Quotulatiousness

May 22, 2012

Lucasfilm fires Parthian shot in “retreat”

Filed under: Media, Politics, USA — Tags: , , , , — Nicholas @ 10:14

In the New York Times, Norimitsu Onishi reports on recent developments (if you’ll pardon the expression) in Marin County, California:

In 1978, a year after “Star Wars” was released, George Lucas began building his movie production company far from Hollywood, in the quiet hills and valley of Marin County here just north of San Francisco. Starting with Skywalker Ranch, the various pieces of Lucasfilm came together over the decades behind the large trees on his 6,100-acre property, invisible from the single two-lane road that snakes through the area.

And even as his fame grew, Mr. Lucas earned his neighbors’ respect through his discretion. Marin, one of America’s richest counties, liked it that way.

But after spending years and millions of dollars, Mr. Lucas abruptly canceled plans recently for the third, and most likely last, major expansion, citing community opposition. An emotional statement posted online said Lucasfilm would build instead in a place “that sees us as a creative asset, not as an evil empire.”

If the announcement took Marin by surprise, it was nothing compared with what came next. Mr. Lucas said he would sell the land to a developer to bring “low income housing” here.

“It’s inciting class warfare,” said Carolyn Lenert, head of the North San Rafael Coalition of Residents.

It’s lovely to see NIMBY-ism spiked on its own hypocritical underpinnings. Just the threat of allowing “the other” into their lovely 1% outpost will be enough to rattle cages and upset the (self-nominated) “great and the good”:

Whatever Mr. Lucas’s intentions, his announcement has unsettled a county whose famously liberal politics often sits uncomfortably with the issue of low-cost housing and where battles have been fought over such construction before. His proposal has pitted neighbor against neighbor, who, after failed peacemaking efforts over local artisanal cheese and wine, traded accusations in the local newspaper.

The staunchest opponents of Lucasfilm’s expansion are now being accused of driving away the filmmaker and opening the door to a low-income housing development. That has created an atmosphere that one opponent, who asked not to be identified, saying she feared for her safety, described as “sheer terror” and likened to “Syria.”

Update: Jesse Walker comments at Hit and Run:

Lucas hasn’t always been a force for good in land-rights fights: His same statement that complains about the barriers to building on his property also complains that he wasn’t able to put up similar barriers himself when a developer built a neighborhood nearby. But that’s forgiven now. You have to appreciate a move that will simultaneously achieve four worthy goals: making housing more affordable for the poor, showing up the hypocrisies of the local limousine liberals, taking revenge (whether or not Lucas wants to call it that) on the people who restricted his property rights, and setting off a reaction that promises to be far more entertaining than any of the director’s recent movies.

May 20, 2012

“If I were to lose 14 pounds, I’d have to part with both arms. And a foot.”

Filed under: Health, Media — Tags: , , , , — Nicholas @ 09:57

Scarlett Johansson at the Huffington Post on healthy living and healthy weight:

People come in all shapes and sizes and everyone has the capability to meet their maximum potential. Once filming is completed, I’ll no longer need to rehash the 50 ways to lift a dumbbell, but I’ll commit to working out at least 30 minutes a day and eating a balanced diet of fruit, vegetables and lean proteins. Pull ups, crunches, lunges, squats, jumping jacks, planks, walking, jogging and push ups are all exercises that can be performed without fancy trainers or gym memberships. I’ve realized through this process that no matter how busy my life may be, I feel better when I take a little time to focus on staying active. We can all pledge to have healthy bodies no matter how diverse our lifestyles may be.

Since dedicating myself to getting into “superhero shape,” several articles regarding my weight have been brought to my attention. Claims have been made that I’ve been on a strict workout routine regulated by co-stars, whipped into shape by trainers I’ve never met, eating sprouted grains I can’t pronounce and ultimately losing 14 pounds off my 5’3″ frame. Losing 14 pounds out of necessity in order to live a healthier life is a huge victory. I’m a petite person to begin with, so the idea of my losing this amount of weight is utter lunacy. If I were to lose 14 pounds, I’d have to part with both arms. And a foot. I’m frustrated with the irresponsibility of tabloid media who sell the public ideas about what we should look like and how we should get there.

