title
Women1 – 5
5
MOVIE
5.10
5.9
5.2
5.4
Spirited Away . 2001. Hayao Miyazaki . Studio Gibli . jap anim . Chihiro Ogino . Bu $19 mio. Bo $264 mio
5.11
5.8
5.7
4
MUSIC
4.3
Skunk Anansie . Hedonism (Just Because You Feel Good) . Skin, Martin "Ace" Kent, Richard "Cass" Lewis, Mark Richardson . 1996
4.1 docu
Shut Up and Sing, Dixie Chicks . docu . 2006 . Barbara Kopple
[the country band getting into trouble with politics and their audience.]
[the country band getting into trouble with politics and their audience.]
4
SPORTS
4.1
Babe Didrikson Zaharias . american athlete: golf, basketball, baseball and track and field. [1911 - 1956]
3
WRITING
3.4
Margret Atwood [1939] is a Canadian poet, novelist, literary critic, essayist, inventor, teacher and environmental activis.
Oryx and Crake . 2003
... ecology evolved
... ecology evolved
The Handmaid's Tale . 1985
It is set in a totalitarian state resembling a theonomy
"There's a precedent in real life for everything in the book. I decided not to put anything in that somebody somewhere hadn't already done."
It is set in a totalitarian state resembling a theonomy
"There's a precedent in real life for everything in the book. I decided not to put anything in that somebody somewhere hadn't already done."
3.4
Joan Didion [1934]
. american journalist, writer of novels, plays, screenplays . explores the disintegration of American morals and cultural chaos . the overriding theme of her work is individual and social fragmentation.
Slouching Towards Bethlehem . 1967 . essay
opens with a line from W.B. Yeats’s poem The Second Coming:
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
docu: The Center Will Not Hold . 2017 . Griffin Dunne
Slouching Towards Bethlehem . 1967 . essay
opens with a line from W.B. Yeats’s poem The Second Coming:
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
docu: The Center Will Not Hold . 2017 . Griffin Dunne
http://www.youtube.com/watch?v=99NaRJQzXiM
ARTICLE_https://www.vox.com/culture/2017/10/25/16526428/joan-didion-documentary-center-will-not-hold-netflix
ARTICLE_https://www.vox.com/culture/2017/10/25/16526428/joan-didion-documentary-center-will-not-hold-netflix
3.3
Ursula Kroeber Le Guin [1929 – 2018]
american author of novels, children's books, and short stories, mainly in the genres of fantasy and science fiction. She has also written poetry and essays. First published in the 1960s, her work has often depicted futuristic or imaginary alternative worlds in politics, natural environment, gender, religion, sexuality and ethnography. She has won the Hugo Award, Nebula Award, Locus Award, and World Fantasy Award, each more than once.
Ursula Kroeber Le Guin was born Ursula Kroeber the daughter of anthropologist Alfred L. Kroeber and anthropologist and writerTheodora Kroeber.
BLOG: http://www.ursulakleguin.com/Blog2011.html
american author of novels, children's books, and short stories, mainly in the genres of fantasy and science fiction. She has also written poetry and essays. First published in the 1960s, her work has often depicted futuristic or imaginary alternative worlds in politics, natural environment, gender, religion, sexuality and ethnography. She has won the Hugo Award, Nebula Award, Locus Award, and World Fantasy Award, each more than once.
Ursula Kroeber Le Guin was born Ursula Kroeber the daughter of anthropologist Alfred L. Kroeber and anthropologist and writerTheodora Kroeber.
BLOG: http://www.ursulakleguin.com/Blog2011.html
3.3.1
Alfred L. Kroeber's book, Configurations of Cultural Growth (1944), had a lasting impact on social scientific research on genius and greatness; Kroeber believed that genius arose out of culture at particular times, rather than holding to "the great man" theory
READ . Configurations of Cultural Growth (1944)
READ . Configurations of Cultural Growth (1944)
3.3.2
The Left Hand of Darkness is a 1969 science fiction novel by Ursula K. Le Guin. It is part of the Hainish Cycle, a series of books by Le Guin set in the fictional Hainish universe, which she inaugurated in 1966. It is considered by some to be one of the first major works of feminist science fiction.
This novel takes place many centuries in the future - no date is given, though the year 4870 has been suggested. An envoy, Genly Ai, is on a planet called Winter ("Gethen" in the language of its own people) to convince the citizens to join the Ekumen. Winter is, as its name indicates, a planet that is always cold, and its citizens are neither female nor male: they have gender identities and sexual urges only once a month.
