#harvard film archive

[schlock-luster-video]

On August 31, 2019, The Poseidon Adventure was screened at the Harvard Film Archive.

[zurich-snows]

Miss Mend Directed by Boris Barnet and Fedor Otsep. With Natalia Glan, Boris Barnet. USSR, 1926, 35mm, black & white, silent, 240 min. English electronic subtitles.

This three-part serial "fuses elements of Fairbanks, Feuillade and Lang with brilliant location shooting in city and countryside... The film's prolific visual invention and amusingly convoluted plotting take in a Nosferatu-like body in a coffin, mysterious encounters in a chateau, kidnappings on a jetty, and culminates in an extended, accelerating pursuit involving cars and horses. Barnet exploits all the serial conventions and improves on them, winding down to a charming, poetic epilogue." – John Gillett, National Film Theatre

[mattnben-bennmatt]

Matt Damon's interview w/ The Advocate (18 January 2000)

[During promotion for The Talented Mr. Ripley, Matt Damon gives an interview to LGBT magazine The Advocate. He discusses his approach to playing Tom Ripley, same-sex relationships, and the scrutiny around his friendship with Ben Affleck. I first came across excerpts from this fascinating interview when browsing the Damon Affleck Slash Archive using the Internet Archive's WayBack Machine, but my gratitude goes to @kampedupkinks-blog for pointing me toward the full issue. Full transcription under the cut.]

Going to the Matt

Gay people, characters, and subjects are nothing new to Oscar winner Matt Damon. Here's his whole unexpected attitude on it all.

By Brendan Lemon

As the title character in the luxurious, homoerotic new movie The Talented Mr. Ripley, Matt Damon is obsessed with trying on a rich friend's clothing, looking for the right well-tailored suit to reflect his evolving view of himself. Ever since the Boston buddy picture Good Will Hunting won him a screen-writing Oscar and established him as a movie star two years ago, the actor has been redefining his own identity too.

Measuring this metamorphosis is a challenge, partly because the 29-year-old actor is still pondering just how to use the public voice that his fame has provided and partly because his celebrity's outward clues can be a little misleading. For example, he may have just bought a gargantuan—7,000 square feet—apartment in downtown Manhattan, but you sense he wants to make it a home rather than a showplace. And he may go out with another movie star (Winona Ryder), but, refreshingly, the two so rarely make the scene that they seem the furthest thing from a young Hollywood power couple.

The performer talked about both his life and gay-related issues raised by his new movie during a conversation one recent afternoon not far from his New York City home, a discussion in which he displayed his Harvard-caliber intelligence (he dropped out of that university to act, not because his grades weren't good), an attractive blend of sensitivity and seriousness, and the kind of genuine politeness that makes you want to meet, and thank, his mother.

While Damon upbringing has made him highly skeptical of celebrity, he is not about to turn the spotlight away from himself. "Matt is not the sort of actor who refuses to talk about his movies because he doesn't want to talk about his life," said Anthony Minghella, the director and screenwriter of The Talented Mr. Ripley. "In fact, one of the things that distinguishes him as both an actor and a person is that he doesn't duck the moment." Case in point: In the new movie's hottest scene, Damon's Tom Ripley looks lustfully at his friend Dickie Greenleaf (Jude Law) as he emerges from the bath. "Matt didn't ever try to wink at the audience while we were filming that, to distinguish himself from the character," Minghella said. To which Damon replies: "That would have been ridiculous. Ripley at that point was so bubbling over with desire."

Damon sees the homoeroticism of his latest character as an acting assignment, but his matter-of-fact approach to it has roots in his own life. "I grew up in a community house in Cambridge, Mass.," Damon said, "and a number of people who lived there were gay." Respect for difference wasn't the house's only core value; so was hard work a quality for which Damon is still known. "Matt won't always admit the rigor with which he approaches his roles," Minghella said, mentioning that for Ripley the actor learned to play the piano. "I sort of learned," Damon clarified, "just like I sort of learned to sing." The modesty is misplaced: In the movie the actor's wonderful rendition of "My Funny Valentine," aimed at an oblivious, sax-playing Greenleaf, stands as a clear, lonely lament recognizable to anyone—straight or gay—who's known the pain of unrequited love.

Don't expect Damon, however, to star any time soon in a revival of Babes in Arms, and certainly not with lifelong buddy Ben Affleck. The two remain call-each-other-at-all-hours close and make periodic noises about finishing that next screenplay, but any discussion about their friendship strikes Affleck, according to Damon, as "weak." Their bond, of course, still causes some people to regard them as more than pals. In this interview Damon addresses the subject head-on, while admitting that "the speculation isn't quite as much fun as it used to be."

But Damon, whose habit of answering virtually any question directly is reminiscent of Tom Hanks, with whom he had a memorable battle-jitters scene in Saving Private Ryan, mostly wanted to talk about sexuality because of his participation in The Talented Mr. Ripley. The movie which Minghella adapted from a 1955 novel by Patricia Highsmith (the first in a series), tells the story of the aforementioned Ripley and Greenleaf, two young Americans at play in late-1950s Italy. The secretive, hollowed-out Ripley is a consummate social strive. Unlike the wealthy, golden-haired Greenleaf, Ripley is to the manner—but not to the manor—born. In his quest for class he aspires to absorb everything about his friend: not just his clothing and his possessions but his pampered way of life.

But Greenleaf, involved with another young American, Marge Sherwood, treats Ripley disposably. Amused by Ripley's conversational talents and touched by his love of music, Greenleaf takes him along on high-spirited jaunts up and down the Italian peninsula, a series of sunlit, mostly seaside locations that the film caught sumptuously on location. But when Greenleaf tires of his visitor and attempts to toss him off, Ripley reacts tragically. "Maybe no one who sees the movie will agree with me," Damon said, "but as the one who played the character, I thought, This is so unfair. This person deserved better. He was so close to knowing happiness with another man."

In the hands of Highsmith, a lesbian expatriate who like many American writers—Vidal, Baldwin, Williams—came to Europe partly to escape the stifling sexual orthodoxy of postwar America, Ripley is a figure of great fascination but little empathy. Following him as he assumes Greenleaf's personality and attempts to elude his pursuers after the murder is a riveting yet slightly chilly exercise. "We wanted to make Ripley more human than Highsmith did," Damon said. To that end, Minghella pointed out, the character does not, as in the novel, plan to kill Greenleaf but, rather, lashes out at him when he confesses his love and is rejected. In another adjustment, Minghella transformed Peter Smith-Kingsley, one of the book's minor figures, into a gay man offering Ripley love and acceptance.

By fleshing out the book's homoerotic subtext, Minghella has made the story more resonant for a contemporary audience. He has also opened himself to the charge that he has made a movie about a "gay serial killer." "I think that that is a very reductive characterization," Damon said, "but I would urge people to see the movie and make up their own minds about its sex and psychology." To which one might add: Whether you like the film or not and whether or not you find it upsetting, Ripley stands as a sophisticated essay about an identity in formation—economically, psychologically, sexually.

For the movie's Forsterian world of prim Anglo-Saxons smitten with Italian sensuality, Damon's Ripley and Law's Greenleaf were joined by Gwyneth Paltrow as Sherwood and Cate Blanchett as a new character named Meredith Logue. All of them except Damon play roles in keeping with their images. After all, Damon has built his career playing mostly recognizably good guys. "Is my list of credits that heroic?" the actor asks a little disingenuously. To which one answers: Look at your resumé, Matt. Damon's gallery of Hollywood classic male archetypes includes the soldier (Courage Under Fire, Saving Private Ryan), the cowboy (Geronimo, the upcoming All the Pretty Horses), the athlete (School Ties, the upcoming golf fable The Legend of Bagger Vance), and the lawyer on the side of Southern right (The Rainmaker).

As part of his search for new suits, however, Damon has been willing to try some unexpected material. He is the frisky fallen angel Loki in the controversial movie Dogma, and he and Affleck are producing a TV version of The People's History of the United States, an iconoclast work by the scholar Howard Zinn. But it is as Ripley that Damon has most fully revealed in the unexpected.

