Werner Enke from 10 April in Metropolis
Wednesday, April 7, 2010
Monday, April 5, 2010
Men Getting Erections To Men
good bad movie
notes of truth, beauty and goodness on film during the series Cinema Bizarre
# 5>> # 4 50 dead! / / Assault on Precinct 13
>> # 3 penetration, mutation, deformation / / Brian Yuzna
>> # 2 Where your money is / / Bloody Friday
>> # 1 Join Us / / Evil Dead
About William Grefe Stanley (1972)
What to write, is a aesthetics of trash cinema . It would be an attempt to give the reader categories of the hand with which he learns to distinguish good from bad bad movies. In Cinema Bizarre it is often after talks that can be understood, perhaps as a preliminary to such a book. It can be observed that the formal and narrative shortcomings of many films, the cracks, gaps and awkward cuts, around which organizes these works are two permit at first sight contradictory reactions: first, the regret of formlessness, of the lack of coherence, implausibility, and frequently also of betraying one's own narrative conditions. Second, the hail of it is this lack of form resulting intensity of certain scenes and images that catch, no cushion through aesthetic, intellectual, psychological explanations, the viewer with full force. The enormous wealth of forms and genres of the 70 years was perhaps out of that freedom, as the filmmakers had time to devote to the aspects of a film which fascinated (perhaps only a single setting), and the rest of bored, unmotivated and quickly herunterzukurbeln.
In the still to be written aesthetics of trash cinema it to do, in conjunction with one of the two positions. Instead of looking at each film as a Grabbeltisch lying around on the much junk and some beads informally, would have him question to be addressed: How did this work its own formal defects, the inability of the actors, the inadequacy of the tricks, the inconsistent behavior the characters transformed into a virtue by it has transformed into a form of second order in a search for truth in a different field than psychologizing, preparatory each scene and pleasing illuminating mainstream art films or plow. Is it only due to Lucio Fulcis sloppiness that in A Living Dead bell rope day and night alternate with each other randomly, sometimes even within a scene? Or is behind this violation of established rules, a formal continuity ingenious idea about the collapse of all categories, between life and death, good and evil, day and night?
William Grefe Stanley (1972) is a low-cost production, which does not develop its shape in spite of, but with their limited resources. In the wake of Daniel's rat movie Willard (1971) Stanley tells of a social misfit, the half-Indian and Vietnam veteran Tim, who lives in the swamps of Florida in a kind of commune with a handful of rattlesnakes. Tim is a precursor of portraits by Werner Herzog in Grizzly Man Timothy Treadwell, a madman who believes that, since killing the snakes / grizzlies him not one of them. Stanley is struktuiert by the contrast of this strange animal becoming a human-being, which is marked with the utmost rigor of mutual exploitation, violence, ugliness and grotesque vanity. There is a contractor who hunts with his dull agents snakes, Dener he alive subtracting the skin to They sell high. He is hot on his daughter, his hairy body usually peeks out from a bright orange robe. Once he is in shorts with red hearts in front of a mirror and trained with the smallest weights in the world. Tim's mother is a painfully untalented dancer who wants to seduce her son in her first scene and later want to breathe new life into her dead career by biting than Cleopatra dancing snakes heads. It is driven by the owner of the shop The Climax, a disgusting grease rag in children's shorts. And then there's a moronic flower power junkie named Psycho, which responds to only two stimuli: snakes and Indians that he will massacre at screening immediately.
You could spend a lot of time trying to decipher the ecological, political, social messages, which lie around in Stanley like a Grabbeltisch, joined to form any coherent form or statement. His real power lies in the fact that he is the bumbling actions of the actors, their tasteless clothes, her ugly body has taken advantage of in order to design a self-contained bestiary of being human. There is no beauty, no consistency in the actions and words of the figures, each exalted, inappropriate gesture, every salacious, unpointierte remark, every detail of their miserable environment brings impressive expression: Man out is a fallen creature in nature, without grace, full of greed, disgusting. (Even the inconsistency of the lip movements with the comments of the figures in the German version underlines this impression.)
