There’s that moment in Citizen Kane, after Kane has lost it all and he turns to Bernstein, his right-hand man, and Kane says, “If I hadn’t grown up wealthy, I could have been a great man.” It’s a wonderfully odd thing to realize that, if only you hadn’t been given everything in the world, you just might have amounted to something. That’s one way of reading it. In this case, the ultimate answer may, like so much in this film, remain a mystery.
Camera Man: Buster Keaton, the Dawn of Cinema, and the Invention of the Twentieth Century. Dana Stevens. Simon & Schuster. New York. 2022. 415pp. $29.99
Buster Keaton (1895-1966), the “Great Stone Face” of silent movies, found himself hurled, figuratively and literally, into the 20th century. And quite an impact he was to make! We often seek a way into a story through an event or a person. Buster Keaton proves to be a perfect guide in an understanding of where we’ve been, in terms of media, these last hundred years or so. Dana Stevens, film critic for Slate since 2006, gives Buster Keaton his due and even credits him with having more than a little to do with defining the last century.
It’s only in hindsight that we can see the big picture. One of the most celebrated anecdotes about the early years of cinema goes back to one of its inventors, Louis Lumiere, who is said to have declared that “the cinema is an invention with no future.” Perhaps that is more legend than true but it was kept alive by Jean-Luc Godard for his screenplay, Contempt. As Stevens points out, time and again, there was nothing certain about this new art form. It was a gamble. It was a game for risk takers. Enter Buster Keaton and his family of daredevil vaudevillians dealing in the most spine-tingling and acrobatic of stunts!
Buster Keaton set upon the stage at the tender age of five, just at the dawn of a new century. As Stevens does throughout, she connects all sorts of disparate dots to focus on a whole, while crafting a sense of the poetic, especially with her favored metaphor of Buster in mid-air. Here is an excerpt where she tightens the frame around Buster’s origins:
By the time Buster was taking his first public falls at the turn of the century, watching talented children onstage was a cultural thrill that came with a built-in moral twinge, even when those children weren’t being flung into scenery or the rib cages of hecklers by their strapping fathers. The awareness that “the cruelty” was liable to shut down the show must have added to the audience’s frisson of mingled guilt, pleasure, and suspense–the precise mix of affects Joe and Buster’s father-son knock-about act also specialized in eliciting. This conflicted cultural, legal, and psychological space, where children were at once fragile treasures to be protected, market commodities to be exploited, and private property to be disposed of at their parents’ will, was the world into which Buster found himself thrown.
Buster Keaton, in his own way, was the ultimate Everyman of the Twentieth Century, a regular fellow thrown into a suddenly faster world. In one film after another, in countless intricately plotted near-death antics, Buster Keaton is the sad sack in over his head, just trying to get by, but forced to contend with a topsy-turvy chain of events whether it was a house frame perfectly timed to fall only inches away from him or a locomotive set to just barely miss from killing him. Stevens, with great gusto, details every step of the way of Keaton’s ongoing good citizen trapped in a new-fangled pursuit of the American Dream.
Sharing similar childhood pathos and artistic achievement in adulthood with Charlie Chaplin, Buster Keaton is among that elite group of artists that simply transcend any one medium, elevated to the level of an icon. Look to his movies and you will find gems with a distinctive Buster Keaton artistic vision. Beyond his silent movie glory, Keaton remained relevant as a character actor at the dawn of television and in movies well into the sixties. It was Keaton’s special mix of talents and demeanor, a combination of the subversive and the melancholic, that truly spoke to a new generation and remains timeless. Dana Stevens is spot on to celebrate this singular talent and her book is a most fitting tribute.