Every time I pass a newsstand, the bold yellow font of tabloid and lifestyle magazines scream out at me: “Look Who’s Lost It!” “They Were Fabby and Now They’re Flabby!” “They Were Flabby and Now They’re Flat!” We’re all aware of the sagas these glossies create: “Look Who’s Still A Sea Cow After Giving Birth to Twins!” Or the equally perverse: “Slammin’ Post Baby Beach Bodies Just Four Days After Crowning!”

According to the National Eating Disorders Association (NEDA), as many as 10 million females and 1 million males living in the US are fighting a life and death battle with anorexia or bulimia. I’m someone who has always publicly advocated for a healthy body image and the idea that the media would maintain that I have lost an impossible amount of weight by some sort of “crash diet” or miracle workout is ludicrous. I believe it’s reckless and dangerous for these publications to sell the story that these are acceptable ways to looking like a “movie star.”

May 12, 2012

Scott Feschuk on the Cannes line-up

Filed under: France, Humour, Media — Tags: , — Nicholas @ 09:45

Not so much with the accuracy in titles, but certainly accurate on content:

The Cannes Film Festival is once again showcasing its usual fare of upbeat, crowd-pleasing entertainment. I’ve not entirely been paying attention, but here’s what’s playing so far as I can tell:

Despair and Isolation — Several orphans struggle to comprehend the human condition in a cruel world where the only constants are heartbreak and suffering. Running time: six hours.

Isolation, Despair and also Anguish — Several thinner orphans struggle to comprehend the human condition while wheezing in a crueller world where the only constants are heartbreak, suffering and their leprosy (the skin kind and the social kind). Running time: six hours.

Despair, Anguish, Further Anguish and a Shaky Hand-held Camera — Several orphans struggle to comprehend the human condition, but without going outside, because the film’s budget is only $19. Running time: 33 hours (couldn’t afford fancy “editing” machine).

[. . .]

The Triumph of Love — Turns out the title is pretty misleading. This “Love” guy is a serial killer who targets orphans whose parents were murdered by other serial killers who themselves were orphans.

May 5, 2012

Why most SF (and SF-ish) movies suck

Filed under: Books, Media — Tags: , — Nicholas @ 11:29

In a long post about the death of genre, Charles Stross explains why most science fiction movies are awful:

Well, the process has already begun (indeed, is well under way) in some other media: in film, for example, around 30% of the big budget movies to come out of Hollywood each year are recognizably science fiction. I mean, aliens: that’s a pretty obvious signifier, isn’t it? And Hollywood feels no need to market these movies as SF; they just are, big budget glossy special-effects beanfests featuring aliens. They’re grown-up, quite capable of finding their own audiences. But something is missing upstairs. They’re the sixty-foot-tall armoured cyborg idiot children of our genre. All fire and tantrums and no cerebral context whatsoever. There’s no internal genre dialog going on, and precious little introspection. (Yes, you can name exceptions like “GATACA”; the fact that you have to note the exceptions is itself a warning sign.)

I am not sure it is possible to write introspective, complex SF as a screen medium. The natural length of a feature movie is around 120 minutes; the traditional movie script runs at one page per minute, with 250 words per page — that buys you, in literary terms, a novella. Add in the expectations of studio executives and the dumbing-down effects of editing by committee you end up with huge pressure to make the script commercial rather than complex. Some director/scriptwriters have the clout to get what they want: but then you end up, as often as now, with George Lucas. Nor is there much scope for a dialog in which directors build on someone else’s ideas. So a large chunk of cinematic SF is stuck, spinning its wheels, mistaking ever better special effects and ever bigger first weekend box-office draws for progress.

May 1, 2012

The Duel at Blood Creek, a short film

Filed under: History, Humour, Media — Tags: — Nicholas @ 10:30

A lovely little film that works well on several different levels.

April 24, 2012

The Hunger Games as a fictionalized version of the UN’s “Agenda 21”

Filed under: Books, Government, Liberty, Media — Tags: , , , — Nicholas @ 09:25

In a letter published in the most recent issue of Libertarian Enterprise, David Walker points out the quite notable similarities between the fictional world portrayed in The Hunger Games and the United Nations’ Agenda 21:

The Hunger Games “universe” is the inevitable result at the attempt to implement Agenda 21.