A phrase that is on the action level extremely implausible, reveals that even Tim, animal-becoming, not the counterpart of this general selfishness, but only a pathological extreme form of it. A young woman he has kidnapped his snake kingdom declares him after a night of love quite succinctly that his snakes are not his own kind, but his slaves that he can kill in his place and which he treated as his commanding sergeant in Vietnam, it began: as a killing machine. This encounter with the real bubble can burst fantasmatic Tim, and he escapes to complete in his madness, as he now wants to kill the girl. The snakes are opposed to their false sergeant, a fire eats away at the hut in the swamps, and from it crawls out in a truly grisly final scene Tim, along the ground and writhing with burns on his body that look like the pattern of a snake. The Tier Werdung, is it nevertheless succeeded yet.
Soon on Wayward Cloud: the Great animal horror Special! 
About
notes of truth, beauty and goodness on film during the series Cinema Bizarre
# 5>> # 4 50 dead! / / Assault on Precinct 13
>> # 3 penetration, mutation, deformation / / Brian Yuzna
>> # 2 Where your money is / / Bloody Friday
>> # 1 Join Us / / Evil Dead
About William Grefe Stanley (1972)
What to write, is a aesthetics of trash cinema . It would be an attempt to give the reader categories of the hand with which he learns to distinguish good from bad bad movies. In Cinema Bizarre it is often after talks that can be understood, perhaps as a preliminary to such a book. It can be observed that the formal and narrative shortcomings of many films, the cracks, gaps and awkward cuts, around which organizes these works are two permit at first sight contradictory reactions: first, the regret of formlessness, of the lack of coherence, implausibility, and frequently also of betraying one's own narrative conditions. Second, the hail of it is this lack of form resulting intensity of certain scenes and images that catch, no cushion through aesthetic, intellectual, psychological explanations, the viewer with full force. The enormous wealth of forms and genres of the 70 years was perhaps out of that freedom, as the filmmakers had time to devote to the aspects of a film which fascinated (perhaps only a single setting), and the rest of bored, unmotivated and quickly herunterzukurbeln.
In the still to be written aesthetics of trash cinema it to do, in conjunction with one of the two positions. Instead of looking at each film as a Grabbeltisch lying around on the much junk and some beads informally, would have him question to be addressed: How did this work its own formal defects, the inability of the actors, the inadequacy of the tricks, the inconsistent behavior the characters transformed into a virtue by it has transformed into a form of second order in a search for truth in a different field than psychologizing, preparatory each scene and pleasing illuminating mainstream art films or plow. Is it only due to Lucio Fulcis sloppiness that in A Living Dead bell rope day and night alternate with each other randomly, sometimes even within a scene? Or is behind this violation of established rules, a formal continuity ingenious idea about the collapse of all categories, between life and death, good and evil, day and night?
William Grefe Stanley (1972) is a low-cost production, which does not develop its shape in spite of, but with their limited resources. In the wake of Daniel's rat movie Willard (1971) Stanley tells of a social misfit, the half-Indian and Vietnam veteran Tim, who lives in the swamps of Florida in a kind of commune with a handful of rattlesnakes. Tim is a precursor of portraits by Werner Herzog in Grizzly Man Timothy Treadwell, a madman who believes that, since killing the snakes / grizzlies him not one of them. Stanley is struktuiert by the contrast of this strange animal becoming a human-being, which is marked with the utmost rigor of mutual exploitation, violence, ugliness and grotesque vanity. There is a contractor who hunts with his dull agents snakes, Dener he alive subtracting the skin to They sell high. He is hot on his daughter, his hairy body usually peeks out from a bright orange robe. Once he is in shorts with red hearts in front of a mirror and trained with the smallest weights in the world. Tim's mother is a painfully untalented dancer who wants to seduce her son in her first scene and later want to breathe new life into her dead career by biting than Cleopatra dancing snakes heads. It is driven by the owner of the shop The Climax, a disgusting grease rag in children's shorts. And then there's a moronic flower power junkie named Psycho, which responds to only two stimuli: snakes and Indians that he will massacre at screening immediately.
You could spend a lot of time trying to decipher the ecological, political, social messages, which lie around in Stanley like a Grabbeltisch, joined to form any coherent form or statement. His real power lies in the fact that he is the bumbling actions of the actors, their tasteless clothes, her ugly body has taken advantage of in order to design a self-contained bestiary of being human. There is no beauty, no consistency in the actions and words of the figures, each exalted, inappropriate gesture, every salacious, unpointierte remark, every detail of their miserable environment brings impressive expression: Man out is a fallen creature in nature, without grace, full of greed, disgusting. (Even the inconsistency of the lip movements with the comments of the figures in the German version underlines this impression.)
