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by Tony NigroVodpod videos no longer available.
Along with Kevin Lee, Seitz is taking online film criticism in the right direction, using online video to elevate criticism above the print vs. blog roadblocks that have become all too commonplace. (Another tremendous video entry by Seitz is the “Evolution of the Modern Blockbuster” series at The L Magazine.)
Here are some of my older (and less effective) entries on zombie film criticism:
Heavy Metal. Ozzy. Marc Price “from Family Ties.” Someone call Tipper Gore and the PMRC, because it doesn’t get any more evil than this, folks.
Not Coming to a Theater Near You has a more respectful and well thought out piece on this piece.
by Lewis Manalo
Sam Fuller, bitch. This “Collector’s Choice” is a unique DVD set because it has more films in it that aren’t directed by Sam Fuller than are. The five un-Sam movies, on which he has a (shared) writing credit, have never been on DVD before, and only if you’re a real freak for Sam Fuller will you need them like I need them.
Crimson Kimono and Underworld USA are the two Sam Fuller pictures in the mix. You might be able to deal with Underworld USA, with its shades-wearing child-killers, but from the opening scene of a nude stripper getting shot dead on a crowded L.A. street, you won’t be able to handle Crimson Kimono.
You see, in the aftermath of World War II, the ladies got the Yellow Fever, and the Man – and you – can’t deal with it.
Click here for more info on the DVD set.
by Tony Nigro
A recurring argument in avant-garde cinema circles regards watching a film projected versus any other way. The idea is that one cannot truly “see” a film except in an ideal projection setting, which excludes home and online video. (Video art is another story, and I’m not going to touch that now.) The broader discussion breaks down into two camps: purists and people the purists think are philistines. Sometimes, the purists call each other philistines. For more purist-on-purist action, check out the archives of Frameworks.
Of course, this is to say nothing of the irony that many avant-garde film folks, those supposedly ahead of the curve, are really purists. Or maybe I mean “puritans.” Anyway, that’s a different essay altogether.
Film Studies For Free is a tremendous resource of links and videos that fulfill the promise of the blog’s title. (I only wish it existed before I went into hock to get a college diploma.) A recent post there about Michael Snow included an embed of Snow’s avant-garde touchstone Wavelength, a 45 minute zoom that blah blah perception blah blah textures of film blah blah, or something. Look Snow up sometime, because he’s fascinating. Right now I’m more concerned with comments sparked by the embedded video, comments about how the only way to watch Wavelength is on film.