Some people think it was brave of you, after just having won an Oscar for Good Will Hunting and becoming Hollywood's newly minted leading man, to play a role as upsetting and vulnerable as Tom Ripley.

I don't think playing Ripley was brave of me. I'm an actor who read a great script and who was extremely lucky to have been asked to do the part.

Ripley, however, is a very sad soul, and you appear to be anything but. What personal experiences did you draw on to convey that part of him?

Like everybody, I'm lonely to some extent. Like everybody, I live in fear of not being loved and not having love returned. And I think everybody has a Dickie Greenleaf in his life: someone who is extraordinarily charismatic but who can go away.

Ripley covets everything about Dickie's identity—his way of life, the issue of class, in both the sense of one's social stratum and of one's taste, is, along with sexuality, perhaps the driving issue of the movie. Did you relate to Ripley's cravings for class?

Only to a certain extent. When I was growing up in Cambridge, Mass., people took a certain amount of pride in not being Harvard people. We always thought we were cooler than they were. In terms of relating to Ripley's outsider quality, I have the standard stories that you probably have—of not being invited to the dance and picked for the team. The challenge of Ripley was making the longing to be chosen consistent in my character, despite the horrible things he's doing. Because if you don't stay in sympathy with Ripley—if you go into the theater thinking he's a "gay serial killer" and not a tormented, sensitive human being—then you may as well stay home. You're only going to have your preconceptions confirmed.

What were the key scenes for you to convey Ripley's sexuality?

The chess scene, where Dickie is naked and in the bathtub and Ripley is clothed and out of it. Also the scene where Ripley says he'd take a bullet for Dickie and the scene in the jazz club where, under the cover of music, I shout to him, "It's one big love affair." That's sort of my coming-out in the movie.

The bathtub scene is homoerotic yet slightly enigmatic. Ripley wants to get in the bath, but when he asks and Dickie says no, Ripley has to damp down his desires. Even though, moments later, when Dickie is toweling off, Ripley looks at his ass with a longing that suggests he's just seen the face of God.

When Ripley first got to Italy, if Dickie had taken off his clothes and said, "OK, strip down," Ripley would have just recoiled. Our idea was that he was a virgin. I say that because he's probably never been naked in front of somebody. Remember the first time you were naked in front of somebody? It's terrifying, but you get over it because, hopefully, you have somebody who says, "You're beautiful." But Ripley's never had that. He hasn't crossed the hurdle of deep self-loathing.

But when, at the movie's end, Peter Smith-Kingsley, a sweet, sensitive musician whom Ripley meets...

The ultimate man!

...asks Ripley to take his clothes off and become intimate, he's still struggling with his physical self-image. He is still deeply ashamed of himself, both because of his demonstrated capacity for violence and because of his inability to be intimate—with anyone, male or female. It is this abiding moral sense that makes him human rather than, to be reductive about it, a serial killer. He takes no pleasure in his transgressions.

Right, which is why the ending is so devastating. Ripley still believes that if he showed his authentic nature, he'd be cast aside.

Which is a version of what everyone fears and what some gay people, sadly, fear their whole lives: that as soon as people see our true, hidden natures they will reject us.

So rather than expose himself further to the man who truly loves him, Ripley "rejects" Peter in the most extreme way possible.

Ripley's relationship with Peter is potentially an adult, homosexual one, whereas the one with Dickie is more adolescent and amicable. The movie reminds us that there is a vulnerability involved in same-sex friendships that is just as acute as those in full-fledged gay love affairs.

Same-sex relationships with anyone when you are young entail extreme vulnerability. The first experience most of us have of devastating personal rejection is not with someone we want to date but with someone we want to befriend.

When you were that tender age, was your desire to be an actor looked down upon by your buddies?

No.

You were extremely lucky in that, you know.

I know. A number of people have come up to me and said that because of their interest in theater they were referred to as "drama fags." That wasn't the case in our school. I was supported by my parents and friends in the desire to be creative.

Who were some of the early gay influences on you?

I grew up in a community house, inhabited by my mother and brother and many other adults and children, and a number of people who lived there were gay. My theater teacher was not gay, but I probably had more gay than straight teachers in high school. So being gay, luckily, was not something that I was "introduced" to at some age. It was more that I was introduced to the prejudice against it. I had the reverse of a typical growing-up in that regard.

Your lifelong friendship with Ben Affleck had been endlessly scrutinized since your success with Good Will Hunting. Given how you grew up, was it odd to be tagged as lovers and have that speculation be viewed by some people as a negative thing?

The gay assumption seemed silly to me, a real waste of attention. But I understand that the idea of something hidden fascinates people.

At first, your friendship with Ben was a good marketing ploy. But now that your careers are established, has that strategy gotten tired?

Absolutely. You reach a point where it's your friendship and no one else's.

But you're smart enough to know that the media isn't likely to leave your relationships alone—whether it's you and Ben or you and Winona Ryder, your current girlfriend. You're also smart enough to know that the public has been burned enough times by the media dissembling about homosexuality to be more skeptical than they used to be about the subject. And thus a few people are going to read this interview and still want—still need—to believe that the couple is not you and Winona but you and Ben.

But that's because sex sells magazines and because people are now conditioned to believe that anyone they see on the cover is having sex with everyone in their lives. Given the shallow nature of the packaging and the salesmanship in our culture, it's no surprise that people are lulled into these assumptions.

The unvaryingly sexy packaging is a distraction from ever having to think about the real issues.

Of course.

To go back to you and Ben, would it be so terrible if you were a couple?

The question of whether Ben and I are gay is so awkward in a lot of ways. There is no real right way to answer it without offending somebody. It's offensive to just deny it fiercely, as if there would be anything wrong with it if we were a couple. That would be offensive to the people I grew up with. I don't want to be that person. At the same time, I can't say it's true because it's not. Ben once made light of this type of tabloid speculation by telling an interviewer something like, "I'm sure there are gay people who are in the closet in Hollywood, but also I'm sure that they didn't sleep with Henry's friend." [Laughs]

Yeah, it's interesting how the source for so many tabloid outings always seem to be some Henry guy's pal or some friend of somebody's hairdresser.

That's so true.

One of the strangest things about the media's attempt to disparage your relationship with Ben is that male friendship used to be considered a noble thing. It was not powerful men but powerful women who were divided through the use of the gay rumor. Now same-sex closeness of both genders is targeted.

I guess it's not enough for me to say that I love Ben so much that I'd take a bullet for him.

You also have to say—pardon my bluntness—that you'd take his dick up your ass.

Yeah. It's completely bizarre.

If you were, in fact, in a relationship with another man, would you be in the same position career-wise?

I would like to say that if I were gay, I'd be out. But I think that's not fair because I'm not gay, and I don't know personally what pressure is brought to bear on you if you are. My short answer, without a lot of reflection, is that if you were out, your career would suffer. Would Rock Hudson have had the career he had if he'd been out? No way.

But, of course, we'll never know until someone with your level of leading-man visibility comes out and until Hollywood allows the box office rather than its own internalized prejudices to decide if the public is ready for such a move. With a few test cases, maybe we could move away from this type of discussion. Saying that may be naive, though, given our culture's obsession with celebrities.

And with celebrity bedrooms.

It feels weird to think of the Ripley movie in light of this prurient culture of ours. Because it takes place at a time, the late 50's, when it was taboo for an American guy to confess any kind of affection. That type of unstated longing, of course, is what gives the film so much of its power.

If this were a contemporary movie, the relationships would probably be handled differently. All the people I talked to who are of Ripley's generation—who were young in the '50s—said that you didn't talk that much about your sexuality in any regard. Today, on the other hand, you meet someone, and 15 minutes later he's saying, "You know, my boyfriend and I have this problem with trust." If this were a movie set in 1999, for a tasteful young man like Ripley to admit to a wordly Princeton graduate like Dickie that he has a homosexual side would seem really tame. Especially in our age, when you go home and there, on Jerry Springer, is some guy with two penises.

