Cinderella - The Non-Commissioned Officers - Make-Out With Violence (DVD, LP, Album)


Cinderella - The Non-Commissioned Officers - Make-Out With Violence (DVD, LP, Album)


Hypothecations derives from hypo "below" plus thecate "cover" ; thus, "underwear. Ha ha ha ha! As another example, the OED cites "the hypothecated jewels had been rifled. Cholly on Software On Managing Software Goddamned kindergarten world My geekiest college friends lived together one year off-campus, in a condo-like complex rented out both to students and to real people with families and jobs. Which could be rough on the real people, families, and jobs.

Once when my geeky friends were coming home, probably while working out all possible variants of a Monty Python sketch, they met one of their LP leaving for work; as respective doors closed, they heard him mutter "Goddamned kindergarten world. But now I'm starting to think maybe I'll wind up just muttering "Goddamned kindergarten world" nonstop instead. Or, what do you think, maybe I could do both? Like, one mutter for interiors and the other for commuting?

Continental Divide Excerpts from a poem by Frank O'Hara what does San Francisco have that we don't have a volunteer Fire Department and a Skid Row you're like a wall that shuts out all the sunshine from the park I don't want to be but I am Look, a knife has just dropped into the ocean.

They made it utterly impossible to identify God. They purged history of contemporary reference. Religion is the shadow of the obvious. On holidays you can see the shadow that the thing casts. When you rush bravely against the mirror shouting 'This is also my universe' you are likely merely to get a bloody nose.

That surface has no patience with violence. Today we're proud and kinda sad to present the final episode of Juliet Clark 's " The Dream Factory ". Let's hope that her subject has infected Clark with a touch of sequelitis In this movie I wanted to marry you, but social issues kept getting in the way. Labor struggles, for example: once we had a wedding, but the minister had to go out on strike before he could put the ring on my finger.

We chased him through the halls of the apartment building and into the street, but lost him in the crowd of striking preachers. After that you got disillusioned about marriage and started dating other people, including a tall, dark and sullen girl who worked at the candy counter with me. I used to be a lot smaller and blonder back then. We all went out to dinner at a restaurant, and to teach you a lesson I decided to disguise myself as the waitress.

I became even smaller and blonder, and more intriguing; everyone wanted to dance with me. But you kept getting distracted, and eventually I was so discouraged I turned into a piece of candy in a plastic box. Not a very appealing candy, either -- I was lumpy and misshapen, and my chocolate coating was a pale streaky brown. However, the minister eventually returned from the picket line and offered to finish the ceremony. We all met again at the restaurant and the preacher got ready to put the ring on my hand, but it was so huge it fell right off again.

I thought things might fall through again at any moment. I thought, "This wedding is even more suspenseful than the one in Hold Your Man! I was less glamorous than Jean Harlow, and not in a reformatory. But finally the wedding was complete, and we were both overcome with joy -- all our doubts and struggles were past.

All which our ordinary Students, right well perceiving in the Universities how unprofitable these Poetical, Mathematical, and Philosophical Studies are, how little respected, how few Patrons, apply themselves in all haste to those three commodious Professions of Law, Physick, and Computer Science, sharing themselves between them, rejecting these Arts in the mean time, History, Philosophy, Philology, or lightly passing them over, as pleasant toys fitting only table talk, and to furnish them with discourse.

They are not so behoveful: he that can tell his money hath Arithmetick enough : he is a true Geometrician, can measure out a good fortune to himself; a perfect Astrologer, that can cast the rise and fall of others, and mark their errant motions to his own use. The best Opticks are to reflect the beams of some great man's favour and grace to shine upon him.

He is a good Engineer that alone can make an instrument to get preferment. Doug Asherman queries: "Here's something probably no one cares about, but And the good books?

Are people in the arts laughing at us for buying their crap? And if so, what can we do about it? Disclaimer : Ray Davis is a paid contributor to The Salon. Despite my familiarity with Salon, I was surprised by the Reader's Guide.

It's like stooping to pick up what looks like an ordinary mediocre valise only to find that it's been packed full of mediocre lead bricks. According to the official mission statement, "We decided to let our contributors' enthusiasm and curiosity be our guides. In fact the book includes only two authors that really matter to me: Karen Joy Fowler given a short entry and Samuel R. Delany a short entry. Broadening my selection to writers I merely respect would add Elmore Leonard a short entry and Toni Morrison a long entry, because she publishes in the mainstream genre to the overlap.

And it's not because I haven't heard of the book's choices, which are beautifully if unintentionally parodied by John Updike's inset guide to "Timeless Novels about Loving," apparently repurposed from TV Guide : " Madame Bovary by Gustave Flaubert - A young bourgeois wife seeks spiritual and sexual fulfillment away from the marital bed and runs grievously into debt.

An idiosyncratic list is what you'd expect to get from a serious pleasure reader. Whereas the Salon. The depersonalized author selection ensembles beautifully with the reviewers' khaki prose. Dumbed down for ease of swallowing, it's the house style of virtually every free weekly paper: "authority" and "irreverence" and "wittiness" depilated of information or personality or humor.

Journalistic blatherers used to flatter their readership by pretending it was full of good taste and morality while somehow simultaneously dumb as a stump. Nowadays the readership's still dumb as a stump yet somehow full of detached ironic wit. Thus it makes sense that the only writer given full stylistic rein is "Pagliacci Dave" Eggers, who ends his celebrity roast of Kurt Vonnegut: "So. Vonnegut is good. If you like books, and like to read them even if they are easy to read and frequently funny, you will like the work of Kurt Vonnegut, a writer.

Also: He has a moustache. Or roll over. Do somethingman! Guess he's dead. Even John Clute, one of the most eccentric stylists ever to write a review, is sanded down to transparency here. Which is extra sad, since his argument against the tyranny of the "mainstream literary" genre lances so precisely the core of this book.

Restricting yourself to mainstream fiction in the late twentieth century is like restricting yourself to heroic tragedy after The mainstream's just not where good writing is being done. Unless you crave watery flavorless writing. How did this awful thing happen? One clue may be found in the opening of the entry for Angela Carter: "Carter enjoyed little renown during her life, but after her death Say what? Angela Carter?

The only way I can make sense of this is to translate it as "I wasn't assigned Carter in high school and I didn't read the New York Review of Books back then, but after I graduated Or do they fuck things up out of sheer gotta-leave-my-mark egotism, like programmers who work nights and weekends? Another clue: from what I can gather, my topic was originally assigned to a friend of the editors who decided only when the deadline was nigh that it was too hard to finish the research.

These aren't enthusiasts trying to communicate their enthusiams: they're a clique trying to act like grown-ups. From the mission statement: "We encouraged our contributors to think of you, the reader, as an intelligent, interested friend or relative who'd just asked, 'So tell me about John Updike. What are his books like? What we got here is not just smugness, but downright noisy celebration of shared limited knowledge.

It's like that guy in the museum painstakingly explaining every perfectly obvious thing to his wife. It's like my geeky friends parroting TV shows. It's what they teach you to do in school. And it's what makes a successful journalism career. See Also : Anyone who enjoys this crap should probably seek out the opinions of more journalists. Those intrigued by my crackpot theories can find them expressed more calmly in a response to Jonathan Lethem.

Ray Davis will be appearing with other contributors to The Salon. The Super Movies au maximum : Peking Opera Blues For a not-very-observant observer like myself, there was King Huand Jackie Chan, and any amount of reasonably distracting nonsensebut it took Peking Opera Blues to show that the Hong Kong studio system workedand that it was working to an extent that hadn't been seen since s Hollywood.

A pool of talent placed under immense pressure to produce had somehow been broken down into a primordial soup where genres, techniques, and formulas spontaneously recombined in new and sometimes even viable forms.

Unused to genuine movement in movies, first-time Peking Opera Blues viewers often feel at a loss; the opening sequence plunges them into a whitewater of Nashville -style protagonist relay, precision slapstick, satire, and suspense with absolutely no exposition to cling onto. If you can't make sense of it, rest assured it's just because there's so much sense condensed into the can -- albeit well befuddled by English subtitles that have been hacked out in the manner one might expect when English subtitling is dictated by colonial law.

