Sometimes a Good Notion

Sasha Stone on the F Word

fem2I have been following and reading Sasha Stone for over a decade.  I do not always agree with her, but I do believe she has been integral to legitimizing online film criticism. She recently posted the following article: Schooling Shailene Woodley on the Word Feminist, and it is a must read.  Though I do feel that Ms. Stone should have probably taken a breath before she started typing, the article encapsulates why Woodley came off so embarrassingly ignorant in her interview with Time and in further interviews she has given on the subject.

I wanted to like Ms. Woodley, that is no longer possible, but it is not too late to correct the perpetuation of the ideas she is espousing. It is too important not to. There is too much at stake.

“Whatever each individual woman is facing; only she knows her biggest challenge. However, if we add up the problems that affect the biggest numbers of women, then issues having to do with physical safety and reproduction are still the biggest. Female bodies are still the battleground, whether that means restricting freedom, birth control and safe abortion in order to turn them into factories, or abandoning female infants because females are less valuable for everything other than reproduction. If you add up all the forms of gynocide, from female infanticide and genital mutilation to so-called honor crimes, sex trafficking, and domestic abuse, everything, we lose about 6 million humans every year just because they were born female. That’s a holocaust every year. It makes sense that reproductive freedom is still the biggest issue – because the reason females got in this jam in the first place was because the patriarchal state or religion or family wanted to control reproduction — to decide how many workers, how many children the nation needs, and who owned them in systems of legitimacy — or even outright slavery. The International Labor Organization says there are about 12 million people living in literal slavery around the world, and 80 percent of them are women and girls.”

                                                                                                                                                  Gloria Steinem

On The Pulse Of Morning

 

A Rock, A River, A Tree
Hosts to species long since departed,
Marked the mastodon.

The dinosaur, who left dry tokens
Of their sojourn here
On our planet floor,
Any broad alarm of their hastening doom
Is lost in the gloom of dust and ages.

But today, the Rock cries out to us, clearly, forcefully,
Come, you may stand upon my
Back and face your distant destiny,
But seek no haven in my shadow.

I will give you no more hiding place down here.

You, created only a little lower than
The angels, have crouched too long in
The bruising darkness,
Have lain too long
Face down in ignorance.

Your mouths spilling words
Armed for slaughter.

The Rock cries out today, you may stand on me,
But do not hide your face.

Across the wall of the world,
A River sings a beautiful song,
Come rest here by my side.

Each of you a bordered country,
Delicate and strangely made proud,
Yet thrusting perpetually under siege.

Your armed struggles for profit
Have left collars of waste upon
My shore, currents of debris upon my breast.

Yet, today I call you to my riverside,
If you will study war no more. Come,

Clad in peace and I will sing the songs
The Creator gave to me when I and the
Tree and the stone were one.

Before cynicism was a bloody sear across your
Brow and when you yet knew you still
Knew nothing.

The River sings and sings on.

There is a true yearning to respond to
The singing River and the wise Rock.

So say the Asian, the Hispanic, the Jew
The African and Native American, the Sioux,
The Catholic, the Muslim, the French, the Greek
The Irish, the Rabbi, the Priest, the Sheikh,
The Gay, the Straight, the Preacher,
The privileged, the homeless, the Teacher.
They hear. They all hear
The speaking of the Tree.

Today, the first and last of every Tree
Speaks to humankind. Come to me, here beside the River.

Plant yourself beside me, here beside the River.

Each of you, descendant of some passed
On traveller, has been paid for.

You, who gave me my first name, you
Pawnee, Apache and Seneca, you
Cherokee Nation, who rested with me, then
Forced on bloody feet, left me to the employment of
Other seekers–desperate for gain,
Starving for gold.

You, the Turk, the Swede, the German, the Scot …
You the Ashanti, the Yoruba, the Kru, bought
Sold, stolen, arriving on a nightmare
Praying for a dream.

Here, root yourselves beside me.

I am the Tree planted by the River,
Which will not be moved.

I, the Rock, I the River, I the Tree
I am yours–your Passages have been paid.

Lift up your faces, you have a piercing need
For this bright morning dawning for you.

History, despite its wrenching pain,
Cannot be unlived, and if faced
With courage, need not be lived again.

Lift up your eyes upon
The day breaking for you.

Give birth again
To the dream.

Women, children, men,
Take it into the palms of your hands.

Mold it into the shape of your most
Private need. Sculpt it into
The image of your most public self.
Lift up your hearts
Each new hour holds new chances
For new beginnings.

Do not be wedded forever
To fear, yoked eternally
To brutishness.

The horizon leans forward,
Offering you space to place new steps of change.
Here, on the pulse of this fine day
You may have the courage
To look up and out upon me, the
Rock, the River, the Tree, your country.

No less to Midas than the mendicant.

No less to you now than the mastodon then.