But in some ways the culture remains alarmingly the same. Highsmith's novel, for example, is infused with homosexual panic. This is part of Ripley's fear of being found out in all aspects of his life—that he's a fake somebody instead of a real nobody. And the fear of thought gay remains a huge fear for some guys still today.

Sure. This makes me think of American Beauty with its theme of the fear of the person next door. Middle America knows that its next-door neighbors could, in fact, be gay. They can't pretend any longer that it's not possible. And that, unfortunately, is very upsetting to some of them. People should recognize that homosexuality just is. Personally, I think it's genetic. That's always been my theory because I have friends who are gay and who really don't want to be and who say they don't have lives that are conducive to it.

What do you mean, "not conducive to it"?

Because being gay makes their lives more difficult professionally.

I'm not going to take the time here to comment on that kind of self-concealment, even though I know from experience how necessary it can seem at a certain time in your life. Are some of these friends actors?

Not just actors. Though it's true that show business is a lot more closed-minded than it may appear. Which is ironic, considering that there are more gay people in the movie industry and in arts in general than in other walks of life.

I think that's a fair and accurate statement. Or at least one that won't frighten the horses.

[Laughs] Right.

Since, in a sense, we've been talking about maintaining appearances, let me raise the matter of appearances regarding the Ripley movie. Specifically clothing. Tom enjoys wearing Dickie's clothes, even though Dickie doesn't always enjoy the fact that Tom is borrowing them. This reflects, of course, how Tom is struggling to assume Dickie's identity in all forms, not just the sexual or psychological ones. The clothing interchange reminded me of one of the real pleasures of being a gay couple: wearing your partner's wardrobe.

But that's not necessarily a gay thing. My group of closest friends and I lived, until recently, in these loose communal situations—in New York, L.A., Boston. And there was a constant raid on somebody's closet. You'd see one of your roommates in a restaurant, and he'd say, "Hey, that's my shirt. You asshole! I just washed that shirt!"

What did the question of clothes mean to you in the making of Ripley?

It relates to body image. Ann Roth, the movie's costume designer, said to Jude Law, "These clothes hang better if you don't wear underwear." So Jude said, "Right, I won't wear underwear." And she looks at me, and I said, "Of course, Tom wears underwear. It would be too exposing of himself not to."

How were clothes key to the formation of your own personal identity?

I remember for my graduation from high school my older brother gave me his leather jacket, which was my favorite thing in the world. He gave it to me in June. I went into my room, put it on, and basically waited for fall. My brother was so cool, and because I was wearing his jacket, I was cool too.

That was a moment not so much of vanity as of validation.

Absolutely.

It's interesting how validation becomes vanity as you grow older. Speaking of which, at what point growing up did you start receiving validation for your looks?

When I got to Harvard. When I got there I thought I was James Dean, wearing my leather jacket. A friend of mine from England, who lived on my dorm floor, and I thought we were very cool. And we weren't afraid to say it to each other.

Some actors consider it a little unmanly to have to obsess so much about their appearance. Do you?

I worry about appearance less than I used to. I look at Brad Pitt. I will never, and could never, look like that. He is just incredible to look at. Period. If I were gay, he would be one of the posters on my wall. Ben and I both have more realistic ideas about what we look like. Not that we're insecure about it. But I know what drop-dead gorgeous looks like, and I know that I'm not it. I also know that I don't want to think, ever, about how I look when I'm in front of the camera. Because then I'm thinking about the wrong thing.

You know, however, that a certain amount of your stock as a movie actor has to do with your appearance.

But if they want handsome, they're not coming after me; they're going to Brad Pitt, Tom Cruise—one of those guys.

I wonder. I can think of a few producers who might think that you would fill the handsome slot just fine.

Well, thank you. Now I feel validated. [Laughs]

You've said that Ripley is a once-in-a-lifetime situation for you. Is that because you wouldn't play a character with Ripley's attributes—repressed rage, class envy, murderousness, homoeroticism, extraordinary sensitivity, aching beauty—ever again?

Anything as original as Ripley I'd love to do again. Unfortunately, people aren't willing to put up the money to make movies like this very often. They were with Anthony Manghella, in part, because he'd just won an Oscar for The English Patient.

Even though you signed on for the movie before Good Will Hunting made you a star, I don't think you should forget the role you and Gwyneth Paltrow played in getting the movie made.

I'm not sure about that. I just hope the movie gets received the way it should. Because, realistically, its box-office chances aren't clear-cut. It needs a strong critical reception to be successful. It's still amazing to me that the studio was so supportive of Anthony's vision. In the wake of The English Patient, he could have directed a lot of movies, but he chose to make this one. He's the one who's brave, not me.

[loneberry]

September 11, 1973: On the 50th Anniversary of the Coup in Chile 

Today marks the 50th anniversary of the coup d’état in Chile, when a fascist junta led by dictator Augusto Pinochet overthrew the democratically elected socialist government of Salvador Allende. For those of us who are on the left, the story should be familiar by now: Allende had charted a ‘Chilean way to socialism' ("La vía chilena al socialismo") quite distinct from the Soviet Union and communist China, a peaceful path to socialism that was fundamentally anti-authoritarian, combining worker power with respect for civil liberties, freedom of the press, and a principled commitment to democratic process. For leftists who had become disillusioned with the Soviet drift into authoritarianism, Chile was a bright spot on an otherwise gloomy Cold War map.

What happened in Chile was one of the darkest chapters in the history of US interventionism. In August 1970, Henry Kissinger, who was then Nixon’s national security adviser, commissioned a study on the consequences of a possible Allende victory in the upcoming Chilean presidential election. Kissinger, Nixon, and the CIA—all under the spell of Cold War derangement syndrome—determined the US should pursue a policy of blocking the ascent of Allende, lest a socialist Chile generate a “domino effect” in the region. 

When Allende won the presidency, the US did everything in their power to destroy his government: they meddled in Chilean elections, leveraged their control of the international financial system to destroy the economy of Chile (which they also did through an economic boycott), and sowed social chaos through sponsoring terrorism and a shutdown of the transportation sector, bringing the country to the brink of civil war. Particularly infuriating to the Americans was Allende’s nationalization of the copper mining industry, which was around 70% of Chile’s economy at the time and was controlled by US mining companies like Anaconda, Kennecott and the Cerro Corporation. When the CIA’s campaign of sabotage failed to destroy the socialist experiment in Chile, they resorted to assisting general Augusto Pinochet's plot to overthrow the democratically elected government. What followed was a gruesome campaign of repression against workers, leftists, poets, activists, students, and ordinary Chileans—stadiums were turned into concentration camps where supporters of Allende’s Popular Unity government were tortured and murdered. During Pinochet’s 17-year reign of terror, 3,200 people were executed and 40,000 people were detained, tortured, or disappeared, 1,469 of whom remain unaccounted for. Chile was then used as a laboratory for neoliberal economic policies, where the Chicago boys and their ilk tested out their terrible ideas on a population forced to live under a military dictatorship.

It shatters my heart, thinking about this history. I feel a personal attachment to Chile, not only because my partner is Chilean (his father left during the dictatorship), but because I’ve always considered Chile to be a world capital of poetry and anti-authoritarian leftism. The filmmaker Alejandro Jodorowsky asks, “In how many countries does a real poetic atmosphere exist? Without a doubt, ancient China was a land of poetry. But I think, in the 1950s in Chile, we lived poetically like in no other country in the world.” (Poetry left China long ago — oh how I wish I’d been around to witness the poetic flowering of the Tang era!) Chile has one of the greatest literary traditions of the twentieth century, producing such giants as Bolaño and Neruda, and more recently, Cecilia Vicuña and Raúl Zurita, among others. 

To commemorate the 50th anniversary of the coup, the Harvard Film Archive has been  screening Patricio Guzmán’s magisterial trilogy, The Battle of Chile, along with a program of Chilean cinema. I watched part I and II the last two nights and will watch part III tonight. It’s no secret that I am a huge fan of Guzmán’s work, and even quoted his beautiful film Nostalgia for the Light in the conclusion of my book Carceral Capitalism, when I wrote about the Chilean political prisoners who studied astronomy while incarcerated in the Atacama Desert. Bless Patricio Guzmán. This man has devoted his life and filmmaking career to the excavation of the Chilean soul. 

