#filmmaking lighting diagram

[trentonhoshikocinematography]

This Video Covers: 🎥 How and WHY to create lighting diagrams for your indie film and video productions using the FREE software Draw.io. Lighting diagrams will help you have more concise and clear communication with your team about lighting setups. This helps save time and money for micro budget filmmakers.

Get Draw.io here: https://Diagrams.net (Not an affiliate link, just a great tool!)

[flower-me-not]

Hello, Hola, Bonjour, Konnichiwa-

I am Flower - he/she

(I also go by Morgan)

Like any plant, I grow and thrive on the soil, water and sun. My soil, water and sun are -

Soil (Games): Genshin Impact, Infinity Nikki, A Date with Death, Slime Rancher, Sky Children of The Light, Life is Strange

Water (Shows, Movies, Anime, Etc.): Walle, Murder Drones, The Amazing Digital Circus, How To Train Your Dragon, Sasaki to Miyano, Bungo Stray Dogs, Cardcaptor Sakura, Girls and Panzer, Gun Gale Online, Puella Magi Madoka Magica

Sun (Misc.): Cinamonroll, Retro Stuff, Writing, Filmmaking, Drawing, Sleeping, D&D

Open to Analysing your Simpery

(Aka, I create a venn diagram of all your mentioned characters and find a correlation between all of them. See first post)

Check out my other socials at:

Anyways, have a good day!

[denimbex1986]

Barbie is everything. He’s just … Robert Oppenheimer.

That’s right. The main character competing with Barbie for attention right now isn’t Ken, her plastic significant other. It’s the man who designed the atomic bomb.

Fans have been waiting for this summer’s release of two movies — “Barbie,” from Warner Bros. and directed by Greta Gerwig, and “Oppenheimer,” from Universal Pictures and directed by Christopher Nolan — which are both coming out on July 21, and they have been poking fun at the stark contrast in the movies’ themes, moods and color schemes.

The result of the release schedule is a mash-up many people may not have seen coming: Barbenheimer. Or Boppenheimer, if you will.

“Oppenheimer” is Nolan’s prestige movie based on “American Prometheus,” a biography of Oppenheimer, the scientist who led the Manhattan Project, which during World War II produced the first atomic bombs. The trailers for that film, with intense music and suspenseful scenes starring a pensive-looking Cillian Murphy as Oppenheimer, are in stark contrast with the pink and sparkly trailers for “Barbie,” which show Margot Robbie as the doll living in Barbieland before setting off on an adventure into the real world.

The two characters could hardly be more different (does this Venn diagram even have a middle?). And yet, Robbie and Murphy are appearing on T-shirts and sweaters together.

Memes, videos and online chatter have flooded social media, and some people are making plans to see the two movies on the same day. A debate about which order to see them in — “Barbie” first to start the day off light, or “Oppenheimer” first, to end on a more cheerful note — hasn’t been settled.

The curious crossover is also giving rise to real-life merchandise. A Google search for “Barbenheimer T-shirt” brings tens of thousands of results, and sellers on Etsy have designed their own versions. Some feature Robbie and Murphy, while others combine Barbie’s pink font with a pink drawing of an atomic cloud.

One such T-shirt, and an early entry in the crowded field, is a simple split-screen combination of the two movie logos, spelling out “Barbenheimer” with the release date of the films.

Hunter Hudson, 23, a filmmaker in San Antonio, said he originally designed and created the shirts for him and his friends to “roll up to the Barbenheimer double feature” on July 21. But when he posted pictures of the shirt on his Twitter feed, he said, it took off beyond his expectations.

“I normally get about three or four likes on anything I post,” Hudson said. But after sharing a few mock-ups of the shirt, he woke up one morning to hundreds of messages from people asking him if they could buy it.

Hudson makes the shirts himself, with a friend, and charges $40. So far he said he had made about 150 shirts, with a second batch of about 70 more on the way. It takes him about 45 minutes to an hour to make one T-shirt, which he does by cutting two shirts in half, pinning them together and sewing and pressing them.

“I had a couple of movie theaters reach out to me privately to do bulk orders for employees,” he said. “It’s been overwhelmingly positive.”

This kind of organic marketing is probably good for both films, said Robert Mitchell, the director of theatrical insights at Gower Street, a company that does predictive analysis for the film industry.

Not that the studios’ marketing has been lacking: There are life-size cardboard Barbie boxes in theaters for people to take pictures and a selfie generator. There have been collaborations with multiple brands: The frozen yogurt chain Pinkberry is offering a Barbie flavor, Gap has a line of Barbie-themed clothes, and Airbnb is offering a real-life Barbie Dream House in Malibu. Warner Bros. declined to comment on the movie’s marketing efforts.

What all this hype means for box office results for either film is unclear, and awareness doesn’t always translate into attendance, Mitchell said. Predictions for opening weekends are tricky and a lot can still happen before July 21, said David Gross, a movie consultant who publishes a newsletter on box office numbers. Some conservative industry estimates, he said, have “Barbie” opening between $55 million and $65 million in the United States and Canada, and “Oppenheimer” between $40 million and $50 million. Both of those estimates would be strong for a fantasy comedy and a historical drama, neither of which are sequels. Superhero, big action and big animation movies usually open higher, Mr. Gross said.

Still, the hype around the films could be beneficial to the numbers. “Every time ‘Barbie’ released a trailer, ‘Oppenheimer’ would start trending,” Mitchell said.

“They’re so vastly different,” he said, “that they allow for the narrative that popped up organically: This would be strangest double bill ever.” That online conversation, he said, “is pretty much a gift for distributors.”

While social media is full of people showing off their tickets to see the double feature, it’s unclear how many really will. “But it shouldn’t matter,” Gross said. “Audiences are going to find them, and both films are going to do extremely well.”

[bhanu-prakash]

The Critical Analysis

Hussin Khan (2024) Virtual Filmmaking with Unreal Engine 5, Packt Publishing, February 2024. Available at: https://learning.oreilly.com/library/view/virtual-filmmaking-with/9781801813808/?sso_link=yes&sso_link_from=UnivofHerts [accessed 24 Dec, 2024].

Among the myriad of resources exploring virtual production techniques, one that stood out was  “Virtual Filmmaking with Unreal Engine 5: A Step-by-Step Guide to Creating a Complete Animated Short Film”. Providing a deep understanding of the innovative potential of Unreal Engine 5 to develop high-quality digital films. To perform this critique the focus is shifted to chapter four “World Building and Environment Design,” where the author shares valuable tips for creating an engaging virtual environment.

The current chapter focused on talking about two groundbreaking tools namely; Nanite and Lumen. Nanite makes it easy for creators to utilize high-polygonal assets that were once deemed unusable given the past problem encountered with upscaled high poly-count models. Lumen on the other hand works in real-time for global illumination to improve the visual look of rendered environments. They are both new tools that are an advancement within the field and offer filmmakers the ability to produce cinematic looks without having to spend the amount of money needed using standard production techniques. Explanations in the text are precise and realistic to implement, while connectingTechknow-how with artistic opportunities.

Understanding the Core Concepts

It’s vital to mention that the “World Building and Environment Design” chapter is dedicated to technical reinforcement and creative aspects of operations in virtual production. Explaining the concept of world-building, the author describes the conceptualization and asset integration steps in detail with a focus on dynamic lighting implementation. This enabled the use of step-by-step guides together with screenshots to make the content easy to understand and interesting to read.

For example, the chapter gives examples of possible exercises for designing such environments as the forest and urban built environment. These examples help readers to imagine how these certain concepts can be used in real situations. Even if the key area of environmental storytelling where objects themselves are characterized as possessing narrative features to some extent is mentioned, there can be more discussion on how architecture or lighting might be used to re-interpret thematic features (Jenkins, 2004, p. 122).

Pedagogical Approach and Accessibility

Worthy of special mention, this chapter is well-divided for both teaching and learning purposes. Examples from the set and work experience are presented to explain the methods of solving issues in the context of virtual production. For example, in one scenario that mixes asset types and addresses rendering algorithms in Unreal Engine 5, a problem of lighting irregularities has been used as an example. Relatively such case studies serve quite well as a guideline of possible approaches to address the most mundane issues a filmmaker could encounter. Also, the text uses various forms of learning aids such as tutorial notes, diagrams designed to explain concepts, and tips on how to solve particular problems. Such a broad strategy guarantees that even those readers who could not grasp some of the concepts will still find useful information. However, the focus on high specs for hardware may lose readers of low purchasing power. That is why it’s important to add some descriptions and tips for optimization for lower class systems, as it will increase the generally appliable content.