Here on the pulse of this new day
You may have the grace to look up and out
And into your sister’s eyes, into
Your brother’s face, your country
And say simply
Very simply
With hope
Good morning.

pulse

Catch of The Day: Massive Scale Online Collaboration

This Man just rocked my brain.

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Catch of the Day: David Lynch on Where Ideas Come From

I just had this conversation with my Screenwriting 1 Class this week.  Very well put by the ever insightful David Lynch.

New & Notable: SLOMO

Dir: Josh Izenberg

A beautiful documentary about a man who found the light and now pursues his own form of divinity. You can call him crazy or you can call him free, however you interpret it will say more about you than it does about him.

Izenberg needs to be commended here on some gorgeous cinematography and style. His camera glides, very much like Slomo, throughout most of the film to excellent effect. There is also a surprising mix of styles that blend together naturally. The director uses animation, time lapse, and slow-motion to enhance his subject’s story. He keeps it visually compelling which adds a playfulness to the narrative that matches the own inner freedom the Slomo seems to be experiencing.

Do what you want.

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Catch of the Day: Candy Chang: Before I Die…

This is beautiful.

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New & Notable: 43,000 Feet

Directed By: Campbell Hooper

“My name is John Wilkins. I’m a statistician.  And I have a few things to say to those that will one day find themselves in the position of trying to survive falling from a great height.” 

images (1)When statistician John Wilkins is sucked out of a plane at 43000 feet, he calculates that he has exactly 3 minutes and 48 seconds before he hits the ground.  This is devilishly witty writing because it is mostly all a ruse. As this man contemplates the past and the future, it is his current predicament that is most clearly in his head.  The present triggers his contemplation, it leads to the conclusion that only the past matters, and he accepts his utter lack of control over the present with a simple “Good Luck”.  It’s funny as hell and a little bit scary.

Hooper relishes in the humor and does it with great visual style. The color and lack of clarity as it relates to the physical world allows the audience to focus entirely on the words. He never gives a full picture, but each frame is beautifully composed.  His manipulation of the image serves as a terrific counterpoint to the eerily monotone voice that carries the narration. His angles, sound, and the sudden changes in style drive up the tension very effectively. This is a must see.

Catch of the Day: Joaquin Phoenix on Fresh Air

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I heard this the other day on NPR. It’s always great when you get  an actor to talk about their craft,  even if they do so reluctantly. I love the fact that he refers to himself as an employee with a “job to do”.  This is definitely worth a listen.

 

Catch of the Day: Manohla Dargis’ Appeal for Sanity

Last week, New York Time’s film critic Manohla Dargis provided her assessment of the independent film business.  This is a must read for anyone who loves movies.

But I have a little favor to ask of the people cutting the checks: Stop buying so many movies. Or 1960-PSYCHO-001at least take a moment and consider whether flooding theaters with titles is good for movies and moviegoers alike. Because no matter how exciting Sundance will be this year, no matter how aesthetically electrifying, innovative and entertaining the selections, it’s hard to see how American independent cinema can sustain itself if it continues to focus on consumption rather than curation. There are, bluntly, too many lackluster, forgettable and just plain bad movies pouring into theaters, distracting the entertainment media and, more important, overwhelming the audience. Dumping “product” into theaters week after week damages an already fragile cinematic ecosystem.

It reminded a little of Short of the Week’s “Good” v “Great” essay.

Here is the article link

As Indies Explode, an Appeal for Sanity. Flooding Theaters Isn’t Good for Filmmakers or Filmgoers

New & Notable: Dog Meets Goose

Directed by John Bryant Crawford

2933920_origTragic characters are those with an inability to reason through the events of their lives in ways that seem appropriate to the rest of us.  There is a sense of inevitability that permeates a tragedy as a pattern begins to develop in the choices the characters make.  Great tragic characters will lead you to their disastrous conclusions expediently.  Their choices unravel in falling action that ultimately leads to their demise.  Dog Meet Goose, Directed by Jon Bryant Crawford is such a tale.

It is the story of a registered sex offender who gets an unexpected visit from a teenage boy.  Needless to say, it is NOT SAFE FOR WORK.   The performances and the direction here are a triumph.  I did not want to watch in full anticipation that whatever was going to happen was not going to be good, and at the same time I could not look away. This is provocative cinema the likes of which you would expect to see from Harmony Korine or Von Trier.

There is also something about this film that is representative of a tragedy that is particularly American.  Tragic heroes, in the classical and Elizabethan approaches, are men of renown who fall from immense heights.  American tragic heroes, like “MAN”, our unsuspecting sex offender, are downtrodden when they begin their journey.  They don’t have far to go to hit rock bottom, and once their tragic flaws are laid bare it is most usually shameful and difficult to watch.

If you have the stomach for something difficult, then I highly recommend this film.

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