A phrase that is on the action level extremely implausible, reveals that even Tim, animal-becoming, not the counterpart of this general selfishness, but only a pathological extreme form of it. A young woman he has kidnapped his snake kingdom declares him after a night of love quite succinctly that his snakes are not his own kind, but his slaves that he can kill in his place and which he treated as his commanding sergeant in Vietnam, it began: as a killing machine. This encounter with the real bubble can burst fantasmatic Tim, and he escapes to complete in his madness, as he now wants to kill the girl. The snakes are opposed to their false sergeant, a fire eats away at the hut in the swamps, and from it crawls out in a truly grisly final scene Tim, along the ground and writhing with burns on his body that look like the pattern of a snake. The Tier Werdung, is it nevertheless succeeded yet.
Soon on Wayward Cloud: the Great animal horror Special!
Thursday, April 1, 2010
Tattoos Near Female Genitals
Miyazaki structure
Hayao Miyazaki's Porco Rosso (1992), with Deleuze
When Gilles Deleuze long enough to the spelling of his ideas and concepts is watching and listening, they begin to capture his own thinking and perceiving pleasant. When I saw yesterday evening Hayao Miyazaki's Porco Rosso for the first time, I was immediately clear that they have to deal with a thoroughly Deleuzian work. The film is the structure of a form of subconscious desire produced in which the various elements of a utopian dream of becoming. As there would be: a transformed into a pig pilot with a bogey-trench coat who hunts with his red machine hijackers. An American flyer Dandy, the dreams of the cinema and would later be president. Women who are tinkering in a workshop on a special aircraft, while upgrading their uniformed men for the war. A fascist Italy, where for pigs and pirates and aliens no place. Children, the huge machine guns for sale. A woman who has lost her heart to a pig and turned the evening in the bar the air with their songs captains head. A 17-year-old, who has built a new control mechanism and knows no fear.
The beast and the children Porco Rosso
The children have never been afraid in Miyazaki films. IT CAN define their child-Being: The curiosity is always greater than fear. At the beginning of Porco Rosso kidnap Pirates a class of 15 girls who enthusiastically jump on board, playing and climbing between the arms hang laughing at the firing guns, pull the buccaneers of the beard and admire the skull paintings. Later the mechanic Fiona, meanwhile Porco Rosso's co-pilot, bringing a whole horde of angry pirates with a few words to reason and to offer himself as a prize in a dogfight. The children at Miyazaki deterritorial think, not of their own position, their security considered, but from the horizon, from the other based on its position engaging, just curious. In the Deleuzian sense, they are always left, not quite conservative, but in the making, in becoming child. Becoming a child, the show Miyazaki's films for children that will be when watching another always something very beautiful, is not growing up, but rather the spread of perception, of feeling, of empathy on all things and beings, strangers and old, men , women, animals, weapons and monsters. Miyazaki's films are no initiation stories of adolescents, but rather exercises in the child, without a universal curiosity territory.
Or will animals, as Porco Rosso. The story of the enchanted prince who is saved by a kiss, runs as a subtext of the film, but was not told to the end. Porco Rosso, Miyazaki makes abundantly clear, does not suffer from the curse of the transformation into another being, he's become this creature, or rather he is in the process of animal Werdung. "Better a fascist pig," he says at one point, but you can also generalize: better pork will be as a person. Do not be part of a nation, a movement, a community, but remain alone, beyond the limits of the clouds, even that is becoming-animal. And enjoy: the women, the wine, the risk of the wind, loneliness.
In Miyazaki, there are pictures of the work. Factories and manufacturers. If cities and socialization appear in his films, they are always in the early capitalist stage in which one can see the work still done by hand, labor. Some of the most amazing sequences in Porco Rosso from the Milan workshop of a flight engineer, which only reduce women to the construction plans of a young girl a new machine. Their husbands are in the Air Force of the fascists, the women build the anarchist pig is an airport and escape device. Maybe looks like the unconscious, no Freudian farce, on the Stage Dad and Mom copulate on forever, but a factory that manufactured in the new will and desires take shape.
Porco Rosso is a celebration of deterritorialization. Except in Milan, playing all the action from on a variety of small Adriatic islands, pirate nests, retreats, Fantome L'archipelago. This does not localizable yet kartografierbarem Atoll, all characters have come together to be anything but want to be everything (child, animal, woman, heterosexual, adult man, Deleuze, one can not be only) Spelunkensängerinnen, pirates, dandies , pigs, scum. Although they fight each other, is clear that they belong together, not as a community, but a rhizome, of a network. A dream. 
