Roger Henry sent me this link earlier this year, but it seems even more appropriate now:
I wonder how many budding documentarians will try to replicate the 1963 effort?
H/T to Ghost of a Flea for the reminder.
December 5, 2010
Worst Autumn snowfall in Britain since 1963
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December 4, 2010
QotD: “Every futuristic vision that starts with a clean slate has a genocide or an apocalypse lurking in it”
Here’s a clip of HG Wells in 1943 predicting the demise of the newspaper, as people abandon print journalism in favor of using their telephones for up-to-the-minute news.
In one way, it’s very prescient — “using the telephone to get the news” isn’t so far off from what we do on the web today. But in another way, it’s exactly wrong (after all, it’s been nearly 70 years and there are still newspapers), And it’s wrong in a way that futurists are often wrong: it assumes a clean break with history and the positive extinction of the past. It predicts an information landscape that is reminiscent of the Radiant Garden Cities that Jane Jacobs railed against: a “modern” city that could only be built by bulldozing the entire city that stood before it and building something new on the clean field that remained. Every futuristic vision that starts with a clean slate has a genocide or an apocalypse lurking in it. Real new cities are build through, within, around, and alongside of the old cities. They evolve.
As Bruce Sterling says, “The future composts the past.” What happened to newspapers is what happened to the stage when films were invented: all the stuff that formerly had to be on the stage but was better suited to the new screen gradually migrated off-stage and onto the screen (and when TV was invented, all the “little-screen” stories that had been shoehorned onto the big screen moved to the boob-tube; the same thing is happening with YouTube and TV today). Just as Twitter is siphoning off all the stuff we used to put on blogs that really wanted to be a tweet.
Cory Doctorow, “Newspapers are dead as mutton – HG Wells, 1943 (No, they’re not)”, BoingBoing, 2010-12-03
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December 1, 2010
“London Calling” to come to the big screen
Fans of The Clash, your film is in production:
The creation of classic album London Calling by punk band The Clash is to form the basis of a new music biopic.
Former Clash members Paul Simonon and Mick Jones will executive produce the film, named after the 1979 record.
Playwright Jez Butterworth will pen the script, which will tell how producer Guy Stevens worked with the band to create their most celebrated disc.
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November 23, 2010
A Whedon-less reboot of “Buffy”
The good news: they’re talking seriously about doing a cinematic reboot of “Buffy the Vampire Slayer”. The bad news: Joss Whedon won’t be anywhere near it:
Joss Whedon, who created Buffy for the original 1992 film and subsequently guided her to TV success, will play no part in the project.
Although Whedon wrote, produced and directed the hit TV series, he apparently does not own the film rights. He told E! Online: “There is no legal grounds for doing anything other than sighing audibly.”
Anderson is aware that in Whedon’s absence, “the most devoted fans of the old series will be keeping a skeptical eye on this nascent revival – and sharpening their wooden stakes”.
She assured the LA Times, though, that she’d “take the touchstones of the Whedon world but frame them in ‘a new story’ that is very much of the moment”.
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November 13, 2010
Train movies, and movies with trains
Donald Liebenson at Armchair Commentary has a large (but probably not complete) list of films about or featuring trains:
“Everybody loves the sound of a train in the distance,” Paul Simon sings, “Everybody thinks it’s true.” There’s nothing truer. Nothing pierces the heart like a lonesome train whistle. Nothing holds the promise of mystery, romance, and adventure like a train bound for somewhere. That thundering locomotive in the kick-ass trailer for Unstoppable looks like it’s bound for trouble. While waiting to see if Denzel Washington and Chris Pine can avert disasters in their path, let’s take a scenic journey aboard some of the most memorable movies in which trains played scene-stealing roles. (The Polar Express is not on this list. Those dead-eyed children give me the creeps).
H/T to Jeff Shultz for the link.
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October 12, 2010
Female characters in modern fiction
The Female Character Flowchart looks at “the one- and two-dimensional female characters we see over and over again in modern fiction.”
Click image to see full size flowchart
H/T to Royce McDaniels for the link.
Mitch Miller, drawing upon years of “men are simple/women are complicated” media memes, responded:
Wow! That’s a lot of female characters, considering that there’s only five male characters:
The Good Guy
The Bad Guy
The Good Bad Guy
The Bad Good Guy
and
The Sidekick
October 1, 2010
Freakonomics trailer
Since reading the book(s), I often find myself in discussions using the term “incentives” (especially in the sense of perverse incentives: those which produce the opposite of the desired effect). I think there’s much value in this approach to problem solving, and I’m looking forward to seeing the movie.