Cinema is one of the great pleasures in life. If you love good movies, then you will be delighted with the lineup for the Turner Classic Movies Film Festival (May 6-9 2021). This post will point you in the right direction as well as provide an added bonus. One of the titles featured during the festival is 1996’s Nichols and May: Take Two. I had the honor of interviewing Mark Harris, author of the New York Times Bestseller, Mike Nichols: A Life. I hope you enjoy our chat and be sure to catch all the great movies during the festival. During our conversation, I tried to fit in as much as possible regarding Mike Nichols (1931-2014), such a iconic figure in the world of improv comedy, theater and film known for such landmark films as Who’s Afraid of Virginia Woolf? (1966), Catch-22 (1970), and Carnal Knowledge (1971). And those three titles are just scratching the surface!
Cast and producers including Al Pacino, third from left, Meryl Streep, third from right, and Mike Nichols, second from right, hold the award for outstanding miniseries for their work on “Angels In America,” at the 56th Annual Primetime Emmy Awards Sunday, Sept. 19, 2004, at the Shrine Auditorium in Los Angeles. (AP Photo/Mark J. Terrill)
Harris first got to know Nichols during his work adapting Tony Kushner’s landmark play, Angels in America. By then, Nichols was in his seventies and a master of his craft many times over. During our talk, Harris noted: “It is remarkable to me how Nichols kept looking outward during a production, while the meter was still running, finding ways to construct and to add.” As for what might be said in describing Nichols’s body of work, Harris said it wasn’t a matter of maintaining a thematic structure. It was really more down to earth. “It was about finding what excited Nichols to pursue a project: a script, a collaboration, a writer, an actor.”
NICHOLS AND MAY: TAKETWO (1996): TCM premiere of this documentary about the influential comedy team of Mike Nichols and Elaine May. Four of their radio sketches have been re-created with new animation created especially for the program.
Includes conversation with author Mark Harris, Mike Nichols: A Life.
Nichols and May: Take Two
SATURDAY, MAY 8 11:45AM ET
And remember, the festival kicks off May 6th! This year’s Festival will be presented virtually and feature four days of incredible programming on TCM and within the Classics Curated By TCM Hub on HBO Max, a dedicated destination for classic movie fans within the HBO Max app.
Who’s Afraid of Virginia Woolf? (1966)
Carnal Knowledge (1971)
2021 TCM Classic Film Festival
Thursday, May 6 through Sunday, May 9 at two virtual venues: the TCM networkandtheClassics Curated by TCM Hub on HBO Max.
To learn more, go to the TCM Film Festival site right here. You’ll discover a unique film festival experience on TCM.
Mise-en-Scène or Depth of Field technique in CITIZEN KANE
Like any visual medium, as in painting and cinema, there are particular ways of seeing that are useful, even essential, when studying the mechanics of comics. Mise-en-Scène or Depth of Field is a fascinating aspect to comics that occurs more often than you might think. Sometimes it’s done more formally and explicitly and sometimes not so much. But, when done right, it can be very striking and truly enhance the comics experience. First, consider the picture plane, an impression of space, like the imaginary wall separating the audience and overlooking the space on the stage. Then think of foreground, middle ground, and background. We are considering everything. The term, Mise-en-Scène, in French, literally means “put into the scene” but I like to also emphasize it refers to making the most of the three planes depicted in a scene.
From work-in-progress by Henry Chamberlain
You are looking at a scene, in a painting, or a film, or in comics, from the close range, mid-range, and way in the back range. What you might place in these three planes can significantly move your narrative forward. A reliable trope would be to set up your scene to include past, present, and future: cast the middle as present tense for the main character, with the past set in the back; and the future set up front. That’s what I ended up doing with the above image after noodling around for a while. But it can be anything you like, anything that makes for an interesting composition.
You can call this process, “The Three Plane Method.” That comes to mind. Or you can use the term used in theater and cinema, Mise-en-Scène. In film and photography, think of this as playing with Depth of Field. In the end, you’re exploring what this technique can do for you as you compose a frame or a scene. If you want some truly riveting examples, take a closer look at how images are stacked upon each other in layered scenes in Citizen Cane to create mesmerizing montages. Some are stable landscape type moments and others are dazzling scenes which have the camera rolling for one long dizzying shot like the one that begins outside during a gloomy snow storm and snakes its way into a cozy cabin.
from The Leaning Girl from the The Obscure Cities series by François Schuiten and Benoît Peeters.
