DOCSLIB.ORG

Bamcinématek Presents Punk Rock Girls, an 11-Film Survey of Cinema's

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bamcinématek Presents Punk Rock Girls, an 11-Film Survey of Cinema's BAMcinématek presents Punk Rock Girls, an 11-film survey of cinema’s toughest she-rockers, May 7—Jun 1 Opens with a sneak preview of Lukas Moodysson’s We Are The Best! with Moodysson in person Director Slava Tsukerman in person for Liquid Sky The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Brooklyn, NY/Apr 18, 2014—From Wednesday, May 7 through Sunday, June 1, BAMcinématek presents Punk Rock Girls, an 11-film survey of cinema’s toughest she-rockers. To mark the release of Lukas Moodysson’s (Show Me Love, Lilya 4-Ever) punk rock valentine, We Are the Best!, BAMcinématek pays homage to the fearless, mohawk-sporting, safety pin-wearing, guitar- wielding women who stick it to The Man. Opening the series on Wednesday, May 7 is a sneak preview of We Are the Best!, in which three rebellious Stockholm tween girls start a punk band. Adapted from a graphic novel by the director’s wife, the film premiered at Toronto last year and simultaneously “captures the DIY empowerment of punk rock, the bond of female friendships, and parodies the era’s Oi!-scenester stances all in one blissful swoop” (David Fear, The Village Voice). Moodysson will appear in person for a Q&A following the screening. We Are the Best! is a Magnolia Pictures release and opens May 30. Diane Lane, Laura Dern, and Marin Kanter play another trio of teen punk girls in Lou Adler’s Ladies and Gentlemen, The Fabulous Stains (1982—May 31), which screenwriter Nancy Dowd (Coming Home, Slap Shot) was inspired to write after attending her first Ramones show. A play on Rolling Stones concert movie Ladies and Gentlemen: The Rolling Stones, the film features cameos by former Sex Pistols Steve Jones and Paul Cook and The Clash’s Paul Simonon, and is a favorite of Courtney Love, Jon Bon Jovi, and underground filmmaker Sarah Jacobson. Two 14- year-old runaways form punk duo the Sleaze Sisters in the proto-riot-grrrl, grimy 70s New York-set Times Square (1980—May 21), the sophomore feature by Allan Moyle (Pump Up the Volume) which Kathleen Hanna of Bikini Kill and Le Tigre has cited as her favorite film. Featuring Tim Curry as the Sleaze Sisters’ DJ promoter, Times Square also boasts a soundtrack of hits from The Cure, Ramones, Talking Heads, Patti Smith, Lou Reed, The Pretenders, XTC, and Gary Numan, among others. Among the highlights of Punk Rock Girls are Derek Jarman’s Jubilee (1978—May 30 & 31), featuring cameos by Siouxsie Sioux, Ari Up of The Slits, and Adam Ant, plus a score by Brian Eno; Brian Gibson’s post-punk feature debut Breaking Glass (1980—May 14); Dennis Hopper’s Out of the Blue (1981—May 22), “a movie that crashes a sense of working-class reality into punk nihilism and an appreciation of the absurd…ripe for rediscovery” (Michael Almereyda, Film Comment); Slava Tsukerman’s seminal Liquid Sky (1982—May 30), a major influence on electroclash featuring Tsukerman in person; Gillian Armstrong’s Aussie musical Starstruck (1982—May 15) screening in a rare imported 35mm print; and Harry Elfont and Deborah Kaplan’s surprisingly subversive Josie and the Pussycats (2001—May 29), starring Rachael Leigh Cook, Tara Reid, and Rosario Dawson. The series also includes the shorts program Popularity is So Boring (May 29) with films by No Wavers Scott B and Beth B and Cinema of Transgression filmmaker Richard Kern as well as music videos by seminal Swiss punkers Kleenex/LiLiPUT. Closing the series on Sunday, June 1 is