These conditions have affected the ways that civilizations on Winter have developed.
[...] Their androgynous biology, which eliminates male dominance, female dependency or childrearing, and sexual tension, is the underpinning for the culture and politics on Winter, a planet that has no word for war and no experience of it.
There are, however, arcane rules of politics and diplomacy that the envoy must learn in order to survive.
[...] The struggle of Genly Ai as he tries to understand the ways of these people and survive on this hostile planet gives Le Guin the chance to explore what life would be like without the dualities, such as summer and winter or male and female, that form our way of thinking: the book's title comes from a Gethenian poem, which begins "Light is the left hand of darkness".
LISTEN: audiobook
This novel takes place many centuries in the future - no date is given, though the year 4870 has been suggested. An envoy, Genly Ai, is on a planet called Winter ("Gethen" in the language of its own people) to convince the citizens to join the Ekumen. Winter is, as its name indicates, a planet that is always cold, and its citizens are neither female nor male: they have gender identities and sexual urges only once a month.
These conditions have affected the ways that civilizations on Winter have developed.
[...] Their androgynous biology, which eliminates male dominance, female dependency or childrearing, and sexual tension, is the underpinning for the culture and politics on Winter, a planet that has no word for war and no experience of it.
There are, however, arcane rules of politics and diplomacy that the envoy must learn in order to survive.
[...] The struggle of Genly Ai as he tries to understand the ways of these people and survive on this hostile planet gives Le Guin the chance to explore what life would be like without the dualities, such as summer and winter or male and female, that form our way of thinking: the book's title comes from a Gethenian poem, which begins "Light is the left hand of darkness".
LISTEN: audiobook
3.3.3
The Word for World Is Forest is a science fiction novel by Ursula K. Le Guin, published in 1976.
Several centuries in the future, humans from Earth have established a logging colony and military base named "New Tahiti" on Athshe, a tree-covered planet whose small, green-furred, big-eyed inhabitants have formed a culture centered on lucid dreaming.
[...] But the fact is that they take a few dreamless catnaps spread throughout the day and go into a state of lucid dreaming at will, and quite often. They also see the "dream-time" as a world just as real as the "world-time" and hate hallucinogens which the humans use, because they have no control over the dreams generated by the "poisons".
Most of the "yumens" make no effort to understand this and drive them harder when they catch the Athsheans "daydreaming." Deprived of REM sleep, the slaves' mental and physical health deteriorates. ...
READ . The Word for World Is Forest
Several centuries in the future, humans from Earth have established a logging colony and military base named "New Tahiti" on Athshe, a tree-covered planet whose small, green-furred, big-eyed inhabitants have formed a culture centered on lucid dreaming.
[...] But the fact is that they take a few dreamless catnaps spread throughout the day and go into a state of lucid dreaming at will, and quite often. They also see the "dream-time" as a world just as real as the "world-time" and hate hallucinogens which the humans use, because they have no control over the dreams generated by the "poisons".
Most of the "yumens" make no effort to understand this and drive them harder when they catch the Athsheans "daydreaming." Deprived of REM sleep, the slaves' mental and physical health deteriorates. ...
READ . The Word for World Is Forest
3.2
Mary Wollstonecraft (27.04.1759 – 10.09.1797) was an eighteenth-century British writer, philosopher, and advocate of women's rights. During her brief career, she wrote novels, treatises, atravel narrative, a history of the French Revolution, a conduct book, and a children's book. Wollstonecraft is best known for A Vindication of the Rights of Woman (1792), in which she argues that women are not naturally inferior to men, but appear to be only because they lack education. She suggests that both men and women should be treated as rational beings and imagines a social order founded on reason.
[...]
Her daughter Mary Wollstonecraft Godwin, later Mary Shelley, the author of Frankenstein, would become an accomplished writer herself.
WORKS:
Thoughts on the Education of Daughters (1787), Vindication of the Rights of Men (1790), Vindication of the Rights of Woman (1792), Letters Written in Sweden, Norway, and Denmark (1796)
[...]
Her daughter Mary Wollstonecraft Godwin, later Mary Shelley, the author of Frankenstein, would become an accomplished writer herself.