The best comics tend to be, at least for me, thoughtfully composed. While comics has its own language and techniques unique to its medium, it does manage to borrow from other mediums–and make it its own. That said, it was interesting to go about finding a decent example in comics of true Mise-en-Scène. I think my initial impulse is proven because it wasn’t easy to just stumble upon something. Paul Pope? Nada. Blutch? Nada again. David Mazzucchelli? Frank Quitely? No and no again. You can’t ignore the fact that comics is a sequential art. In general, comics is mostly invested in a steady flow of a concise combination of words and pictures. Those visionary auteur cartoonists will, on occasion, create panels or whole pages with bravura artwork but these are usually some attempt at detailed exteriors or interiors to establish time and place. Not necessarily work making the most of all three planes. The long and the short of it is that a lot of comics involves people speaking to each other or going from one place to another and not much else. Many exceptions exist and hurray for them. I finally found the above excellent example to share with you from The Leaning Girl from The Obscure Cities series by François Schuiten and Benoît Peeters.
Comics Grinder has always got you covered for interesting tidbits, insights, and suggestions regarding comics, pop culture, and culture in general. Here are some quick suggestions for discerning Comics Grinder followers:
I’m going to keep this simple and jump right in with 10 items for your consideration beginning with Wes Anderson: The Iconic Filmmaker and his Work, by Ian Nathan, an “unofficial and unauthorised” yet stunning tribute to the beloved filmmaker. 176-page hardcover with deluxe slipcase, fully illustrated. $35. From White Lion Publishers, an imprint of The Quarto Group.
Next up will please any fan of D&D, especially younger players or anyone who enjoys a trading card style description of characters. This is Beasts & Behemoths, the fifth and latest installment in the Dungeons & Dragons Young Adventurer’s Guide series. It is by Jim Zub, Stacy King, and Andrew Wheeler. 112 pages, full-color illustrations. $12.99. From Ten Speed Press and Penguin Random House.
Moving right along, this book will need to be in your kitchen and bar as soon as possible, whether you’re a D&D fan or not yet. Welcome to Heroes’ Feast: The Official D&D Cookbook. Yes, now you can eat and drink like a hero. There are recipes here for everything from Honey-Drizzled Cream Puffs to Sembian Honey-Glazed Rothe Ribs to Bytopian Shepherd’s Bread to Roll Rum! Seriously, this is an impressive cookbook with lavish illustrations alongside charming and meticulous D&D factoids and insights. If you’ve been looking for a way to hook yourself into the world of D&D, then seek out this cookbook. Fully illustrated. 240 pages. $35. From Ten Speed Press, an imprint of Penguin Random House. Quite honestly, this is the best gift for 2020 on so many levels.
If you are a fan of Critical Role, then you are in very good company as this is one of the most popular role-playing game communities ever. Now, you can join in on all the fun and get all you’ve ever wanted to know about this fantasy RPG livestream phenomena in one deluxe book, The World of Critical Role: The History Behind the Epic Fantasy, by Liz Marsham and the Cast of Critical Role. Just like the name suggests, go deep into this world with up-close and personal features on all the talent involved. Critical Role was established in 2015 by a group of friends with a passion for storytelling and has evolved into a multi-platform media company with a variety of shows, comic books, graphic novels, animation, podcasts and more. Its epic adventures and memorable characters attract millions of viewers live every week. Yes, this is a big deal and, if you’re new to it, then all the more reason to get this book. This is a 320-page fully-illustrated hardcover, $35. From Ten Speed Press, an imprint of Penguin Random House.