If you can't get to a theater showing, get to the DVD. And then and only then get to the next paragraph, because I'm about to, quite literally, give away the ending Similarly, many first-time viewers are mystified by an apparent lack of closure. There is, in fact, an ending to the film. It's just that the ending is positioned entirely outside the story proper and seems so incongruously dismal that it's easy to overlook. But given the violent shifts in mood and technique that have already been established, the ending, once noticed, is deeply satisfying: The movie gains its power from alternating current, and this is where the plug's pulled out.

The ending's even easier to overlook on the DVD release, because it's been removed, probably for political reasons. Many s HK productions -- Tsui Hark's especially -- display a cynical pessimism entirely understandable in colonial subjects who are about to be handed over to a dogmacracy. Compare James Joyce on Ireland Two of the five heroes of Peking Opera Blues are revolutionaries, but they're hopelessly naive and their strategy is pure MacGuffin.

When the movie's autocratic General justifies his acceptance of a usurious foreign loan, he's corrupt and villainous but he's also right : "What'll the world be 47 years later [when China's repayment is due]? Who knows? The only sacrifices the film can wholeheartedly endorse are those made for communities small enough to fit in a room: the accidental friendship of the five protagonists, for example; or a theater troupe; or one's family.

The story proper ends with the five friends reluctantly, individually, deciding to split up. They exchange some final reassurances: "After the revolution, meet you in Peking. Five months later, Yuan's conspiracy was exposed Parliament was dissolved Yuan proclaimed himself Emperor The country split in two, war broke out Thus the Chinese democratic revolution began all over again Outsider Art fetishizes the disconnect between the artist's assumed goals and the audience's assumed attitude.

Of course, most inedible artifacts have at least some chance of outliving or being shipped outside their original context. Which is to say that, just like all writing eventually becomes readable as Literature, all art eventually becomes viewable as Outsider Art. But that's in the long run, which is notoriously hard to plan for. In the short run of our lives as producers and consumers, what we'd like -- what we turn to these models of artmaking for -- are rules that will guarantee success and relief.

Unfortunately, neither model guarantees anything but occasional outbursts of wistfulness or petulance: industry pressure usually leads to disappointing results and, in contrast, purely personal initiative almost always leads to disappointing results. Back-and-forth-ing between "insular self-absorption" and "meeting expectations" is what most artists seem to compromise on, but, as critic Nora Charles concluded in her exhaustive genre investigation"it's all pretty unsatisfactory.

I told him Socrates said a cobbler has two jobs, making shoes and persuading people to buy them. He liked the wit of that.

Why'd you do it isn't interesting. I know why you did, pretty much. It's much the reason I write poems in sections. So why I don't want to persuade people to buy my shoes must be much the reason I don't send letter bombs?

Insular self-absorption looks better all the time. Our Motto: submitted by an anonymous reader. My favorite dog, an elegant Sheltie bitch named Foxy, used to mimic human speech with a complex set of muffled ladylike coughs -- sounded like Mimi in Russian And at present I live with a plush and cobby black catEmma, who'll exchange declamations and outraged kvetches pretty much as long as I care to keep 'em coming.

Who needs Slashdot? There's something so pure about using a sexually enticing naked dead woman to publicize animal rights But when it comes to violent imagery, give me frustrated lust over self-righteousness any time Rolfe reporting: "A certain citizen of Baltimore stole a fine Maltese cat from a neighbor, who had him arrested for theft.

When the case came up for trial the prisoner's counsel entered the plea that it was impossible for anyone to steal a cat, as that animal is not propertyand that to take forcible possession of a feline, even though it be a pet one and wear a ribbon and answer to its name, is not a legal offence. The judge held this argument to be good, and the Attorney-General, to whom the case was appealed, agreed with him. The latter in his formal opininon, declares that the cat is really nothing but a wild animal, that it is of no use to man, and that the taking of a cat without the consent of its owner is not an indictable offence.

Errata As a certified holder of a Bachelor of Mathematics certificate, I can confidently assert that rationality exists only as a way to juggle all the words one feels compelled to throw into the air.

But even that certificate is no guarantee of success, and the Outsider Art go-round left a hatchet, a raw egg, and a beach ball on my face. Most of the muddle was caused by my smudging across questions of production what do we notice? Thus, Doug Asherman points out that I claim that the worst thing is the formation and mutual support of a mediocre group, when the really REALLY worst thing is when the mediocre group manages to convince larger groups to take it even more seriously than it takes itself.

Regarding "insularity," David Chess suggests that there is no "mainland" at all, except in the sense of a particularly large or visible, or well-funded, or populous island. In fact when we're talking The New York Review of Books it's not even that large an island; it's just that the islanders think it's centrally located Minifesto: I'm not sure that a decentered self is necessary for ethical living, but I'm pretty sure that a decentered self-image is.

There's a quote from John Crowley's review of Lanark that I'm thinking of: It is more like the great homemade books, the all-encompassing works that have always been constructed not of mainstream materials but of the author's own peculiar mud and straw: Pilgrim's Progresssay, or Branch Cabell's Jurgen.

I'm willing to admit that the considerations of the intellectual market matter only once you've rejected the satisfactoriness of Borges' "Secret Miracle" [ Or to put it another way, you can't be Kaspar Hauser and Ian Curtis at the same time.

And for a different take, I just read the conclusion of Kim Deitch's latest serial in Zero Zerowhich "solves" the problem under discussion by inverting both Heinlein's "Unpleasant Profession of Jonathan Hoag" and Charles Fort -- rather than "We are property," it is "We are entertainment.

Crazy Hindu art. Crazy Medieval German art. What the two have in common is a desire to attach the label of foreignness to the work. It's not very good mythologizing Richard Yates did it best, and most honestly, in my viewbut it's still an updated variant on what Mailer, Updike, Oates, and the rest of those geezers have been earning accolades for for years.

The dominant short story paradigm in most of the anthologies these days seems to be 1 the "I'm so real " Carver-derived approach of Tilghman, Offutt, and many others whose names I've forgotten, or 2 the creepy, sub-supernatural angstploitation of Lorrie Moore, Ann Beattie, David Gates, and I suppose Russell Banks.

Both are variants on the same impulse to impose a private "outsider" view on ordinary materials through sheer will -- because that's the only thing that can make it worthwhile. It's a lousy approach. I think the consequent turn to the exotic stems from the same cause -- when people get fed up with the fakery of the above, they turn to the irreducibly foreign. And then there's people like our friend Jandek who apparently achieve some level of commodification by being fetishized by collectors, and the ensuing debate over whether he and others are the "real [foreign] thing" or not.

It's very important to the consumers that they are -- what could he possibly have to say if he were just like you and me?

So while they're too self-conscious to apply the label to themselves even as they incorporate it into their fiction, those who feel it I look at Bruno Schulz's work and compare it to Beckett's, and while I see them trying for similar effects, I think Beckett is more successful. This despite Schulz's Kafka-like isolation and Beckett's relative integration into the various scenes around him. I'm tempted to see the issue, then, as irrelevant to the quality of the work being produced -- though it may just be that Beckett was just such a prima facie genius to everyone around him that he could have been totally maladjusted and still fit in.

Thomas Bernhard, on the other hand, is a writer who I think really hurt his work by being so socially involved in Austrian theater and politics, but I don't think that it was socialization per se that damages his books so much as an innate desire to throw obscene epithets at other people.

With or without the opportunity to hurl them from a respected position in Austrian letters, I think his work would've suffered the same. The air is murky and peppered with fragmentary singalongs to "Were You Born an Asshole?

Charmingly self-deprecating "Hell, I ain't no pool player. The other man "49 and holding. He redirects his attention to Bruno's cousin Sylvie: "You married yet? It's an education. The twinkler starts nudging the damaged man, closing in. The damaged man retaliates: "What about when you got caught in the coal shed, Jack?

What were you doin' in the smoke shed? I didn't start that early. What you doin' there? Now you're improvin' the story, that ain't so. Good people. We go back a long ways, you know. Didn't mean t' look like I was ignoring you. From " Across Arizona ," William Henry Bishop, Harper's New Monthly MagazineMarch, Our visit happened to be timed upon the heels of a conflict making the most tragic page yet written in the annals of Tombstone.

Official opinions were evenly divided about it, the sheriff extending his sympathy to one party, the city marshal, who was, in fact, its leader, to the other. City Marshal Earpwith his two brothers, and one "Doc" Holliday, a gambler, came down the street armed with rifles and opened fire on the two Clanton brothers and the two McLowry brothers.