Update: I guess I’ve gotten out of the habit of seeing movies at all. Freakonomics is in the theatres now, but I seem to have uninstalled the movie theatre information app on my iPhone . . . it figures: it doesn’t appear to be playing anywhere near here.
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August 24, 2010
July 26, 2010
You’d have to say that they’re still following his guidelines
In an issue of Granta several years back, Binyavanga Wainaina provided some highly detailed guidelines for western writers to use in their work about Africa. Based on the results, you’d have to say that his guidance has been taken to heart by most novelists, journalists, and television personalities:
Always use the word ‘Africa’ or ‘Darkness’ or ‘Safari’ in your title. Subtitles may include the words ‘Zanzibar’, ‘Masai’, ‘Zulu’, ‘Zambezi’, ‘Congo’, ‘Nile’, ‘Big’, ‘Sky’, ‘Shadow’, ‘Drum’, ‘Sun’ or ‘Bygone’. Also useful are words such as ‘Guerrillas’, ‘Timeless’, ‘Primordial’ and ‘Tribal’. Note that ‘People’ means Africans who are not black, while ‘The People’ means black Africans.
Never have a picture of a well-adjusted African on the cover of your book, or in it, unless that African has won the Nobel Prize. An AK-47, prominent ribs, naked breasts: use these. If you must include an African, make sure you get one in Masai or Zulu or Dogon dress.
In your text, treat Africa as if it were one country. It is hot and dusty with rolling grasslands and huge herds of animals and tall, thin people who are starving. Or it is hot and steamy with very short people who eat primates. Don’t get bogged down with precise descriptions. Africa is big: fifty-four countries, 900 million people who are too busy starving and dying and warring and emigrating to read your book. The continent is full of deserts, jungles, highlands, savannahs and many other things, but your reader doesn’t care about all that, so keep your descriptions romantic and evocative and unparticular.
Make sure you show how Africans have music and rhythm deep in their souls, and eat things no other humans eat. Do not mention rice and beef and wheat; monkey-brain is an African’s cuisine of choice, along with goat, snake, worms and grubs and all manner of game meat. Make sure you show that you are able to eat such food without flinching, and describe how you learn to enjoy it — because you care.
H/T to Gerard Vanderleun for the link.
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July 9, 2010
Matt Ridley on the onrush of DOOM!
Matt Ridley is about the same age as I am, and he clearly heard all the same warnings, predictions, and prophecies of doom that I heard when I was a teen:
When I was a student, in the 1970s, the world was coming to an end. The adults told me so. They said the population explosion was unstoppable, mass famine was imminent, a cancer epidemic caused by chemicals in the environment was beginning, the Sahara desert was advancing by a mile a year, the ice age was retuning, oil was running out, air pollution was choking us and nuclear winter would finish us off. There did not seem to be much point in planning for the future. I remember a fantasy I had — that I would make my way to the Hebrides, off the west coast of Scotland, and live off the land so I could survive these holocausts at least till the cancer got me.
I am not making this up. By the time I was 21 years old I realized that nobody had ever said anything optimistic to me — in a lecture, a television program or even a conversation in a bar — about the future of the planet and its people, at least not that I could recall. Doom was certain.
The next two decades were just as bad: acid rain was going to devastate forests, the loss of the ozone layer was going to fry us, gender-bending chemicals were going to decimate sperm counts, swine flu, bird flu and Ebola virus were going to wipe us all out. In 1992, the United Nations Earth Summit in Rio de Janeiro opened its agenda for the twenty-first century with the words `Humanity stands at a defining moment in history. We are confronted with a perpetuation of disparities between and within nations, a worsening of poverty, hunger, ill health and illiteracy, and the continuing deterioration of the ecosystems on which we depend for our well-being.’
And as we all know, it all came true . . .
Ridley’s latest book is The Rational Optimist, which I thoroughly enjoyed reading. I didn’t always agree with it, but it was refreshing reading material. Recommended.
June 23, 2010
Bunch of “radical extremists”
Protest groups at the G20? No, the Heritage Minister’s sweeping characterization of the people and organizations opposed to the new copyright bill:
So when Moore warns about radical extremists opposing C-32, who is he speaking of? Who has criticized parts of the bill or called for reforms? A short list of those critical of the digital lock provisions in C-32 would include:
* Liberal MPs
* NDP MPs
* Bloc MPs
* Green Party
* Canadian Consumer Initiative
* Association of Universities and Colleges of Canada
* Canadian Association of University Teachers
* Canadian Federation of Students
* Canadian Library Association
* Business Coalition for Balanced Copyright
* Retail Council of Canada
* Canadian Bookseller Association
* Documentary Organization of Canada
While there are bound to be a few individual “radical extremists” in any organization, these particular groups aren’t known for their bomb-throwing agitator ways.