WORKS:
Thoughts on the Education of Daughters (1787), Vindication of the Rights of Men (1790), Vindication of the Rights of Woman (1792), Letters Written in Sweden, Norway, and Denmark (1796)
3.2.1
In 1798 William Godwin (Mary Wollstonecraft's husband) published his Memoirs of the Author of A Vindication of the Rights of Woman. Although Godwin felt that he was portraying his wife with love, compassion, and sincerity, many readers were shocked that he would reveal Wollstonecraft's illegitimate children, love affairs, and suicide attempts.
3.2.2
William Godwin, Enquiry concerning Political Justice, and its Influence on General Virtue and Happiness (1793)
By the words "political justice" the author meant "the adoption of any principle of morality and truth into the practice of a community," and the work was therefore an inquiry into the principles of society, of government and of morals. For many years Godwin had been "satisfied that monarchy was a species of government unavoidably corrupt," and from desiring a government of the simplest construction, he gradually came to consider that "government by its very nature counteracts the improvement of original mind," demonstrating anti-statist beliefs that would later be consideredanarchist.
By the words "political justice" the author meant "the adoption of any principle of morality and truth into the practice of a community," and the work was therefore an inquiry into the principles of society, of government and of morals. For many years Godwin had been "satisfied that monarchy was a species of government unavoidably corrupt," and from desiring a government of the simplest construction, he gradually came to consider that "government by its very nature counteracts the improvement of original mind," demonstrating anti-statist beliefs that would later be consideredanarchist.
3.1
Mary Shelley (née Mary Wollstonecraft Godwin; 30.08.1797 – 01.02.1851) was an English novelist, short story writer, dramatist, essayist, biographer, and travel writer, best known for her Gothic novel Frankenstein: or, The Modern Prometheus (1818). She also edited and promoted the works of her husband, the Romantic poet and philosopher Percy Bysshe Shelley.
Her father was the political philosopher William Godwin, and her mother was the philosopher and feminist Mary Wollstonecraft.
Her father was the political philosopher William Godwin, and her mother was the philosopher and feminist Mary Wollstonecraft.
3.1.1
In 1816, the couple (Mary Wollstonecraft Godwin and Percy Bysshe Shelley) famously spent a summer with Lord Byron, John William Polidori, and Claire Clairmont near Geneva, Switzerland, where Mary conceived the idea for her novel Frankenstein.
[...]
"It proved a wet, ungenial summer", Mary Shelley remembered in 1831, "and incessant rain often confined us for days to the house". Amongst other subjects, the conversation turned to the experiments of the 18th-century natural philosopher and poet Erasmus Darwin, who was said to have animated dead matter, and togalvanism and the feasibility of returning a corpse or assembled body parts to life. Sitting around a log fire at Byron's villa, the company also amused themselves by reading German ghost stories, prompting Byron to suggest they each write their own supernatural tale. Shortly afterwards, in a waking dream, Mary Godwin conceived the idea for Frankenstein.
[...]
"It proved a wet, ungenial summer", Mary Shelley remembered in 1831, "and incessant rain often confined us for days to the house". Amongst other subjects, the conversation turned to the experiments of the 18th-century natural philosopher and poet Erasmus Darwin, who was said to have animated dead matter, and togalvanism and the feasibility of returning a corpse or assembled body parts to life. Sitting around a log fire at Byron's villa, the company also amused themselves by reading German ghost stories, prompting Byron to suggest they each write their own supernatural tale. Shortly afterwards, in a waking dream, Mary Godwin conceived the idea for Frankenstein.
3.1.2
Mary Shelley’s Frankenstein: or, The Modern Prometheus is a remarkable work. The book had its origin as a ghost story concocted during a weekend gathering of the literati on Lake Geneva. It became the modern myth best reflecting the ethical and moral issues that arise when technology consistently outpaces its maker’s ability to reconcile progress with the established structures of society. It remains a classic cautionary tale that has lost none of its relevance nearly 200 years since its publication. Despite this fact, it is an intensely personal story with strong autobiographical touches.
Mary Wollstonecraft Godwin was born in the late eighteenth century to outspoken liberal political theorist William Godwin and pioneering feminist Mary Wollstonecraft. Her mother died of complications giving birth to Mary. She grew up revering her parents’ work and was encouraged by it to ceaselessly question authority in any form.
At age 16, Mary began an affair with one of her father’s most ardent followers, the poet Percy Bysshe Shelley who was five years her senior and married with small children. Percy left his wife and family to travel the continent with Mary and her stepsister, Claire. He enjoyed affairs with both young women. Their unconventional living arrangement engendered much public outrage and ostracism wherever they went. Mary became pregnant with Percy’s child, but the little girl died shortly after birth. Mary’s father, who had criticized the institution of marriage in his writings, inexplicably turned his back on his unwed daughter for her licentious behavior.