The latter party had been practically disarmed by the sheriff, who had feared such a meeting, and meant to disarm the others as well. Three of them fell, and died on the spot.

The slayers were imprisoned, but released on bail. The Grand Jury was now in session, and hearing the evidence in the case. It was rumored that the town party, for such were the Earps, would be able to command sufficient influence to go free of indictment.

The country cow-boys, on the other hand, were flocking into town, and on one quiet Sunday in particular things wore an ominous look.

It was said that should justice fail to be done, the revengeful, resolute-looking men conferring together darkly at the edges of the sidewalk would attempt to take the matter into their own hands. Enough already! Memoirs, Nietzsche, the mystic nature of consciousness, pleas for Affirmative Action and redneck tolerance -- what is this, the Oprah book club?

In hopes of elevating the level of discourse, here's a joke : A guy walks into a bar carrying a grasshopper. Guy says, "Me and my buddy would like a drink. Elevating the level of discourseas explained by Alan Moore to Dave Sim via linkmachinego : "I mean, you're right when you point out that Eddie and I are both strong-willed and stubborn people, but then, on the other hand, he puts away three bottles of a particularly mischievous little Chianti before brunch, and I am generally medicated to the point where I can only signal with my eye movements.

This means that while we have probably had strong, even violent, disagreements, neither of us could remember the thread of his argument for long enough to convey it to the other one, or even why we'd called in the first place. If there is not actual solidarity amongst the deliberately dysfunctional, neither is there any coherent disagreement. That's a working partnership right there. The guy says, "Old Granddad, straight.

He stands up and yells, "You're not a real bartender! Walter Benjamin takes a look at the craze that's sweeping the world's youth in The Origin of [Web] Tragic [Logging] : That which lies here in ruins, the highly significant fragment, the remnant, is, in fact, the finest material in [weblog] creation. For it is common practice in the literature of the [weblog] to pile up fragments ceaselessly, without any strict idea of a goal, and, in the unremitting expectation of a miracle, to take the repetition of stereotypes for a process of intensification.

The [weblog] writers must have regarded the work of art as just such a miracle. In [the Web] they saw eternal transience, and here alone did the saturnine vision of this generation recognize history. A little twernt tells us that our "online brand" is being devalued.

Like most things once you hit forty, this is disappointing but not surprising: as tribes of hipsters migrate to the East Bay, appropriators were bound to gather around the most beautiful sign of The Most Beautiful Avenue in the World like flies on shit or UC Davis MFA poets on Hispanic graffiti.

But what's a proprietor to do? Option 1: Keep the brand name but diversify it. After all, there are many other Hotsy Totsy Clubs. Perhaps we could apply for an Absolut arts grant to go to each one in person and write up little reports full of our own special whimsy?

Option 3: Attempt to maintain some explanation for the "ht" initials in our permanent URL; e. Option 5: Give the "personal touch" with a phrase that strikes deep into our singular soul. Gosh, I don't know. What do you think? Passed down for many generations in my family. Radio carbon dated to 0 AD. Remarkably good condition XXX fish Errata Tom Glynn brings our earlier erratum to an even higher gloss: "Whoa guys!

Thomas Bernhard is at one and the same time our most comic and our most depressing writer. I should say was, since as you know he is dead. Who cares about his political involvement? Look at his writing. Is there anything funnier than Old Masters or more depressing than Yes? And has anyone pointed out the connection between Kierkegaard and Bernhard?

Lady Churchill's Rosebud Wristlet is a charming zine in the proto-Web tradition, but I didn't expect to find the two best short stories I've read this year tucked up its slender cuff.

What a "coup," as they say in the editor's native Scotland! Oh, it's barely possible that you or I might, given sufficient prompting, work out that premise, but neither of us would be able to incarnate it in so convincingly organic a form. This is politics drawn from life and returned to living flesh. Of course I would be interested, being as it directs the spotlight off the girl and onto the Prince, whose motivations have always been rather shadowy.

What would drive a nice guy because, after all, we'd really prefer him to be nice to go around fitting shoes? Is fitting shoes really a good way to meet Ms. Ned replies by saying that all who have seen are dead. By this time the mantis is practically against the window and we can see parts of its enormous head and eyes, much like a similar scene in Tarantula where the spider does the same thing. At that instant Marge turns, sees it, and screams.

The mantis begins breaking through the roof as the red alert is sounded. Two soldiers armed with a flame thrower manage to drive it off before much damage is done. Back at the base reports come in that the mantis has been spotted at the Mid-Canada radar fence and the Pine Tree radar line.

The creature is definitely heading south. Ned, Marge and Parkman prepare to head to Washington. General Ford appears on television to assure us that the mantis is not a hoax and the military is doing everything it can. He introduces Parkman, who tells of his encounter with the mantis and then assures us that the Civilian Ground Observer Corps is on the job and will spot the creature next time it appears.

Parkman and Jackson display the spur and compare an enlarged photo of the mantis to a model of a C to illustrate how big the creature is and so everyone on the ground will know what to look for.

Parkman reminds everyone to listen for the loud drone produced by the mantis. Finally the creature is spotted and a squadron of jets launch to intercept it. This, of course, means even more stock footage.

They fire missiles at the mantis, but the mantis vanishes below the cloud layer after being hit and a kill cannot be confirmed.

At the Pentagon, Ned and Marge are plotting the locations of any strange events on a map. As Parkman is driving Marge home in a thick fog, a report of a train derailment comes over the radio. Elsewhere in the fog, a bus stops to discharge its passenger. The driver tells his passenger to be careful out there in the fog and drives away — right into the path of the mantis. Parkman and Marge hear the report of the incident over the radio.

The announcer goes on to report that, including the earlier train accident, this makes seven accidents in the area within the last 24 hours. Parkman turns the car around and heads to the scene of the bus accident. A crowd is milling around with the cops trying to comfort the woman who witnessed the attack. Guess who? Parkman overhears a report coming in over the police radio that the mantis has been sighted over Washington.

He and Marge quickly leave. We see the mantis fly over the Capitol building and land on the side of the Washington Monument. As it slowly climbs up the side we see two frightened watchmen inside watching as it passes. Later in a control room General Ford, Ned and Marge watch as the mantis is tracked toward Baltimore, and the order is given for ground-based artillery to shoot at anything not identified as friendly.

As the mantis nears Baltimore, the army starts firing everything they have at it. The bug drops too low for radar to pick it up, but Ford notes that one of the ground observers will pick it up. The ground observers relay information that allows Parkman to track the mantis. The planes spot the beast and begin firing. Parkman, in one of the planes, collides with the monster, and is forced to eject and safely parachutes to the ground.

The mantis vanishes and they later learn he is trapped in the Manhattan Tunnel right below the Hudson River. We see that the entrance to the tunnel has been portioned off with large tarps and smoke being pumped in the tunnel for cover if troops need to be sent in.

Parkman arrives, dressed in a containment suit. He tells General Ford everything is go at the Jersey end as the tarps are holding in the smoke. Ned and Marge arrive with Ned saying that the mantis is mortally wounded. If they can keep it inside the tunnel long enough, it will die.

Worried that the mantis may break through the tunnel walls and cause a flood, Ford allows Parkman to go inside and confront the beast. The colonel and a small group of soldiers go inside the tunnel and eventually spot the mantis among a group of wrecked and overturned vehicles.

After bombarding it with chemical grenades the mantis collapses and dies. After the tunnel has been cleared of smoke, Parkman leads the others — including Ned, Marge and Ford — inside. As Marge snaps her photos, the giant foreleg of the mantis is rising up behind her. Parkman sees the movement, runs and pushes Marge out of the way as the giant leg drops back to the ground. For some reason, Parkman feels it is necessary to lift her up and carry her away from the mantis.

Marge and Parkman kiss as Ned snaps a photo of them, and we get one last shot of the mantis as it lies there dead.

What ultimately does in The Deadly Mantis is its stultifying docudrama style combined with the excessive use of stock footage. The film is also handicapped by lack of urgency.

Given the minute running time there could have been more put into the script along the line of how and why. The movie adheres to the standard sci-fi plot line of its time: 1 There is a mystery involving missing people.