Let’s shift over to the Star Wars universe and a most compelling book indeed. For anyone who cares about quality storytelling, and enjoys Star Wars lore, this is a perfect gift. From a Certain Point of View: The Empire Strikes Back is an anthology celebrating the 40th anniversary of The Empire Strikes Back with forty acclaimed science fiction writers. You will find such gems as Hank Green chronicling the life of a naturalist caring for tauntauns on the frozen world of Hoth. Or about Charles Yu’s quirky look at what it’s like to be in Darth Vader’s death grip? So much to enjoy here. So kick back with a Roll Rum and get into some serious Star Wars storytelling. This is a 564-page hardcover, $35. From Del Rey, an imprint of Penguin Random House.
It’s impossible not to like the hilarious work by Yehuda Devir and Maya Devir with their comics adaptation of their everyday lives. It all began as a fun spoof on young married life. Yehuda would draw. Maya would art direct. Next thing you know, these candid illustrations went viral on social media. Welcome to One of Those Days, a collection of these funny and touching illustrations that just about anyone can relate to. This is a 272-page full color hardcover, $30. From Penguin Random House.
Dbury@50 Celebrates 50 Years of Doonesbury
Garry Trudeau’s Doonesbury has been around for fifty years and it’s time to celebrate. Enter, Dbury@50: The Complete Digital Doonesbury, from Andrews McMeel Publishing, priced at $125. This includes a 224-page “user manual,” a poster, and a thumb drive which includes what looks like a little website presenting all the comic strips on a per week basis. The fifty-year milestone celebratory package takes readers through each year of the strip, providing historical context and featuring key storylines, and proves to be a valuable first step in preserving a significant comic strip for future generations.
Another huge property is anything and everything to do with Frank Herbert’s monumental novel, Dune. Was it ever really meant to be more than a novel? Well, how about a graphic novel? The answer is yes and no. Apparently, it takes more than one graphic novel to properly attempt to cover the novel. Enter, Frank Herbert’s Dune: The Graphic Novel, Book 1. It offers a good mix of the cinematic and more cerebral that should satisfy true believers and newcomers alike. This is a 176-page hardcover, $24.99. From Abrams ComicArts.
If anyone tells you that they’ve finished reading XX, the new mammoth novel by Rian Hughes, they are lying to you. This work clocks in at 992 pages. It actually weighs in at almost 3 pounds. Isn’t that close to the weight of a newborn baby? No, the average weight is around 7 pounds. Okay, I don’t want to overstate this. What I do want to say is that the book is huge and sometimes big books come with a lot of hype. In this case, we have an art house book with a lot of type, as in fancy footwork with various fonts. This is supposed to be a glorious melding of the literary arts with the graphic arts from a master designer. I’m not sure that I’m buying all that. If you are looking for something really compelling and unusual that is playing with the literary and the visual arts, you may still need to go back to 2000 and House of Leaves by Mark Z. Danielewski. That said, I’m still working on this mountain of a book and the basic story hasn’t really hooked me in yet. I’d love to know what you think if you have indeed made it to the end. This is a hardcover, $26.43. From Abrams.
How much do you like Batman? I love me a good Batman story, but I mean something really good. Well, a lot of good things came from Batman: The Animated Series. The higher-ups at the Big Two Publishers can be a mysterious bunch but, when they prioritize, they can achieve remarkable results. Look, iconic characters like Batman are only as good as the creative team behind a certain project. What made Batman: The Animated Series work out so well was the creative team led by Bruce Timm back in the early ’90s. It seems that Timm set the gold standard and it has been honored ever since. I have yet to see a subpar DC Comics/Warner Bros. animated feature. The book, Batman: The Animated Series, honors all that hard work and dedication with stellar artwork. Enjoy. This is a 144-page hardcover, $60. From Insight Editions.
1917 is a movie that brings World War I to life, a story told in the trenches and meant to be sobering. Early scenes in the film are looking down into the trenches. The humble title sets the tone for a narrative that focuses the viewer on a specific time, place, and protagonist. This is a journey that one soldier must take in order to save a battalion of 1,600 men. The battalion is being ordered to stand down in order to avoid an enemy trap and two soldiers have been tasked as couriers to send that message.
Crouching toward the goal.