Parts I and II utterly destroyed me. I left the theater last night shaken to my core, my face covered in tears. 

The films are all the more remarkable when you consider it was made by a scrappy team of six people using film stock provided by the great documentarian Chris Marker. After the coup, four of the filmmakers were arrested. The footage was smuggled out of Chile and the exiled filmmakers completed the films in Cuba. Sadly, in 1974, the Pinochet regime disappeared cameraman Jorge Müller Silva, who is assumed dead. 

It’s one thing to know the macro-story of what happened in Chile and quite another to see the view from the ground: the footage of the upswell of support for radical transformation, the marches, the street battles, the internal debates on the left about how to stop the fascist creep, the descent into chaos, the face of the military officer as he aims his pistol at the Argentine cameraman Leonard Hendrickson during the failed putsch of June 1973 (an ominous prelude to the September coup), the audio recordings of Allende on the morning of September 11, the bombing of Palacio de La Moneda—the military is closing in. Allende is dead. The crumbling edifice of the presidential palace becomes the rubble of revolutionary dreams—the bombs, a dirge for what was never even given a chance to live.

[emma-dennehy-presents]

Celebrating Black Queer Icons:

Tourmaline

Tourmaline (formerly known/credited as Reian Gossett)is a trans woman that actively identifies as queer, and is best known for her work in trans activism and economic justice. Tourmaline was born July 20, 1983, in the Commonwealth of Massachusetts. Tourmaline's mother was a feminist and union organizer, her father a self defense instructor and anti-imprisonment advocate. Growing up in this atmosphere allowed Tourmaline to explore her identity and encouraged her to fight in what she believes in. Tourmaline has earned a BA in Comparative Ethnic Studies, from Colombia University. During her time at Colombia U, Tourmaline taught creative writing courses to inmates at Riker's Island Correctional Institute, through a school program known as Island Academy. Tourmaline has worked with many groups and organizations in her pursuit of justice. She served as the Membership Coordinator for Queers For Economic Justice, Director of Membership at the Sylvia Rivera Law Project, and as a Featured Speaker for GLAAD. Tourmaline also works as a historian and archivist for drag queens and trans people associated with the 1969 Stonewall Inn Uprising. She started doing this after noticing how little trans material was being archived, saying that what little did get archived was done so accidentally. In 2010 Tourmaline began her work in film by gathering oral histories from queer New Yorkers for Kagendo Murungi's Taking Freedom Home. In 2016 Tourmaline directed her first film The Personal Things, which featured trans elder Miss Major Griffin-Gracy. For the film Tourmaline was awarded the 2017 Queer Art Prize. Tourmaline served as the Assistant Director to Dee Rees on the Golden Globe nominated historical drama, Mudbound. Tourmaline has co produced two projects with fellow filmmaker and activist Sasha Wortzel. The first was STAR People Are Beautiful, about the work of Sylvia Rivera and Street Transvestite Action Revolutionaries. The second was Happy Birthday, Marsha, about Marsha P Johnson. Happy Birthday, Marsha had all trans roles played by trans actors. Tourmaline's work is featured or archived in several major museums and galleries. In 2017 her work was featured in New Museum's exhibit Trigger: Gender as a Tool and a Weapon. In 2020 the Museum of Modern Art acquired Tourmaline's 2019 film Salacia, a project about Mary Jones. In 2021 the Metropolitan Museum of Art acquired two of Tourmaline's works for display in Before Yesterday We Could Fly: An Afrofuturist Period Room. Tourmaline is also the sibling of:

Che Gossett

Che Gossett is a nonbinary, trans femme writer and archivist. Gossett specializes in queer/trans studies, aesthetic theory, abolitionist thought and black study. Gossett received a Doctorate in Women's and Gender Studies, from Rutgers University, in 2021. They have also received a BA in African American Studies from Morehouse college, a MAT in Social Studios from Brown University, and a MA in History from the University of Pennsylvania. Gossett has held a fellowship at Yale, and currently holds fellowships at Harvard, Oxford, and Cambridge. Gossett's writing has been published in a number of anthologies and they have lectured and performed at several museums and galleries of note, including the Museum of Modern Art and A.I.R. Gallery. Gossett is currently working on finishing a political biography of queer Japanese-American AIDS activist Kiyoshi Kuromiya.

I originally intended to do separate profiles for Che Gossett Tourmaline, but could not find sufficient information about Che Gossett, beyond their credentials and current academic activity. That means that this will be the last of these write ups for a bit. I plan on picking it back up in October for the US's LGBT History Month and UK's Black History month. With time to plan ahead and research more I hope to diversify my list geographically and improve formatting. I plan on starting to include cis icons as well, like Rustin Bayard. If you come across this or any other of these posts Ive made this month I would love feedback and suggestions for figures you would like to see covered.

[pinkacademic]

A History and Legacy of Legally Blonde

(It's done, I can die happy)

An Introduction

For over twenty years, Legally Blonde has been the King- or rather, Queen- of the chick-flick/rom-com world, having reigned supreme over the “girly movies” kingdom ever sinced it first graced cinema screens in 2001. Reese Witherspoon’s wonderful portrayal of sorority president-turned attorney Elle Woods created a veritable zeitgeist of Pink and Powerful. Legally Blonde has become the feminist film that inspires future law students and teenage sleepover-havers alike.

While it wasn’t always intended to be the cinematic masterpiece that it became, and, in fact, started in a way that likely wouldn’t have been quite such the feminist classic, it grew and developed during production; It went from something that could cause questions to be asked as to whether Legally Blonde as we know it should be held on a feminist pedestal, to a heartfelt vision that inspired so many of its regular re-watchers for two decades and more.

Herein is an exploration of the book that inspired the film, how the characters and the story developed as the film was made, and how Reese Witherspoon became so heavily involved- and influential- in the film’s success. Moreover, how the Harvard Class of 2004 encouraged so many young women into following the mantra of “what would Elle Woods do?”

What is the legacy of Legally Blonde? How did it end up with so much staying power? Here is the story of Elle Woods and how she became a cultural icon, and how she created a generation.

A History

The Book

Legally Blonde started its life as the book of the same name, a novelisation of author Amanda Brown’s experiences at Stanford University. The plot is largely unchanged- a pretty sorority girls goes to law school in pursuit of love- but there are swathes of differences in how the novel plays out, from plot details to characterisation of the main character. While the novel is hard to track down, an article by Cracked outlines the major differences between the book and the movie. In “Movie Differences: Elle Woods In The ‘Legally Blonde’ Book Is A Monster,” Amanda Manning opines that “[i]t’s hard to imagine a more perfect person than Elle Woods” in reference to the film character, but that “[l]iterary Elle Woods is manipulative, narcissistic, lazy, entitled, and excruciatingly judgmental.”

In terms of plot changes, Elle doesn’t seem to have the same studious drive, as Manning describes how “Movie Elle is humiliated” by her lack of understanding of the new, more “rigorous” academic world she now finds herself whereas “Book Elle didn't even buy the books and intentionally blew off the reading.”

While what Manning presents is truly a scathing review, it also proves the stark contrast between the Elle that is and the version that once was.

The Film

Just as with the book, early development of the film took the story on a journey that was crucial in it’s becoming something almost separate entirely from the book. Unlikely director Robert Luketic was an edgy film school major, who changed his tone was a ten-minute musical about an Italian woman, Titsiana Booberini who “has a hairy upper lip and (…) works in a supermarket where she battles the prettier girls for the affections of the handsome assistant manager,” according to an article on the Wayback Machine on the Internet Archive, originally from the Denver Center of Performing Arts.

MGM, the company that produced Legally Blonde, were apparently under the impression that the film “was going to be much more wet T-shirts and boobs than it actually turned out to be,” according to Luketic. The name Titsiana Booberini from Luketic’s previous work truly implies that MGM’s assumptions were correct. Early versions of the script were raunchier and edgier and were comparable to American Pie. Kirsten Smith, who along with Karen McCullah, wrote the film has stated "It transformed from nonstop zingers that were very adult in nature to this universal story of overcoming adversity by being oneself,” (Smith).

