Kohayagawa-ke no aki / The End of Summer (1961) Yasujirō Ozu
THE BLACK DAHLIA / 2006 / BRIAN DE PALMA
|—||Loin du Vietnam [Far from Vietnam] (Joris Ivens, William Klein, Claude Lelouch, Agnès Varda, Jean-Luc Godard, Chris Marker and Alain Resnais, 1967)|
Sergeant Rutledge (John Ford, 1960)
Colossal Youth (Pedro Costa, 2006)
On the way back to the beach, Doc looked in at the offices of Hardy, Gridley & Chatfield. Sauncho was there, but mentally for the moment not available, having the other night happened to watch The Wizard of Oz (1939) for the first time on a color TV set.
“Did you know it starts off in black and white,” he informed Doc with some anxiety, “but it changes to color! Do you realize what this means?”
No use. “—the world we see Dorothy living in at the beginning of the picture is black, actually brown, and white, only she thinks she’s living it all in color—the same normal everyday color we see our lives in. Then the cyclone picks her up, dumps her in Munchkin Land, and she walks out the door, and suddenly we see the brown and white shift into Technicolor. But if that’s what we see, what’s happening with Dorothy? What’s her ‘normal’ Kansas color changing into? Huh? What very weird hypercolor? as far beyond our everyday color as Technicolor is beyond black and white—” and so on.
“I know I should…be worried about this, Saunch, but…”
“The network ought to’ve at least run a disclaimer,” Sauncho by now quite indignant. “Munchkin Land is strange enough, isn’t it, without adding to the viewer’s mental confusion, and in fact I think there’s a pretty good class-action suit here against MGM itself, so I’m gonna bring it up at the firm’s next weekly get-together.”
Inherent Vice, Thomas Pynchon
"How’s the television?" Downstairs Eddie wanted to know.
"The film libraries on some of these channels," Elmina said, "I swear. There was one on last night, I couldn’t sleep. After I saw it, I was afraid to sleep. Have you seen Black Narcissus, 1947?”
Eddie, who was enrolled in the graduate film program at SC, let out a scream of recognition. He’d been working on his doctoral dissertation, “Deadpan to Demonic—Subtextual Uses of Eyeliner in the Cinema,” and had just in fact arrived at the moment in Black Narcissus where Kathleen Byron, as a demented nun, shows up in civilian gear, including eye makeup good for a year’s worth of nightmares.
"Well, I hope you’ll be including some men," Elmina said. "All those German silents, Conrad Veidt in Caligari, Klein-Rogge in Metropolis—”
"—complicated of course by the demands of orthochromatic film stock—"
Oboy. Doc went out to search through the kitchen, having dimly recalled an unopened case of beer that might be in there.
by Thomas Pynchon
You could do the “my God, it even has a watermark” speech from American Psycho about how exquisitely worded this tweet is to maximize racist, sexist and classist dog-whistling.
|—||Thomas Pynchon, Gravity’s Rainbow (via solidpiecesofsilence)|
It means this War was never political at all, the politics was all theatre, all just to keep the people distracted…secretly, it was being dictated instead by the needs of technology…by a conspiracy between human beings and techniques, by something that needed the energy-burst of war, crying, “Money be damned, the very life of [insert name of Nation] is at stake,” but meaning, most likely, dawn is nearly here, I need my night’s blood, my funding, funding aah more, more….The real crises were crises of allocation and priority, not among firms—it was only staged to look that way—buy among the different Technologies, Plastics, Electronics, Aircraft, and their needs which are understood only by the ruling elite…
Gravity’s Rainbow, by Thomas Pynchon
Chris Pratt isn’t the only star who hit the gym for Guardians of the Galaxy.