Lance Corporal Schofield (George MacKay) never expected such a dangerous, and pivotal, assignment but there he is, paired with another soldier (Dean-Charles Chapman) who he doesn’t really care for. But any callow sentiment is quickly wiped away once the race is on. As the two move above ground, they can’t help but remain low, crouching toward their goal. It’s not long before Schofield loses his teammate and the focus tightens upon the determination of one man.
Schofield’s silhouette often holds together the composition of scenes.
Designed to play out in the form of a single, extended, endlessly mobile shot, 1917 is visually stunning, bringing The Great War into brilliant 21st century relevance. No, we are not at all that different from our early 20th century ancestors, even with our technological superiority and cultural awakening. Bravery is the overriding theme. Schofield is the unlikely hero who is but a little cog in a system. It has been foisted upon him to do the right thing and that will only happen if he follows his conscience and precisely follows orders. Now, the camera moves closer on Schofield and his silhouette often holds together the composition of scenes.
Schofield retains the grace of the understated hero.
Director Sam Mendes pays tribute to his grandfather’s exploits in this epic film. Both Mendes and co-writer Krysty Wilson-Cairns were guided by family war stories. The narrative is, by all measures, epic in the extreme. Influenced by the lore found in some of the best in cinema, literature, and even video games, this is a movie packed to the gills with intensity, a veritable roller coaster of highs and lows. Sandwiched between two heart-wrenching scenes of mortal combat, there’s even a quiet moment when Schofield stumbles upon a mother and child quietly surviving in the shadows. This tender scene inspires Schofield to sing a few lines from Edward Lear: “On a winter’s morn, on a stormy day, In a Sieve they went to sea!” Not long after that, Schofield himself is fighting the mighty life-threatening river currents. No doubt, this is a movie that can get caught up in its own grandiloquence. And yet, through it all, Schofield remains the stalwart understated hero and preserves for this epic film the irresistible charm of a fable. For all its grandeur, 1917 manages to retain a great sense of humility. Among its many influences is the classic novel, All Quiet on the Western Front, a story that is decidedly humble. Within this big epic film resides a modest human heart.
Nuns are a group that we’ve come to perceive, especially in pop culture, as capable of anything. You just don’t mess with a nun. Expect the unexpected. And this idea proves true in the new documentary, Breaking Habits, written and directed by Rob Ryan. Not only do we have an inspiring story about nuns doing heroic things, we also have a fascinating look at where cannabis currently stands in the real world. Whether you support cannabis, are against cannabis, or fall somewhere in the middle, here is a documentary that tells it like it is and offers up various valid viewpoints.
Cannabis is a subject with plenty of gray area. What you’ll find in this documentary is that folks on all sides of the debate can potentially be pretty reasonable. Part of the problem is a legal one. As long as cannabis is caught within certain legal restraints, you have a messy situation. For example, the big problem our nuns face is trying to help those who can benefit from the medicinal benefits of cannabis while skirting the law. Currently, as is the case in Merced, California, a person can only own two cannabis plants and it is strictly for personal use only. However, as people see a golden opportunity to sell bumper crops, you regularly have violations of the two-plant limit. That is where our nuns find themselves: in direct violation of the law in favor of a higher calling. It’s a great business opportunity too but the risk of getting caught by law enforcement is just as great.
We follow the story of Christine Meeusen, from high-flying corporate executive to her new calling as Sister Kate, founder of the medical-marijuan empire Sisters of the Valley. We see Meeusen shed her former life, triggered by the outrageous actions of her former husband who left her and her family penniless. Sister. Healer. Grower. Meet Sister Kate, reborn rebel and founder of medical marijuana enterprise, Sisters of the Valley. Matter-of-factly, Sister Kate found a way out of her own despair and a came out the other side as a badass nun. Truth can indeed be stranger than fiction. Sister Kate’s troubles with the law are real. The embodiment to this, her nemesis per se, is the local sheriff who never met a cannabis plant or user he ever liked. But the law is the law and the case is made in a fair manner.