a Susan Seidelman double bill of her debut feature Smithereens (1982), about a wannabe punk rocker who latches onto a washed up one-hit wonder (played by full-time punk Richard Hell); and Desperately Seeking Susan (1985), a reimagining of Jacques Rivette’s Celine and Julie Go Boating in 80s New York with Madonna as “an indolent, trampy goddess” (Pauline Kael, The New Yorker). For press information, please contact: Lisa Thomas at 718.724.8023 / [email protected] Hannah Thomas at 718.724.8002 / [email protected] Punk Rock Girls Schedule Wed, May 7 7:30pm*: We Are the Best! Wed, May 14 7, 9:30pm: Breaking Glass Thu, May 15 7, 9:30pm: Starstruck Wed, May 21 7, 9:30pm: Times Square Thu, May 22 7, 9:15pm: Out of the Blue Thu, May 29 4:30, 9pm: Josie and the Pussycats 7pm: Popularity is So Boring: Punk Shorts Fri, May 30 2, 7pm**: Liquid Sky 4:30, 9:30pm: Jubilee Sat, May 31 4:30, 9:30pm: Ladies and Gentlemen,The Fabulous Stains 7pm: Jubilee Sun, Jun 1 2, 7pm: Desperately Seeking Susan 4:30, 9:30pm: Smithereens *Q&A with director Lukas Moodysson **Intro by director Slava Tsukerman Film Descriptions All films in 35mm unless otherwise noted. Breaking Glass (1980) 104min Directed by Brian Gibson. With Hazel O'Connor, Phil Daniels, Jon Finch, Jonathan Pryce. The seminal British post-punk scene provides the backdrop of this showbiz saga of rocking out vs. selling out. Frizz-haired New Waver Kate (O’Connor)—clad variously in Kabuki makeup and luminescent robot suit—faces that age-old conundrum: go mainstream, or stay true to her anti-establishment roots? This blistering transmission from late-70s England captures the era’s nonconformist spirit, outré fashion, and simmering political tension. Wed, May 14 at 7, 9:30pm Desperately Seeking Susan (1985) 104min Directed by Susan Seidelman. With Rosanna Arquette, Madonna, Aidan Quinn. A bump on the head and a case of amnesia leads a vanilla Jersey housewife (Arquette) to take on the persona of a Lower East Side-dwelling hipster (“Like a Virgin”-era Madonna) who’s being pursued by killers. Susan Seidelman’s goofball take on Rivette’s Celine and Julie Go Boating is a spirited slice of retro 80s cool featuring cameos from downtown mainstays John Turturro, Richard Hell, John Lurie, and more. Sun, Jun 1 at 2, 7pm Josie and the Pussycats (2001) 98min Directed by Harry Elfont and Deborah Kaplan. With Rachael Leigh Cook, Tara Reid, Rosario Dawson. Josie (Cook) and her Pussycats (Reid & Dawson) go from garage rock wannabes to pre-fab pop-stars, thanks to the engineering of a diabolical record industry exec. Plastered with ironic corporate logos, this candy-colored satire of 90s teenybopper culture “winningly channels the spirit of Frank Tashlin… A sly, sustained spoof of consumerism, infectious pop songs, and cute girls in tight pants” (Nathan Rabin, The A.V. Club). Thu, May 29 at 4:30, 9pm Jubilee (1978) 106min Directed by Derek Jarman. With Jenny Runacre, Nell Campbell, Toyah Willcox. “As long as the music’s loud enough, we won’t hear the world falling apart.” Queen Elizabeth I (Runacre) gets zapped to late-70s England, a post-punk apocalyptic nightmare in which distaff anarcho-freaks run amok in a decaying landscape of urban ultra-violence. Derek Jarman’s nihilist anti-comedy features a Brian Eno score and appearances from punk pioneers Siouxsie and the Banshees, the Slits, and Adam Ant—plus cinema’s most disturbing use of ketchup. DCP. Fri, May 30 at 4:30, 9:30pm Sat, May 31 at 7pm Ladies and Gentlemen,The Fabulous Stains (1982) 87min Directed by Lou Adler. With Diane Lane, Laura Dern, Marin Kanter. Seventeen-year-old orphan Corinne (Lane) chucks her job flipping burgers, discovers eyeliner, and becomes a counterculture icon as Third Degree, frontwoman for the eponymous skunk-haired garage girl- band whose motto is “We don't put out.” This brash and bratty music industry satire boasts a super-group of punk rock royalty, with members of The Clash and The Sex Pistols jamming together as “The Looters.” Sat, May 31 at 4:30, 9:30pm Liquid Sky (1982) 112min Directed by Slava Tsukerman. With Anne Carlisle, Paula E. Sheppard, Susan Doukas. This startling sci-fi New Wave vision of New York City follows a team of invisible aliens as they descend upon Earth looking for drugs and land in an apartment inhabited by a drug dealer and his androgynous lover. Starring and co-written by the magnetic Anne Carlisle, this cult classic is a riot of color and perversion. Fri, May 30 at 2, 7pm Out of the Blue (1980) 94min Directed by Dennis Hopper. With Linda Manz, Dennis Hopper. Just out of prison for drunk-driving his truck into a school bus, bad dad Don (Hopper) returns home to the planet’s most messed up family: a smack-addict wife and a self-destructive rebel-punk daughter (Manz), whose mantra is “disco sucks, kill all hippies.” Dennis Hopper’s hurricane-force domestic tragedy is the 80s answer to Easy Rider; it follows troubled youth subculture to its frightening, screaming, self- annihilating extreme. Thu, May 22 at 7, 9:15pm Popularity is So Boring: Punk Shorts Riot grrrls, queer punks, and No Wave icons fly their freak flags in this shorts program, featuring films by downtown shock artists Richard Kern and Scott and Beth B, as well as Kleenex/LiLiPUT videos. Among the highlights are Kern’s You Killed Me First, starring downtown muse Lung Leg (cover girl for Sonic Youth’s 1986 album EVOL), and Black Box, a visual and auditory assault about torture and mind control featuring underground musician Lydia Lunch and artist Kiki Smith. Digital. Thu, May 29 at 7pm Smithereens (1982) 89min Directed by Susan Seidelman. With Susan Berman, Brad Rijn, Richard Hell. Talentless but determined Jersey girl Wren (Berman) moves to the East Village with dreams of joining the punk rock scene, opportunistically latching onto anyone who can help her get ahead, including rocker Eric (punk godfather Richard Hell).
Load more

Recommended publications
  • The History of Rock Music: 1970-1975
    The History of Rock Music: 1970-1975 History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) Decadence 1969-76 (These are excerpts from my book "A History of Rock and Dance Music") As usual, the "dark age" of the early 1970s, mainly characterized by a general re-alignment to the diktat of mainstream pop music, was breeding the symptoms of a new musical revolution. In 1971 Johnny Thunders formed the New York Dolls, a band of transvestites, and John Cale (of the Velvet Underground's fame) recorded Jonathan Richman's Modern Lovers, while Alice Cooper went on stage with his "horror shock" show. In London, Malcom McLaren opened a boutique that became a center for the non-conformist youth. The following year, 1972, was the year of David Bowie's glam-rock, but, more importantly, Tom Verlaine and Richard Hell formed the Neon Boys, while Big Star coined power-pop. Finally, unbeknownst to the masses, in august 1974 a new band debuted at the CBGB's in New York: the Ramones. The future was brewing, no matter how flat and bland the present looked. Decadence-rock 1969-75 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Rock'n'roll had always had an element of decadence, amorality and obscenity. In the 1950s it caused its collapse and quasi-extinction.
