Film and TV

The Narratology of LOST: Loops and Privileged Positions

by Brian Chappell Fiction
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LOST generates the final thrust of its narrative through even more privileged positions.

Tall Poetry: James Copeland’s To My Plants

by Levi Rubeck Film and TV
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James Copeland is a tall man, who rides a tall bike, drinks tall drinks, and writes tall poetry.

Civil Rights Moonwalk: Michael Jackson, Armond White, and Democracy

by Micah Towery Film and TV
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A focus on the human person allows White to cut right to the heart of cultural issues without getting lost or tossed around in the media firestorms that accompany cultural events.

Franco File

by Brian Chappell Film and TV
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If James Franco’s first name had been Ben, it would take very little to convince me that he is, in fact, the 24-hour multimedia reincarnation of the original King of Enterprise and Toil, Benjamin Franklin.

Translation, Film, and the ESL Student

by Micah Towery Film and TV
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A new language is a bully. Learning a new language is not really learning a new way to communicate, but a new way to think.

The Story of English and LOLcats

by Micah Towery Film and TV
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Now for a spin on the story of English from the internet age…LOLcats. In particular, the LOLcat Bible Translation Project. Many linguists depend upon the work of Bible translators deployed around the world in remote (to us, at least) regions of the world. I happen to know a man who worked as a Bible translator and created the only existing dictionary in the world for his regional dialect. Concerns about dictionaries (and their purpose) aside, the LOLcats Translation begs a question: is LOLcats a true pidgin English? It has a history, it has its own grammar and rules, and now it has its own Bible.

100 Chimes at Midnight

by Adam Fitzgerald Aesthetics
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FALSTAFF:
My king! my Jove! I speak to thee, my heart!

Do Movie Critics Matter?

by Micah Towery Aesthetics
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Journalistic standards have changed so drastically that, when I took the podium at the film circle’s dinner and quoted Pauline Kael’s 1974 alarm, “Criticism is all that stands between the public and advertising,” the gala’s audience responded with an audible hush—not applause.

Sometimes when I happy get

by Stuart Krimko Film and TV

Sometimes when I happy get I turn on my television set

that gum you like is going to come back in style

by Ben Fama Film and TV

With the creation of one of the high achievements of mankind, Twin Peaks, David Lynch made a world so ecstatic it demanded its own reality. I’ve been really thinking about Julee Cruise and Twin Peaks SO MUCH lately. What makes it so good? Where did this music come from? Who is Julee Cruise *really*!?

Blogging through Grossman, Part 3: Poetic Promiscuity.

by Micah Towery Art
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We recent poets have two great tools at our disposal: freedom of poetic license, and freedom of publishing. Generally, we can say whatever we want, and get a significant number of people to hear what we have to say. The question is whether this freedom has led to better poetry or degeneration. Perhaps that’s not the best way to put it. The question should be, even if somebody is doing something amazing and new in poetry, would we even see it? Will we travel all this way to find that we really did need the gatekeepers of poetry??

The Lyric Workshop, Session 1: Theme From Shaft

by Sarah V. Schweig Academia
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PROFESSOR: Mary Ann, would you mind reading your poem aloud so that we can hear it in your own voice?

MARY ANN: Absolutely. Ahem.

Who’s the black private dick
That’s a sex machine to all the chicks?
SHAFT!
Ya damn right!

Scene from Alice in Wonderland by Jan Svankmajer

by Simone Kearney Art

A clip from the terrifying Czech version of Alice in Wonderland.