Friday, August 30 2013
Within contains thoughts on the entirety of Afropunk Fest and photos from Day 2, including Big Freedia and Vintage Trouble.
Thursday, May 30 2013
Translating Leskov's delightfully 'slippery ventriloquism' is the latest project of indefatigable translators Richard Pevear and Larissa Volokhonsky, whose renderings of Tolstoy and Dostoevsky have effectively become the new standards over the past two decades.
Wednesday, May 29 2013
The magic of video games is that save points, continues, and respawns offer the promise of inevitable resurrection, an unending experience even after we have lost all three of our lives.
Wednesday, October 26 2011
In video games, dying becomes useful, functional, pedagogical. In some games, it is consequential. However, such pain ironically can magnify the pleasure of play.
Thursday, August 25 2011
Akira Kurosawa makes a daring attempt to tell an epic story of rich businessmen, determined cops, and the low-end criminals and drug addicts struggling to survive.
Thursday, July 21 2011
Into this movie's milieu of prison terms, all-night gambling sessions and literal and figurative back-stabbings arrives a dewy young woman named Saeko (pronounced, more or less, 'psycho') who is very young and very tired of life.
Thursday, October 21 2010
There are some striking differences not only between the earlier films of Kurosawa and the later films, but in the very different ways that people have responded to these two different groups of films
Today we bring to an end our examination of each of the films of Kurosawa directed in his amazing career. After the ambitious epic Ran, Kurosawa embarked a three smaller but more personal films.
Wednesday, October 20 2010
The three films featured today represented the director's ascendance to greater international acclaim, even while he struggled to find financing in Japan, where the movie industry was shriveling. All three of these films were made either in whole or in part by Soviet, American, or French financing.
Tuesday, October 19 2010
Rather than portray Dodeskaden as many have done, as the imperfect film whose failure pushed Kurosawa over the edge to a suicide attempt, one could see it instead as a cri de coeur by Kurosawa for the sort of independent production that he favored, in which the director had his freedom, both to film the way he wanted and also the freedom of the final cut.