Most important is the crusade that Sister Kate and her nuns are on. She’s breaking new ground and, in time, others will follow. That is inevitable but we are dealing with current law. What needs to be understood better by everyone involved is the medical benefits of cannabis. Sister Kate and her disciples produce cannabidiol (CBD) products that treat cancer and other conditions, but despite their healing enterprise, continue to have a legal fight on their hands, along with dodging bullets from local drug kingpins.
Breaking Habits is a balanced look at where cannabis stands today in the real world and an inspiring story about a group of brave nuns. A worthy and entertaining documentary you won’t want to miss.
Breaking Habits will release in theaters and On Demand on April 19, 2019.
Adam Driver (left) and John David Washington in ‘BlacKkKlansman’
Do you find yourself flooded by Trumpworld only to wish you could zone it all out? That frenzied state of distraction is exactly what the Donald is aiming for. Spike Lee’s new film, BlacKkKlansman, aims to give us clarity and put things in perspective.
Topher Grace in BlacKkKlansman
Anyone familiar with Spike Lee’s work appreciates its integrity. 1989’s Do The Right Thing deftly confronts American race relations. That is a powerful movie. Lee brings that same energy and intelligence to 2018’s BlacKkKlansman. As a cartoonist, I often wonder about how the comics medium, in all its varied forms, can best address the current Trump crisis. I think Jim Carrey’s cartoony paintings, with their raw quality, have a much greater impact than perhaps most professional editorial cartoons. As for anything remotely falling under the “graphic novel” category, I’d have to give a lot of credit to John Oliver’s parody of Mike Pence’s Bunny Book. That said, whatever the art form, it is the measured response that ultimately wins the heart and soul of the viewer.
White nationalists clashing with counterdemonstrators in Charlottesville, Va., last year. With an anniversary rally planned in Washington on Sunday (8/12/2018), the authorities have planned for weeks to avoid a repeat of last year’s clashes.CreditJoshua Roberts/Reuters
Spike Lee has certainly given careful consideration. Based upon a true story, Lee’s main character is a young and idealistic African American man conflicted by serving his local police force and serving his community at an activist level. The narrative masterfully weaves in the 400-year-old American racial experience: past, present (1972), and future (2018). There are those moments when everything comes to such fine point, especially after the newly-minted undercover detective Ron Stallworth (John David Washington) has gotten settled into his job. One fellow officer talks with him about how white supremacists are steadily going mainstream and it will eventually lead to the White House. Ron shakes his head in great disbelief.
It is Ron’s job, which he carved out for himself, to infiltrate the local chapter of the Colorado Springs Ku Klux Klan. He is obviously in need of help since his phone conversations quickly lead to an invitation to meet in person. That’s where a second Ron Stallworth (Adam Driver), in the flesh and Jewish no less, comes in. And the KKK connection just keeps getting complicated, not to mention dangerous. Soon, the original Ron Stallworth is on the phone establishing quite a friendly relationship with the young KKK Grand Wizard David Duke (Topher Grace). Lee continues to thoughtfully and gracefully connect the dots, as painful as they are–without a heavy hand. And it is that cumulative effect that adds up to the most powerful film I’ve seen this year. The final moments bring us to our present with a fiery defiance and a remembrance of Heather Heyer, may she “Rest in Power.”
Spike Lee delivers a good dose of reality that can stir the soul. We don’t do this much anymore (maybe for Star Wars and superhero movies) but this film will have you in the mood to clap at the end. This movie got me good and I was clapping. I even yelled out that folks can applaud. I did it in that communal spirit that many of us in Seattle respond to. Well, not only in Seattle. And, like a chain reaction, people did applaud. It didn’t last very long since, as I say, we really don’t applaud movies anymore. But it did happen all the same, even if momentarily. We Americans need to respond to the current American crisis every chance we get. BlacKkKlansman responds to that very real need. It’s a start and it will, no doubt, inspire others to do much more, like voting.
