Tragedy is the expression of a view of life as defined finally by an insurmountable contradiction (of a law of life at odds with itself), while philosophy will always aim at a sort of overcoming of contradiction (of the law of non-contradiction as the need of truth).
Continuing the End Times series, Richard Marshall interviews Dennis J Schmidt.
They pose – like Riefenstahl’s Triumph of the Will – the question of cinema itself: fascism was the only major ideology to be born of a cinematic consciousness – it was (and is) cinematic to its core. Its subtle expansion into all aspects of daily life, via the evolution of TV and new media, the pervasive seductions of advertising and the omnipresence of computing algorithms designed to reinforce our collective narcissism, represent an almost insurmountable dilemma.
Louis Armand on subversive cinema.
you do not make me/feel you do not/make me feel/you do not make me/feel/better or is it less than when i am sucking on your little fingers in my sleep and then hurtling smartly down your muscles in the scientific way you/need to survive/need to/survive me and my inability to grow/a pair/a literal pair let me grow/them and let them dangle/not in a physical way in my/head let me grow a pair/two little fruits inside one pink sock and maybe you’d find this/acceptable to who you need/who makes you/feel
New poetry by Shannon Hearn.
Can the soul of the man and of the city be saved? That is the question at the heart of Paolo Sorrentino’s 2013 Academy Award winner for best foreign language feature. We follow Jep on an epic emotional journey as he is forced to acknowledge the spiritual vacuum that has left him feeling ultimately dissatisfied, despite his wealth and fame. What elevates Le grande bellezza beyond the familiar cinematic trope of ‘middle-aged man seeks meaning in life’ is the fundamental connection that director Paolo Sorrentino forges between the man and the city.
A new 3:AM column by John P. Houghton.
It allows the traumas described by the album to seem objective, rather than just a subjective account of Edwards’ brilliant, overreaching mind. On The Holy Bible the relentless chronicling of modern-day evils becomes overpowering. Here the effect of the essay is – perhaps in tribute – similar. Yet, as an account of an artistic era, a description of a political context, and as an interpretation, Jones’ essay is validating. Its framework joined the dots of various concerns I have long had about the politics of the late twentieth century.
Guy Mankowski on a three-fold contemporary assessment of the Manics’ The Holy Bible.
an epithet, a good one. a bell tower is foal
– hobbling over a century turn, over
the proverbial hill / if the boy knew
to gnaw and kick; to keep to yr pedestal,
to better judgement / what gets u a rosebush jaw.
never did finish that vase. no one knows
if it’s Bruegel’s, but they care
like hammered papyrus.
New poetry by Alison Graham.
Tom: Chocolate donuts
Drake: ….Chocolate donuts
Bruce: ……..Chocolate donuts. It’s true.
“You mean like chocolate covered? Or chocolate cake donuts.”
Tom: Chocolate covered
Bruce:…………….Chocolate … both probably
Chapter 17 of EJ Spode‘s novel The Oddity.
She tells me to
make small fists so they can find the blood flow,
and with each river that bubbles up I feel sparks of forgotten aggression. Swallow the needle. Search for a strength of tide.
They couldn’t find a vein; the body’s deserted.
Discard the needle and come forward with the axe.
You have permission to break open
the treasure chest.
New poetry by Katie Fanthorpe.
Since it might be extremely important for us to do something difficult, we can have excellent practical reasons to do it even if we don’t have evidence in light of which we can rationally predict that we will follow through with our decision. In those cases, we can rationally believe against the evidence: We can believe that we will do something difficult, even though we have evidence that there’s a significant chance that we will fail to follow through. If, however, we look to our evidence to settle the question of what we will do, when matters are up to us, we deny our freedom and we exhibit something akin to bad faith.
Continuing the End Times series, Richard Marshall interviews Berislav Marušić.
In 1968, at the height of a renewed political engagement in all areas of social life, Jean-Luc Godard stated: “There are two types of militant films, those we call ‘blackboard films’ and those known as Internationale films. The latter are the equivalent of chanting L’internationale during a demonstration, while the others prove certain theories that allow one to apply to reality what has been seen on screen” (La Gai savoir).
Louis Armand explores options for radicalised cinema.