    [Show full text]
  • Dissertation
    DISSERTATION Titel der Dissertation “We’re Punk as Fuck and Fuck like Punks:”* Queer-Feminist Counter-Cultures, Punk Music and the Anti-Social Turn in Queer Theory Verfasserin Mag.a Phil. Maria Katharina Wiedlack angestrebter akademischer Grad Doktorin der Philosophie (Dr. Phil.) Wien, Jänner 2013 Studienkennzahl lt. Studienblatt: A 092 343 Studienrichtung lt. Studienblatt: Anglistik und Amerikanistik Betreuerin / Betreuer: Univ. Prof.in Dr.in Astrid Fellner Earlier versions and parts of chapters One, Two, Three and Six have been published in the peer-reviewed online journal Transposition: the journal 3 (Musique et théorie queer) (2013), as well as in the anthologies Queering Paradigms III ed. by Liz Morrish and Kathleen O’Mara (2013); and Queering Paradigms II ed. by Mathew Ball and Burkard Scherer (2012); * The title “We’re punk as fuck and fuck like punks” is a line from the song Burn your Rainbow by the Canadian queer-feminist punk band the Skinjobs on their 2003 album with the same name (released by Agitprop Records). Content 1. Introduction .......................................................................................................... 1 2. “To Sir With Hate:” A Liminal History of Queer-Feminist Punk Rock ….………………………..…… 21 3. “We’re punk as fuck and fuck like punks:” Punk Rock, Queerness, and the Death Drive ………………………….………….. 69 4. “Challenge the System and Challenge Yourself:” Queer-Feminist Punk Rock’s Intersectional Politics and Anarchism……...……… 119 5. “There’s a Dyke in the Pit:” The Feminist Politics of Queer-Feminist Punk Rock……………..…………….. 157 6. “A Race Riot Did Happen!:” Queer Punks of Color Raising Their Voices ..……………..………… ………….. 207 7. “WE R LA FUCKEN RAZA SO DON’T EVEN FUCKEN DARE:” Anger, and the Politics of Jouissance ……….………………………….………….
    [Show full text]
  • Frameworks for the Downtown Arts Scene
    ACADEMIC REGISTRAR ROOM 261 DIVERSITY OF LONDON 3Ei’ ATE HOUSE v'Al i STREET LONDON WC1E7HU Strategy in Context: The Work and Practice of New York’s Downtown Artists in the Late 1970s and Early 1980s By Sharon Patricia Harper Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in the Department of the History of Art at University College London 2003 1 UMI Number: U602573 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U602573 Published by ProQuest LLC 2014. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract The rise of neo-conservatism defined the critical context of many appraisals of artistic work produced in downtown New York in the late 1970s and early 1980s. Although initial reviews of the scene were largely enthusiastic, subsequent assessments of artistic work from this period have been largely negative. Artists like Keith Haring, Jean-Michel Basquiat and Kenny Scharf have been assessed primarily in terms of gentrification, commodification, and political commitment relying upon various theoretical assumptions about social processes. The conclusions reached have primarily centred upon the lack of resistance by these artists to post­ industrial capitalism in its various manifestations.
    [Show full text]
  • Ramones 2002.Pdf
    PERFORMERS THE RAMONES B y DR. DONNA GAINES IN THE DARK AGES THAT PRECEDED THE RAMONES, black leather motorcycle jackets and Keds (Ameri­ fans were shut out, reduced to the role of passive can-made sneakers only), the Ramones incited a spectator. In the early 1970s, boredom inherited the sneering cultural insurrection. In 1976 they re­ earth: The airwaves were ruled by crotchety old di­ corded their eponymous first album in seventeen nosaurs; rock & roll had become an alienated labor - days for 16,400. At a time when superstars were rock, detached from its roots. Gone were the sounds demanding upwards of half a million, the Ramones of youthful angst, exuberance, sexuality and misrule. democratized rock & ro|ft|you didn’t need a fat con­ The spirit of rock & roll was beaten back, the glorious tract, great looks, expensive clothes or the skills of legacy handed down to us in doo-wop, Chuck Berry, Clapton. You just had to follow Joey’s credo: “Do it the British Invasion and surf music lost. If you were from the heart and follow your instincts.” More than an average American kid hanging out in your room twenty-five years later - after the band officially playing guitar, hoping to start a band, how could you broke up - from Old Hanoi to East Berlin, kids in full possibly compete with elaborate guitar solos, expen­ Ramones regalia incorporate the commando spirit sive equipment and million-dollar stage shows? It all of DIY, do it yourself. seemed out of reach. And then, in 1974, a uniformed According to Joey, the chorus in “Blitzkrieg Bop” - militia burst forth from Forest Hills, Queens, firing a “Hey ho, let’s go” - was “the battle cry that sounded shot heard round the world.