The Little Tramp off into the sunset. Illustration by Henry Chamberlain
Aristotle speaks of the mimesis of the first order and the mimesis of the second order. When creating art, the goal is to distance oneself from the source. Mimesis of the first order is simply art imitating nature. Mimesis of the second order is art perfecting nature and turning it into something transcendent. That rule is certainly at play in the work of Charlie Chaplin. As Marco Grosoli points out in his essay on Chaplin, this was an artist keenly aware of his myth and in a unique position to go on to make great art from that myth. Marco Grosoli’s fascinating essay is part of a collection of essays from various writers on one of the masters of cinema, “Refocusing Chaplin,” published by Rowman & Littlefield.
There may never be another artist quite like Charlie Chaplin. However, his influence and relevance continues to evolve. And so that gives this collection of essays a great sense of urgency. In the same way that an artist of the first rank like Ray Bradbury could have anticipated social media some fifty years ago, so too did Charlie Chaplin foresee the power of a meme in a career that began over one hundred years ago. To say that Charlie Chaplin was beyond famous is an understatement. He reached the level of myth. It is not short of phenomenal that he continued to grow as an artist through a career that spanned the evolution of cinema.
Chaplin in 1940’s “The Great Dictator”
In Marco Grosoli’s essay, he examines the friction between two formidable myths in Chaplin’s “The Great Dictator,” from 1940. By then, Chaplin was more than ready to leverage some of his celebrity for the sake of his art. The timing could not have been more perfect. The difference between the myth of Hitler and Chaplin could not have been more extreme. As Grosoli indicates, Chaplin was not merely imitating Hitler. Chaplin was channeling the myth of Hitler. In that respect, Chaplin was getting at a greater truth. In a work that deeply explores the power of meme, Chaplin plays both the role of Dictator Adenoid Hynkel and a Jewish barber who looks identical to Hynkel. Dictator and barber are, in a sense, interchangeable. In the proper costume and context, everyone accepts whatever the Jewish barber has to say, dressed as Hynkel, even if it is the total opposite of what Hynkel would say. Push two extremes together, Grosoli suggests, and they strangely equate each other, form a perfect nothingness.
“Refocusing Chaplin: A Screen Icon Through Critical Lenses”
Essays in this collection feature a wide spectrum of themes including Marxism, feminism, gender studies, deconstruction, psychoanalytic criticism, new historicism, performance studies, and cultural criticism. This critical study covers a wide reach of films including The Circus (1928), The Gold Rush (1925), City Lights (1931) Modern Times (1936), The Great Dictator (1940), Monsieur Verdoux (1947), and Limelight (1952). This collection proves to be a valuable resource on one of the leading masters of cinema.
“Refocusing Chaplin: A Screen Icon through Critical Lenses” is a 250-page hardcover, published by Rowman & Littlefield. Visit them right here.
If you’re looking for new talent on the rise that offers the next wave of sci-fi action movie adventure, then look to director Marco Kalantari’s short film, “The Shaman.” It is a pleasure to have at Comics Grinder an interview with Mr. Kalantari, which you can listen to here. And Comics Grinder has an exclusive manga adaptation to his short work as well as a review, which you can view here. This is a short film with promises of bigger things to come. It is definitely a look at what a visionary director can offer.
The dark year 2204, in a world that has seen 73 years of continuous war.
The face of conflict has changed. People kill people but they now rely on giant, intelligent battle machines to fight. Meanwhile, mankind has re-discovered the arts of magic and Shamanism and the Generals on both sides use well-trained spiritual warriors to face the threat of machines. Shamans have special senses; they are experts in all aspects of the “unseen” and the “beyond”. They believe that every person, animal, plant and object has a soul. When crossing the border to the Netherworld, the Shaman can find this soul and interact with it. That is what makes him such a deadly, highly effective weapon. They track and convert the souls of their enemies’ giant battle machines in a psychological soul-to-soul confrontation. But Shamans are not invulnerable. They are just people and can be killed like anyone else.
Shaman Joshua Van Kern and his squire Lene embark on a mission to convert a giant battle colossus and succeed where troops have failed.
And you can always visit the director’s website right here.