The presence of downloadable project files adds to the interactivity of the learning as the reader can modify the different methods described in the book. This element integrates the theory to its practical side hence bridging the gap between the two. Furthermore, the text is aware of its readers’ possible expertise level and assumes it as a rather technical one; it also attends to both those who know how 3D modeling software like Blender or Maya works and those who never used Unreal Engine before. Breaking down ideas like asset optimization, light baking, and shader customization, the author maintains the complexity of the NOC approach but does not alienate the readers by using professional vocabulary. Perhaps, the distinction can be made between lightweight workflows or optimization strategies for low-end systems that might extend the value of the content to everybody.

The chapter also stands out as being great at designing for learning – particularly in terms of developing a mentality of gradual improvement. With a focus on problem-solving, which soars high in the creative sectors, the readers are urged to embrace troubles, like debugging a faulty lighting setup or incorporating high poly assets, as a way to build oneself up. Not only does this pedagogical approach teach the practical knowledge required but it also teaches and cultivates the reader’s confidence in making an online movie.

Critique of the Limitations

Even though the chapter provides numerous technical contributions, there is some room for improvement in certain aspects. The examples given here are almost entirely related to characteristic settings and conditions like forests or cityscapes. It would broaden the examples beyond what seems to be ‘standard’ or conventional to make the text more valuable from a creative/cultural perspective and cover a wider array of perspectives (Bizzocchi & Tanenbaum, 2011, p. 40). However, the more complex world-building aspects related to narrative elements are pointed out and discussed rather less thoroughly. It is sometimes possible to discuss the role of the digital environment more effectively, its impact on character building, or the perception of the audience. These dimensions would improve its applicability to the narrative virtual filmmaking perspective.

Broader Implications and Inspiration

The ‘World Building and Environment Design’ chapter discusses a unique possibility of democratization of filmmaking thanks to Unreal Engine 5. Mitigating some of the concerns about cost and skill in producing high-quality material, this text fits well within current practice in digital narratives. Due to the combination of educational content and inspirational material, it is considered useful for anyone who is or will become involved in independent filmmaking. Consequently, this chapter is indicative of the potential of Virtual Filmmaking with Unreal Engine 5 and provides useful practical information about virtual production. While the conceptual fields within the culture and the narrative hold potential for additional elaboration, the text emerged as a valuable source of information for those who need to orient themselves in the constantly changing process of digital filmmaking. The matter-oriented and new angle motivates readers to discover how they can use Unreal Engine 5 to realizable their ideas.

[jakesealblackhangar]

10 Cinematography Tips By Jake Seal Black Hangar

Cinematography is a crucial aspect of filmmaking that can greatly impact the visual appeal and storytelling of a film. To capture breathtaking visuals and create a captivating cinematic experience, it is essential to master the art of cinematography. In this article, we will explore ten valuable cinematography tips by the renowned cinematographer, Jake Seal Black Hangar. These tips will not only enhance your understanding of cinematography but also help you create visually stunning and engaging films.

Understand the Power of Lighting

Lighting plays a pivotal role in cinematography. As a cinematographer, it is crucial to comprehend how different lighting setups can evoke specific moods and enhance the overall aesthetics of a scene. Experiment with various lighting techniques such as three-point lighting, natural lighting, and low-key lighting to achieve the desired effect.

Utilize Composition Techniques

Composition is the arrangement of elements within the frame. A well-composed shot can draw the viewer's attention, convey emotions, and enhance the narrative. Use techniques like the rule of thirds, leading lines, and symmetry to create visually pleasing and balanced compositions that captivate your audience.

Master Camera Movement

Camera movement can add dynamism and depth to your shots. Experiment with different camera movements like pans, tilts, dollies, and tracking shots to create a sense of motion and engage your viewers. However, ensure that your camera movements are purposeful and contribute to the storytelling process.

Pay Attention to Color Grading

Color grading is the process of enhancing or altering the colors in a film to create a specific mood or atmosphere. Understand the emotional impact of different color palettes and experiment with color grading techniques to evoke the desired emotions in your audience. Use colors to enhance the narrative and emphasize key elements within the frame.

Find Unique Perspectives

Investigate unusual views and camera angles to produce aesthetically stunning images. Don't hesitate to try new things and think beyond the box. Unconventional views can bring a new and engrossing element to your cinematography, whether it's a high-angle shoot, a low-angle shot, or a bird's-eye view image.

Maintain Consistency

Consistency is key in cinematography. Ensure that your shots maintain a consistent look and feel throughout the film. Pay attention to details like lighting, color grading, and framing to preserve visual coherence and enhance the overall viewing experience.

Focus on the Depth of the Field

The depth of field refers to the range of distance that appears acceptably sharp in a shot. By manipulating the depth of field, you can guide the viewer's attention and create a sense of depth in your compositions. Experiment with shallow and deep depths of the field to add visual interest and emphasize specific elements within the frame.

Use Visual Storytelling Techniques

Cinematography is not just about capturing beautiful images; it's also a powerful tool for storytelling. Use visual storytelling techniques such as symbolism, visual motifs, and visual metaphors to convey emotions, themes, and character development. Every shot should serve a purpose and contribute to the overall narrative.

Plan and Be Prepared

Preparation is crucial in cinematography. Before starting a shoot, create shot lists, storyboards, and shot diagrams to visualize your ideas. This preparation will help you communicate your vision effectively to the rest of the production team and ensure a smooth shooting process.

Continuously Learn and Experiment

Cinematography is an ever-evolving art form, and there is always something new to learn. Stay updated with the latest cinematography techniques, equipment, and trends. Attend workshops, read books, watch films, and most importantly, keep experimenting with new ideas and approaches to refine your craft.

cinematography is a multifaceted discipline that requires technical expertise, artistic vision, and storytelling skills. By applying these ten cinematography tips by Jake Seal Black Hangar, you can elevate your cinematography game and create visually stunning films that leave a lasting impact on your audience. Remember, practice makes perfect, so keep honing your skills, pushing boundaries, and striving for excellence in every frame you capture.

[fablehouse]

A-Camera go left! B-Camera go Right! ANNNND Break! . . . #filmfriends #moviemaker #lighting #diagrams #arri #chapman #cinematography #filmmaking #cinematographer #filmmaker #videographer #setlife #videoproduction #cinema #director #onset #dop #moviemaking #filmschool #behindthescenes #film #filmproduction #productionlife #videoshoot #cameraporn #filmset (at Lafayette, Louisiana)

[elisaenglish]

Art and the Human Spirit: Olivia Laing on What the Lives of Great Artists Reveal About Vulnerability, Love, Loneliness, Resistance, and Our Search for Meaning

“We’re so often told that art can’t really change anything. But… it shapes our ethical landscapes; it opens us to the interior lives of others. It is a training ground for possibility. It makes plain inequalities, and it offers other ways of living.”

The composite creation of a doctor, a philosopher, a poet, and a sculptor, the word empathy in the modern sense only came into use at the dawn of the twentieth century as a term for the imaginative act of projecting yourself into a work of art, into a world of feeling and experience other than your own. It vesselled in language that peculiar, ineffable way art has of bringing you closer to yourself by taking you out of yourself — its singular power to furnish, Iris Murdoch’s exquisite phrasing, “an occasion for unselfing.” And yet this notion cinches the central paradox of art: Every artist makes what they make with the whole of who they are — with the totality of experiences, beliefs, impressions, obsessions, childhood confusions, heartbreaks, inner conflicts, and contradictions that constellate a self. To be an artist is to put this combinatorial self in the service of furnishing occasions for unselfing in others.

That may be why the lives of artists have such singular allure as case studies and models of turning the confusion, complexity, and uncertainty of life into something beautiful and lasting — something that harmonises the disquietude and dissonance of living.

In Funny Weather: Art in an Emergency (public library), Olivia Laing — one of the handful of living writers whose mind and prose I enjoy commensurately with the Whitmans and the Woolfs of yore — occasions a rare gift of unselfing through the lives and worlds of painters, poets, filmmakers, novelists, and musicians who have imprinted culture in a profound way while living largely outside the standards and stabilities of society, embodying of James Baldwin’s piecing insight that “a society must assume that it is stable, but the artist must know, and he must let us know, that there is nothing stable under heaven.”

Punctuating these biographical sketches laced with larger questions about art and the human spirit are Laing’s personal essays reflecting, through the lens of her own lived experience, on existential questions of freedom, desire, loneliness, queerness, democracy, rebellion, abandonment, and the myriad vulnerable tendrils of aliveness that make life worth living.

What emerges is a case for art as a truly human endeavour, made by human beings with bodies and identities and beliefs often at odds with the collective imperative; art as “a zone of both enchantment and resistance,” art as sentinel and witness of “how truth is made, diagramming the stages of its construction, or as it may be dissolution,” art as “a direct response to the paucity and hostility of the culture at large,” art as a buoy for loneliness and a fulcrum for empathy.