  • Herding the population into tightly controlled resource production “districts”.
    While there are no “arcologies/super cities” as forwarded by Agenda 21, I don’t think such things could possibly be created by such a system anyway. The Agenda 21 structure is simply too anti-technological and too government heavy. The “Hunger Games” police state “Districts” is a much more believable result of enforced population reduction & control.
  • In the “country” of “Panem” no one is allowed out into “the wild”. Agenda 21 demands “rewilding” of all space outside of habitation districts. In the Hunger Games, crossing the electrified fence can get you shot. Killing wild game (poaching the government’s animals) will get you shot. Pristine Earth policed with heavy weapons. Sound familiar?
  • Travel is largely by High Speed Rail, and solely by High Speed Rail between Districts. Cars/trucks are only mentioned in the Capitol. The more poor the district, the more likely you are to be forced to walk everywhere. Only the Military has anything resembling air travel and even that is curtailed (one character dreams/reminisces about winged flight vs. hovercraft).
  • The utter disdain for Carbon Based Fuels.
    The Heroine from Hunger Games comes from the Coal Producing District (District 12). As described, there simply could not be enough coal produced by that district to have coal be a viable energy source, therefore the coal must be being used for other non-energy-related tasks. Likewise, “District 12” is the pariah of the Districts. Nobody loves Coal, and nobody loves the people who produce it. “Power” is produced by a nameless “District 5” by nameless means, though Nuclear is suggested on the website.
  • There is no Religion in the Hunger Games world.
    Agenda 21 specifically declares non-pantheistic/non-“natural” religions (particularly Judaism, Islam & Christianity) as something that must be eliminated. “Nature worship” is apparently OK.
  • The Government is Hollywood/Hollywood is Government.
    Hollyweirdoes love Agenda 21. The 3 books of the series are not kind to Hollywood and the kind of government the majority of those weirdoes would create. It presents “The Capitol” as a cross between San-Francisco Body Modification, Hollywood & Rome where nonproductive decadence, self importance, absurd vanity and utter banality are the rule. Any wonder the Movie(s) (will) suppress this aspect of the books?

Other Themes, late in the series: Revolutions aren’t always led by noble causes.

April 20, 2012

Reason.tv: Too Much Copyright

Filed under: Law, Liberty, Media — Tags: , , , , , , , — Nicholas @ 07:45

“This disconnect between the public’s view of copyright and fair use and what should and should not be prosecuted, versus the ‘copyright maximist’ view of the law, is our generation’s Prohibition,” says Ben Huh, CEO and founder of Cheezburger and a loud voice in the recent backlash to SOPA and PIPA, two congressional bills aimed at curbing internet piracy.

Copyright exists to “promote the useful arts” according to the Constitution. But is it still doing that? And should the government protect so-called “intellectual property” in the same way it protects other forms of property? Reason.tv posed these questions to Ben Huh, as well as a professor and a movie studio representative.

Tom Bell, a law professor specializing in property law, has serious reservations about attempts by groups like the Motion Picture Association of America (MPAA) to equate property and copyright through ad campaigns admonishing viewers with messages like, “You wouldn’t steal a car. Downloading pirated movies is stealing.”

“As soon as we start using [the word] ‘copyright’ for ‘property,’ we start taking less seriously our property rights for things like cars and houses,” says Bell. “When you steal a candy bar or a car, you’ve left somebody without something to eat or something to drive.”

April 14, 2012

Colombia tries to butter up Obama with “quickie” SOPA rules

Colombia buckles under intense US lobbying to introduce SOPA-like copyright rules in time for President Obama’s visit:

President Obama is heading to Colombia this weekend for a summit, and we’d been hearing stories that US officials had been putting tremendous pressure on Colombian officials to pass new, ridiculously draconian copyright laws ahead of that visit. So that’s exactly what the Colombian government did — using an “emergency procedure” to rush through a bad bill that is quite extreme.

Earlier this year, Colombia tried to pass basically the same bill, which was called LesLleras, after Interior Minister German Vargas Lleras (who proposed it). That bill was so extreme that it resulted in SOPA-like protests, following significant concerns raised by the public as well as copyright and free speech experts. So, this time around, the government just claimed it was an emergency and rushed the bill through, despite all of its problems. They seemed to think that the public wouldn’t notice — but they’re wrong.