Percy continued to father children with his wife while continuing his affairs with Mary and her stepsister. He encouraged the girls to have affairs with a number of his friends as well. For her part, Mary suffered severe depression with recurring dreams of her dead daughter. In a partial desire to restore peace, the trio convened with Lord Byron and his lover, William Polidori at Lake Geneva in the summer of 1816 ...
Mary Wollstonecraft Godwin was born in the late eighteenth century to outspoken liberal political theorist William Godwin and pioneering feminist Mary Wollstonecraft. Her mother died of complications giving birth to Mary. She grew up revering her parents’ work and was encouraged by it to ceaselessly question authority in any form.
At age 16, Mary began an affair with one of her father’s most ardent followers, the poet Percy Bysshe Shelley who was five years her senior and married with small children. Percy left his wife and family to travel the continent with Mary and her stepsister, Claire. He enjoyed affairs with both young women. Their unconventional living arrangement engendered much public outrage and ostracism wherever they went. Mary became pregnant with Percy’s child, but the little girl died shortly after birth. Mary’s father, who had criticized the institution of marriage in his writings, inexplicably turned his back on his unwed daughter for her licentious behavior.
Percy continued to father children with his wife while continuing his affairs with Mary and her stepsister. He encouraged the girls to have affairs with a number of his friends as well. For her part, Mary suffered severe depression with recurring dreams of her dead daughter. In a partial desire to restore peace, the trio convened with Lord Byron and his lover, William Polidori at Lake Geneva in the summer of 1816 ...
2
SCIENCE
2_3
Grace Hopper (1906 – 1992),was an American computer scientist, she invented one of the first compiler related tools, she is called the mother of COBOL [a compiled English-like computer programming language].
2_2
Marie Neurath, born Marie Reidemeister (1898 – 1986
), was a member of the team that developed the Vienna Method of Pictorial Statistics (Wiener Methode der Bildstatistik), which she later renamed Isotype. She was also a prolific author and designer of educational books for younger readers.
She studied mathematics and physics from 1917 to 1924 in Göttingen, while also taking courses at the "Kunstschule" in 1919. Just before graduating she met Otto Neurath and soon moved to Vienna.
ISOTYPE verstand sich als eine Methode der Bildstatistik, die dem Laien wissenschaftliche Zusammenhänge verständlich machen sollte.
ISOTYPE verstand sich als eine Methode der Bildstatistik, die dem Laien wissenschaftliche Zusammenhänge verständlich machen sollte.
2_2_1
Railways under London, 1948
Fire, 1950!
Rockets and Jets, 1951
Let's look at the Sky
A message round the world
Speeding into Space, 1954
A new life begins. 1961
Exploring the atom. 1958
Exploring Under the Sea. 1958
Building big things. 1958
Außen - Innen. Was ist drinnen?. 1956
Marie, Die Wunderwelt der Tiere. 1956
Too small to see. 1956
Long ago. 1954
I'll show you how it happens. 1948
Fire, 1950!
Rockets and Jets, 1951
Let's look at the Sky
A message round the world
Speeding into Space, 1954
A new life begins. 1961
Exploring the atom. 1958
Exploring Under the Sea. 1958
Building big things. 1958
Außen - Innen. Was ist drinnen?. 1956
Marie, Die Wunderwelt der Tiere. 1956
Too small to see. 1956
Long ago. 1954
I'll show you how it happens. 1948
http://isotyperevisited.org/2009/09/voter-registration.html
http://isotyperevisited.org/2012/08/knowledge-for-young-people.html
http://isotyperevisited.org/2012/08/knowledge-for-young-people.html
2.2
Hedy Lamarr (Hedwig Kiesler) (1914 – 2000
together with composer George Antheil (avant-garde composer, pianist, author, and inventor) she developed a radio guidance system for Allied torpedoes, which used spread spectrum and frequency hopping technology to defeat the threat of jamming by the Axis powers.
Although the US Navy did not adopt the technology until the 1960s, the principles of their work are arguably incorporated into Bluetooth technology, and are similar to methods used in legacy versions of CDMA and Wi-Fi .
together with composer George Antheil (avant-garde composer, pianist, author, and inventor) she developed a radio guidance system for Allied torpedoes, which used spread spectrum and frequency hopping technology to defeat the threat of jamming by the Axis powers.