    [Show full text]
  • ART THAT KILLS 04 Introduction by CARLO Mccormick 04 06 a Beginning, and an End 06 10 the Precursors: WILLIAM S
    ART THAT KILLS 04 Introduction by CARLO McCORMICK 04 06 A Beginning, and an End 06 10 The Precursors: WILLIAM S. BURROUGHS 10 14 The Precursors: ANTON LaVEY 14 20 The Precursors: KENNETH ANGER 20 22 The Precursors: ROBERT WILLIAMS 22 30 The Precursors: CHARLES MANSON 30 38 The Precursors: GENESIS P-ORRIDGE 38 46 The Precursors: MONTE CAZAZZA 46 50 The Precursors: HARLEY FLANNAGAN / CRO-MAGS 50 54 Soundtrack to 1984: Rev. Jim Jones — The Last Supper 54 55 Soundtrack to 1984: PSYCHIC TV 55 56 Soundtrack to 1984: ANTON LaVEY et al - The Satanic Mass 56 57 Soundtrack to 1984: CHARLES MANSON - Lie 57 58 Soundtrack to 1984: LYDIA LUNCH 58 59 Soundtrack to 1984: FOETUS 59 60 Soundtrack to 1984: NON 60 61 Soundtrack to 1984: RADIO WEREWOLF 61 62 Soundtrack to 1984: WHITEHOUSE 62 63 Soundtrack to 1984: Skinned Alive 63 64 Soundtrack to 1984: MICHAEL MOYNIHAN 64 65 Soundtrack to 1984: GG ALLIN 65 66 Soundtrack to 1984: KING DIAMOND / CRO-MAGS show 66 67 Soundtrack to 1984: SWANS 67 68 JOE COLEMAN 68 76 LYDIA LUNCH 76 82 NICK ZEDD / THE UNDERGROUND FILM BULLETIN 82 88 RICHARD KERN / DEATHTRIP FILMS 88 94 J.G. THIRLWELL a.k.a. FOETUS 94 98 FRED BERGER / PROPAGANDA 98 106 JONATHAN SHAW 106 112 Killer Clowns 112 124 BOYD RICE/NON . 124 132 JOHN AES-NIHIL 132 138 NICKBOUGAS 138 144 ZEENA SCHRECK nee LaVEY 144 148 NIKOLAS SCHRECK / RADIO WEREWOLF 148 154 ADAM PARFREY / FERAL HOUSE 154 162 Your host, GEORGE PETROS 162 170 MICHAEL ANDROS 170 174 ROBERT N.
    [Show full text]
  • The DIY Careers of Techno and Drum 'N' Bass Djs in Vienna
    Cross-Dressing to Backbeats: The Status of the Electroclash Producer and the Politics of Electronic Music Feature Article David Madden Concordia University (Canada) Abstract Addressing the international emergence of electroclash at the turn of the millenium, this article investigates the distinct character of the genre and its related production practices, both in and out of the studio. Electroclash combines the extended pulsing sections of techno, house and other dance musics with the trashier energy of rock and new wave. The genre signals an attempt to reinvigorate dance music with a sense of sexuality, personality and irony. Electroclash also emphasizes, rather than hides, the European, trashy elements of electronic dance music. The coming together of rock and electro is examined vis-à-vis the ongoing changing sociality of music production/ distribution and the changing role of the producer. Numerous women, whether as solo producers, or in the context of collaborative groups, significantly contributed to shaping the aesthetics and production practices of electroclash, an anomaly in the history of popular music and electronic music, where the role of the producer has typically been associated with men. These changes are discussed in relation to the way electroclash producers Peaches, Le Tigre, Chicks on Speed, and Miss Kittin and the Hacker often used a hybrid approach to production that involves the integration of new(er) technologies, such as laptops containing various audio production softwares with older, inexpensive keyboards, microphones, samplers and drum machines to achieve the ironic backbeat laden hybrid electro-rock sound. Keywords: electroclash; music producers; studio production; gender; electro; electronic dance music Dancecult: Journal of Electronic Dance Music Culture 4(2): 27–47 ISSN 1947-5403 ©2011 Dancecult http://dj.dancecult.net DOI: 10.12801/1947-5403.2012.04.02.02 28 Dancecult 4(2) David Madden is a PhD Candidate (A.B.D.) in Communications at Concordia University (Montreal, QC).