It deepens as more people vanish and strange clues are found. The Deadly Mantis falls somewhere in the middle. It has much to recommend it, such as a solid cast, a great monster and, for the most part, a good plot. Never mind that the basic premiss, that of a huge insect, is impossible. These things have never mattered in sci-fi films as long as there can be the hint of plausibility and a decent monster. The Deadly Mantis has both.

Face it, the reason we watch is to see a giant insect and no matter how ridiculous that idea is we will gladly suspend disbelief as long as the thing in entertaining. What we end up with is a film top heavy on stock footage.

The film takes about ten minutes to get the plot going. I felt as if I was back in grade school watching one of the educational films that only served to break up the boredom of the school day, as I learn the difference between the Pine Tree radar fence, the Mid-Canada radar fence, and the Distant Early Warning System, otherwise known as the DEW line.

I also learn that, somehow, all this is very important. Inside, four telephones lined up on a desk, each one a different color. But these are not just ordinary phones. Oh no. The last phone rings and is answered by General Ford Randolph. The way the scene is set up, its seems as if he was sitting there waiting for the call. Later we cut to even more stock footage as the mantis attacks the Eskimo village. We see the villagers suddenly taking to their kayaks and fleeing from their village.

This is the footage taken from S. But it occurs to us: why are the men suddenly fleeing and leaving the women and children behind? The men are busy dancing with each other to a record playing in the background as Parkman and Marge enter.

Marge, for her part is there simply as the romantic attraction, and from the minute she meets Parkman, we know romance will be in bloom. Her task is to fill the role of the female in these pictures: a strong, self-sufficient professional who still needs a man to save her and make her life complete. And let me tell you, Marge screams really well. Other than the dumb scene in the rec room, the acting is better than this sort of film deserves. The original choices to play their roles were Rex Reason and Mara Corday.

When the Civilian Ground Observer Corps is mentioned we are treated to even more stock footage, with shots of people on beaches, in watchtowers and on ships at sea, all staring into the sky and watching for the mantis.

When the bug drops too low for radar to pick it up, Ford notes that one of the ground observers will pick it up. Say what you want, the people in the Observer Corps are diligent. The best scenes in the movie are when the mantis comes down in Laurel, Maryland. Parkman is driving Marge home in the fog and making like an octopus at the traffic light when the report of the train derailment comers over the radio.

Later, when it attacks the bus, the scene is well done and shocking, especially the passenger who just got off and witnesses the whole thing. The other effective scene is where the mantis climbs up the Washington Monument. This was achieved by filming a real mantis climbing and combining it with shots of the scared crew inside the building watching it go past.

This is the only time a real mantis is used. Two smaller models, one six feet long, and another, one foot long, were used for the scenes where the mantis walked or flew.

The ending, with the mantis stuck in the tunnel, is a let down. At this point, after the goings-on in Laurel, we were expecting more. In the final analysis, the film just seems tired.

Perhaps it was the timing. The film was produced at the end of the era. During its heyday, William Alland produced the films and Jack Arnold directed them. This was his fourth picture and his first in the science-fiction genre. The fault for the failure of the movie did not lie with Juran. The blame for this was on the studio for making a film on a cut-rate budget and substituting lots of stock footage for plot and action to save even more money. His hair turned permanently white by the stress and terror of his job.

Narrator : Another radar fence stretches across the long, unfortified border between the United States and Canada Servo [as Narrator] : Canada, our mortal enemy. Narrator Mike [as Narrator] : The natural radar of pine trees protects our northern borders. Mike : Uh, you don't need to salute the paleontologist. Crow : Yeah, I think this guy's familiar with dishonorable discharge. General Ford : I want to say at the outset that, contrary to rumor and certain newspaper headlines Crow [as Ford] : I'm not gay!

Crow [as Col. Parkman with Marge in the car] : But I've got a mantis in my pantis. Wood, Jr. Writer: Edward D. There are bad movies and there are Ed Wood movies: movies so awful, so void of redemption, so lacking in any kind of skill whatsoever that you must assume everyone was stone cold drunk and high when they were being written, shot, edited, and released which depending whom you believe, was probably true.

Ed Wood was and remains a polarizing figure. Choosing just one of his movies for this column was a near impossibility; they are all terrible, practically unwatchable — not even camp worthy. Just horrible miserable wastes of time, energy, money, and passion. I could have chosen his most infamous work, Plan 9 From Outer Spacea dreadful sci-fi meets zombie film that is often touted as the "worst film ever made" about aliens who revive corpses from the dead to kill the human race before Earth destroys the rest of the universe.

I could have chosen its "sequel" Night of the Ghoulsa film so disengaging that you need your eyes pinned open A Clockwork Orange style to even stand a chance.

I could have chosen Jail Baita gangster film featuring body builder Steve Reeves void of any kind of stakes or suspense that includes a horribly offensive minstrel number about halfway through that has nothing to do with the plot and was presumably added to fill run time.

I could have chosen The Sinister Urgea proselytizing tract about the evils of pornography — or one of the pornos with which he ended his career, Necromania and The Young Marrieds both I could have chosen one of his two films that actually doesn't make you want to call Conrad Murray, Bride of the Monstera film starring Bela Lugosi in full on Dr.

Loomis mania as a mad scientist hellbent on creating a master race of atomic supermen. Instead I have chosen the one film of his I would actually recommend; not because it is good in any traditional sense, but because its novelty and gay sensibility perfectly encapsulates Wood's life and career: Glen or Glenda. Glen or Glendaalternately titled He or She? The album of the interview exists on YouTube; check it out!

Wood decided to make a more personal tale; the story of a transvestite and his struggle to tell his girlfriend about his proclivities, casting himself cowardly under a pseudonym and girlfriend Dolores Fuller in the leads.

Wood had always worn women's clothes and had an infamous fetish for angora. According to Fuller, "when he was a little boy, his aunt, or his mother, somebody put him into a snowsuit with rabbit fur in it.

Or angora fur. And he said it felt so wonderful against his skin. According to Kathy Wood, his last wife, Ed had performed as a female impersonator when he was with Dolores and during his time with her, they would go to Hollywood transvestite parties: "Vincent [Price] was so pretty.

Ed would just smile and say, 'That's the real me. But Ed was no homosexual. Glen or Glenda was his call for sympathy, the cinematic defense of his unorthodox behavior. And one of the most progressive, oddest, worst movies ever made. Because they seem new. But most are not new. Stock footage of lighting strikes, footage that is subsequently used in the next three Wood films.

Stock footage of people walking up and down a busy city street is superimposed under Lugosi's scowls. We are reminded of the scene in Ed Wood when Landau as Lugosi tells Johnny Depp as Wood that he has no idea what the hell he is talking about. We see the proof on the screen.

An ambulance rushes to collect the corpse of a transvestite who has recently killed himself via asphyxiation. Today this may seem passe or even camp, but imagine an audience in asked to sympathize with a cross-dressing man who longs for sexual reassignment surgery at a time when gay men were being lobotomized.

Cross-dressing was illegal and carried a jail term, and homosexuality was still seen as a mental disorder. The detective on the case goes to his psychologist friend to learn the ropes on what it means to be a transvestite, the first time the word is used in a film, pre-dating Psycho by seven years. The film then becomes less of a "film" and more of an apologetic, a PSA for accepting cross-dressing.

Through two separate stories, we see two very different versions of nontraditional gender identification. The film cuts away to a narrated montage, explaining the different comfort levels in each sex's clothing:. A wool or flannel robe.

His feet encased in the same tight fitting leather his shoes are made of. And men's hats are so tight they cut off the blood flow to the head, thus cutting off the growth of hair.

But what about the ladies? When modern woman's day of work is done, that which is designed for comfort IS comfortable. Hats that give no obstruction to the blood flow. Why can this not be brought into the modern world? Why is it illegal for a man to walk the street in comfort? Can a man not really be a man if he enjoys the dainty caress of chiffon? The narrator is very clear to enunciate that Glen is NOT a woman, nor does he want to be a woman, nor is he gay; Glen and Glenda are one in the same, both equally at home in the same body with its male form and gate.

Why, it is just as normal as apple pie. But how can Glen tell Barbara that he is also Glenda? They discuss Christine Jorgenson. She seems receptive and understanding. He strokes her angora sweater. He's afraid he'll lose her. She persists. Cut to Lugosi superimposed over a running stampede of buffalo, screaming, "Pull the strings! Should he tell Barbara or not?