As is typical of idiotic trade agreements pushed via the USTR — who only seems to listen to Hollywood on these issues — the copyright bill includes all sorts of draconian enforcement techniques and expansions of existing copyright law, and removal of free speech rights. But what it does not include are any exceptions to copyright law — the very important tools that even the US Supreme Court admits are the “safety valves” that stop copyright law from being abusive, oppressive and contrary to freedom of speech

March 25, 2012

Time Capsule: Red Mike’s review of Starship Troopers

Filed under: Humour, Media, Military — Tags: , , , — Nicholas @ 11:51

Robert A. Heinlein’s Starship Troopers is still one of my all-time favourite science fiction books. For that reason alone, I avoided going to see Verhoeven’s film “adaptation”. To more than make up for that, here’s a great review of the film … by that, I mean the review is great, not the film:

We start off with a news report from the surface of the planet Klendathu, the bugs’ home world, where you will instantaneously flash on that Korean-war era song,

    “Hear the sound of runnin’ feet
    It’s the old First Cav in full retreat
    They’re haulin’ ass,
    Not savin’ gas,
    They’ll soon be gone.”

Things are bad and getting worse, as a mob of Mobile Infantry types mill about, getting in each others’ lines of fire, screaming things like “Run for your life!” or words to that effect. It isn’t until later in the film that you discover that milling about is the only formation they practice regularly, and aimless running is their chief tactical mode.

[. . .]

Our heroes head to the surface, where they mill about some more. The concepts of formation, organization, and command and control appear to have been lost. They top a rise and stand in dumb amazement, one thumb in their mouth and one in their ass playing switch, as they see giant bugs expand with gas, then lift tail toward the sky and blast a blue-white fart of anti-spaceship gas up to where the fleet is in orbit.

Our guys stand shoulder to shoulder, firing at the mass of bugs, using a set of tactics that hasn’t worked well since Gettysburg. Actually, the guys at Gettysburg were a bit better better equipped for what they were doing, since they had artillery (a concept that has been lost, apparently) and weapons with an accurate range of over eight feet. Other lost concepts that would have proved Really Helpful here include close air support, mortars, air-dropped mines, barbed wire, fire, maneuver, cover, concealment, objectives, and useful orders. (I mean, “Kill everything that has more than two legs” is really neat, but “Go to coordinates XXYY, and set up a perimeter. Your covered arc runs from AA through CC. You’ll be linking up with Unit Name on your left and Other Unit Name on your right. Hold the position until you’re relieved by Unit Name. At that time go to YYZZ and await further orders” would have actually been helpful.) Nor, for that matter, do we have armored fighting vehicles, heavy machineguns, shoulder-launched missiles, or other stuff (a spray can of Raid?) that might have come in handy.

[. . .]

We go bug hunting again. And after an engagement that proves that a British Square from Waterloo would have done better than the MI at fighting bugs, we win anyway. We have a party! Dizzy and Johnny finally get it on. (I have to comment that I really liked the Special Effects in this film. Especially Dizzy’s left special effect and her right special effect. Carmen has even bigger special effects, but she never whips her shirt off so it’s hard to be sure.)

March 18, 2012

Can there ever be a “canonical” release of Abel Gance’s Napoleon?

Filed under: Europe, France, History, Media, Technology — Tags: , , — Nicholas @ 10:42

Manohla Dargis charts the incredibly rocky history of Abel Gance’s silent masterpiece Napoleon:

SOON after Abel Gance’s “Napoleon” had its premiere in Paris in 1927, he wrote a letter to his audience, soliciting open eyes and hearts. “I have made,” he wrote, “a tangible effort toward a somewhat richer and more elevated form of cinema.” He had created a film towering in ambition, scale, cost, narrative and technical innovations, and believed that nothing less than “the future of the cinema” was at stake. His audacity had merit. The origins of the widescreen image can be traced to “Napoleon,” which also featured hand-held camerawork, eye-blink-fast editing, gorgeous tints, densely layered superimpositions and images shot from a pendulum, a sled, a bicycle and a galloping horse.