    [Show full text]
  • YOU KILLED ME FIRST the Cinema of Transgression Press Release
    YOU KILLED ME FIRST The Cinema of Transgression Press Release February 19 – April 9, 2012 Opening: Saturday, February 18, 2012, 5–10 pm Press Preview: Friday, February 17, 2012, 11 am Karen Finley, Tessa Hughes-Freeland, Richard Kern, Lung Leg, Lydia Lunch, Kembra Pfahler, Casandra Stark, Tommy Turner, David Wojnarowicz, Nick Zedd “Basically, in one sentence, give us the definition of the ‚Cinema of Transgression’.” Nick Zedd: “Fuck you.” In the 1980s a group of filmmakers emerged from the Lower East Side, New York, whose shared aims Nick Zedd later postulated in the Cinema of Transgression manifesto: „We propose … that any film which doesn’t shock isn’t worth looking at. … We propose to go beyond all limits set or prescribed by taste, morality or any other traditional value system shackling the minds of men. … There will be blood, shame, pain and ecstasy, the likes of which no one has yet imagined.“ While the Reagan government mainly focused on counteracting the decline of traditional family values, the filmmakers went on a collision course with the conventions of American society by dealing with life in the Lower East Side defined by criminality, brutality, drugs, AIDS, sex, and excess. Nightmarish scenarios of violence, dramatic states of mind, and perverse sexual abysses – sometimes shot with stolen camera equipment, the low budget films, which were consciously aimed at shock, provocation, and confrontation, bear witness to an extraordinary radicality. The films stridently analyze a reality of social hardship met with sociopolitical indifference. Although all the filmmakers of the Cinema of Transgression shared a belief in a radical form of moral and aesthetic transgression the films themselves emerged from an individual inner necessity; thus following a very personal visual sense and demonstratively subjective readings of various living realities.
    [Show full text]
  • Issue L'essai COMME PRATIQUE ARTISTIQUE ARTS VISUELS #21 E
    OCTOBRE 2011 Issue #21 L’ESSAITHE ESSAY COMME AS PRATIQUE ARTISTIQUEARTISTIC PRACTICE ARTS VISUELS head_issue_no21.indd 1 24.10.2011 15:31:59 The Organ * Concerts Halle/S. féminisme gender Sleater Kinney Müllstation*** The Lurkers Barcelone RIOT GRRRLS Rancid The Clash Kathleen Hanna Electrelane The Offspring* Bernard Heidsieck Beth Ditto PUNK ash* John Cage Alvin Lucier Bikini Kill X-Ray Spex deus* Le Tigre The Rezillos Sound Art The Gossip identity Sex Pistols* ALTERNATIVE Maryanne Amacher Buzzcocks MTV Pauline Oliveros Leipzig Berlin Sham 69 guide to alternative nation 120 minutes Circuit Bending The Vibrators* REM* Ray Cokes Vienne Pouvoir La volonté de savoir Discours Rhizome M. Foucault la différence / la différance Deleuze/Guattari Oscar Wilde Gabriel García Márquez H.V.Kleist DECONSTRUCTIVISME POST-STRUCTURALISME préjugés J.Derrida R. Barthes Hofstadter Franz Kafka Robert Musil Chris Marker Mythologies Logique L’Homme sans qualités Thomas Mann Edith Piaf Sans soleil J.S. Bach Bertolt Brecht EXISTENTIALISME Das musikalische Opfer Huis clos Sartre Camus THÉORIE CRITIQUE / Die Kunst der Fuge Friedrich Dürrenmatt Peter Handke L’Etre et le néant ÉCOLE DE FRANCFORT le théâtre absurde Sisyphos Heinrich Böll LITTÉRATURE Les mots T.W.Adorno Horkheimer APRÈS GUERRE Genève Max Frisch Dialectique de la Raison Homo Faber Samuel Beckett Ingeborg Bachmann Minima Moralia Stiller Thomas Bernhard En attendant Godot Nelly Sachs Günter Grass Elfriede Jelinek Alexander Kluge Cindy Sherman Agnès Varda Photo Alte Meister Fischli/Weiss Lisl Ponger Das
    [Show full text]
  • Pardes and Film Interpretation Multiple Levels of Cinematic Meaning