Laing writes:

“Empathy is not something that happens to us when we read Dickens. It’s work. What art does is provide material with which to think: new registers, new spaces. After that, friend, it’s up to you.

I don’t think art has a duty to be beautiful or uplifting, and some of the work I’m most drawn to refuses to traffic in either of those qualities. What I care about more… are the ways in which it’s concerned with resistance and repair.”

A writer — a good writer — cannot write about art without writing about those who make it, about the lives of artists as the crucible of their creative contribution, about the delicate, triumphant art of living as a body in the world and a soul outside standard society. Olivia Laing is an excellent writer. Out of lives as varied as those of Basquiat and Agnes Martin, Derek Jarman and Georgia O’Keeffe, David Bowie and Joseph Cornell, she constructs an orrery of art as a cosmos of human connection and a sensemaking mechanism for living.

In a sentiment to which I relate in my own approach to historical lives, Laing frames her method of inquiry:

“I’m going as a scout, hunting for resources and ideas that might be liberating or sustaining now, and in the future. What drives all these essays is a long-standing interest in how a person can be free, and especially in how to find a freedom that is shareable, and not dependent upon the oppression or exclusion of other people.

[…]

We’re so often told that art can’t really change anything. But I think it can. It shapes our ethical landscapes; it opens us to the interior lives of others. It is a training ground for possibility. It makes plain inequalities, and it offers other ways of living.”

Throughout these short, scrumptiously insightful and sensitive essays, Laing draws on the lives of artists — the wildly uneven topographies of wildly diverse interior worlds — to contour new landscapes of possibility for life itself, as we each live it, around and through and with art. In the essay about Georgia O’Keeffe — who revolutionised modern art while living alone and impoverished in the middle of the desert, in the middle of the world’s first global war — Laing observes:

“How do you make the most of what’s inside you, your talents and desires, when they slam you up against a wall of prejudice, of limiting beliefs about what a woman must be and an artist can do?

[…]

From the beginning, New Mexico represented salvation, though not in the wooden sense of the hill-dominating crosses she so often painted. O’Keeffe’s salvation was earthy, even pagan, comprised of the cold-water pleasure of working unceasingly at what you love, burning anxiety away beneath the desert sun.”

In an essay about another artist — the painter Chantal Joffe, for whom Laing sat — she echoes Jackson Pollock’s’s observation that “every good artist paints what he is,” and writes:

“You can’t paint reality: you can only paint your own place in it, the view from your eyes, as manifested by your own hands.

A painting betrays fantasies and feelings, it bestows beauty or takes it away; eventually, it supplants the body in history. A painting is full of desire and love, or greed, or hate. It radiates moods, just like people.

[…]

Paint as fur, as velvet, as brocade, as hair. Paint as a way of entering and becoming someone else. Paint as a device for stopping time.”

In another essay, Laing offers an exquisite counterpoint to the barbed-wire fencing off of identities that has increasingly made the free reach of human connection — that raw material and final product of all art — dangerous and damnable in a culture bristling with ready indignations and antagonisms:

“A writer I was on a panel with said, and I’m paraphrasing here, that it is no longer desirable to write about the lives of other people or experiences one hasn’t had. I didn’t agree. I think writing about other people, making art about other people, is both dangerous and necessary. There are moral lines. There are limits to the known. But there’s a difference between respecting people’s right to tell or not tell their own stories and refusing to look at all.

[…]

It depends whether you believe that we exist primarily as categories of people, who cannot communicate across our differences, or whether you think we have a common life, an obligation to regard and learn about each other.”

In a sense, the entire book is a quiet manifesto for unselfing through the art we make and the art we cherish — a subtle and steadfast act of resistance to the attrition of human connection under the cultural forces of self-righteousness and sanctimonious othering, a stance against those fashionable and corrosive forces that so often indict as appropriation the mere act of learning beautiful things from each other.

In another essay — about Ali Smith, the subject to whom Laing feels, or at least reads, the closest — she quotes a kindred sentiment of Smith’s:

“Art is one of the prime ways we have of opening ourselves and going beyond ourselves. That’s what art is, it’s the product of the human being in the world and imagination, all coming together. The irrepressibility of the life in the works, regardless of the times, the histories, the life stories, it’s like being given the world, its darks and lights. At which point we can go about the darks and lights with our imagination energised.”

Among the subjects of a subset of essays Laing aptly categorises as “love letters” is John Berger, whose lovely notion of “hospitality” radiates from Laing’s own work — a notion she defines as “a capacity to enlarge and open, a corrective to the overwhelming political imperative, in ascendance once again this decade, to wall off, separate and reject.” She reflects on being stopped up short by Berger’s embodiment of such hospitality when she saw him speak at the British Library at the end of his long, intellectually generous life:

“It struck me then how rare it is to see a writer on stage actually thinking, and how glib and polished most speakers are. For Berger, thought was work, as taxing and rewarding as physical labour, a bringing of something real into the world. You have to strive and sweat; the act is urgent but might also fail.

He talked that evening about hospitality. It was such a Bergerish notion. Hospitality: the friendly and generous reception and entertainment of guests, visitors or strangers, a word that shares its origin with hospital, a place to treat sick or injured people. This impetus towards kindness and care for the sick and strange, the vulnerable and dispossessed is everywhere in Berger’s work, the sprawling orchard of words he planted and tended over the decades.

[…]

Art he saw as a communal and vital possession, to be written about with sensual exactness… Capitalism, he wrote in Ways of Seeing, survives by forcing the majority to define their own interests as narrowly as possible. It was narrowness he set himself against, the toxic impulse to wall in or wall off. Be generous to the strange, be open to difference, cross-pollinate freely. He put his faith in the people, the whole host of us.”

In a superb 2015 essay titled “The Future of Loneliness” — an essay that bloomed into a book a year later, the splendid and unclassifiable book that first enchanted me with Laing’s writing and the mind from which it springs — she considers how technology is mediating our already uneasy relationship to loneliness, and how art redeems the simulacra of belonging with which social media entrap us in this Stockholm syndrome of self-regard. In a passage of chillingly intimate resonance to all of us alive in the age of screens and selfies and the vacant, addictive affirmation of people we have never dined with tapping heart- and thumb-shaped icons on cold LED screens, she writes:

“Loneliness centres around the act of being seen. When a person is lonely, they long to be witnessed, accepted, desired, at the same time as becoming intensely wary of exposure. According to research carried out over the past decade at the University of Chicago, the feeling of loneliness triggers what psychologists term hypervigilance for social threat. In this state, which is entered into unknowingly, the individual becomes hyperalert to rejection, becoming inclined to perceive their social interactions as tinged with hostility or scorn. The result of this shift in perception is a vicious circle of withdrawal, in which the lonely person becomes increasingly suspicious, intensifying their sense of isolation.

This is where online engagement seems to exercise its special charm. Hidden behind a computer screen, the lonely person has control. They can search for company without the danger of being revealed or found wanting. They can reach out or they can hide; they can lurk and they can show themselves, safe from the humiliation of face-to-face rejection. The screen acts as a kind of protective membrane, a scrim that permits invisibility and also transformation. You can filter your image, concealing unattractive elements, and you can emerge enhanced: an online avatar designed to attract likes. But now a problem arises, for the contact this produces is not quite the same thing as intimacy. Curating a perfected self might win followers or Facebook friends, but it will not necessarily cure loneliness, since the cure for loneliness is not being looked at, but being seen and accepted as a whole person: ugly, unhappy and awkward as well as radiant and selfie-ready.”

Having met with Ryan Trecartin — “a baby-faced thirty-four-year-old” of whom I had never heard (saying more about my odd nineteenth-century life than about his art) but whose early-twenty-first-century films about the lurid and discomposing thrill of digital culture prompted The New Yorker to describe him as “the most consequential artist to have emerged since the nineteen-eighties” — Laing reflects:

“My own understanding of loneliness relied on a belief in solid, separate selves that he saw as hopelessly outmoded. In his world view, everyone was perpetually slipping into each other, passing through perpetual cycles of transformation; no longer separate, but interspersed. Perhaps he was right. We aren’t as solid as we once thought. We’re embodied but we’re also networks, expanding out into empty space, living on inside machines and in other people’s heads, memories and data streams as well as flesh. We’re being watched and we do not have control. We long for contact and it makes us afraid. But as long as we’re still capable of feeling and expressing vulnerability, intimacy stands a chance.”

Vulnerability — which Laing unfussily terms “the necessary condition of love” — is indeed the bellowing undertone of these essays: vulnerability as frisson and function of art, of life itself, of the atavistic impulse for transmuting living into meaning that we call art.

Complement the thoroughly symphonic Funny Weather with Paul Klee on creativity and why an artist is like a tree, Kafka on why we make art, Egon Schiele on why visionary artists tend to come from the minority, and Virginia Woolf’s garden epiphany about what it means to be an artist — which remains, for me, the single most beautiful and penetrating thing ever written on the subject — then revisit Laing on life, loss, and the wisdom of rivers.