Johnny tells him that lying about his own cross-dressing ended his marriage. He must tell her. And tell her now. Bevare of the big green dragon dat seets on your doorstep! He eats little boys. Puppy dog tails and big Take care! Then there is a. She becomes pinned down under a large tree in their living room somehow and Glen as Glenda is too weak to save his beloved; only as Glen is he mighty enough to lift that oak. A wedding follows that is officiated by a priest, yet witnessed by a grinning devil.

Glen, in a shot David Lynch must have stolen for the poster of Eraserheadtremors in a state of confusion and panic. A woman is whipped on the couch. Another stripteases. Another is tied to a stake. Another grinds on the couch, seductively, then is hogtied.

Barbara and the mob point and laugh at Glen as he transforms into Glenda. The devil cackles in the background. Bevare of the big green dragon that sits on your doorstep. But knows he must. Glen sits Barbara down. She is distraught. But loves Glen more than anything. Glen goes to Bela for He waves him away. Barbara speaks:. I don't fully understand this. But maybe together we can work it out. And then, as in the poster for Ed WoodBarbara stands and hands her angora sweater to Glen. Cut back to the psychiatrist and the detective.

The character was created and dressed and lives the life the author has designed for him to live. And dies only when the author wants him to. You must take the place, give the love, and accept the facts that Glenda has Cinderella - The Non-Commissioned Officers - Make-Out With Violence (DVD accepted.

If you love each other as you now believe you do, it will be a hard job, but one you enjoy doing. I'll do everything I can to make him happy. Barbara's love conquers all and Glenda disappears forever. In real life, however, Fuller never married Ed because she couldn't handle his cross-dressing; he wore women's clothes and went by the nickname Shirley until the day he died. If Ed had had his druthers, this would have been the only story told in LP or Glenda.

But since the film was sold on the promise of being a version of the Christine Jorgenson story, George Weiss demanded that he insert a story of a real transsexual: Anne, a pseudo-hermaphrodite who not only Cinderella - The Non-Commissioned Officers - Make-Out With Violence (DVD to wear women's clothes, but IS a woman trapped in a man's body.

Alan becomes Anne and lives happily ever after. This story is also told with compassion, understanding, and love. Wood's latter years were just as strange and sad as his films. He turned out dozens of pulp erotic novels most famously Orgy of the Dead and nudie screenplays, charging bucks a head, acting in anything he could, relishing in the fiction that he was "somebody," showing his films to anyone who would sit long enough.

He and his wife Kathy were extremely poor, but refused to go on welfare because of his pride. He would hide his poverty by buying all the neighborhood kids ice cream whenever the Good Humor man came around and always wanted to host when it came time to drink. Ed and Kathy were full-time alcoholics, drinking Imperial whiskey straight with water chasers, sometimes going on benders for weeks at a time.

Close friend John Andrews recants, "When they would move to a new house, they would go to the liquor store to establish credit. Kathy would say, 'I wonder if you have any of my husband's books. It was just this constant rip-off. Not paying rent. Not paying tabs. On at least one occasion, Ed wrote a screenplay for his landlady in exchange for rent. They would hock his typewriter for booze.

Frequently, they lived in squalor like the Beales. One apartment they were in, a drag queen was beaten to death in the hall and an upstairs neighbor rented out her five-year-old daughter to pornographers.

Ed and Kathy's drunken-fueled fights were common knowledge, friends and onlookers alike wondering who would kill the other first. He and Kathy moved into a friend's house and he died days later of a heart attack.

To hear Ed's co-workers, friends, and lovers talk about him in Rudolph Grey's Nightmare of Ecstasy or see Depp's brilliant, sympathetic performance, you can't help but feel for the man's passion and drive, however inept. All he ever wanted to do was make movies. Watching Glen or Glenda again, there is a beauty in its heartfelt, very personal nature; a beauty even in its naive skill; a beauty that makes this his best work.

It is filled with so much optimism and passion which is why I think Ed Wood lives on. Yes, we "enjoy" Wood's films and life for its schaudenfreude effect, but also because Wood stands in for all of us who dream big. We are all Wood, clawing for fame, reaching for immortality; and like him, most of us will only remain peripheral players in the Hollywood game. Ed may be known for being "the worst director of all time," but at least his films are seen and his name is remembered.

I think Ed would like that. Quotable Dialogue. Created in the s, 3-D was one of many ploys to get audiences up from their new fangled television sets and back dishing out cold hard cash to Hollywood. It made going to the movies an event again, on par with the theatre, an experience you couldn't get anywhere else. Nor forget. But for William Castle, 3-D was for amateurs. William Castle excelled at the hard sell. With the personality of a carnival barker, Castle worked his way through Columbia's ranks, first as an assistant to George Stevens and Harry Cohn and eventually became a dependable director of "B" crime dramas.

But after seeing a screening of Les Diaboliqueshe knew he wanted to make horror films. So he mortgaged his house and self-produced his first film, Macabrewhere a father has to find his buried alive daughter before it's too late. Castle was afraid that the film alone would not get people to see it. With his house on the line, he needed a sure fire hit. The audience loved it.

House on Haunted Hill had "Emerg-o" — a skeleton that flew over the audience; The Tingler had "Percept-o" — electric buzzers that shocked the seats; 13 Ghosts had "Illusion-O" — a special pair of glasses that helped you see the spirits; Mr. Sardonicus had the "Punishment Poll," allowing the audience to "choose" the fate of the antagonist; Homicidal had the "Fright Break" — a 45 second countdown to the climax where audience members who were too scared could leave the theatre and get a refund; Zotz!

Combining his macabre sense of humor with horror and his very public interaction with his fans, Castle became known as the Low Rent Hitchcock. But this is an injustice to Castle. Only seeing him as a lesser version of a master or the King of the Gimmick sells him short. Castle was not merely some Barnum-like con-artist, shucking his snake oil on 42nd Street. He was a talented director and a brilliant producer.

Even though his films were shot on the cheap and the quick, Castle elevated them to "A" entertainments, yes with the aid of the gimmicks, but more importantly with the craft.

In fact, there are times when the gimmicks feel superfluous and more like a crutch than a desperate plea for people to buy tickets. According to a press re- lease, the party looked at political developments and expressed concern over at- tempts by the opposition parties to undermine the democratic process by at- tacking the Guyana Elections Commission GECOM and undermining confidence in that body.

The party is calling on GECOM to ensure that the Claims and Objections period commence on April 4as sched- uled, and not to allow itself to be trapped into a situation where it may not be in a posi- tion to hold elections before the constitutionally due date, since this could have dire conse- THE Central Commit- tee of the People's Pro- gressive Party PPP has emphasised the need for greater efforts to address security con- cerns of the populace.

At a meeting last week- end, the ruling party's central committee considered the crime situation and the miss- ing 33 AKs, as well as Other developments on the local and international scene. It added that the recent killings in Agricola and Eccles on the East Bank Demerara demonstrated that criminal forces intent on de- stroying the peace and stability of the nation- "The need for greater quences. In addition, the party also referred to the number of persons unable to register be- cause of the unavailability of birth certificates, and called on the relevant authorities to put mechanisms in place to "fast track" the process in order to allow for these per- sons to be registered.

The party also expressed satisfaction with the perfor- mance of the local economy despite adverse weather con- ditions and depressed com- modity prices for some ma- jor exports- At the international level, concern was expressed over the tense situation in the Middle East, especially in Iraq where dozens of lives are lost daily, despite the holding of national elections.

The party expressed the view that this trend will con- tinue unless the occupying forces leave the country as soon as possible. Scott was at the time speaking at the joint parliamen- tary opposition's symposium on crime, held under the theme, 'Unity for Security Stand Up Against Crime and Violence'.

In his presentation, entitled 'Guyana at the precipice', Dr. Scott listed some of the central characteristics of organised crime and the degree to which their presence indicated the downward slide of a society.

Organised crime, the academic stated, undermines official institutions of a state, creating in a parallel system of things enforced not by legal measures but with violence.

He noted under this system, criminals legitimise themselves and their en- terprises by creating a parallel economy which provides em- ployment for its own lawyers, accountants, enforcement per- sonnel, as well in other areas. After the main presentations. The MU is a worldwide Anglican organisation whose purpose is to uphold family life S od u eh i fta.