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June 17, 2010
“Most culture funding inevitably pays for crap”
While providing some deeper explanation for the not-really-in-context sound bite provided by Alberta’s culture minister, Lindsay Blackett, Colby Cosh points out the truth of the matter:
The other knowledge that critics ought to be prepared to display is some familiarity with the material Blackett’s department actually funds. I figure you can’t say it’s not crap unless you’ve at least poked it with a stick. Can the indignant Paul Gross, who received $5.5 million from the Alberta taxpayer for Passchendaele, claim intimate familiarity with In a World Created by a Drunken God or Caution: May Contain Nuts or The Last Rites of Ransom Pride? If not, then why is he shooting off his mouth? It would surely be much more sensible for Gross and for like-minded critics to admit that most culture funding inevitably pays for crap — that the arts world is, in fact, a colossal pyramid of crap, inherently necessary to provide the nurturing and elevating environment from which a few items of permanent value might spring.
But that is something the culturati can never admit. Kirstine Stewart, the general manager of CBC’s English television operations, reacted in the Globe to Blackett’s comments by saying “Nobody can ever question the quality of what we do here in Canada, creatively or otherwise.” Surely this is a much more revealing and intriguing comment than Blackett’s. Does she mean that questioning the quality of Canadian television and film is literally impossible? Or just that criticism is inherently objectionable, a malum in se? And at the risk of appearing to take sides, I must ask: which attitude ultimately seems more healthy and likely to encourage improvement — Blackett’s, or Stewart’s?
Of course, a sensible government wouldn’t be spending any tax money on subsidies for TV and movie production (New Zealand’s most recent study showed a pretty big net loss for their various cultural tax breaks and subsidy programs).
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June 8, 2010
QotD: Remaking Gulliver’s Travels
The reimagined Gulliver’s Travels is probably going to be bad. But at least we’re in for an entertaining time when Swift inevitably rises from the grave to seek revenge on everyone involved.
“Gulliver”, “Jack Black meets Jonathan Swift?”, The Economist, 2010-06-05
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June 2, 2010
New copyright bill introduced
It’s not yet online, so I haven’t read it myself (and, not being a lawyer, it might not be a good use of my time). Michael Geist has, however, and provides a useful summary of the good and the bad:
The bill contains some important extensions of fair dealing, including new exceptions for parody, satire, and (most notably) education. It also contains more sensible time shifting and format shifting provisions that still feature restrictions (they do not apply where there is a digital lock) but are more technology neutral than the C-61 model. There is also a “YouTube exception” that grants Canadians the right to create remixed user generated content for non-commercial purposes under certain circumstances. While still not as good as a flexible fair dealing provision, the compromise is a pretty good one. Throw in notice-and-notice for Internet providers, backup copying, and some important changes to the statutory damages regime for non-commercial infringement and there are some provisions worth fighting to keep.
Yet all the attempts at balance come with a giant caveat that has huge implications for millions of Canadians. The foundational principle of the new bill remains that anytime a digital lock is used — whether on books, movies, music, or electronic devices — the lock trumps virtually all other rights. In other words, in the battle between two sets of property rights — those of the intellectual property rights holder and those of the consumer who has purchased the tangible or intangible property — the IP rights holder always wins. This represents market intervention for a particular business model by a government supposedly committed to the free market and it means that the existing fair dealing rights (including research, private study, news reporting, criticism, and review) and the proposed new rights (parody, satire, education, time shifting, format shifting, backup copies) all cease to function effectively so long as the rights holder places a digital lock on their content or device.
It’s not quite the total surrender to the entertainment rights holders that many feared, but it’s certainly not the best deal for consumers. Bottom line:
For the glass half-full, the compromise positions on fair dealing, the new exceptions, and statutory damages are not bad — not perfect — but better than C-61. For the glass half-empty, the digital lock provisions are almost identical to C-61 and stand as among the most anti-consumer copyright provisions in Canadian history. Not only are they worse than the U.S. DMCA, but they undermine much of the positive change found in the rest of the bill. In the days and weeks ahead, Canadians must speak out to ensure that the compromise positions found in C-32 remain intact and that the digital lock provisions move from the no-compromise category to the compromise one.
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