Source: Maria Popova, brainpickings.org (25th February 2021)

[aion-rsa]

Best Martial Arts Movies on Amazon Prime Right Now

https://ift.tt/3iGgPxj

Search ‘Martial Arts Movies’ on Amazon Prime and you’ll get over a thousand results ranging from the classics to the campy, to the critically acclaimed. It’s an overwhelming library for the uninitiated and the mother lode for stalwart fans of the genre. There are so many gems buried in Amazon Prime that digging out the favorites is dirty challenging work but extremely rewarding.

When it comes to martial arts, Amazon Prime has a killer Kung Fu collection. The ‘80s were the ‘Golden Era’ of Kung Fu films when Hong Kong film studios cranked out films faster than any grindhouse ever. Many Hong Kong filmmakers put out up to half a dozen films a year, and most have hundreds of credits on IMDb. This glut of Kung Fu films spread to every Chinatown ghetto theater on the planet. And like with horror, American networks broadcasted late night Kung Fu Theater shows because there was so much cheap content available.

Consequently, Amazon Prime’s Kung Fu film selection leans heavily that way, but we’d be remiss if we didn’t include some non-Chinese favorites too. Martial Arts movies cross over to all other genres and nations. There are comedies, romances, horror, fantasy, sci-fi, and art house films. From countless cheesy low-budget exploitations, many so funky that they’re totally awesome, to the brilliant ground-breaking works that are staggeringly sensational, here’s some classic jewels and hidden treasures currently included with Amazon Prime membership.

Fist of Fury (1972)

Despite his fame, Bruce Lee only lived to see three of his martial arts movies premiere because Enter the Dragon and Game of Death were released posthumously. His impersonators are innumerable, so many that Bruceploitation is its own genre.

But Fist of Fury is the real Bruce in all his nunchuck spinning glory. It’s loosely based on the history of the Chin Woo Athletic Association, which remains one of the largest international martial arts organizations to this day. When Bruce shattered the ‘No Dogs and Chinese Allowed’ sign with a soaring flying kick, it became a battle cry for the racially oppressed worldwide, firmly cementing Bruce as the world’s first Asian global superstar.

Come Drink with Me (1966)

Long before Charlize Theron went Atomic Blonde, Cheng Pei Pei blazed a path as Golden Swallow, the mysterious invincible swordswoman, and all female action heroines are in her wake. Fiercely independent and savagely lethal, Cheng delivers several sophisticated long-take fight scenes, the hallmark of real Kung Fu skill, with the poise and precision built upon her foundation in ballet. Cheng is remembered in Hollywood as Jade Fox from Crouching Tiger Hidden Dragon and played the matchmaker in Disney’s live-action Mulan. Note that Amazon Prime also has the sequel, Golden Swallow, but it’s not nearly as good.

Once Upon a Time in China (1991)

This tour de force from director Tsui Hark and Jet Li launched a six-film franchise and a TV series. Jet plays Wong Fei-hung, a real-life folk hero and Kung Fu master who has been depicted in well over a hundred films and TV shows. Set during the late 19th century, the film examines themes of Western colonization and Chinese cults, and while blatantly nationalistic, it captures Jet in his martial prime and contains some of his finest fights.

Read more

Movies

Wira Review: Meet the Next Martial Arts Movie Star

By Gene Ching

Games

The Forgotten Bruce Lee Video Game From the ’80s

By Craig Lines

Amazon Prime also has Once Upon a Time in China II, which is an excellent sequel, however the third installment (not on Amazon Prime) falls apart, allegedly due to disputes between Jet and Hark.

Ashes of Time Redux (2008)

This was internationally acclaimed director Wong Kar-wai’s first stab at the martial arts genre. It’s sumptuously artsy and laboriously dystopic, not one to see for the action but the art. Based on a classic wuxia (wuxia is Chinese for martial arts genre books and film) titled The Eagle Shooting Heroes, Wong simultaneously filmed a parody titled after the book with the same cast. Wong did the Redux after the original print was lost, salvaging what was left, reediting and re-scoring it. 

(Prime US only)

The Assassin (2015)

Director Hou Hsiao-hsien won Best Director at Cannes for this magnificent epic, which was also submitted as Taiwan’s Foreign Language entry at the Academy Awards. Starring the ever-glamorous Shu Qi, who made an early Hollywood crossover attempt with The Transporter, The Assassin is based on another wuxia tale that’s parallel to The Manchurian Candidate but instead of Korean brainwashing, it’s 9th century Chinese sorcery.

Read more

Movies

Best Horror Movies on Amazon Prime Right Now

By Alec Bojalad and 2 others

Movies

Ninjas All The Way Down: The Mysterious World of Godfrey Ho

By Craig Lines

The exquisite filmmaking makes this spectacular–panoramic landscapes, lavish costumes, intricately detailed sets, all gorgeous. Every shot is a stunning composition of light and shadow, and the camera lingers on each frame with ponderous and quiet respect, the kind that film students will gush over for years.

(Prime Video in the US, rent only in the UK)

Fearless Hyena (1979)

When people cite Rush Hour to reference Jackie Chan, it just goes to show they don’t know Jackie at all. Long before Jackie crossed over to Hollywood, he made dozens of films that truly captured his astounding Kung Fu skills, unrestricted by U.S. insurance liability. His late ‘70s period was particularly ripe because he was in peak physical shape and first creating his unique acrobatic comedies. Remember that chopstick dumpling training scene between Po and Shifu in Kung Fu Panda? In Fearless Hyena, Jackie and his shifu (James Tien) do it in live-action, no wires, no CGI, and the choreography is absolutely mind-blowing.

Wheels on Meals (1984)

Jackie Chan earned his Kung Fu prowess from being trained from childhood in traditional Chinese Opera. Many of his classmates also became stars in martial arts film. This is one of two collaborations between him and his two martial brothers, Sammo Hung and Yuen Biao (the other is Dragons Forever).

Read more

Movies

Jackie Chan’s Project A Movies Are Spectacular

By Craig Lines

Movies

Jackie Chan’s Hard Road to Hollywood

By Craig Lines

A modern comedy shot in Barcelona, the chemistry between Jackie, Sammo and Yuen is magical as they bring the fastest three-person sparring scenes ever captured. On top of that, Jackie faces off against real-life kickboxing champion Benny ‘The Jet’ Urquidez in what is considered by many as the greatest fight scene ever filmed. 

(US only)

Knockabout (1979)

Knockabout is Yuen Biao’s first lead role after dozens of supporting roles. His acrobatic skills are unparalleled, stronger than Jackie’s because his body frame is built like a gymnast. Sammo Hung’s girth has typecast him as villains and buffoons. Nevertheless, he’s a leading director and choreographer and serves as both in this film, on top of playing a comic beggar who trains Yuen in jump rope monkey Kung Fu (that’s right–jump rop –you have to see it to understand).

Read more

Movies

10 of the Weirdest Kung Fu Movies Ever

By Craig Lines

TV

Cobra Kai and the Legacy of The Karate Kid

By Gene Ching

It’s a slow build past some goofy comic hijinks, because Yuen’s skills improve over the course of the film. In a fight against Hoi Sang Lee, Yuen pummels so many goose-egg bruises into his noggin that he looks like the coronavirus. But once the training begins through to the final fight, Yuen and Sammo show why they are legends in the industry. 

(US only)

Dirty Ho (1979)

When this film came out, the title wasn’t as funny as it is now. But it still works in a way because this is one of the best Kung Fu slapstick comedies. Starring some of top talent from Shaw Brother studios, including Gordon Liu, Wang Yue, and Lo Lieh, it’s full of the stylish long-take choreography and blazing stunts using real fire long before CGI.

Read more

Movies

King Boxer: The Enduring Legacy of a Martial Arts Classic

By Craig Lines

Movies

The Man From Hong Kong: A Genuinely Dangerous Action Movie

By Craig Lines

It’s a classic tale of hidden master, a punk student, and notorious villains, including hilarious absurdities like sex change tea, and wheelchair and crutch fighting. The discreet Kung Fu challenge while sampling rare wines out of crazy cups is ludicrous fun; the sort that only master fight choreographer Lau Kar-leung can deliver.

The Eight Diagram Pole Fighter (1984)

Here is another classic from Gordon Liu and Lau Kar-leung, but serious and somber. Alexander Fu Sheng, a prominent leading man, died in a tragic car crash during production, making this his final film. His character suffers PTSD after losing his family in a horrific opening ambush, but his storyline dangles unfinished.