In fact, the plot originally did not include Paulette or Emmett, and ended with Elle entering a relationship with a professor, likely Callaghan.

While we can never know for certain, I find it highly likely that the original version of Legally Blonde would have become a rather forgettable summer romp in the typical “wet T-shirts and boobs” category, and we can thank God it changed.

Or rather, we can thank Luketic, Smith, and McCullah, and also Reese Witherspoon herself. It was Smith and McCullah who reworked the script, it was Luketic who fought for Reese, and it was Reese who knew her character well enough to make her who she is.

The writing dynamic duo Kirsten Smith and Karen McCullah were great friends before, having written 10 Things I Hate About You. They cite inspiration from Clueless, according to Blue Bear Magazine. Clearly, they knew what they were doing in the world of fun, fresh, and funky feminist films, and creating iconic rom-coms that put twists on the classics. The duo went on to contribute to Ella Enchanted, She’s the Man, and other classics that get referenced at every sleepover since they came out.

Director Robert Luketic, though he started his film education wanting to create something “edgy,” breaking the film school mold with Titsiana Booberini set the tone for him to emerging into a career in rom-coms such as The Ugly Truth, staring Katherine Heigl and Gerrard Butler, and Killers, starring Katherine Heigl again, this time with Ashton Kutcher, as well as episodes of Jane the Virgin, among other projects. While I am not overly familiar with these films, it is clear that Luketic has an understanding for a genre often marketed in Elle Woods-approved pink.

A film of this nature was clearly in good hands, and it is this team that truly made the masterpiece we all know and love today.

The trio have worked together also on the previously mentioned The Ugly Truth, which is testament to their teamwork.

But truly one of the biggest contributions to the project was Elle herself, as Reese Witherspoon is truly what made the film and th character both so iconic.

Reese Witherspoon

Luketic actually had to fight for Reese, as, given her last movie had been Election, she was believed by bosses at MGM to be similar to that character. Witherspoon told The Hollywood Reporter that MGM though she was “a shrew,” due to having been typecast in their eyes. However, Luketic remained convinced that Witherspoon was the right choice for the role, despite suggestions including Britney Spears, Katherine Heigl, and Alicia Silverstone among others.

The Hollywood Reporter article, again found on the Wayback Machine, titled “How Reese Witherspoon Took Charge of Her Career and Changed Hollywood,” relays Witherspoon’s involvement in Hollywood, and it is noted that for Legally Blonde that: “[s]he endured multiple rounds of auditions for Legally Blonde, at one point meeting with executives in character (complete with a Southern California accent) to show that she could ace the part.”

It is baffling to think that she had to fight for it. But as Elizabeth Gabler, head of Fox in 2000 noted, Witherspoon “doesn’t give up,” and if that isn’t the attitude of an Elle Woods, then what is?

Witherspoon said of Elle that: “(…)your first instincts is to discount women who put a lot of effort into their looks as maybe not serious about their job or maybe not serious about their relationships ... I think everyone naturally jumps to those conclusions(…)”

To me, there is a clear understanding of where Elle stands in the world, and how she wants to prove that she’s passionate about anything she sets her mind to. What strikes me especially is her telling The Hollywood Reporter in 2001 that, even though the word “fluffy” was used, Witherspoon stated “[she] take[s] it as seriously as [she] would any other movie.” Moreover, she did her research, having dinner with sorority girls in what she referred to as “an anthropological study.”

Reese Witherspoon became Elle Woods because she understood her internally. She immersed herself in the world that Elle is from and learned the differencs between the sorority girls and herself- the good, the bad, and the blonde of it all.

The Legacy

The team behind Legally Blonde truly created a masterpiece- a piece of art that has been inspiring a legion of creative and intellectual minds, and has been constantly doing so since 2001. In 2017, Reese Witherspoon told Wall Street Journal Magazine that “[at]t least once a week [she has] a woman come up to [her] and say ‘I went to law school because of Elle Woods.’”

Witherspoon was also handed a copy of entertainment reporter Lucy Ford’s college dissertation, that, in true Elle fashion, Ford presented to her in a pink ribbon. Elle’s own resumé being printed on pink paper and scented helps her stand out and be remembered, and Elle is a great believer in presentation and details, and it is an excellent lesson to take away from the movie. I’ll confess to personally making my CV pink too, because if it’s Elle-approved, it’s me-approved too.

There are a myriad of ways that Elle Woods has been inspirational to its steams of viewers. The article How Legally Blonde Influenced a Generation of Women Lawers on abajournal.com relays the range of the Elle Effect, noting both a friend of writer Haley Moss’ having bought a chihuahua because of Elle’s beloved Bruiser and the “plethora” of young women on social media. Some of said women were cited to have ‘thought the LSATs were possible’ thanks to Elle, and some of them were ‘just seeking fashion advice.”

So many voices have been added to the conversation about what a woman can be, having been inspired by Elle, as family law attorney Layla Summers told Spectrum News “When I watch the movie now I feel like I'm part of a great club of powerful professional women, like a sorority.”

This is a movie of joining women together from any walk of life and lifting them up.

The Lawyers

People.com also shares the legacy of Legally Blonde in the article lengthily titled “'Legally Blonde' Is 'Still' Inspiring People to Go to Law School – Plus, How Reese Witherspoon is Celebrating the Film's 15th Anniversary.”

It tells the stories of women who went to law school due to Elle and who connected to the character. Beginning with Shalyn Smith, the sorority president says she felt people would underestimate her ambitions for a career in law, “despite the fact that she had a 4.0.”

The article also features a series of tweets to a similar affect such as @kenzamae20 who tweeted at Reese Witherspoon directly saying “If Elle Woods can do law school I think I can too,” and @Gab_Tamburri who tweeted “I relate to Elle Woods in so many ways and honestly want to be like her when I get to law school.”

The Creators

The women of the legal profession have taken to the internet in droves under a pink flag waved by Reese Witherspoon herself too, as many other articles address. People.com spoke to Kathleen Martinez relays how in previous jobs sh was told that she should “dress more ‘consertavely’” and to ‘make [her male bosses] coffee,’” but npw she’s the head of her own immigration law team. She’s the head of a team of largely immigrants who are also mostly pink-loving women too. The article also points out that she held an “over-the-top Legally Blonde themed party” for everyone at her firm, so Elle’s influence and Legally Blonde’s Legacy are blatant and cannot be overstated.

In fact, the legacy is continuing, as Martinez has an impressive internet presence, with viral TikToks with 4.5 million views, and 1 million followers.

Mirror.co.uk also tells the story of Lowri Rose-Williams who spoke on how she feels ‘people assume she’s “an airhead” before they find out she’s a law student. She also relays that her experiences on OnlyFans contribute to the points of view that surround her as “many assume girls who use the app are ‘brainless.’”

Rose-Williams also expresss that “when people actually get to know [her] they change their mind,” which to me is certainly evocative of Elle.

A creator that I am a big fan of is Christina Stratton, who, in an article by Business Insider stated "I think back to the first day of college, and I would have never been bold enough to post an outfit of the day (…) I would have been too nervous about what all of my college friends would think.”

And yet now, she has a follower count in the hundreds of thousands, and is dubbed another “real life Elle Woods,” and while the article focuses on how she makes money from her brand deals, it is from her evocation of Elle Woods that her numbers have been garnered. Stratton wears almost exclusively pink in her videos, has a perfectly Bruiser-like tiny poodle, and has an Elle-tastic perky attitude that shows that she lives like Elle.

There is something about the unapologetically authentic aura of Elle Woods, from her optimism to her feminism, to her pinkness, that just appeals to people in so many ways. Elle Woods is who she is and becomes an even stronger version of herself, never changing for anyone. That’s who everyone who feels connected to her wants to be. Legally Blonde’s legacy is that of women who feel like they can do anything they want to, and do it in a heel. It evokes Dolly Parton’s famous line of “go big or go home, either way do it in a red pair of shoes,” but here they’re hot pink- but equally designed for stomping.