Although the US Navy did not adopt the technology until the 1960s, the principles of their work are arguably incorporated into Bluetooth technology, and are similar to methods used in legacy versions of CDMA and Wi-Fi .
1
CHARACTER
1.2
The Winter Market . 1986 . William Gibson . Anthology – Burning Chrome
excerpt:
There's a segment on Kings of Sleep; it's like you're on a motorcycle at midnight, no lights but somehow you don't need them, blasting out along a cliff-high stretch of coast highway, so fast that you hang there in a cone of silence, the bike's thunder lost behind you. Everything, lost behind you. . . . It's just a blink, on Kings, but it's one of the thousand things you remember, go back to, incorporate into your own vocabulary of feelings. Amazing. Freedom and death, right there, right there, razor's edge, forever.
What I got was the big-daddy version of that, raw rush, the king hell killer uncut real thing, exploding eight ways from Sunday into a void that stank of poverty and lovelessness and obscurity.
And that was Lise's ambition, that rush, seen from the inside.
It probably took all of four seconds.
And, course, she'd won.
READ . http://www.voidspace.org.uk/cyberpunk/burning_chrome.shtml#market
excerpt:
There's a segment on Kings of Sleep; it's like you're on a motorcycle at midnight, no lights but somehow you don't need them, blasting out along a cliff-high stretch of coast highway, so fast that you hang there in a cone of silence, the bike's thunder lost behind you. Everything, lost behind you. . . . It's just a blink, on Kings, but it's one of the thousand things you remember, go back to, incorporate into your own vocabulary of feelings. Amazing. Freedom and death, right there, right there, razor's edge, forever.
What I got was the big-daddy version of that, raw rush, the king hell killer uncut real thing, exploding eight ways from Sunday into a void that stank of poverty and lovelessness and obscurity.
And that was Lise's ambition, that rush, seen from the inside.
It probably took all of four seconds.
And, course, she'd won.
READ . http://www.voidspace.org.uk/cyberpunk/burning_chrome.shtml#market
1.1
Aeon Fluxx . Mtv, Liquid Television, episodes . 1991 – 1995 . Peter Chung
Her mission is to infiltrate the strongholds of the neighboring country of Bregna, which is led by her sometimes-nemesis and sometimes-lover Trevor Goodchild. Monica represents a dynamicanarchist society, while Bregna embodies a police state—referred to on one occasion as a republic by Goodchild.
Episodes: Gravity . Mirror . Leisure . Tide . War – Utopia or Deuteranopia? . Isthmus Crypticus . Thanatophobia . A Last Time for Everything . The Demiurge . Reraizure . Chronophasia . Ether Drift Theory . The Purge . End Sinister
WATCH . http://www.youtube.com/watch?v=ir2qcPwZFdQ
Her mission is to infiltrate the strongholds of the neighboring country of Bregna, which is led by her sometimes-nemesis and sometimes-lover Trevor Goodchild. Monica represents a dynamicanarchist society, while Bregna embodies a police state—referred to on one occasion as a republic by Goodchild.
Episodes: Gravity . Mirror . Leisure . Tide . War – Utopia or Deuteranopia? . Isthmus Crypticus . Thanatophobia . A Last Time for Everything . The Demiurge . Reraizure . Chronophasia . Ether Drift Theory . The Purge . End Sinister
WATCH . http://www.youtube.com/watch?v=ir2qcPwZFdQ
1.1.1
The title [Aeon Fluxx] is based on the Gnostic notion of an Æon – emanations of God – specifically the Valentinian notion of a syzygy, a sexually complementary pair of emanations, here the two main characters. The Gnostic influence is also present in the use of a demiurge in one episode.
1.1.2
Peter Chung Interview, excerpt . www.livejournal.com
PC: Creating Aeon was very much a process of elimination. I set myself a rigorous set of restrictions-- of things I'd disallow: not an ideologue, a patriot or a crimefighter; no one giving her orders; no family; no assumptions. I tried to eliminate anything that would allow you to predict her actions.
Aeon has no family, or ties to anyone. Any dramatic points a screenwriter can score by holding family members hostage (or killing!) reveal nothing about her as a unique individual. Too easy. It's shorthand. We assume anyone is going to feel an emotional attachment to their sibling. That tells me nothing about her.
Her worth (to us) is her responsibility and hers alone. The point is, we all define our own worth. It's the main point of the series, actually.