James of Hopetown Village, West Coast Berbice, said: "I am happy and proud to report that at 50, our MU is vibrant, alive and kicking and looking forward to be of even greater service to the Church and our community as the days go by. Joatnroauges aid that the occasion of the 50th Anniversary observances in March was a source of great pride md also of great humility to the -urrent members.

The Dutch Health Council, in an overview of research from around the world, last year found no evidence radiation from mobile phones and TV towers was harmful. A four-year British survey released in January showed no link between regular, long-term use of cell phones and the most common type of tumor. However, researchers at the Swedish National Institute for Working Life said they looked at the mobile phone use of people between the age of 20 and 80 who had been diagnosed with a malignant brain tumour and found a link.

Kjell Mild, who led the study, said the figures meant that heavy users of mobile phones, for instance of who make mobile phone calls for 2, hours or more in their life, had a per cent increased risk for a malignant tumour on the side of the head the phone is used. The Employer is not responsible for bids not received thereof on or before the time and date specified for the reception of bids.

Bids will be opened at a public ceremony, in the presence of those Bidders' reorruentatives who choose to attend at A mandatory vlQisit to all locations is arranged for April 20, George's Cathedral. Led by the Diocesan President, Mrs. Sheran Hlarper, the women, allresplendently dressed' took part in a procession of witness along Carmichael, Quamina and Water Streets, and North Road, before entering the Cathedral for the grand communion service.

They marched to music supplied by the Salvation Army band. The service was conducted by Reverend Father Terry Davis, Rector of the: i'edral, and the atmosphere: in. Similar observances were held simultaneously in every other region of the country, since the Mothers' Union in Guyana is countrywide. In picture are celebrants outside the St. Among other activities, the St.

The current leadership comprises Branch Leader Mrs. Members ojf the ]MU work continuously within th community with families that have been torn apart, with children without fathers, people who have marital problems and marriages which have met with adversity.

We counsel them and we give financial and Other forms of material support if necessary" she said. James said that members of the MU also work with ch lden at ld Sunday School and wih oshmany times felt greatly gratified by positive changes observed in the behaviour of those we have worked with," she said. It will not be necessary to make the request in person to receive a complete set of Bidding Documents, since these can be sent by mail or e-mail.

Michael's Mothers' From page 15 are deceased, but Mrs. Beryl Robertson and Mrs. Hyacinth Alfred, two of the second batch of the MU are both in their nineties and in fairly good health. The two longstanding members reside at Hopetown, West Coast Berbice. Closing date: All Tenders must be received by the U. Embassy not later than Friday, April 14,at 3 pm. Tenders received after this date and time will be rejected without further consideration.

Please note: 1. Affiliates are asked to ensure that their subscriptions are paid for including outstanding Registration and Competition Fees. Affiliates are advised to refer to Rules of the G. Constitution as regards delegates for the Annual General Meeting.

Call to Order Prayers b. Administrative Report period January - February c. Financial Report d. Motion e. Correspondence f. Any Other Business g. Regional PRS Committees have been established in several regions to coordinate community level activity in monitoring progress toward t-he achievement of the goals of the PRS on a violuntary basis. Committees are now being established mn Regions 1 and 7. Applications are hereby invited for the posts of Regional Coordinator.

Region 1. Regional Coordinator Region 7. Applications should be sent to the Head. New Garden Street. Applicants must be resident in the region. Coordinators are paid a stipend and transportation expenses. The appointment will be for a period of one year in the first instance. Incumbents are eligible for reappointment on an annual basis upon satisfactory performance. Committee members are paid transportation and meal allowances in accordance with activities undertkent and are appointed for one year in the first instance.

E-Mail address if any Current activities job or otherwise Experience in community activities Previous experience in PRSP activities if any The Court may order that the amount owing by the defaulter be paid within a given period of time or such other order as may be considered reasonable in the particular case. If the Court orders that the amount be paid within a given period and that order is not complied with, the Court may be approached to issue a writ of execution in relation to the defaulter.

Such action may result in the seizure of property belonging to the defaulter to the value of the amount owe The laws governing National Insurance Scheme do not allow for any other method to be employed in relation to those defaulters. Over the years, Album) Management of National Insurance Scheme has always used the Courts as a last resort in treating with defaulting employers and self- employed persons. Management has over the years developed other approaches, which are less time consuming and which yield greater results than Court.

Those approaches often result in Agreements being arrived at between the Scheme and the defaulters to liquidate their indebtedness in a given manner within a given period oftime. If the terms of the Agreement are breached by the defaulter during the period specified the matter would most likely be referred to the Courts. Compliance certificates are also required by persons applying for visas as well as foreigners seeking to renew their work permits here.

The Certificates that are issued state specifically the condition under which they are issued. The National Isurance Scheme does not seek to deny any Semployedaself- employed Rrson the right to work, hence the issuing of certificates once the debris acknowledged; And an agreement brokered.

The Compliance Certificate isa reqt iremerlt for tenderers when they atre making: bids for jobs that fall Jnder the preview of a particular sector of the economy. Contract Workers The law makes provision for persons who are gainfully employed to be classified either under a contract for service self-employment or a contract of service employed.

The employer of those persons who are classified under a contract of service have certain obligations to be fulfilled in respect of his employees. Among them are 1 The payment of contributions employersr' portion2. Within recent years, it has been observed that some employers have been insisting that their employees sign contracts which would make them responsible for the payment of their own contributions toNIS.

Those employees are being labelled as self-employed persons while still under the control of their employers. In so doing employers shirk their responsibility of paying the employers' portion of the employees' contribution. Such action may result in the negation of certain rights which the person should enjoy as an employee.

This situation is becoming wide-spread. It is at present attracting the attention of the Competent Authority i. Other Matters The non-payment of contributions by employers and self-employed persons would have a negative effect on the NIS's reserves in the years to come. It would therefore be incorrect to say that the non-payment of contributions is absorbed by the reserves of the Scheme. The reserves are monies which constitute the National Insurance Fund and which are invested in securities to meet the future liabilities of the Scheme.

The reserves therefore are critical to the health and longevity of the Fund. The non-payment or the delay in payment of contributions is regarded as one that has serious consequences for the health of the Scheme. Excellfenit wi0erit tenad oral. Al plii:o: wl be treated am the strictest of confidence.

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This is the beauty of Cinema Ventures: with the filmmaker receiving a standard film hire fee for each screening, and able to capitalise on revenue gained by undertaking guest lectures in local schools and businesses, it seems that everyone is a winner.

Scrine commented that the industry was crying out for a new model of distribution. With many cinema chains owned by distributors Dendy, owned by Icon, being one example small, independent films often find traditional paths difficult to access.

Since the initial tour of Hope, a website has been developed with assistance from Screen Australia and several state agencies, and a slate of films is being assembled. Scrine encourages filmmakers to think of Cinema Ventures as a distributor that could be attached to projects in the development stage, assisting with the raising of production funds through philanthropy.

With the ultimate goal of establishing a network of occasionally used community cinemas in rural locations, Scrine is already in talks with groups in Wynnum and Stradbroke Island. In the case of the Film Lab feature film development and production initiative, the focus involves developing people, rather than projects. The guaranteed production funding meant that the director could establish sound relationships with the subjects of the film in the development phase as there were no questions as to the certainty of the project.

The SAFC Documentary Innovation Fund is unique in that it backs projects without the constraint of having a broadcaster attached prior to production. For Sophie Hyde this meant the opportunity to break out of the emerging filmmaker mould with her feature length project Life in Movement about the late dancer and choreographer Tanja Liedtke.

SAFC support meant that Hyde was able to access additional development and production funds from Screen Australia and the Adelaide Film Festival, where the film premiered to rave reviews.

Did you know that there are lakes and waterfalls underwater? There were certainly many AIDC delegates left open mouthed when Gallo provided still images of the phenomenon. With these and many other speakers on the guest list, AIDC was an opportunity to pose questions about rapidly changing methods of development, production and audience engagement, as well as how to network and deal.

Of course many science fiction writers are very well informed about science. In extending the possibilities of current tools and speculating on sociological trends they play a vital role in preparing us for new technological horizons.

It is this interplay of fact, fiction, reality and dreaming that has inspired Muller and her co-conspirator Bec Dean in their curation of the upcoming exhibition Awfully Wonderful, at Performance Space.

