attachment_13808521\" class=\"wp-caption alignright\" style=\"max-width: 710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808521\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/poster.jpg\" alt=\"\" width=\"710\" height=\"1062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/poster.jpg 710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/poster-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/poster-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/poster-375x561.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/poster-520x778.jpg 520w\" sizes=\"(max-width: 710px) 100vw, 710px\">\u003cfigcaption class=\"wp-caption-text\">mother! (Courtesy of Paramount Pictures)\u003c/figcaption>\u003c/figure>\n\u003cp>Self-sacrifice is a recurring theme in his work — from \u003cem>The Fountain\u003c/em> to \u003cem>The Wrestler\u003c/em> to \u003cem>Black Swan.\u003c/em> \u003cem>mother!\u003c/em> isn’t an exception to the rule. We need only look at a promotional poster released earlier this year: Lawrence holds her own bleeding heart out to us, torn from the open wound in the center of her still-seeping chest.\u003c/p>\n\u003cp>Katniss Everdeen, the avenging huntress she played in \u003cem>The Hunger Games\u003c/em>, has been erased. In her stead stands a sylph, a creature without guile, some ephemeral yet vulnerable spirit of nature.\u003c/p>\n\u003cp>Mother lives with Him (Javier Bardem) in an immense country house surrounded by nothing but trees. Bardem brings as much menace to this role as he did playing a remorseless killer in 2008’s \u003cem>No Country for Old Men\u003c/em>. Him is a celebrated poet with writer’s block and a mean streak of narcissism. If it’s not yet clear, Aronofsky doesn’t provide any given names in the film. The supporting cast is identified with Biblical or possibly tarot card referents, such as Fool, Damsel, Zealot, Cupbearer and Idler. Like the other characters, Him isn’t just an artist — he represents every man, especially those with the basest, cruelest instincts when it comes to the (mis)treatment of women.\u003c/p>\n\u003cfigure id=\"attachment_13808563\" class=\"wp-caption aligncenter\" style=\"max-width: 1393px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/mother-08222R.jpg\" alt=\"Jennifer Lawrence in 'mother!'\" width=\"1393\" height=\"800\" class=\"size-full wp-image-13808563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R.jpg 1393w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-800x459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-768x441.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-1020x586.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-1180x678.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-960x551.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-08222R-520x299.jpg 520w\" sizes=\"(max-width: 1393px) 100vw, 1393px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lawrence in ‘mother!’ \u003ccite>(Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Him and Mother’s brief idyll is disturbed by Man (Ed Harris) and Woman (Michelle Pfeiffer), who arrive at the house by accident, believing it to be a bed and breakfast. When Him offers to let them stay without consulting Mother, it’s the first troubling sign that her wishes — for privacy — will be ignored. What follows is a series of violations of her domestic need for order. She wants her nest to remain inviolable. Instead, the unwanted house guests are careless with her things, disputing her sense of ownership and breaking the unwritten laws that transform a home into a sanctuary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pfeiffer’s Woman is an immoral goddess of chaos and carnality. Her performance disturbs the atmosphere of this world even more than Bardem’s because nothing she does is predictable. We know he’s the personification of evil, but we don’t know if Woman’s giving Mother warnings or threats — or both. When Aronofsky leaves Pfeiffer behind for his overly-determined plot, he’s leaving something vital and real on the cutting room floor. We wish for Woman to be the key to the complex mystery of \u003ci>mother!\u003c/i> just to see what else Pfeiffer will do.\u003c/p>\n\u003cfigure id=\"attachment_13808562\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/mother-00043R.jpg\" alt=\"Jennifer Lawrence in 'mother!'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13808562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/mother-00043R-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lawrence in ‘mother!’ \u003ccite>(Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mother, on the other hand, projects passivity and deference. She genuflects towards Him; in many scenes she employs a broom or a cloth to clean up after inconsiderate guests. Combined with the poster imagery, Aronofsky has invented his own mythology. Or, if you prefer, synthesized some old ones and applied them to the 21st century.\u003c/p>\n\u003cp>During a \u003ca href=\"http://video.vanityfair.com/watch/toronto-international-film-festival-fear-terror-and-vulnerability-with-jennifer-lawrence-2017-09-12?c=series\" target=\"_blank\" rel=\"noopener noreferrer\">recent interview\u003c/a> at the Toronto International Film Festival, Lawrence said that she wanted the audience to feel “empathy for our earth” after watching \u003ci>mother!\u003c/i> She and Aronofsky would like us to view the movie as an allegory, something along the lines of, “We’re destroying Mother Earth.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XpICoc65uh0'\n title='//www.youtube.com/embed/XpICoc65uh0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Will that message resonate or remain oblique when you see Mother suffering toward sainthood? To answer that question, it’s worth comparing Lawrence’s role here with Isabelle Huppert’s in last year’s \u003cem>Elle\u003c/em>, in which her character endures several brutal sexual assaults. Are we watching the abuse of allegorical figure or another highly paid actresses being cowed by another male director? The destruction of the planet is an obvious cause for concern, but so too is another movie with violent imagery directed at women, beautifully photographed, once again written by a man.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘mother!’ opens Friday, Sept. 15 at the AMC Kabuki 8. For more information, \u003ca href=\"https://www.facebook.com/OfficialMotherMovie/\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco’s original DIY temple, \u003ca href=\"http://www.atasite.org/\" target=\"_blank\" rel=\"noopener\">Artists’ Television Access\u003c/a>, was conceived in the early ’80s as a place for everyday folks to produce shows for a public-access cable program. That bit o’ history is largely forgotten, however, as the raw Mission District space soon morphed into a screening-and-performance venue for experimental, lo-fi, no-budget, radical filmmakers and like-minded artists. More than that, ATA became an important hub for the emerging community of young artists and Midwestern émigrés that gravitated to the affordable, rundown Mission.\u003c/p>\n\u003cfigure id=\"attachment_13808126\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/MOTM_Stills_02_1800x1200-RGB_1200.jpg\" alt=\"Craig Baldwin of Other Cinema in Cyrus Tabar's 'Masochism Of The Margins.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13808126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/MOTM_Stills_02_1800x1200-RGB_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/MOTM_Stills_02_1800x1200-RGB_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/MOTM_Stills_02_1800x1200-RGB_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/MOTM_Stills_02_1800x1200-RGB_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/MOTM_Stills_02_1800x1200-RGB_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/MOTM_Stills_02_1800x1200-RGB_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/MOTM_Stills_02_1800x1200-RGB_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/MOTM_Stills_02_1800x1200-RGB_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/MOTM_Stills_02_1800x1200-RGB_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/MOTM_Stills_02_1800x1200-RGB_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Craig Baldwin of Other Cinema in Cyrus Tabar’s ‘Masochism Of The Margins.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gentrification eventually hit the neighborhood, as everyone knows, and artists have been profoundly affected. \u003ca href=\"http://www.cyrustabar.com/\" target=\"_blank\" rel=\"noopener\">Cyrus Tabar\u003c/a>’s new short film, \u003cem>Masochism of the Margins\u003c/em>, depicts the efforts of the great experimental documentary filmmaker Craig Baldwin (\u003cem>\u003ca href=\"http://www.othercinema.com/sos.html\" target=\"_blank\" rel=\"noopener\">Spectres of the Spectrum\u003c/a>\u003c/em>) to stave off eviction after three decades of residency and to continue his weekly, long-running \u003ca href=\"http://www.othercinema.com/\" target=\"_blank\" rel=\"noopener\">Other Cinema\u003c/a> series at ATA. \u003c/p>\n\u003cp>Tabar appears with his film this Saturday, Sept. 16 at 8:30pm at \u003ca href=\"http://www.othercinema.com\" target=\"_blank\" rel=\"noopener\">Other Cinema\u003c/a> at ATA in a program of works about local artists and spaces (such as the Richmond collective Burnt Ramen) whose existence is perpetually fragile and threatened. I suppose I could have given a spoiler alert before divulging the epilogue to \u003cem>Masochism of the Margins\u003c/em>, but good news is too scarce these days to withhold it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s original DIY temple, \u003ca href=\"http://www.atasite.org/\" target=\"_blank\" rel=\"noopener\">Artists’ Television Access\u003c/a>, was conceived in the early ’80s as a place for everyday folks to produce shows for a public-access cable program. That bit o’ history is largely forgotten, however, as the raw Mission District space soon morphed into a screening-and-performance venue for experimental, lo-fi, no-budget, radical filmmakers and like-minded artists. More than that, ATA became an important hub for the emerging community of young artists and Midwestern émigrés that gravitated to the affordable, rundown Mission.\u003c/p>\n\u003cfigure id=\"attachment_13808126\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/MOTM_Stills_02_1800x1200-RGB_1200.jpg\" alt=\"Craig Baldwin of Other Cinema in Cyrus Tabar's 'Masochism Of The Margins.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13808126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/MOTM_Stills_02_1800x1200-RGB_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/MOTM_Stills_02_1800x1200-RGB_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/MOTM_Stills_02_1800x1200-RGB_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/MOTM_Stills_02_1800x1200-RGB_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/MOTM_Stills_02_1800x1200-RGB_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/MOTM_Stills_02_1800x1200-RGB_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/MOTM_Stills_02_1800x1200-RGB_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/MOTM_Stills_02_1800x1200-RGB_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/MOTM_Stills_02_1800x1200-RGB_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/MOTM_Stills_02_1800x1200-RGB_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Craig Baldwin of Other Cinema in Cyrus Tabar’s ‘Masochism Of The Margins.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gentrification eventually hit the neighborhood, as everyone knows, and artists have been profoundly affected. \u003ca href=\"http://www.cyrustabar.com/\" target=\"_blank\" rel=\"noopener\">Cyrus Tabar\u003c/a>’s new short film, \u003cem>Masochism of the Margins\u003c/em>, depicts the efforts of the great experimental documentary filmmaker Craig Baldwin (\u003cem>\u003ca href=\"http://www.othercinema.com/sos.html\" target=\"_blank\" rel=\"noopener\">Spectres of the Spectrum\u003c/a>\u003c/em>) to stave off eviction after three decades of residency and to continue his weekly, long-running \u003ca href=\"http://www.othercinema.com/\" target=\"_blank\" rel=\"noopener\">Other Cinema\u003c/a> series at ATA. \u003c/p>\n\u003cp>Tabar appears with his film this Saturday, Sept. 16 at 8:30pm at \u003ca href=\"http://www.othercinema.com\" target=\"_blank\" rel=\"noopener\">Other Cinema\u003c/a> at ATA in a program of works about local artists and spaces (such as the Richmond collective Burnt Ramen) whose existence is perpetually fragile and threatened. I suppose I could have given a spoiler alert before divulging the epilogue to \u003cem>Masochism of the Margins\u003c/em>, but good news is too scarce these days to withhold it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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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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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"meta": {
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"source": "WNYC"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
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