My Girlies

I reached out to my followers too to see what mymost supportive queens had to say, and it was plenty. naranjahtikal said: “I want to go to law school because of Elle! I also want to own a future textile company. I love the internal and external balance that Elle portrays as a woman.”

princessaninhas also responded, saying:

“I always wanted to be a nurse but people always told me that I didn't have the profile for that, they judged me by my way of being and dressing, they said I wasn't smart enough, there was a time when I was the only one who got all the answers right on a test (because I studied a lot) and the teacher said I was "lucky".Elle Woods taught me that we shouldn't care what others think, we should be ourselves and we shouldn't change our way of being to be what others want💕”

It is clear that Elle’s influence and the legacy of Legally Blonde are far-reaching and widespread. Legally Blonde inspires and Elle Woods represents having it all. You can be girly and twirly and kickass all at one, from law school to textiles, “we shouldn’t care what others think,” and we have to do things we want to do for ourselves.

A Conclusion

So, ultimately, what would Elle Woods do? I think the answer is that she would overcome a past that caused her to be overlooked and do what no one expected her to, creating a longlasting legacy for years to come.

Just as the story of Elle Woods is one of being overlooked for being too blonde for law school, only to set her eyes on the White House in Legally Blonde 2, the story of Legally Blonde is that of a movie that overcame murky origins and fought to become a feminist classic and went on to be the talk of the town in it’s twenty-second year since it’s release.

Thank you to Robert Luketic, Karen McCullah Lutz, Kristen Smith, and Reese Witherspoon among everyone else behind this most magical of films, and may we continue as a community of pink-loving, feminine feminists to keep the momentum going for those who came after us, becase that really is what Elle Woods would do.

[rainforum]

https: //www.imdb.com/mona-bae/

bae  min-hee,  professionally  known  as  mona  bae,  is  a  south  korean  actress,  philanthropist,  model  and  beauty  pageant  titleholder  who  was  crowned  miss  universe  2016.  having  previously  been  crowned  miss  korea  2016  after  graduating  from  harvard,  she  is  the  first  south  korean  to  win  miss  universe,  the  first  to  win  one  of  the  big  four  international  beauty  pageants,  and  the  first  south  korean  victoria  secret’s  angel  to  walk  the  fashion  show twice.  mona  made  her  film  debut  in  supernatural  horror  film  suspiria  and  rose  to  prominence  for  her  work  in  the  netflix  anthology  series  the  haunting,  playing  the  supporting  role  of  eleanor  "nell"  crain  in  hill  house  and  the  leading  role  of  danielle  "dani"  clayton  in  bly  manor,  and  for  starring  as  love  quinn  in  the  netflix  thriller  series  you.  bae  achieved  a  career  breakthrough  when  she  starred  in  the  slasher  film  series  installments  x  and  pearl,  the  latter  of  which  she  also  co-wrote.  click  here  to  be  redirected  to  their  works. click here to be redirected to look into their archive. @nepofminspo

[bloopychips]

I've literally got about 200 overall designs of mainframes I want to do but if anyone is curious about the main starters

Eniac is my himbo greaser love of my life who is the protag because I have a bias and he is my whole world. He's a super famous main exhibit in the museum, but he's much more interested in enjoying retirement than trying to actually put in much work as a tour guide.

Harvard Mark 1 is his snobby one sided rival who is obsessed with him but in an enemies to lover kind of way. (Old men in love real, all the texts I research mention them together and complementary.) He's the eternal stick in the mud critic who took on almost all of his inventor's traits. Yes. He will read your complaints and spellcheck them.

Edvac is Eniac's much less successful younger brother who just hates work, the government, and wants to chill and watch film noir mystery movies all day.

The Binac twins are next in the Eniac family, and the goofy tricksters who play pranks on everyone in the museum.

Univac 1 is our favorite mob boss style no nonsense dad figure despite being the youngest sibling of the original AC computers. He's in a constant rivalry with IBM System 360 because they are old farts who have nothing better to do than to fight about who's company was greater.

Univac 2 and 3 are not as fleshed out but are essentially his bodyguards. I think when it comes to company computers they won't be related, just coworkers? Eniac has enough brothers.

Edsac is the British gamer goofball who is Edvac's biggest fan, based off his design but unrelated, and ended up not actually looking much like him. He's constantly dragging Edvac into 6000 rounds of tic tac toe.

Harvard Mark 2 is the ex soldier hippie brother of Mark 1, and is famous for a photo with a moth stuck in his teeth.

Harvard Mark 3 is the more stoic bulky powerhouse sailor known for his cover on TIME magazine. He goes on fishing trips with Univac 1.

Harvard Mark 4 is so secretive I had to borrow a library book and look through Harvard's archives to find ANY INFORMATION OR THE LAST REMAINING PHOTO so he gets to be the forgotten youngest sibling who hides in big sweaters and reads in silent judgement. He's much closer with Mark 1 since they both remained at Harvard, but not nearly as uptight as Mark 1.

SSEC is Mark 1's half brother from the IBM side. He's a movie star and the most needlessly flashy of all. Literally originally installed on a stage in a building with glass walls, of course he was made to shine. He's got an old hollywood feeling to him, and misses his glory days. He tries to make Mark 1 embrace his IBM heritage and not keep so far away.

[greensparty]

This Month In History - April

There's quite a few pop culture landmark anniversaries this month:

April 4, 1984: Double Trouble premieres

In April 1984, one of my favorite short-lived 80s sitcoms premiered. Here is my piece I wrote in 2019. Happy 40th DT!

April 5, 1974: Foxy Brown opens

In April 1974, Jack Hill's follow-up to Coffy with star Pam Grier was released. Very few actors are as cool as Grier was in the 70s. This and many films Grier did in that era were known as "blaxploitation" movies, but Grier herself has pointed out in many interviews that to her it was about empowerment and showing a strong female hero who was sexy and kicking ass. As much as I liked Coffy, Foxy Brown is my favorite of that era. It's also a great one to watch with an audience. In 2016, I saw the movie at Harvard Film Archive and Grier came out to do a Q&A afterwards. Sadly she didn't stay long enough to sign my poster. Happy 50th Foxy Brown!

April 9, 1999: Go opens

In April 1999 one of Doug Liman's best movies opened. Here is my piece I wrote in 2014. Happy 25th Go!

April 10, 2009: Anvil! The Story of Anvil opens in limited release

In April 2009 one of my favorite music docs of that era was released. Here is my piece I wrote in 2019. Happy 15 A!TSOA!

April 12, 1994: Live Through This released

In April 1994, Hole magnum opus was released. Here is my piece I wrote in 2014. Happy 30th LTT!

April 12, 2019: Her Smell opens

Speaking of Hole, in April 2019, Elisabeth Moss got her Courtney Love on! Alex Ross Perry constructed an incredible character study of an out-of-control grunge rocker in the 90s at five different times in her life. But it was Moss's envelope-pushing performance that blew the roof off. I mean WOW! She went there in one take for a something wild and crazier than we've seen her do prior or since. I named it my #3 Movie of 2019! Happy 5 Her Smell!

April 14, 1989: Say Anything opens

In April 1989, Cameron Crowe's directorial debut was released. Here is my piece I wrote in 2014. Happy 35th SA!

April 14, 1994: Backbeat opens

In April 1994 one of my favorite Beatle biopics (it takes a lot to get it right) was released. Here is my blu-ray review from 2019. Happy 30th Backbeat!

April 16, 1999: Life opens

In April 1999, Ted Demme's big studio Eddie Murphy / Martin Lawrence comedy was released. Here is my piece I wrote in 2019. Happy 25 Life!

April 16, 2004: Kill Bill Vol. 2 opens

In April 2004, Quentin Tarantino's sequel (or second part of the same whole depending on how you look at it) was released. Here is my piece I wrote in 2019. Happy 20th KBV2!