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Movies

A Beginner’s Guide to Chinese Black Magic Movies

By Craig Lines

Culture

Ip Man: The Man, The Myth, The Movies

By Craig Lines

The film was rewritten to focus Gordon and Lau, as well as the always brilliant Kara Hui. The cast goes all out to honor their fallen comrade’s legacy, showcasing some of the finest weapon choreography ever shot. Based on the legend of the Yang family generals, the untimely death tugs hard on the heartstrings for anyone in the know. 

Return to the 36th Chamber (1980)

Just one more Gordon Liu and Lau Kar-leung project, this is the sequel to The 36th Chamber of Shaolin, which is also amazing and available on Amazon Prime. However, Return to the 36th Chamber has such an odd concept for a sequel that warrants special attention.

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Movies

The 36th Chamber Trilogy‏ – Essential Kung Fu Movie Viewing

By Craig Lines

Liu plays a swindler impersonating the Shaolin monk San Te, the character he played in the first film. When his clan is oppressed by the Manchus gang, Liu sneaks into Shaolin, only to be deceptively trained by the real San Te, then returns for vengeance. His clan are cloth dyers, which makes for colorful pools for villains to plunge.

Liu’s uproarious rooftop Kung Fu and his battle with Wang Lung-Wei’s bench-fighter gang are outstanding. Kara Hui has the best retort after Gordon tries to play off his lack of Kung Fu, claiming it’s only for “universal peace,” and not revenge. She claps back “Huh! That’s a stupid Kung Fu.”

The Lady is the Boss (1983)

Kara Hui (aka Kara Wai) is one of the greatest Kung Fu divas of all, yet she’s only known by true devotees of the genre. If you’ve never heard of her, here is one of her finest comedy vehicles. Set in modern-day Hong Kong, Hui plays an American master returning to save her father’s Kung Fu school after his passing. Lau Kar-leung is the eldest student in charge (also the choreographer) and he resists her attempts to modernize.

Long take fights are staged in a topless club, a disco, and finally, a gymnastic gym replete with rings, parallel bars, and a beam, perfect for the choreographic shenanigans only Lau can bring. Gordon Liu appears with hair, which feels wrong because he built his reputation on playing bald monks. 

Crippled Avengers (1978)

From director Chang Cheh, the “Godfather of Kung Fu Films,” Crippled Avengers stars four members of the Venoms crew, from Chang’s classic The Five Venoms (also available on Amazon Prime).

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Movies

The Five Deadly Venoms: An Essential Martial Arts Movie

By Craig Lines

It was repackaged as The Return of the Five Venoms (and also Mortal Combat), however it is its own standalone masterpiece and has nothing to do with the original beyond the cast.

Lu Feng (Centipede from the Venoms crew) gets his arms chopped off and replaced by iron arms (a plot device that RZA echoed The Man with the Iron Fists). Lu and his father, played by the rough and tumble Chan Kuan Tai, cripple the heroes, who must then walk the road of vengeance while handicapped. The portrayal of the disabilities is dated (arm tied behind the back for the amputee, eyes closed for the blinded) but the choreography is ingenious. 

Five Elements Ninjas (1982)

Another echo of The Five Venoms from the sanguineous Chang Cheh, Five Elements Ninjas showcases the director’s unique eye for fantasy. It’s an orgy of weird fantasy weapons and ultraviolence, bloody fight scene after bloody fight scene, a cult film of truly epic proportions. As the title says, the ninjas are based on the five elements.

The gold ninjas don gold lame suits and switchblade shield hats. The wood ninjas look like rejected apple trees in The Wizard of Oz. If you turn this film into a drinking game where you take a shot whenever blood is spilled, you won’t make it past the first half hour. 

The Web of Death (1976)

What is the ultimate Kung Fu WMD? It’s a tarantula that roars like an elephant and shoots acidic webs, sparks, and death rays, and it decimates the wuxia world. The Web of Death has everything a cult film requires: crazy weapons, cross dressing, romance, complex set-pieces, halls of traps, including acid pits, spiked poles and dragon-headed sparkler cannons, silly superheroes and villains in costumes that would make MCU heroes blush. Filled with jaw dropping WTF moments, it’s a real treat for anyone into cheesy over-the-top Kung Fu cinema.

The Bride with White Hair (1993)

Based on a wuxia novel, The Bride with White Hair is a surreal plunge into the Kung Fu subgenre of Fant-Asia which blossomed in the ‘90s. It’s a doomed romance between rival cult members set in a world of swords and sorcery that stars Brigette Lin in the spurned titular role and the dreamy heartthrob Leslie Cheung.

What makes this stand out was the visionary direction of Ronny Yu. His pre-CGI special effects hold up surprisingly well. Lin’s characterization of the bride was so compelling that it spawned an homage in The Forbidden Kingdom and a remake in The White Haired Witch. The Bride with White Hair II is also available on Amazon Prime which reunites Lin and Cheung, but without Yu’s direction it’s not nearly as special. 

(US only)

Detective Dee and the Mystery of the Phantom Flame (2010)

Fant-Asia has been revitalized with the advent of CGI. Detective Dee and the Mystery of the Phantom Flame marked a triumphant return to form for director Tsui Hark. Armed with quixotic special effects, Hark casts Andy Lau as the legendary detective Di Renjie, who is like a Tang Dynasty Sherlock Holmes. Wuxia films are akin to comic book movies, filled with glaringly overdone heroes and villains, super saturated color schemes, and a lot of flying about.

It’s high fantasy wirework in front of CG backgrounds with physics-defying fight choreography by Sammo Hung (Kung Fu physics are not subject to the laws of gravity). Most of all, it takes unexpected turns like the old Fant-Asia story arcs have always done. 

(US only)

Tai Chi Zero (2012)

Director Stephen Fung took Fant-Asia another step into an emergent subgenre of Shanghai Steampunk (Legend of Korra is another example). It’s an action comedy about the legendary forefather of Tai Chi, Yang Luchan, in what was meant to be the launch of a trilogy. However, it was filmed back-to-back with the second installment, Tai Chi Hero (not free on Amazon Prime), which was released only a month later and that proximity depleted their box office returns.

Nevertheless, Tai Chi Zero was an Official Selection at several notable international film festivals because it was so stylish and funny. Both films end on cliffhangers in anticipation of the next chapter, but Tai Chi Hero loses the momentum of its predecessor, except for the final cliffhanging tease. There’s been no further development on the final chapter Tai Chi Summit since Tai Chi Hero flopped. 

(US only)

JCVD (2012)

Jean-Claude Van Damme opens this French film with a remarkable long take fight, showing he still had it on the brink of turning 50, but it’s not really a martial arts film. He plays a self-deprecating caricature of himself, although not as comedic as his lampooning self-portrayal in the Amazon Original Series Jean-Claude Van Johnson.

There’s some top-notch cinematography including more complex long takes, remarkable displays of technical skill, and directorial timing. But it’s all about Van Damme’s confession scene when he breaks the fourth wall and discusses his filmmaking process in that weird recursive, artsy French film way. It’s a long-take monologue, and Van Damme nails it emotionally with a heartfelt confession that’s not so much amazing acting as it is brutally honest. He lays it out, bares his soul, and surprisingly, it’s a sympathetic soul. It’s a truly captivating scene, a dramatic triumph that no one ever saw coming, completely redefining Van Damme as an actor. 

(US only)

The Man from Nowhere (2010)

This was Korea’s highest grossing film that year. It’s a gritty and brutally bloody tale of a pawnshop owner, played by Won Bin, who unwittingly receives a camera bag filled with stolen heroin, attracting the attention of the drug ring gangsters.

However, he’s a retired special agent with fierce combat skills, tossed into a ghetto tale with exotic dancers, organ harvesting, an innocent child who needs protection, and gang wars. Won Bin won many dramatic accolades with the five films he made, including Taegukgi and Mother. This was his final one to date and he sells the ultraviolence with remarkable panache. 

(Prime Video in the US, rent only in UK)

Kundo: Age of the Rampant (2014)

This is another outstanding Korean martial arts film, set in the Joseon period. It echoes Robin Hood, complete with a fighting monk like Friar Tuck, a Maid Marian type, only she’s a keen archer, and a Little John character wielding a shot-put ball on a rope for brutal ultra violence. Ha Jung-woo stars as the lead, a butcher who wields butcher knives, which just adds to the bloodiness. The fight choreography is fun and sanguineous, and the characters were well fleshed out, even the villain. Like a lot of Korean cinema, it takes some surprising turns in the details, little scenes that feel fresh in their presentation. And the panoramic shots are visually epic. 

(US only)

Redeemer (2015)

Marko Zaror brings an exotic Chilean actioner full of fight choreography that’s merciless, witty, and precise. Zaror is cut and yoked like a beast. He can catch great flying kicks air, roll well for nods to MMA, and handle complex continuous fights. Redeemer includes several long take scenes with the camera aggressively circling around battle, showcasing a masterful command of action and cinematography.