Dean is a curator, writer and Performance Space Associate Director and Muller, a Senior Lecturer in the School of Design at the University of Technology Sydney, is a curator, writer and researcher specialising in interaction, audience experience and interdisciplinary collaboration. However, what is intriguing about Awfully Wonderful is the downplaying of technology: the works are, on the whole, relatively low-fi, with the emphasis placed firmly on the fictive content.

An unusual inclusion is artist Eugene Carchesio, who will be creating a wall painting specifically for the exhibition. He is interested in numerology and cosmologies and all these different kinds of patterns and systems that are repeated and are not so easy to pin down or quantify. Bec Dean has also been interested in the work of Hayden Fowler for some time.

Previously his absurdist scenarios in which people co-exist quietly with a variety of animals have been exhibited as video works, but in Anthropocene the artist himself will inhabit his installation accompanied by some lab rats. What is that going to do to our relationship with the natural world? This is what Eden and Adam myths are about, the relationship to power, to knowledge, to god, to everything else that exists on the planet.

In both of those works the artists are very playfully engaging with the notion of time travel within media that is already extant, that we already have at our fingertips. Adam Norton has set himself a particularly ambitious task attempting to recreate the gravity of Mars in the CarriageWorks foyer. Deborah Kelly has been commissioned to create a work responding to the representations of women in science fiction. Inspired by the writings of radical feminist Shulamith Firestone on issues to do with women taking control of their own reproductive lives, she is creating delicate collages in which sci-fi scenarios are recreated with organic materials like seashells.

While these artefacts relate to the artworks in Awfully Wonderful and are particularly beautiful as objects, they also offer their own fictions.

The Electromassager manufactured by the Ediswan company is a vibrator that emits a violet light intended to relieve female hysteria, and was owned by English physician Dr Bodkin Adams who is suspected of killing a large number of his patients after securing inclusion in their wills.

In addition, in their obsolescence these objects offer further potential for the imagination. In addition to the exhibition, there will also be a range of public programs including a symposium and an audio guide by scientists, in collaboration with the Royal Institute of Australia RiAus, Adelaide who advocate for a broader understanding of science. For Lizzie Muller and Bec Dean, Awfully Wonderful brings together their passion for art and their shared love of science fiction.

All welcome. Richard Alleyne, Invisibility cloak enters the real world, Feb 1, ; www. But we also have good and bad leads, two last minute crises and a cathartic triumph.

But would Emily have discovered that without this film? Even more ethically tight-roped is Iris Shi—another Chinese-Australian girl at the ethnically diverse Methodist Ladies College—who must have adored having her leather-jacketed, gum-chewing badness given star billing.

To achieve such delineation, time was of the essence. But another 18 months was needed to turn hours of random events into this coherent story: editing credits to Sophie Raymond and Ray Thomas.

What story streams or high dramas were left out? Gender equality at last! And how marvellous that everyone involved—from precious parents to mocked teachers—gave their assent to appear unvarnished in the film. Will she follow Iris Shi so keenly, though? The viewer is drawn around both object and horizon in a stately, degree orbit. The result of over-ploughing, the storm carried the topsoil of million acres—a phenomenon made possible by the internal combustion engine.

The storm took four hours to pass in some places; there are few photos of the apocalyptic event. The second work, Dust Storm Dalhart, Texas is even more epic and menacing, its group of farm buildings huddled in the far distance, insignificant before the advancing front.

But as the view pans away from the storm itself, the threat vanishes. A dichotomy appears between the seething, chthonic cloud of grit and wind, and an idyllic, if sparse, pastoral scene. The ubiquitous row of telegraph wires seems almost out of place here, as though there should really be no linkage between the cluster of distant equipment and the monstrous storm, or even indeed with the viewer.

It features the silhouette of a man: an utterly black shape surrounded by a fine rim of backlight. At the end of each shed are what seem to be extractor fan vents: large metallic cylindrical attachments, which, like squid suckers, lend an unsettling organic feel to the oddly warm cream and grey of the buildings. There is no opportunity to move the controls and enter. The nodding oilfield Lufkin pumpjack of Lufkin near Hugo, Coloradolike a huge, thirsty bird, is the most prosaic and familiar of the structures we observe, but seems the most irreal; perhaps because we are close enough to observe its subtle dislocation from the photographic image, the lack of minute detail rendering it smoothly alien.

For this exhibition, Gladwell returns to some of the guiding principles of his early experiments in the late 90s where, for example, he explored the freedoms of the early Handy Cam, turning the camera on himself as he skateboards through the streets of urban Australia. The final artwork, he states, reveals itself in the final edit, and while the new works are clearly more involved, the drive for undirected experimentation is evident.

The logic for this show evolved from a commission by the Australian War Memorial, the institution somewhat controversially appointing Gladwell as their Official War Artist at the end of During this process, he handed the camera to the soldiers to record each other acting out a series of self-generated mirroring movements.

In handing over the camera to the performer, the authorship of the work is largely relinquished. Through the gesture of self-documentation, Gladwell is almost testing his own levels of perception; as for the viewer, we are there to accompany him on this journey of curiosity. Shaun Gladwell is not concerned with the democratisation of media, a notion that has engulfed our digital age. Though he enjoys his works appearing on social networks and flirted briefly with placing work onto handheld consoles, his concerns are much more discursive—connecting subcultures to cultural traditions.

He places cars, helicopters and other machines of transportation into a desert landscape in order to portray the details embedded within these grand gestures. Gladwell references the Romantic German landscape artist Casper David Friedrich and particularly his genre-defining painting Wanderer Above The Sea Fog which depicts a lone figure standing triumphant at the peak of a mist-engulfed mountain.

His shift of focus from urban to outback was pivotal in Interceptor Surf Sequence where the cinematic idioms of Australian action movies dictated the overall aesthetic. Within the new works, this landscape is conveyed to the viewer less through the vista of Hollywood than as a point of exploration for the artist for whom this terrain is also unfamiliar.

This shift adds vulnerability to the work by replacing the readymade, fast paced aesthetic of Australian action cinema with a more naive consideration of the vast terrain. The monumental scale of the films will be key to the presentation of the final works at ACMI. Each film is presented as a pair, which the audience passes through a central corridor.

The actions recorded, Gladwell then shared footage with the other groups in an attempt to engender a form of cultural fusion around spinning.

Gladwell will install these films as a ceiling projection suspended above the audience inviting the viewer to address them from a horizontal position.

He is at once a landscape artist, a social documenter, choreographer and performer. His work, however, provides a moment to reflect on what it means to be a solitary being in a dense and hyper-paced world. His empathetic interventions into subcultures and landscapes exaggerate the potential and limitations of the body while reaffirming the value of the individual self. Several recessed rooms offer a sumptuous simulation of the multiplex, their doors open so that we are able to wander between films, between moods.

This is indeed moody, melancholy stuff, as old men cry and young men sing. Yet these intensely choreographed vignettes also work to deconstruct the cinematic conventions that conspire to affect us. Movements are slow, controlled and slightly out of synch with their narratives, representing in style the disconnection that is also the theme of the relationships they depict. The Sirens of Chrome uses an Angelo Badalamenti style track to score an encounter between a woman and a parked car.

She rolls over it in a choreographed orgy of limbs, chrome reflections and hair. Again it is difficult not to fall into the trap of genre confusion that Just has set for us, as the close camera makes it appear as if the woman is being hit by a moving vehicle, and simultaneously as if she is moving to a trashy modelling routine. This kind of ambiguity accounts for the strength of the work, immersed as it is in cinematic allusion. It is appropriate, then, that Jesper Just helps us to be suspicious of the filmic conventions that are laid bare in his films.

These are remixes of a polished kind, lifting the tropes of classical Hollywood cinema into a slowed down and sublime version of themselves. What drew you to the idea of an online documentary that also crossed into other media? I have been making documentaries for over 30 years and I have always been interested in experimenting with the documentary form.

Re-enchantment was a new direction, allowing me to explore whether working in a multiplatform and interactive way could extend the documentary essay and the poetic possibility of documentary—both have been important in my previous documentaries such as Myths of Childhood and The Hundredth Room. Although I had no previous experience working in interactive online form I was excited about the possibility of engaging with audiences in new ways.

Fairytales seemed ideally suited to an interactive approach. I saw other documentary makers using the web to repurpose their documentaries originally created for television but I was more interested in working on a project that was conceived for the web, that could use interactivity to extend the purpose of the project.