    PaRDeS and Film Interpretation Multiple Levels of Cinematic Meaning Vicky Johann Schinkel Submitted in total fulfilment of the requirements Of the degree of Doctor of Philosophy August 2012 School of Historical and Philosophical Studies The University of Melbourne ABSTRACT This thesis establishes the traditional Jewish interpretative model PaRDeS as the foundation of a new film interpretation method, and suggests a PaRDeS interpretative process that can be used as a guide by other analysts, critics and scholars. PaRDeS is a sophisticated method of analysis that reflects millennia of Judaic explorations of narrative structures, stories, interpretations and commentaries. Maimonides’ blending of Aristotelian and Jewish philosophy led to the development of different kinds of interpretative frameworks, including PaRDeS. PaRDeS is a map of meaning that articulates Jewish philosophy and reflects a Jewish history of emphasising the importance of interpretation. PaRDeS interpretation encourages dialogues about cinema, and the meaning of films. The PaRDeS method responds to other film analyses in its own interpretative mission to coordinate and integrate multiple levels of meaning. Using PaRDeS in this original way to interpret contemporary films is significant to both Jewish Studies and Film Studies. This thesis extends the investigations of contemporary uses of PaRDeS in Jewish Studies and introduces the method to Film Studies, responding to existing issues of film interpretation in doing so. A multi-level framework of different kinds of meaning differentiates PaRDeS from its contemporary counterparts, and from a tradition of film interpretation that narrows the scope of interpretative interest to ideological perspectives. The originality of the PaRDeS conceptualisation of film meaning, the unique assumptions of the model, and its coordination and synthesis of different interpretative strategies differentiates PaRDeS from contemporary critical perspectives.
    [Show full text]
  • 06-Feb-21 SHOW NAME HOST NAME CRTC TIME START TIME
    06-Feb-21 SHOW NAME HOST NAME CRTC TIME START TIME FINISH ARTIST/PSA SONG ALBUM Revolution Rock Dave Konstantino CODE & Adam Peltier 12 19:01 19:06 Talking The Kid With The Replaceable Head 21 Richard Hell & The Voidoids (Destiny Street Remaster) Destiny Street Complete Staring In Her Eyes (Destiny Street 21 Richard Hell & The Voidoids Repaired) Destiny Street Complete 21 Richard Hell & The Voidoids Time (Destiny Street Remixed) Destiny Street Complete 21 Richard Hell & The Voidoids Don't Die (Single Version) Destiny Street Complete 12 19:20 19:25 Talking 12 19:25 19:44 Richard Hell Interview Part One 21 Richard Hell & The Voidoids Love Comes In Spurts Blank Generation 21 Richard Hell & The Voidoids I'm Your Man Time 21 Richard Hell The Hunter Was Drowned Time 21 Dim Stars Baby Huey (Let's Dance) Dim Stars 12 19:55 20:00 Talking 21 20:02 20:25 Richard Hell Interview Part Two 21 Richard Hell & The Voidoids You Gotta Lose Another World EP 21 Neon Boys That's All I Know (Right Now) Spurts: The Richard Hell Story 21 The Heartbreakers Hurt Me (Demo) Time 21 Television Blank Generation (Live) Spurts: The Richard Hell Story Funhunt: Live at CBGB's 21 Richard Hell & The Voidoids Ignore That Door (Live) & Max's 1978 and 1979 12 20:41 20:47 Talking Lowest Common Dominator (Destiny 21 Richard Hell & The Voidoids Street Remaster) Destiny Street Complete 21 Richard Hell & The Voidoids Going Going Gone (Demo) Destiny Street Complete 21 Richard Hell & The Voidoids Funhunt (Demo) Destiny Street Complete 12 20:55 20:57 Talking Destiny Street (Destiny Street 21 Richard Hell & The Voidoids Remixed) Destiny Street Complete *** If you do use this program please let me know that you are using it via email at [email protected] *** **This episode does not feature any Can Con.
