CFP: The Legacy of Radiohead's 'The Bends' 20 Years On [Deadlines: 4 Feb / 19 Feb]

 

Latest Posts

Bookmark and Share
Text:AAA
Friday, Jun 27, 2008

Jesse Gilmour’s journey through late adolescence may have been an ass-over-teakettle tumble toward the gaping maw of teenage oblivion, but at least he wasn’t a nerd. In our postmodern age of (slowly) growing tolerance for all races, ethnicities, religions, and various orientations, nerds—our catch-all term for the cerebrally gifted but socially awkward, with their furtive cliquishness and retreats into realms of various forms of fantasy—remain a heavily marginalized subset of society, even as we’ve evolved into a global technocracy largely through their efforts. As author Benjamin Nugent puts it, Bill Gates is the wealthiest man on Earth and he’s still considered a loser.


Nugent attempts a hard critical look at nerd culture, its evolution and various permutations, in his new book American Nerd: The Story of My People (Simon & Schuster, 2008). Describing himself as a former nerd who grew out of it, but asserting that his view is non-judgmental, Nugent offers up several examples of the nerd as a character in classic literature—Victor Frankenstein, Mary Bennet in Pride and Prejudice—the objects of derision because of their willful separation from healthier human passions. He then traces the archetypal chasm between nerds and jocks that occurred with the growth of “Muscular Christianity,” the Teddy Roosevelt-era doctrine that God’s men are athletes and adventurers and empire-builders, not bookish intellectuals with a disdain for direct sunlight.


The rest of the book is a seemingly random series of glimpses into various nerd subcultures. Here is a chapter on the activities of the Society for Creative Anachronism, whose members recreate the structures and artisanship of medieval feudalism (but not the plagues and infant mortality rates). Here is a look at the Church of All Worlds, a philosophical mashup of Ayn Rand and Robert Heinlein that espouses polyamory. Here is a videogaming convention that demonstrates a stark difference between the communal bonds of Halo 2 players and those who play Super Smash Bros. Melee. Here is a meeting of the Los Angeles Science Fantasy Society, divided between aging old-school sci-fi readers and young otakus too busy gaming to read.


Interspersed with these chapters are Nugent’s sociological observations that parallel nerd culture—with its emphases on bookishness and machinelike behavior—with similar traits in Jewish and Asian cultures, and that posit an overlap between the seeming dysfunctionalism of nerds with that of people with Asperger’s Syndrome (note: as the parent of an autistic-spectrum child I emphasize the word “seeming”). In still another chapter, Nugent examines the assimilation of typical nerd traits (disaffectedness, an obsession with cultural minutiae) into the hipster profile (who bought all those “Vote for Pedro” ringer tees?). And he brings it home with autobiographical peeks into his own childhood and the extremely unhappy homes that drove him and his friends into the relatively safe world of Dungeons & Dragons.


With his scattershot approach Nugent tries to take what is, in fact, an incredibly complex topic (I can think of at least five major nerd subcultures he neglects here) and boil it down to a Unified Field Theory of Geekdom. In this he is largely unsuccessful, but what he does manage is a sort of apologia, an attempt at least to open up this traditionally airtight social ghetto. He may claim to have rejected nerd culture but he clearly still has sympathy and affection for it, and if anyone could use sympathy and affection, it’s nerds.


Originally published at Flagpole.


Bookmark and Share
Text:AAA
Friday, Jun 27, 2008

By its very definition, imagination is limitless. The only true restrictions to the notion exist in the connection to actual human thought. Clearly, whoever is hiring (or perhaps, cloning) the creative forces at Pixar have found a way to circumvent said biological boundary. In an artistic endeavor where there are no sure things, this astounding animation studio has that most unprecedented of reputations - they never make a mistake. Not only are their films fantastic examples of motion picture craftsmanship, but they keep getting better with each and every new offering. Take their latest, the special sci-fi allegory WALL*E. It a stunning achievement in computer generated imagery, and once again expands the company’s range in dealing with subject matter both speculative and wonderfully sly.


It’s been 700 years since humans inhabited Earth. Leaving it in an environmentally decimated state, waste removal robots are the only thing left behind. Their job - to compact and eliminate the mess. Centuries later, all that’s left is one surviving unit. WALL*E is a determined little droid that has developed a sort of consciousness. Picking through the rubble while listening to songs from Hello Dolly on his internal recording unit, the small service entity spends his days building skyscrapers out of trash. At night, however, he appears lonely, pining for someone, or perhaps something, besides his cockroach companion to share his dump-derived treasure trove. His prayers are answered one day in the form of EVE. She’s a automated sentry looking for any signs of life returning to the planet. Though she seems to have little time for our tin hero, he is instantly smitten. And when she has to leave, he’s not letting her go away.


While the aforementioned synopsis only addresses the first 25 minutes or so of WALL*E, to go any further would ruin this brilliant film’s many discernible delights. There is also a need for a narrative caveat - don’t believe the hype that Disney is dishing out over this latest supposed kiddie fare. This is not Pixar’s version of Robots, or a cutesy combination of silent comedy and Silent Running. Instead, this is complex, comparative evaluation of a planet and a people out of control, a coolly cynical (and often quite touching) swipe at junk culture, ‘Superstore’ suburban society, and all those who require comfort as their waistlines expand to match the malaise. If those statements fail to make sense, don’t be too distressed. After watching this fascinating film, you’ll completely understand what writer/director Andrew Stanton is after.