Set in Chile’s cool seascapes and weather worn graffiti-covered ghettos, Redeemer has a strong Catholic theme, lots of crucifixes and pondering about divine justice, which totally works as atmosphere for this fascinating fight flick. 

The Octagon (1980)

Before Chuck Norris became an invincible meme, he churned out a handful of Hollywood martial arts feature films. His third effort, The Octagon, co-starring Lee Van Cleef, is one of his best. It’s a ninja tale, pitting Chuck against noted masters like Richard Norton, Tadashi Yamashita, and his brother Aaron Norris, fighting his way into a ninja terrorist camp where the central ring is “the Octagon.” It was this film that inspired Jason Cusson to design the trademarked Octagon used in the Ultimate Fighting Championships. 

Ninja III: The Domination (1984)

In the ‘80s, there was a proliferation of cheesy Ninja films and Sho Kosugi dominated the trend. This is one of those movies that is so horrible, it’s awesome. And it’s Sho’s masterpiece. Lucinda Dickey was a Solid Gold Dancer, who starred in the breakdancing films Breakin’ and Breakin’ 2: Electric Boogaloo, which bookended Ninja III. While she wasn’t a martial artist in real life, she has the moves, adding to the huge stable of martial actors who started as dancers (even Bruce Lee was a cha cha champion).

It’s incredibly dated with references to video games, aerobics, and the most gawdawful soundtrack ever. The choreography is horrible; Sho overacts whenever it comes to selling a punch; it’s all about Lucinda who tries–really tries–to act her way through a ridiculously dumb story about being possessed by a ninja. But the final sword fight has a ninja zombie and it’s the funniest example of what we had to endure during the ‘80s ninja craze. 

(US only)

Shaolin Dolemite (1999)

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

There was Oscar buzz about Eddie Murphy’s depiction of Rudy Ray Moore in the biopic Dolemite Is My Name, but if you haven’t seen a Dolemite film, you really don’t know. Moore played Dolemite half a dozen times, but ironically in this film, he plays Monk Ru-Dee instead, and this is the only one with any real martial arts in it.

Moore took the cuttings from a 1986 Taiwanese film titled Ninja: The Final Duel, and spliced himself in to create his own story, and it’s just so cray. Beyond Moore, there are bizarre characters like the drunken Sam the Spliff, the topless Ninja Ho, and the coonskin cap wearing Davy Crockett. The story barely makes a lick of sense, but who cares? It’s mother-effin Dolemite.

The post Best Martial Arts Movies on Amazon Prime Right Now appeared first on Den of Geek.

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[iwanthermidnightz]

Lesbian cinema must check the following boxes in order to beguile queer audiences: the coupling of a light-haired woman and a dark-haired woman, ample glances, and the presence of wind. The model for this very scientific diagram, is of course, Phyllis Nagy’s Carol. Set in 1950s America, star-crossed lesbians Carol (Cate Blanchett) and Therese (Rooney Mara) must communicate yearning by gazing at each other across large rooms. Other greatest hits include Mulholland Drive, Imagine Me & You, and Freeheld, which is a bad movie, but is windy. And much like these filmmakers before her, Portrait of a Lady on Fire director Céline Sciamma — who is an actual lesbian — knew exactly how to hit us where it hurt. By giving us a queer period piece with enough glances to make us gird our loins.

Based on the research I’ve done from Being Gay, the way women express love and desire is typically… quieter. Take the shame we feel as a result of widespread homophobia and mix it with the shame all women have been made to have about our sexual desires, and you’ve got a shame casserole. So the way we communicate desire to other women is by staring at them silently, then walking away, ultimately never speaking. Glancing is our mating call, and thus should be the central thesis of every lesbian film.

My theory fits in snugly with Portrait of a Lady on Fire, which is set in 18th century France, a period that is both certifiably homophobic, yet also canonically lesbian. (It’s a time filled with French accents, gowns, and vaguely European rock structures: all of which are gay. This is just math). In it, Marianne (Noémie Merlant) has been commissioned to paint Héloïse for her wedding portrait, as Héloïse (Adèle Haenel) is to be wed in the near future to — plug your ears — a man.

However, Marianne must paint Héloïse without her knowing. She hates being painted, so she’s been told that Marianne was simply hired to accompany her on daily walks. So they walk, taking in dramatic coastal cliffs and chilly seas while the wind laps against their cheeks. All the while Marianne must silently study the intricacies of Héloïse’s face, body and fingers — seriously, there are numerous shots of Héloïse’s fingers — without Héloïse noticing. Tell me that plot wasn’t concocted miles underground in a top-secret lesbian film lair.

After many walks, Marianne finishes the painting. But she has become “fond” of Héloïse, so she burns the portrait in order to not betray her trust. When Héloïse finds out, she agrees to pose for Marianne, because she, too, has become “fond” of Marianne. And then… the glancing intensifies. Because now it isn’t just gay glancing, it’s lesbian art glancing. Sciamma delicately tracks these scenes with fragile shots of their silent desire. When they lock eyes over Marianne’s easel, the yearning is timid, but palpable.

Everything in Portrait of a Lady on Fire comes from such a severely abyssal place of queerness. Héloïse’s mom is the unsung hero of the movie, with her plucky one-liners and “step on me” energy. Sciamma is giving you landscapes, she’s giving you journaling, she’s giving you a shared appreciation of orchestral music. Hell, with the cliffs and the water and the sea and the bonfires, Sciamma is giving you all four elements: earth, water, air, fire. Fire, the most lesbian element, is even in the title of the film.

Only a queer woman could write and direct this kind of magnum opus on yearning. Do yourself a favor and go see it this Valentine’s Day, if not just to glance at another mysterious woman from across the movie theater. Do not speak to her: just yearn.

[cavitymagazine]

Haptic Narratives: The Absurdly R EA L Artifacts of Dale Brett / / / [part 2]

[D]: Lately though, most of my influence has come from other forms of media opposed to writing. I have found the more I write, the less I read – at least long form. Music, animated series/films - both Japanese anime and stuff like Adult Swim and internet culture - all of these things come through in my work.

[W]: Music.

[D]: Definitely music. I often try to write with a type of musical style I enjoy in mind. This is, believe it or not, one of the reasons I decided to re-commence writing fiction. I was sick and tired of googling combinations of "vaporwave + fiction + dream" or "shoegaze + literature + drugs" to try and find works that fit a certain aesthetic that did not exist. So why not create them myself? For instance, ambient and to a lesser extent dreampunk, would be the genres I was trying to build on in Faceless in Nippon. With Ultraviolet Torus it is no secret that it is my shoegaze project. As you know with our mall collaboration [cloud mall and maze/mall], this will be vaporwave-heavy in aesthetic and theme. I think these musical styles also take me right back to the original interests that I have garnered from literature: how to feel and express oneself in light of the consumerist dream, how to find meaning in the face of a constant blurring reality. I want to produce words that create a sensory experience. Words to touch your skin, words to make you see refracted colours, words to make you realise life sucks but it's all okay.

[W]: Aesthetics are important to me as well. The depth of the surface. The synthetic, simulacra. I suspect any "honest" portrayal of our day-to-day life, even a so-called "realist" presentation, would be sci-fi, at least in part. The kitchen-sink realism of today would include game realities and all sorts of "tropes" – or what one used to call tropes – of sci-fi. DeLillo’s White Noise is a big work for me, related to some of the consumerist themes. The three layers you refer to are impressive – you've put a lot of thought into where your work comes from, what it's shaped by. I've never thought in those terms really. Although "Pessoan cyberpunk nihilism" as a blurb would have me buying whatever that book is. Abe's The Box Man - I read that in I think 2015 or so. I see Abe's tone in some of your prose. That is a hard tone to tap. It's soft and dislocated. Requires a gentle hand, and a kind of amorphous thought process. In recent years I've taken influence more from video games and commercials and music than anything textual. I assumed your influences now were primarily visual. Graphic novels, anime, bad TV movies - I cull more from kitsch than I do from literature now. Would you tell me a bit about your time in Japan? And how would you describe Faceless in Nippon to a reader who knows literally nothing about it?

[W]: I relate very hard to your not being able to google, say, "vaporwave + dream + fiction" and get a hit. You had to create your hits. I feel the same way. It's like I want "Borges + USA Up All Night" or something similarly niche and not-quite-available-elsewhere. The established subgenres you mention, like dreampunk, are still these largely unexplored parks of the mind. There aren't a whole lot of titles. Do you view Faceless in Nippon as your first book and Ultraviolet Torus as a sophomore effort?

[W]: One aspect of your work that struck me right away is its sensory nature, and its desire to make complex emotions like melancholy or lostness more tangible or tactile.

[Ed.:  racetams with caffeine are ingested.]

