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From Andrea Arnold’s 2011 adaptation of Wuthering Heights.
The Blog
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I watched this a little while ago. Nothing like it really. Super stylish, right down to the fonts on the credits.
Aye! Gotta love creations that possess a uniquely distinct identity stemming from a strong artistic vision.
Although there are undeniable strong overtones of film noir, Kubrick, Tarkovsky and, most notably, Godard’s Alphaville. (Don’t go thinking Eddie Constantine’s cheeky cameo went unnoticed, herr Fassbinder.)
And of course the world’s most dangerous filmic drinking game would be to down a shot every time a scene involves prominent reflections, glass, or visual distortions.
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Carlos Castro, Legion, 2011. Giant music box and knives.
The music box shown here plays a traditional Roman war melody, and the knives Castro collects are confiscated from Bogotá police.This week, guest curator Mariangela Méndéz presents a series of works by contemporary Colombian artists. The selection is linked by the recognition, recycling, and re-articulation of vernacular and cultural objects or materials within precise aesthetic practices.
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Rainer Fassbinder’s stunningly stylish 1973 philosophical television mini-series Welt am Draht (World on a Wire).
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Diary snippets from Arthur C. Clarke’s The Lost Worlds of 2001:
July 9, 1964. Spent much of afternoon teaching Stanley how to use the slide rule — he’s fascinated.
July 11. Joined Stanley to discuss plot development, but spent all the time arguing about Cantor’s Theory of Transfinite Groups. Stanley tries to refute the “part equals the whole” paradox by arguing that a perfect square is not necessarily identical with the integer of the same value. I decide that he is a latent mathematical genius.
September 7. Stanley quite happy: “We’re in fantastic shape.” He has made up a 100-item questionnaire about our astronauts, e.g. do they sleep in their pajamas, what do they eat for breakfast, etc.
December 10. Stanley calls after screening H. G. Wells’ Things to Come, and says he’ll never see another movie I recommend.
December 21. Much of afternoon spent by Stanley planning his Academy Award campaign for Dr. Strangelove. I get back to the Chelsea to find a note from Allen Ginsberg asking me to join him and William Burroughs at the bar downstairs. Do so thankfully in search of inspiration.
April 19, 1965. Some psychotic who insists that Stanley must hire him has been sitting on a park bench outside the office for a couple of weeks, and occasionally comes to the building. In self-defense, Stanley has secreted a large hunting knife in his briefcase.
November 10. Accompanied Stan and the design staff into the Earth-orbit ship and happened to remark that the cockpit looked like a Chinese restaurant. Stan said that killed it instantly for him and called for revisions. Must keep away from the Art Department for a few days.
May 29, 1966. Soviet Air Attaché visited set. He looked at all the little instruction plaques on the spaceship panels and said, with a straight face, “You realize, of course, that these should all be in Russian.”
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from a 12th century manuscript of Boethius’ De institutione musica
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Opening today at Bonni Benrubi Gallery, “One Steinway Place” is an exploration of the famed piano factory in Astoria, Queens, by the photographer Christopher Payne. Under the glow of fluorescent lights, raw lumber is bent, pressed, conditioned, and polished into instruments of exacting quality. With more than twelve thousand individual parts, including Canadian maple, Bavarian spruce, and Swedish steel, each piano takes nearly a year to assemble before being subjected to a final hand inspection by Wally Boot, a fifty-year veteran of the factory. Payne was allowed unfettered access to the factory, allowing him to document every step of the process. Click-through for a selection of his work, which is on view through September 19th.