The film was an astonishment, and it was doomed. One hurdle was its length — his early versions ran from 3 hours to 6 hours 28 minutes (down from 9 hours) — while other difficulties were posed by Gance’s advances, specifically a process later called Polyvision that extended the visual plane into a panorama or three separate images and that required three screens to show it. Partly as a consequence, distributors and exhibitors took harsh liberties: Metro-Goldwyn-Mayer cut it down to around 70 minutes for the American release, a butchering that seemed to encourage bad reviews. Gance continued to rework the film, adding sound for a 1935 version and, decades later, new material. Yet even as he was taking it apart, others — notably the British historian Kevin Brownlow — were trying to restore “Napoleon” to its original glory.

In truth “Napoleon,” as it was initially hailed, no longer exists, which raises ticklish questions about authorship. In his book on the film, Mr. Brownlow lists 19 versions of “Napoleon” — including those created by distributors, Gance and Mr. Brownlow himself, who for decades has tried to restore the long-lost full version.

It’s almost a metaphysical question: how can you re-create the “original” when even the creator was busy re-shaping it at every stage along the way? George Lucas looks like an arch-conservator in comparison to Gance’s efforts.

March 17, 2012

Schiaparelli’s ambiguous word choice and the lasting obsession with Mars

Filed under: Books, History, Italy, Media, Science, Space — Tags: , , — Nicholas @ 11:09

Scott Van Wynsberghe reviews the hold that fictitious Mars has held on the imagination since “canals” were observed:

Mars, the most obsessed-about extraterrestrial body in the universe, has come our way again. On March 9, Hollywood unveiled John Carter, the first film adaptation of a famous series of Martian adventures written by Edgar Rice Burroughs, better known as the creator of the jungle hero Tarzan. Burroughs’s Martian yarns act as a portal to 135 years of cultural history that really is out of this world.

The bizarre story of humanity’s modern entanglement with the Red Planet began in 1877, when Italian astronomer Giovanni Schiaparelli reported the existence of “canali” on the Martian surface. In Italian, that word can mean both “channels,” which are natural formations, and “canals,” which are not. According to science writer John Noble Wilford, that ambiguity was never cleared up.

[. . .]

Caught between science fiction and the supernatural, actual scientists were in trouble. French astronomer Camille Flammarion, for example, alternately wrote about Mars and reincarnation (1889) and Mars and science (1892). In 1900, the inventor Nikola Tesla announced that he had monitored transmissions from either Mars or Venus, but he was jeered (biographer Margaret Cheney thinks he was just detecting natural electromagnetic patterns in space). In 1921, radio pioneer Guglielmo Marconi thought he had received a signal from Mars, but that, too, went nowhere. The biggest offender, however, was American astronomer Percival Lowell.

In 1895, Lowell released the first of a series of books proclaiming that Mars was inhabited. The canali, he said, really were canals, supporting a civilization struggling to survive on a dying globe. Although rightly scorned by other astronomers, Lowell was a superb writer and a frequent lecturer — Robert Goddard, the father of American rocketry, heard him speak — so his message spread. (And, in a way, it is still spreading: Think of that recent, much-debunked conspiracy theory about a giant, sculpted face on the Martian surface.)

March 16, 2012

Copyright MathTM

Filed under: Economics, Media, Technology — Tags: , , , — Nicholas @ 13:38

Now remember kids: always buy your movies and other entertainment items legally. You’ll get this kind of experience:

And here’s the reason you pay for a legal copy, rather than being one of those evil pirates:

Update, 21 March: The actual numbers — “by an actual Copyright Mathematician” — behind the Copyright MathTM video.

March 14, 2012

Michael Geist rounds up the changes to Bill C-11

Filed under: Cancon, Law, Liberty, Media, Technology — Tags: , , , , , , — Nicholas @ 11:58

It’s not wonderful, but as he points out, it could have been much worse:

In the days leading up to the clause-by-clause review, many focused on three key issues: no SOPA-style amendments such as website blocking or warrantless disclosure of information, maintaining the fair dealing balance found in the bill, and amending the digital lock provisions. By that standard, the changes could have been a lot worse. The government expanded the enabler provision, though not as broadly as CIMA requested. Virtually all other copyright lobby demands – website blocking, notice-and-takedown, iPod tax, copyright term extension, disclosure of subscriber information – were rejected. Moreover, the provisions supported by consumer and education groups including user generated content protection, time shifting, format shifting, backup copies, Internet provider liability, and statutory damages reform were left untouched. This represents a major victory for the many Canadians and groups such as Open Media that spoke out on these issues.