I knew I did not want to retell the stories themselves but to approach their interpretation at the same time as deepening our connection to the mystery of the stories. I was interested in the way artist and filmmakers had reimagined these stories and sensed that Re-enchantment would in itself be a work of creative reinterpretation.

I began with research into each story and a script writing process thinking about how we might engage with the interpretations. I knew I wanted all six story spaces in the forest to look and feel different, using the motifs and symbols unique to each.

Bluebeard was the first space developed. This is a story based on keys and a forbidden room. Cinderella unfolds in a vaudeville theatre and carnival space where different stage shows and experiences with a wheel of fortune and kissing booth determine the ideas you encounter.

Rapunzel is set in a tower within a tree where you find yourself in a lift and choose a LP treatment. Each floor you enter challenges you with new content about interpreting the story. Many visual ideas came from workshopping my scripts with lead animator and graphic designer Rose Draper and interactive designers Catherine Gleeson and Keren Moran and producer Sue Maslin. There was a massive job of visual research by Penny Chai who fed many images by artists into the script development phase.

As the visual designs and ideas for interactivity were developed, I did more research and writing. We were all working without a template. It was at this script stage that I had input into storyboards and visual design but then these images and ideas disappear into the world of computer programming and I would not see the results till many months later. This is a very different and frustrating process compared to shooting and editing a documentary.

I found it very challenging that in this process I was committing to visuals very early with little or no opportunity for editing and changes. I did not know how interactive elements would work until they were programmed. On the plus side, there was an enormous possibility of layering graphic elements and images that has made for an extremely beautiful and poetic aesthetic.

I kept reworking text throughout. In a linear mode you can structure your documentary around an unfolding argument, even a visual one. But in an interactive mode users skip, hop, immerse, revisit or even turn off the sound. So the challenge is that, even more than in linear documentary, the form must embody my ideas. Each section of the site then has to engage the user in some way with the thinking about the story.

Dangers lurked in the woods. Caged birds and frogs changed into princes. The Little Match Girl died unfairly I thought. Each time I reread this book I thought I would be able to understand it, but I never did.

Fairytales frightened me and fascinated me at the same time. When I became interested in Jungian psychology, I was once again confronted by the strangeness of these tales and their deep resonance in the human psyche.

They have continued to surprise and delight me. When I was making my documentary series Myths of ChildhoodI was drawn to fairytales because their more realistic depiction was an antidote to the over sentimentalised idea of childhood in contemporary western culture as a magical, precious time, a period separated off as special and permeated with adult nostalgia. In fairytales children are abandoned by their parents, mothers imprison and plan to eat their children and fathers have incestuous relationships with their daughters.

But fairytales also provide hope in the battle against impossible odds and the comforting idea that others have been there before us. The idea for Re-enchantment was seeded by a conversation. I have been making documentaries since the s and increasingly my documentaries have taken up the relevance of psychological ideas for contemporary culture. In all my work I have been pushing our expectations of documentary. I was chatting with my friend and producer Sue Maslin at an exhibition opening.

When she heard I was interested in fairytales she suggested that this would make a great interactive documentary. At that point I had no idea how one made an interactive documentary but we both agreed that fairytales were ideally suited to an interactive form. A fairytale will mean different things to us at 5, 15, 35 and I love the dark aspects of fairytales, in particular stories of the negative mother who imprisons and threatens to devour her children.

Now I think about what we can learn about ourselves as older women from the Baba Yaga or old witch stories. I knew that the power of fairy stories lies in their mystery. Visually I wanted to keep a poetic quality and the story spaces to be evocative and where possible playful. Rather than stripping away the mystery and enchantment, the project threads together various interpretations and versions of a story from the perspectives of psychology, social history and popular culture in a way that deepens our connection to and fascination with the richness of fairytales.

It is the connection we make to a story that gives it the power to excite our own reimaginings. The visual language throughout Re-enchantment reflects the symbolic language of the story, for example the use of the shoe motif or hair, and responds to the content or interpretations of the story being considered.

Do you find the symbolism of fairytales affects the way your clients see the world, or how you practice? Fairytales can help us make sense of inner and outer life experiences. In the therapy room I have observed that if we are able to see our own personal history in terms of story we are much less likely to be overwhelmed by negative life experiences.

When we can imagine our selves as the fairytale figures in say Cinderella or Snow White, we gain new psychological insights into sibling rivalry, overwhelming envy, poisonous, devouring love and murderous hatred.

We are introduced to the ways in which difficult life experiences can be endured and even overcome. Tales tell of the ensnaring witch who is defeated, the murderous husband who is killed, the spell of enchantment that is broken and the transformation that is possible.

How great do you see the impact of fairytales on contemporary literature, film and television? I have been interested in the way traditional fairytales have a powerful hold on our cultural imagination. I am fond of the work of Tim Burton who often speaks about the power of fairytales in his own narratives and how all monster movies to him are a version of Beauty and the Beast. Visual artists, photographers and filmmakers are constantly reimagining these traditional stories.

Fairytales are perpetually in the back of our collective minds. Knowing fairy stories provides us all with a rich vein of motifs and narratives available for creative reimagining. Fairytales are of course cultural snapshots of the time and location of their telling, but they can also open out wider cultural questions for us today: Why are we caught up in the princess fantasy?

Why do we project greed and overconsumption onto children? Why is cosmetic surgery of the foot on the rise? Why are older women demonised? Why is death our night-time entertainment? As well as the Forum, the Re-enchantment site also features curated exhibitions.

Why is that? I draw together work by artists exploring particular themes. The Gallery provides a place for their work. This project is a conversation with others who are interested in fairytales. This is the heart of the reason why I wanted to do a project that is interactive. The book is a form that to me inhabits the world of stasis object and the world of movement text. And with these books and this artist, more than usual attention has been given to the experience of the reader who is simultaneously the performer of the object and the audience of the text.

They also share the same editor, the always thorough Linda Michael and the same designer, John Warwicker of tomato, who has applied some stylistic crossovers but recognised the essential differences between the projects. The closeness of the production team has ensured objects of great quality. As the titles signify, a long chronological overview is important in both texts.

By privileging performance, one gets the sense that these other media and even performance itself are driven by a greater force, that of time itself. I found the focus on duration particularly nuanced and sustaining though more convincing in relation to the first and fifth phases, less so in those works dealing with the fixity of the arrested image such as the Black Boxes and the Brides.

He sets out to document his entire performance oeuvre. Each performance, including those that were never actualised, is fully catalogued in the back of the book. Parr has handled the notoriously difficult relationship between original performance and secondary evidence as a challenging opportunity to extend the reach of performance into its equally engaging after-effect.

Fourteen double-page spreads are devoted to drawing out the short, sharp blow of the tomahawk that Parr wielded to his meat-filled prosthetic left arm before a shocked audience.

The images are frames from the original video footage. The 14 frames therefore represent less than a second in real time, but here we can slow time down or use it like a flip-book to reconstitute the original act. The documentation of this work concludes with a written statement by Parr exploring the provocations of the work for himself and his audience.

But, as Parr does with the inclusion of the Delacour images and explanatory text, Scheer is careful to devote as much attention to the post-traumatic phase. Many choose not to make the commitment and for many reasons. Both books available through Black Inc, www. In a series of rounds, he manages to coach me through a couple of breathing exercises while dishing out occasional words of criticism or encouragement. Ability to control breath leaves you with a ranking of lightweight, featherweight or sometimes even better.

So often breath-controlled interactives encourage peaceful experiences such as the artworks of George Khut, Hannah Clemen or Elliat Rich. Overall, Below the Belt could do with a little tidying at the edges. However building a work like this is challenging—especially in incorporating this form of interactive control—while ensuring the scenario is a truly believable one. Not for one moment was my attention distracted.

Next on offer is a different intimate interaction. The Human Theramin by Luke Pasquale Calarco is a construction made from a backpack stuffed with the essential old-school gadgets, aerial poking out the top, plus a power lead trailing behind. Wearing the backpack, Calarco turns himself into a touchable sound-producing instrument, generating a range of squeaks, squeals, drones and groans typical of a short-circuiting electronic gadget.

One oversized switch swaps the glow of a dozen or so tiny protrusions of electro-luminescent wire to radiating loops, positioned equidistantly in a 3D copper pipe grid.



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