[D]: I really like your description – “the depth of the surface.” This really fits what I’m trying to achieve with writing. I try to attain a certain sensory experience with abstract imagery, but endeavor to maintain a somewhat conventional narrative or “everyday” story underneath. For instance, Faceless in Nippon was always meant to mimic the feeling of floating in/on water, gently bobbing through society’s ambient capitalist waters attempting to find a purpose. This incorporeal imagery juxtaposed with the more straightforward vignette format and story arc of a young western male living abroad. With Ultraviolet Torus, the prose and format are more unconventional – it was designed to mimic gemstone/mineral structure and shoegaze music, with the narrative underpinning the imagery taking the form of the rise and fall of a standard relationship. I agree that even a “realist” presentation is somewhat sci-fi these days – it is unavoidable. Our friend, contemporary, and collaborator James Krendel-Clark and I have often spoken about how the only thing left for sci-fi is this almost meta-sci-fi angle, where all the tropes have become so cliché and ingrained that really any attempt at sincere “world building” is futile. It’s better to experiment in syntax and delve into what another contemporary of ours, Nick Greer, likes to call “hyper-genre”. Use the tropes, but explore them linguistically, see what they do for the reader sensorily, opposed to using them as the building blocks to create another mundane genre narrative. I have certainly done that in shorter form through the Concentric Circuits: CODA stuff on Surfaces. I think my sci-fi influence comes through in both Faceless in Nippon and Ultraviolet Torus, certainly in the way that I frame the setting or landscape as a character almost, similar to how Ballard and Gibson craft their prose. I have had a lot of time to think about the aforementioned literary influences. I am slightly OCD too, so I often create these massive lists and Venn diagrams and shit of artists/works with certain styles and aesthetics that overlap. I do like to think of myself as a modern-day Walter Benjamin in the way I compile notes and lists and memories that form the basis of my artistic and existential exploration. I think Benjamin would have had a hell of a time with the notes app of a smart phone.

[D]: Regarding Kobo Abe, you are correct, certainly not an easy tone to master, and one that I definitely have not. My writing is not as sound as a master like Abe, which I think is why I subconsciously fall back on the sci-fi landscape syntax/prose mentioned above and the more colloquial twenty-first century alt-lit style to strive forward in my work. I am still developing though, and hopefully, opposed to just replicating Abe’s tone, one day I will be in a position where people are speaking about a tone entirely of my own that others will use as an influence. Abe is also a good segue into other forms of media that influence written work, as he has often been an inspiration to artist’s in the visual field such as filmmakers and video game creators. It is no secret that he is Hideo Kojima’s favorite author.

[D]: Since re-commencing my fiction-writing, which was at the beginning of 2019, you are accurate in your inference that I have primarily relied on other forms of media to influence my work. I have barely read any novels at all in the last couple of years comparative to the previous decade of reading. I garner much more from music, anime, and internet culture these days. I am glad you brought up the influence of commercials – I think we certainly share an avid interest in exploring the consumerist sphere and its effects on art and society. There are a number of important moments in Faceless in Nippon dealing with commercials, products, stores and their underrated aura. Hell, I even created fictional beverages and advertisements for the book.

[D]: My time in Japan was an incredibly formative experience for me. I really only returned to my home country, Australia, when my wife became pregnant. Otherwise I would probably still be there, cruising around upper-class malls, lower-class malls, drinking massive cans of Asahi on the train, staring at LED signs from concrete overpasses at night interminably. I certainly still yearn for my time there. I did go back to visit friends recently and it was a strange experience, like I could not re-create the feelings of my time there in the past no matter how hard I strived. It became apparent that my yearnings were purely for a time in my life while stationed there, opposed to the setting itself.

[D]: I would describe Faceless in Nippon as a meditative, aqueous travelogue on what it means to exist as a middle-class person in the twenty first century, the entirety of which is set in urban Japan.

[D]: I really admire artists that have an unmistakable aesthetic stamp on their work. Auteurship, if you will. For what it’s worth, I think you are one of the few that has a singular, univocal voice in the online “outsider” lit community or whatever you want to call it. I would like to think mine is the same. That people will read it and go, “Oh fuck, that’s Dale alright.” I have been told before that my work reads like MDMA. I am exceedingly happy with that comparison. I would be pleased if that was how I was known as an artist after my “career” or whatever you want to call it is over. Basically, I want to create things that are uniquely my own, things that have not been attempted before. Another reason I think that you and I gel well together as creatives is that despite our many differences in aesthetics, we are enamored by the depth of so-called low culture and continually mash it together with the supposed “high culture” of literature. 

The "Borges + USA Up All Night" example illustrates this perfectly.

[D]: Both Faceless in Nippon and Ultraviolet Torus will be available at similar times. However, there is no doubt that Faceless is my first book. It is the first thing I started working on when I didn’t know it was going to be what it became. Torus was a more experimental foray into the literary field. I compiled Torus, an exploration of gemstone and dream imagery, between drafts of Faceless. I was particularly taken by crystals, shoegaze, and giddiness over my interactions with some beautiful people on the internet at the time. It proved to be a fruitful break from Faceless rewrites, as not only did I let the novel marinate and become better before publishing it, I also gave birth to another creative treasure.

[D]: Making emotive words tactile, rendering the textually intangible tangible. This is something I want to see extended even further as we continue collaborating on our mall project. I want to delicately wrench the phaser knob on these effects and really see where we can go with our adventures in the literary sensorium.

[W]: I remember you saying you wanted Faceless in Nippon to "feel like floating in water." It made me think of a novel as a kind of sensory deprivation tank, the floating and the effects. Did you think of Ultraviolet Torus as a gem, in the abstract, or was the structuring of it more precisely gemlike? James [Krendel-Clark] and I wrote the rough draft of this Blanchot-bodyhorror, broken-videogame-reality novel called Cenotaph, and much of it deals with irrational spaces and Phildickian pulp. As far as sci-fi goes, the more subjective my take, the more "sci-fi" it seems to become. Just last night I drifted between three realities - one in which I was an unemployed writer living under Covid-19, one in which I destroyed an organic ship/braincraft with a cyber-tank, and another where I trained as a druid mage in a treacherous cursed desert. Of course these last two were games and that doesn't even entail any other branching realities that came about as well with regard to books, narratives, televisual influences, lies we tell ourselves, 5G brain-attacking waves, et al. It's late and I'm stoned and tired but yeah. Nick Greer is a fascinating individual. I didn't know you knew him. We spoke about set theory once. Gödel. I read very little, yeah. Or I should say I don't sit and read a physical book as often as I used to. I read rigorously for a good 20 years. If I'm awake enough to read, I usually would want to spend that time writing, or perhaps gaming. Or dreaming. All of these beats - the fictional beverages and ads and playing metafictionally with products and whatnot - I kind of live for that shit. I do that more and more. And it's not even a critique or any kind of satire of it for me - like the low-rez haze of 1-900 commercials was a fuzzy heaven in a box for me as a kid. The K-Mart cafeteria did possess a unique and strange power. I think we're kind of on the same page here as far as we share a kind of reverence for the artificial, the things rendered meaningless through mass production, and other similar slippery intangibles. There is a wonder here that sets it apart from, say, a satirical/scathing view of consumerist life. God, yeah, your experience in Japan. I think I've experienced similar stuff. I remember a time in 2000 when Boca Raton, Florida, was kind of magical for me. I went there a few years back; it's just any place now. Such a strange thing. And sad too. This is the only kind of interview I'd conduct, one with a writer whose work I think truly good. You might've remarked upon the melancholic allure of vending machines coding out at night. Or something similar. It's that sort of sentiment I recognized straightaway as what I consider tuned-in to a cryptic aesthetic I love. I was relieved to discover your wordcraft was honed – that's usually the big problem for me liking someone's work. One of the big draws for me about your work is the stuff you're able to do that I really dig but am not really suited to pull off myself, such as the MDMA vibe, or the ennui mixed with light, hope, etc. There are a dozen or so singular voices around in the online outsider-lit community/whatever, voices I'd consider distinctive: you, Clark, Elytron Frass, Durban Moffer – a few others.

[W]: Your themes I would say demand nuance and control. We've talked about how our mall project is slow-going because it seems very painstaking, almost like etching or surgery or something. Introspective, in any case. Although I just sort of dismissed reading a second ago, I do believe that a unique body of work is made unique by a dizzying variety of blendered influences. I had that 15-year stretch in the suffering cubes to read pretty much constantly, and haphazardly, as far as selection, in a lot of ways, so my influence map is like really fucking bizarre and extensive, which I think makes my stuff appear unique, when all that is unique about it probably is my little perspective or whatever subjectivity is injected into this array of eclectic influences.