The fair dealing provision was similarly left unchanged despite a full court press from publishers and copyright collectives who sought elimination of the education category within fair dealing (didn’t happen), inclusion of the Berne three step test in the law (didn’t happen) or a new fair dealing test that overrules the Supreme Court of Canada CCH test (didn’t happen). The expanded fair dealing provision will not cause the horrors claimed by those groups and it is heartening that the government dismissed the misinformation campaign.

The only loss was the least surprising — digital locks. Despite widespread support for compromise legislation and sensible amendments from both the NDP and Liberals, the government rejected any changes. Given the government’s consistent support for digital locks, the ongoing pressure from the U.S., and Prime Minister Harper’s direct intervention on the issue in 2010, amending the digital lock rules presented a major challenge. Government MPs yesterday emphasized the possibility of future new exceptions via regulation but that will be cold comfort in the short term to those with perceptual disabilities, researchers, documentary film makers, consumers, and the many others adversely affected by the restrictive approach. In fact, one NDP MP raised the possibility of constitutional challenges to the bill.

March 11, 2012

Conflicting reviews of John Carter

Filed under: Books, Media — Tags: , , , , — Nicholas @ 10:14

First up, Tim O’Reilly (of O’Reilly Books), who wasn’t impressed with the new movie:

Well, I was disappointed. Here are a few reasons:

1. The character of John Carter was all wrong — brutish and stupid, far from the chivalrous Virginia gentleman of the books. They abandoned the unabashed romanticism of Burroughs in favor of a modern anti-hero whose tortured path to falling in love with Dejah Thoris, a Princess of Mars, was completely unconvincing.

I wonder at this failure to grasp the simplicity of emotion that suffused the golden age of science-fiction. George Lucas nailed it perfectly in the first Star Wars trilogy. Nobility of purpose, idealism, the pure romance of a boy (or girl) who hasn’t yet experienced the complications of the real thing, adventure and the chance to make a big difference against impossible odds: these are the motivations of the genre.

2. Too much spectacle, not enough attention to character and story. And what spectacle there was was undistinguished. There was a certain steampunk grandiosity to the way they did the flying ships of Barsoom that I liked, and there were some stretches of Lake Powell as the River Iss that I found visually compelling.

On the other hand, ESR went in expecting to be disappointed and instead quite enjoyed the movie:

I’ve read all of the Barsoom novels the movie was based on, but they’re not important in the furniture of my imagination in the way that (say) Robert Heinlein’s books are. They’re very primitive pulp fiction which I sought out mainly because of their historical importance as precursors of later and more interesting work. Still, they are not without a certain rude, innocent charm. The heroes are heroic, the villains villainous, the women are beautiful, dying Mars is a backdrop suffused with barbaric splendor, and the prose is muscular and vigorous.

This translation to movie form retains those virtues quite a bit more faithfully than one might have expected. In doing so it reminded me very much of the 2009 Sherlock Holmes movie with Robert Downey Junior (see my review, A no-shit Sherlock). I didn’t get the powerful sense Sherlock Holmes gave me of the lead actors caring passionately about the source material, but the writers of John Carter certainly cared as much. A surprising amount of Burrough’s Barsoomian mythology and language made it into the movie. The barbarian Green Martians are rendered with gratifying unsentimentality, and the sense of Barsoom as an ancient planet with time-deep history and ancient mysteries is well conveyed.

If you’re me, reading the Barsoom novels is also an entertaining exercise in in origin-spotting tropes that would recur in later planetary romances and space operas clear down to the present day. The designers and writers of John Carter are alive to this; there are a number of points at which the movie visually quotes the Star Wars franchise in a funny, underlined way that reminds us that Barsoom was actually the ur-source for many of the cliches that Star Wars mined so successfully.

February 26, 2012

Reason.tv: Margaret Thatcher, Meryl Streep, & The Iron Lady

Filed under: Britain, History, Media — Tags: , , — Nicholas @ 09:08

« Newer PostsOlder Posts »

Powered by WordPress