PC: The outcome in any work of fiction is arbitrary. It's at the whim of the author. What is not arbitrary is the form. You cannot cheat form. Form is not a vehicle for content. It is the content. The point is in the structure, the relationship of parts, the endowment of meaning to events through context. It is not the role of the author to moralize or to pronounce judgment.
PC: Aeon, unlike the revolutionaries in so much science fiction, is not struggling to win her freedom. The typical rebel heroes (Luke, Logan, THX1138, Neo, John Conner, and Catherine Goodchild) are fighting to free themselves from oppression. When their struggle succeeds, their stories end. But what happens after they attain their long-sought freedom? That is where Aeon's story begins. She isn't striving to be free. She IS free. When rebellions win, they are likely to replace one form of control with another. Aeon doesn't take orders from anyone. Everything she does is self-motivated. That is why each episode must create a new motive for her. There is no ideological template to follow.
PC: The art of filmmaking has a precise meaning to me. I believe the challenge of the filmmaker is to achieve a kind of telepathy between the viewer and the character on screen. To enable the viewer to infer thoughts and feelings through observation of physical action. That is the power of film over other narrative techniques. The bone-chilling gentleness of Claudia's touch on Sandro's shoulder at the climax of L'Avventura (Antonioni); Marnie deciding to steal again after shooting her horse (Hitchcock). These are wordless actions (in films containing plenty of dialogue) where the viewer understands the import through carefully built context. These insights are truer because they are allowed to occur within the viewer's mind. A reward given is not as precious as one earned. My work will not appeal to viewers who try to find the meaning of a film through its dialogue. Dialogue is texture. It is an element that lends a film some realism. The meaning in a film must, just as all meanings in real life, remain elusive and left for the viewer to discover. My personal views on the proper use of film as a narrative medium are fairly narrow– not because I think my own methods are the best, but because I need to set myself specific goals in order to be motivated enough to stick it through the laborious process of making a film.
PC: Creating Aeon was very much a process of elimination. I set myself a rigorous set of restrictions-- of things I'd disallow: not an ideologue, a patriot or a crimefighter; no one giving her orders; no family; no assumptions. I tried to eliminate anything that would allow you to predict her actions.
Aeon has no family, or ties to anyone. Any dramatic points a screenwriter can score by holding family members hostage (or killing!) reveal nothing about her as a unique individual. Too easy. It's shorthand. We assume anyone is going to feel an emotional attachment to their sibling. That tells me nothing about her.
Her worth (to us) is her responsibility and hers alone. The point is, we all define our own worth. It's the main point of the series, actually.
PC: The outcome in any work of fiction is arbitrary. It's at the whim of the author. What is not arbitrary is the form. You cannot cheat form. Form is not a vehicle for content. It is the content. The point is in the structure, the relationship of parts, the endowment of meaning to events through context. It is not the role of the author to moralize or to pronounce judgment.
PC: Aeon, unlike the revolutionaries in so much science fiction, is not struggling to win her freedom. The typical rebel heroes (Luke, Logan, THX1138, Neo, John Conner, and Catherine Goodchild) are fighting to free themselves from oppression. When their struggle succeeds, their stories end. But what happens after they attain their long-sought freedom? That is where Aeon's story begins. She isn't striving to be free. She IS free. When rebellions win, they are likely to replace one form of control with another. Aeon doesn't take orders from anyone. Everything she does is self-motivated. That is why each episode must create a new motive for her. There is no ideological template to follow.
PC: The art of filmmaking has a precise meaning to me. I believe the challenge of the filmmaker is to achieve a kind of telepathy between the viewer and the character on screen. To enable the viewer to infer thoughts and feelings through observation of physical action. That is the power of film over other narrative techniques. The bone-chilling gentleness of Claudia's touch on Sandro's shoulder at the climax of L'Avventura (Antonioni); Marnie deciding to steal again after shooting her horse (Hitchcock). These are wordless actions (in films containing plenty of dialogue) where the viewer understands the import through carefully built context. These insights are truer because they are allowed to occur within the viewer's mind. A reward given is not as precious as one earned. My work will not appeal to viewers who try to find the meaning of a film through its dialogue. Dialogue is texture. It is an element that lends a film some realism. The meaning in a film must, just as all meanings in real life, remain elusive and left for the viewer to discover. My personal views on the proper use of film as a narrative medium are fairly narrow– not because I think my own methods are the best, but because I need to set myself specific goals in order to be motivated enough to stick it through the laborious process of making a film.
July 23rd, 2018