April 19, 1974: Caged Heat opens

In April 1974, the directorial debut from Jonathan Demme was released. Produced by Roger Corman's company, the film has often been dismissed as another Women-In-Prison movie, but there is a female empowerment stance that Demme had in here that set the tone for many of his later films. I don't think this is by any means his best film, but you can see the potential Demme had to make a bigger movie on a larger budget in the years that followed. Happy 50th CH!

April 24, 1989: Full Moon Fever released

In April 1989, Tom Petty's first solo album was released. Here is my piece I wrote in 2019. Happy 35th FMF!

April 29, 2014: Midnight Sun released

In April 2014, The Ghost of a Saber Tooth Tiger’s masterpiece was released. In Feb. 2015, I named it my #1 Album of 2014. Then both The GOASTT and their leader Sean Lennon retweeted it and thanked me! Here is my piece I wrote in 2019. Happy 10 Midnight Sun!

[mariacallous]

Yugoslav film director Zelimir Zilnik’s tour started as a joke, Greg De Cuir Jr, co-founder and artistic director of Kinopravda Institute in Belgrade, who organised it, told BIRN.

“What if we organise a tour across the Midwest in the US, to all the small cities and states that you never get invited to, so you can see the other side of America! Trump country!”

However, the joke turned into reality. Soon the idea for a Midwest tour turned into a coast-to-coast tour, Greg explained. 

“Zilnik began in California, went to a beach and literally touched the Pacific Ocean, and made it all the way to New York, where he went to a beach and literally touched the Atlantic Ocean.”

On the question – why Zilnik? – Greg explains that it was because Zilnik is a star. 

“He is one of the most important independent filmmakers in Europe. He is also one of the rare representatives of the 1960s generation who is still making urgent and uncompromising films. Zilnik is an actual living legend.”

The tour started at the Berkeley Art Museum and Pacific Film Archive in California and ended at the Harvard Film Archive. 

After Berkeley, Zilnik visited the Indiana University Cinema, where a selection of his oeuvre was shown. Visitors also could watch a documentary film dedicated to the director, Journal about Želimir Žilnik, directed by Janko Banjak.

The journey continued at the School of the Art Institute of Chicago in Illinois. In addition to Zilnik’s short films, Logbook Serbia was shown, as well as Marble Ass, an awarded queer anti-war movie.

The next place was Wexner Center and Ohio State University, where a retrospective of Zilnik’s work occurred. Along the way, he visited two universities in Iowa and a university in Virginia. 

On November 4, a symposium was organised by Aleksandar Boskovic at Columbia University in New York, “The Avant-Garde Does Not Surrender: The Cinema of Želimir Žilnik”. Zilnik’s short films were shown that day as well, followed by a discussion between Zilnik and Pavle Levi, Professor at Stanford University.

From late September to November 11, Zilnik’s opus was shown in eight US states: California, Indiana, Illinois, Iowa, Virginia, Ohio, New York and Massachusetts.

The tour ended on November 11 at Harvard Film Archive in Massachusetts, the same place where a Zilnik retrospective was held six years ago, which was also his first retrospective in the US.

Greg describes the tour as an incredible success, during which they met “many amazing people, from students to colleagues, from universities to museums”.

“The films were all well received, the discussions were revelatory and the dinners we shared were moments of bliss. It was a once-in-a-lifetime opportunity for me, and a very special time that I will not soon forget. I think Zilnik feels the same way,” Greg concluded.

[schlock-luster-video]

On October 17, 2013, La Jetee was screened at the Harvard Film Archive.

[maximumwobblerbanditdonut]

"Love… Love means never having to say you're sorry"

Ryan O'Neal was a captivating actor and absurdly handsome movie star who became an instant star in the hit film "Love Story," the highest-grossing film 🎬 of 1970 died on Friday. He was 82. 💔

Ryan O’Neal had made the entirety of American womanhood fall devastatingly in love with him with his breakthrough performance in Arthur Hiller’s Love Story in 1970, the heart-wrenching date-movie weepie, in which he was the entitled Harvard rich kid falling for the smart, tough girl from the wrong side of the tracks: played by the formidable Ali MacGraw, who is to become terminally ill.

Ali MacGraw and Ryan O’Neal in Love Story. United Archives FilmPublicityArchive/Getty Images - Photograph

Their romantic dynamic had something to do with her being stronger and more assertive than O’Neal’s character, who had been so browbeaten by his wealthy father – but he achieves a kind of nobility and hard-won maturity through her sacrifice for him.

"Love means never having to say you're sorry" is a catchphrase based on a line from the Erich Segal novel Love Story and was popularised by its 1970 film adaptation starring Ali MacGraw and Ryan O'Neal.

Love Story was nominated for seven Academy Awards, including Best Picture; Directing (Arthur Hiller); Actor (Ryan O'Neal); Actress (Ali MacGraw); Actor in a Supporting Role (John Marley); and Writing (Story and Screenplay—based on factual material or material not previously published or produced) (Erich Segal), and Best Original Music Score.

But he was later known as much for his personal life, and health problems as for his acting. Ryan was also known for his high-profile relationship with Charlie's Angels actress Farrah Fawcett which lasted decades; The couple never married.

Ryan O'Neal and Farrah Fawcett (photographed in 1989) were romantically involved for nearly 30 years, and they had a son, Redmond, born in 1985. RAY STUBBLEBINE, AP

O'Neal was a familiar face on both big and small screens for a half-century. But he was never as famous as he was in the immediate aftermath of "Love Story."

He also starred in comedies, including "Paper Moon" with his daughter, Tatum O'Neal. Ryan worked with some of the top female stars of his day such as Barbra Streisand on What's Up, Doc, and The Main Event, and Marisa Berenson on Barry Lyndon.

Barbra Streisand has paid an emotional tribute to her two-time co-star Ryan O'Neal following his death

He maintained a high profile throughout the 1970s, appearing in films like "Barry Lyndon” a 1975 historical drama film written, directed, and produced by Stanley Kubrick, based on the 1844 novel The Luck of Barry Lyndon a picaresque novel by English author William Makepeace Thackeray.

Barry Lyndon received seven nominations at the 48th Academy Awards, including Best Picture, winning four for Best Scoring: Original Song Score and Adaptation or Scoring: Adaptation, Best Cinematography, Best Art Direction, and Best Costume Design.

His son Patrick O'Neal confirmed the death in a post on Instagram. It did not give the cause or say where he died.

He will be remembered. 1941-2023 💔

#RyanO’Neal #actor #LoveStory #BarryLyndon @patrick_oneal

[al0egarden]

a still from the unreleased melon patches, or reasons to go on living (1994) by anne charlotte robertson via. the harvard film archive.

[loneberry]

Yi Yi by Edward Yang

Kaili Peng (wife of Yang) + Haden Guest, Sean Yang (son)

This film has been on my watchlist for ages. When I saw the Harvard Film Archive was doing an Edward Yang retrospective, I waited to watch a glorious 35 mm print. The film was introduced by Yang's wife, pianist Kaili Peng, and son, Sean Yang. Sean spoke of his father's early death, about only getting to know his dad through his films. After the screening Kaili describe Yi Yi as a "prelude to his own passing," his last "love letter to the world." She described Yang as a moody and passionate person, prone to bouts of anger. Yet while making Yi Yi, he was always in a good mood--that "sweetness" (her word) is captured in the tone of the film. 

Why is it that the films of the Taiwan New Cinema + Second New Wave (especially Tsai Ming-liang) capture urban alienation so powerfully? What is the root of this melancholia? You'd think Taipei was the loneliest place in the world. I don't know. Maybe it is. I've never been, even though my father immigrated from Taiwan and I've long wanted to go there to scatter my grandfather's ashes. 

Yi Yi contains sadness and levity in equal measure. In that sense it is true to life. The adult characters are haunted by their disappointments. Min-Min is plagued by a lack of meaning she tries to counter with Buddhist retreats. NJ is troubled by the counterfactuals of his life—the career he did not pursue, the great love he abandoned, who he encounters 30 years later. The children repeat the disappointments of their parents, continuing the cycle, ad infinitum. Strange, the night before watching Yi Yi, I watched Abbas Kiarostami's Where Is the Friend's House?. Both films stage an encounter between a child and an elderly person as a way to meditate on life and time. In both films there is affinity between the child and old person, who exist on the outer edges of the life cycle. Yes, you can't help but feel, watching Yi Yi, that the little boy Yang-Yang is an old soul (see the films final lines). Yang-Yang is the film's comic relief. I love what that boy sees—the photographs he takes of the backs of people's heads, how I dreamed them (see the photos that open my Sunflower book). 