Hayao Miyazaki's Porco Rosso (1992), with Deleuze
When Gilles Deleuze long enough to the spelling of his ideas and concepts is watching and listening, they begin to capture his own thinking and perceiving pleasant. When I saw yesterday evening Hayao Miyazaki's Porco Rosso for the first time, I was immediately clear that they have to deal with a thoroughly Deleuzian work. The film is the structure of a form of subconscious desire produced in which the various elements of a utopian dream of becoming. As there would be: a transformed into a pig pilot with a bogey-trench coat who hunts with his red machine hijackers. An American flyer Dandy, the dreams of the cinema and would later be president. Women who are tinkering in a workshop on a special aircraft, while upgrading their uniformed men for the war. A fascist Italy, where for pigs and pirates and aliens no place. Children, the huge machine guns for sale. A woman who has lost her heart to a pig and turned the evening in the bar the air with their songs captains head. A 17-year-old, who has built a new control mechanism and knows no fear.
The beast and the children Porco Rosso The children have never been afraid in Miyazaki films. IT CAN define their child-Being: The curiosity is always greater than fear. At the beginning of Porco Rosso kidnap Pirates a class of 15 girls who enthusiastically jump on board, playing and climbing between the arms hang laughing at the firing guns, pull the buccaneers of the beard and admire the skull paintings. Later the mechanic Fiona, meanwhile Porco Rosso's co-pilot, bringing a whole horde of angry pirates with a few words to reason and to offer himself as a prize in a dogfight. The children at Miyazaki deterritorial think, not of their own position, their security considered, but from the horizon, from the other based on its position engaging, just curious. In the Deleuzian sense, they are always left, not quite conservative, but in the making, in becoming child. Becoming a child, the show Miyazaki's films for children that will be when watching another always something very beautiful, is not growing up, but rather the spread of perception, of feeling, of empathy on all things and beings, strangers and old, men , women, animals, weapons and monsters. Miyazaki's films are no initiation stories of adolescents, but rather exercises in the child, without a universal curiosity territory.
Or will animals, as Porco Rosso. The story of the enchanted prince who is saved by a kiss, runs as a subtext of the film, but was not told to the end. Porco Rosso, Miyazaki makes abundantly clear, does not suffer from the curse of the transformation into another being, he's become this creature, or rather he is in the process of animal Werdung. "Better a fascist pig," he says at one point, but you can also generalize: better pork will be as a person. Do not be part of a nation, a movement, a community, but remain alone, beyond the limits of the clouds, even that is becoming-animal. And enjoy: the women, the wine, the risk of the wind, loneliness.
In Miyazaki, there are pictures of the work. Factories and manufacturers. If cities and socialization appear in his films, they are always in the early capitalist stage in which one can see the work still done by hand, labor. Some of the most amazing sequences in Porco Rosso from the Milan workshop of a flight engineer, which only reduce women to the construction plans of a young girl a new machine. Their husbands are in the Air Force of the fascists, the women build the anarchist pig is an airport and escape device. Maybe looks like the unconscious, no Freudian farce, on the Stage Dad and Mom copulate on forever, but a factory that manufactured in the new will and desires take shape.
Porco Rosso is a celebration of deterritorialization. Except in Milan, playing all the action from on a variety of small Adriatic islands, pirate nests, retreats, Fantome L'archipelago. This does not localizable yet kartografierbarem Atoll, all characters have come together to be anything but want to be everything (child, animal, woman, heterosexual, adult man, Deleuze, one can not be only) Spelunkensängerinnen, pirates, dandies , pigs, scum. Although they fight each other, is clear that they belong together, not as a community, but a rhizome, of a network. A dream.
Inbound Into Customs Gmarket
cinema yesterday, today, tomorrow see
"The other theaters, we will get big financial problems because we all need to digitize, sooner or later. The lender will provide us namely the not too distant future, no more 35mm prints. Either you will then get their hard drives or anything. Cinema, not the switch to digital technology, are no longer able to play new movies. The market will clean itself all by itself, unless the distributors are obligated by law to provide for each film and a 35mm copy. This will not be so expensive that the policy will not succeed. "( Abaton founder Werner Grassmann in conversation on old and new projection techniques)
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