    [Show full text]
  • Never Mind the Sex Pistols, Hereâ•Žs CBGB the Role of Locality and DIY
    Vassar College Digital Window @ Vassar Senior Capstone Projects 2020 Never mind the sex pistols, here’s CBGB the role of locality and DIY media in forming the New York punk scene Ariana Bowe Vassar College Follow this and additional works at: https://digitalwindow.vassar.edu/senior_capstone Recommended Citation Bowe, Ariana, "Never mind the sex pistols, here’s CBGB the role of locality and DIY media in forming the New York punk scene" (2020). Senior Capstone Projects. 1052. https://digitalwindow.vassar.edu/senior_capstone/1052 This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. Bowe 1 Vassar College Never Mind The Sex Pistols, Here’s CBGB The Role of Locality and DIY Media in Forming the New York Punk Scene A thesis submitted in partial satisfaction of the requirements for the degree Bachelor of Arts in Media Studies. By Ariana Bowe Thesis Advisers: Professor Justin Patch May 2020 Bowe 2 Project Statement In my project, I will explore the New York City venue CBGB as one of the catalysts behind the rise of punk subculture in the 1970s. In a broader sense, I argue that punk is defined by a specific local space that facilitated a network of people (the subculture’s community), the concepts of DIY and bricolage, and zines. Within New York City, the locality of the punk subculture, ideas and materials were communicated via a DIY micro-medium called zines.
    [Show full text]
  • 'Llik Your Idols' Documents Transgressions of Cinema, L.A. Street Gangs » Metro Pulse
    Login | Manage Account | About | Mobile | Classifieds Web Search powered by YAHOO! SEARCH Food & Drink Music, Movies, Fun Calendar Stories & Blogs 'Llik Your Idols' Documents Transgressions of Cinema, L.A. Street Gangs The Cinema of Transgression was of a very different time, to be sure, a fact that rookie director Angelique Bosio makes plain. By Lee Gardner Posted June 3, 2009 at 11:21 a.m. 0 Comments Like Sign Up to see what your friends like. | Once upon a time, you got your subculture news from sporadic Xeroxed “fanzines,” and if you read about an obscure film that sounded interesting, you often had to get a money order (a pre-PayPal form of remuneration useful for dealing with persons unknown to you) and mail it off to some specialty video shop in some far-off exotic urban center such as Cleveland or New York City, and the person who received that money order would then mail you a musty-smelling VHS cassette (often an illicit dub) to watch in your crappy Fort Sanders apartment. That’s how many of us first encountered the work of the likes of Richard Kern and Nick Zedd, filmmakers with zero budget and zero polish who delved deeply into the subterranean obsessions of the era: sex, guns, noise, inky black humor, violence, outrage, etc. Now Kern, Zedd, and the other filmmakers involved in the so-called “Cinema of Transgression” movement of the early 1980s are feted in the documentary Llik Your Idols (Le Latest Blog Entries Chat Qui Fum), a new DVD release available delivered to your door by Netflix or possibly, thanks to some Swedish kid, ready for downloading gratis straight to your laptop anywhere CLASSICAL CAFE Spring Break Week Miscellany there’s wi-fi.
    [Show full text]