Ting-Ting, too, is beautiful in her loneliness. Her guilt, her insomnia. She dreams of relief: "Now that you've forgiven me, I can sleep." 

How am I supposed to address the dying? Every soliloquy to the comatose grandma is the character confronting themselves. NJ mumbles that speaking to someone in a coma is like praying. Do they hear you? Are your words sincere? 

The way the film is shot, too, adds to the feeling that the characters are self-enclosed. Much of the action takes place in cramped interiors. The camera is often placed outside the building or train, just beyond the windows, giving you the feeling the they are ensheathed by glass. The window becomes a nexus between the interior and exterior: in the glass we can see what is happening outside at the same time we are observing the facial expressions of the characters. The headlights of the nighttime traffic dance on a woman's face. This is truly the hand of a director with a powerful vision.

Kaili said, after the screening, that Edward's autobiography is manifest in many of the characters. Edward was turned down from piano lessons, as was NJ. The music only meant something to him after the first time he fell in love. 

What can I say. It's a beautiful film. Watch it.

[Read more film reviews on my Letterboxd.]

[tartyfart]

Abigail Child has been at the forefront of experimental writing and media since the 1980s, having completed more than thirty film/video works & installations, and written 6 books. An acknowledged pioneer in montage, Child addresses the interplay between sound and image, to make, in the words of LA Weekly: “brilliant exciting work…a vibrant political filmmaking that’s attentive to form.”   Her films rewrite narrative, creating the cult classics PERILS, MAYHEM and COVERT ACTION (1984-87). Other productions borrow documentary to poetically envision public space including B/Side (1996) and SURF AND TURF (2011). Child’s re-constructed home movie THE FUTURE IS BEHIND YOU (2004) served as inspiration for UNBOUND: Scenes from the life of Mary Shelley shot as imaginary home movies. In recent years, Child has expanded her vertical montage to multiple-screen installation with MIRRORWORLDS and THE MILKY WAY. ACTS AND INTERMISSIONS, the second in her trilogy on Women and Ideology, circling around the life of Emma Goldman and a history of protests, premiered at The Museum of Modern Art’s Doc Fortnight in February 2017.

Child is the principal director, cinematographer and editor on her films. Cultural displacements, mostly urban ones, have been at the heart of her concerns. Her work involves intimate collaborations, with poets: Monica de la Torre (To and No Fro), Gary Sullivan (Mirror World), Nada Gordon (Ligatures) and Adeena Karasick (Salomé) as well as with notable downtown composers including John Zorn (The Future Is Behind You), Ikue Mori (B/side, 8 Million), Zeena Parkins (Unbound, Mayhem), Christian Marclay (Mayhem, Surface Noise) and Andrea Parkins (Vis A Vis and Acts and Intermissions). Child is currently working on the last film in the trilogy "The Andriod Project" (wt).

Her films, compulsive visual and aural legerdemain, have been widely awarded and shown internationally. Child has been honored with a Rome Prize Fellowship (09-10), as well as a John Simon Guggenheim, Radcliffe Institute and Fulbright Fellowships. She is winner of the Stan Brakhage Award, and grants from the National Endowment for the Arts, New York State Council on the Arts, New York Foundation for the Arts, Jerome Foundation, LEF Foundation, Mass Arts Council, and Art Matters. Child's film and media works have been exhibited worldwide, in venues including The Museum of Modern Art, New York; the Whitney Biennial Exhibitions (1989+1997); Centre George Pompidou, Paris; Rotterdam International Film Festival; New York Film Festival; CAPC Musée, Bordeaux; Museo Reina Sofia, Madrid; Pacific Film Archives, Berkeley; and festivals in Oberhausen, Locarno, Berlin, Toronto, Brazil, Mexico City and Seoul, among many others. Her work is in the collections of the Museum of Modern Art New York and Centre Pompidou among others. Harvard University Cinematheque has created an “Abigail Child Collection” which will preserve and exhibit her films. 

Child is also a writer with more that 5 books and numerous chapbooks. Her critical study, THIS IS CALLED MOVING: A Critical Poetics of Film (2005) is the only critical book written by an active American artist/filmmaker in over two decades. Her book of poetry MOUTH TO MOUTH came out in 2016, courtesy of Eoagh Press and was honored with a Lambda Prize in 2017. Child is Emeritus Professor of Media at Tufts University, the SMFA, and lives and works in New York City. 

[ear-worthy]

Why Discovering a Podcast You Love Is Such A Dopamine Rush

Have you ever gone to the supermarket for a product — like, say, jelly — and discovered, to your horror, that the choices seem overwhelming because there are too many of them?

There’s peach, strawberry, blackberry, chokeberry, high bush grape, rhubarb crisp, pineapple habanero, and raspberry horseradish. It’s so difficult to choose.

Despite the superabundance of podcasts, it is still gratifying to find a podcast that enthralls you.

Have you ever had that feeling? 

Typically, podcast superfans — like me — will find a podcast producing episodes for years. You listen to an episode because a podcast review website, such as Ear Worthy, Bingeworthy, Great Pods, or a friend recommended it. That first episode captivates you. You search your podcast app, like Pocket Casts, and find that podcast’s archive. To your utter delight, the podcast has 500, 1,000 or more episodes. 

There is a tremendous dopamine release as you comprehend the hours of listening pleasure ahead of you as you dive into that podcast’s archives.

Let’s do science — for my benefit — and ask: What is dopamine? According to Harvard Medical School, dopamine is most notably involved in helping us feel pleasure as part of the brain’s reward system. Sex, shopping, smelling cookies, baking in the oven — all these things can trigger dopamine release, or a “dopamine rush.”

Let me give you a personal example. I love trivia. I watch Jeopardy almost every night and like to believe I could beat Ken Jennings if, of course, I could use Google to find the answers. 

Here’s a sample of recent episodes: June 13: Music (Sax Solos), Postage Stamps, Quantities (Quickfire), and Pandas  May 16: Music (Connections), Printing, Flowers (Quickfire), and Transport.

Now, I can’t wait for my Friday trivia fix every week, and I dive into the podcast’s archives during the week when I need a trivia cocktail.

One of podcasting’s strengths is the availability of its content. When my favorite sitcom, Superstore, finished its six-year run on NBC, it filmed and broadcast 113 episodes. 

That thickness of content enables me to relax and revel in the lush archives with an early episode such as The Silver Medalists Edition. In the episode, Molanphy explains that “While having a №1 song can define an artist’s career, there’s far less glory in finishing one spot shy of the top slot. Yet some №2 hits have gone on to become classics, such as Shop Around by the Miracles; We Got the Beat by the Go-Gos; and Since U Been Gone by Kelly Clarkson.”

After listening to Steve’s riveting life story and his endless tales of famous people he’s met or interviewed on his podcast, I dove into a few episodes. I found that Steve has interviewed 63 members of the Rock N’ Roll Hall Of Fame. I was hooked. I’ve listened to his recent episodes with actor Danny Pino from TV’s Cold Case, Mayan MC, The Shield, and Law & Order SVU, and actor Penelope Ann Miller, who just played Nancy Reagan in the recently released film Reagan. 

That’s podcasting. It’s true that often, the greatest weakness is also the greatest strength. In the case of podcasting, its greatest weakness is its overflowing, overstuffed, and ridiculous number of podcasts and corresponding content. And that is also its greatest strength. Because when a listener finds a podcast they love, they often have anywhere from a few hundred to more than 1,000 episodes to enjoy.

I still listen to archived episodes of The Nutrition Diva and harvest nuggets of wisdom on eating healthy and smart. It’s my fortress of solitude. 

Happy listening, everyone.