[trentonhoshikocinematography]

This Video Covers: 🎥 3 ways to light and film scenes to look like "Song of The Lark" by Jules Breton. From the no-budget, ultra-flexible, to a method that harnesses your light sculpting tools.

😍 Ways To Support My Free Cinematography Videos 😍 +Patreon: https://www.patreon.com/TrentonHoshiko (Watch ad-free, vote on video topics, & some exclusive videos!!) - Tiers start at only $2!

[filmcourage]

(Watch the video interview on Youtube here)

What Makes A Great Movie Director? by David F. Sandberg via FilmCourage.com.

Film Courage: How do you get comfortable telling people what to do, especially if you feel like they have more experience than you?

David F. Sandberg (a.k.a PonySmasher on Youtube): It can be a bit intimidating and there was some friction actually on the set of LIGHTS OUT where the camera department…there were some arguments about things…like especially the first day was a bit of a setback because since it was my first movie I was like “Oooh, I better not screw this up because this is my one chance in Hollywood.”

I had planned so much and made little storyboards, diagrams with shot lists and everything. Then the first day the DP didn’t really listen to me and some people in the camera department had made like really big movies, we’re talking about…(Watch the video interview on Youtube here).

See Film Courage’s collection of Writing and Filmmaking and Acting videos on Youtube.New videos 5:00 p.m. daily! 

Subscribe to the main Film Courage Youtube channel and our second Film Courage Youtube channel here…

[moderntumbler]

Posted @withregram • @chrisrobyn New work with La Croix Church. Got to break out some new equipment for this one. Super fun project to gaff. Check out the lighting diagram to see how we pulled off the look. I’ve also got a walkthrough in my reels! 🤙🏼 Director/Producer/Director of Photography: @adammillerdp Camera Operator: @casasola.media Gaffer: 👋🏼 Grip: @matt.holman1 Location Sound: @tyler_myers.soundhouse S/O to @aputure.lighting @matthewsgrip and @modernstudioequipment for making quality stuff. Makes my job a whole lot easier! #gafferlife #gaffer #setlife #setlight #filmmaking #lightingdiagram #lighting https://www.instagram.com/p/Ce4rKA5P1L0/?igshid=NGJjMDIxMWI=

[miscpav]

Electronics in Japan Today

A speeding express train. The train is magnetically levitated. Tests done using a magnetically connected bullet train. Light synthesis with plants as a Japanese scientist looks on. Industrial robots, they assemble a vacuum cleaner. Title card: Electronics in Japan Today (:18-3:22). Japan's wall street, numerous banks.The filmmaker stops a Japanese man in the street and asks him about his watch. Close on a watch. Inside the face of the watch. The man opens his briefcase and opens a calculator. Inside the calculator. Title card: Electronics (materials technology, device technology, production technology). Different types of electronics are shown on the screen. Vacuum tube. 1946 saw the birth of the world's first computer. Computers with lots of cords and wires. 1948 was when the transistor was created. A miniature transistor (3:23-6:08). A man uses a computer to do advanced train reservations. A train slows inside a train station. An express train leaves the station. People walk around Tokyo. Neon Japanese moving sign. Inside a Japanese newspaper office, men work and talk on the telephone. Stories are typed onto tape and then that is fed into a computer where it is set. Newspapers being printed. Airport with jumbo jets. Air traffic control computer screens. A plane takes off. Japanese police station. A police car with its flashing lights on the move (6:09-9:18). Tokyo at dawn, the downtown skyline. Men in suits walk to work. Rush hour in Tokyo. Automatic ticket barrier. A train on the tracks. Buses, cars, people walking. Industrial plant with steelworks. Men in a control room. Water splashing, hot molten steel being formed. Computer screen shows a new car being made. Automobiles on the assembly line being made by robots. A man puts a dashboard together. An engine is placed in a new car. Cars go slowly down the line. Computer robots are making computers. A man works at a computer (9:19-12:35). A computer controlled production machine. The tallest building has the faster elevator. People get into the elevator, the elevator speeds up the shaft. People at work in a high rise building, sensors are above them in case of fire. Doors shut automatically. A woman works in data processing. A copy machine makes copies repeatedly. A finger pushes a button, a woman holds a phone and places it down to make a fax go through (12:36-14:56). Cars race by. Traffic sensors. A more advanced traffic system is under development. A man punches in his destination and the computer recommends the best route. The car drives towards thee destination. A train on the tracks, it is unmanned. Electronics help detect what's going on with a patient. Integrated circuit moves. Photomask, wafer, emulsion. Exposure is shown in a diagram and explained as it reaches development and then etching. Diffusion is the last process. This leads to bonding and packaging (14:57-18:41). People at work in a laboratory. A silicon wafer receives sensitizer. The wafer is transferred by air to minimize contamination. Diffusion is complex. Circuit pattern is finished. Printed wafer cut into chips. Computer does bonding not manually (18:42-20:58). A man places pieces into a tray and puts it into a computer. IC (integrated circuits) Production chart is shown, 1974 vs 1979. Space technology, a rocket with a satellite is launched into space. Circuits are being made. Microwaves are being put together. Japan produces 90% of the world's VCRs. A new videodisc system.The player sits on a tv (20:59-24:01). Nada, Japan, deers graze in a park. Steps. Ancient buildings. People perform in front of tv cameras and see themselves. Japanese trading company. Clocks that show times in other cities are on the wall. People walk. Computers at work (24:02-25:23). A man works on a computer, he is instructing it with his voice. A man sorts merchandise ready to be delivered. Computer screens. Doctors at work on a patient while performing surgery. They are performing a kidney implant. An experiment is being performed with a model boat and some liquid helium. A superconductor magnet assists. Steel is cracked. Carbon fiber composite is broken apart. Acrylic fiber. Carbon fiber and resin. A magnetically connected train races by, a rocket takes off. Stills of possible space station (25:24-30:00). Statistics of the number of scientists in various countries (30:01-30:21). End credits (30:22-31:02).

[griptruckrentalslosangeles]

Diminish the Film Production Budget with Lucrative Film Equipment

Creative lighting can be the ideal mood creator and energy booster. Take the example of how even game shows feature dramatic lighting? That's not a coincidence. Indeed, lighting that implausible takes a lot of work and requires a lot of money. A professional filmmaker requires you to have the right tools for the work. The difficulty with choosing accurate studio equipment is that there is plenty of stuff are available for lease. A lot of choices signify a bigger chance for you to make an error when you're picking your equipment. But, with the right 3 Ton Grip Package Los Angeles services; you would not go wrong in any way; the right high-quality accessories are accessible at your disposal.

Lights are a critical aspect when you're filming on inadequate natural light. You should find at least one dominant light stand to underline your shots and increase your camera's flash. Getting extra lights like overhead ones or more spotlight lights to add more lighting to your studio is not obligatory. You'll possibly get them when you're more skilled, but while starting out; superior to begin with the basics. One of the clearest mistakes of the majority of new directors and a whole heck of plenty of indie and revolutionary filmmakers is shots all appearing alike. The majority low budget films are shot extremely tight and never actually open up for a long view - they're completely close-ups, two shots with cramped quarters. They also tend to be diagram shots framed at eye level. If you want to make your film more excited, or more fascinating, tilt your camera, get for longer shots, shoot from a bird's view angle or worm's eye angle; apply your camera angles to help out set your mood with control your audience's level of interest. Good equipment from 5 Ton Lighting Package LA services allows you to shoot complex videos with ease.

Camera tripods should be hard-wearing to fit your camera. Sounds are extremely easy to find but it's superior if you bring your camera with you while you're picking up a tripod. Acquiring a perfect fit that stabilizes your camera well is superior in the long run. You will need to decide the labor required to make your film. If you have a day with a set of night exteriors, you will most likely need additional lighting. With great lighting equipment, you may choose to save time by getting more crew to set up these scenes and will have to rent spare lighting gear. If you have a bunch of locations, you will want an extra transportation crew to shift your production base from one location to another. The art department labor possibly will increase if you have an assortment of builds and props. Thus you need a profusion of 1 Ton Grip Package Rental to choose the right studio equipment for your professional movie-making undertakings.

[fablehouse]

LIGHTING DIAGRAM from #Samantha which will screen at the H.P. Lovecraft Film Festival in #portland and @neworleansfilmfestival this year! Directed by @joshcarley Staring Luke Edwards, Laura Cayouette, and @msaintamand . . . #filmfriends #moviemaker #lighting #diagrams #arri #chapman #cinematography #filmmaking #cinematographer #filmmaker #videographer #setlife #videoproduction #cinema #director #onset #dop #moviemaking #filmschool #behindthescenes #film #filmproduction #productionlife #videoshoot #cameraporn #filmset #hplff #noff #filmfestival #lighting #diagram https://www.instagram.com/p/Bn6VMMDlrgu/?utm_source=ig_tumblr_share&igshid=udujssnk1y07