As the mind behind many of Pixar’s biggest hits - Toy Story, Monster’s Inc., Finding Nemo - Stanton is clearly reaching for a more mature theme here, one that centers on clear cause and effect, reality and revisionism, and an unspoken need for ecological concern. The first third of the film, taking place within a sadly scorched environment, hints at consumerism gone chaotic. All around are remnants of shopping centers, mega-marts, and harsh hard sell advertising. At times, WALL*E closely resembles John Carpenter’s cautionary satire They Live, only in this future shock society, the mandates to ‘buy or die’ are not subliminal…and definitely not of invading alien design. When EVE arrives, WALL*E stretches the subtext even further, her scanning ray rendering everything she explores “red”, or “inhabitable” - including the cityscapes which once defined civilization. 


How some small fry raised on a routine diet of previous Pixar anthropomorphized animals will react to this material is intriguing, since it stands in sharp contrast to the stunt casting standards usually found within the genre. WALL*E speaks in a strange electronic whine, occasional blips enunciating actual words. EVE is more coherent, singular statements like “Directive” and “Plant” easily understood. But Stanton is much more interested in character development than any internal game of name that celebrity. This is the least fame driven collection of any Pixar company, many behind the scenes staying more or less unrecognizable. And while the visual antics are intriguing and downright clever, most of the jokes take place in locales that will test a wee one’s personal patience.


Once the story moves interstellar, so to speak, things get even dicier. WALL*E works best when you’re in on the razz, and no one under the age of 12 will get the insightful inferences. They will see the circumstances, the disconnect between people and place, the blob like behavior of a populace that no longer cares, and scratch their pointed little heads. Sure, the malfunctioning robot gang that becomes our heroes’ protectors, and some of the mesmerizing anarchic action sequences, will clearly keep younger audiences tuned in, but what’s self evident within WALL*E‘s world is that, for once, Pixar has purposefully inserted a far more complicated and multi-layered concept of story inside its flawlessly rendered designs.


And what a gorgeous set of images they are. WALL*E announces yet another massive leap in technological talent for the fabled filmmakers, a textural, tactile quality that continues to push CG 3D into uncharted artistic arenas. The visual element really helps sell much of what Stanton and crew are commenting on, the vast vistas with their epic scope and suggestive details filling the screen with more eye candy than even the most seasoned cinematic sugar junky can handle. If there is one minor flaw here, a pet peeve for those of us who enjoy good science fiction, it’s that WALL*E doesn’t spend more time in and around the dead planet. A mind could free associate for hours on the prophetic pictures that Pixar chooses to paint. Along with the tale told, we have quality of an unmatched caliber.


Of course, the animation giant has once again set itself up for one of the mightiest of (potential) falls. As each film opens, as Oscars continue to poor in, as accolades build and revisionist criticism starts to bubble, it’s hard to see where the company can go next. And you just know there are dozens of A/V villains out there waiting for Pixar to tank, to provide a problematic flop that fails to live up to Ratatouille‘s tenderness, Nemo‘s naturalism, Monsters’ amazing sense of invention, or The Incredibles aced super heroism. Hopefully, it never happens, but if it does, Stanton and his gang can probably point to WALL*E as the beginning of the end. When you raise the bar as high as this, down seems the only logical next step. If anyone can buck such motion picture providence, it’s this unflappable filmmaking co-op. A masterpiece like WALL*E proves that perfectly.


Bookmark and Share
Text:AAA
Friday, Jun 27, 2008

After resurrecting itself earlier this year, Arthur Magazine needs your help to stay afloat.  Here’s the communique:


Arthur Magazine needs $20,000 by July 1 or it will die.
No donation is too small.


Our preferred method of payment is Paypal. It is a free service to buyers, and enables you to pay directly By VISA, MASTERCARD, AMEX, DISCOVER or from your checking account or debit card. You can also convert foreign currency to U.S. dollars. Signing up only takes a few
minutes.


Please use PayPal to make a donation to editor at arthurmag.com
Thank you.


Bookmark and Share
Text:AAA
Friday, Jun 27, 2008
by PopMatters Staff

Alltruisms
(all songs from Clusterbombs on Gravel Records)
Nine Digit Number [MP3]
     


Blindfolded [MP3]
     


The Birds & The Bees [MP3]
     


Nine Digit Number [Video]


Alabama 3
Hello… I’m Johnny Cash [MP3] (from the new greatest hits collection, Hits & Exit Wounds)
     


Shugo Tokumaru
Parachute [MP3] (from Exit releasing 2 September on Almost Gold)
     


The Dutchess & the Duke
Reservoir Park [MP3] (from She’s the Dutchess, He’s the Duke releasing 8 July)
     


Duchess Says
Ccut Up [MP3] (from Anthologie des 3 Perchoirs releasing 2 September)
     


Silver Summit
The Door [MP3] (from Silver Summit, released 17 June on Language of Stone)
     


Coldplay
42 [Video]


Lost! [Video]


Oxford Collapse
The Birthday Wars [MP3]
     



Bookmark and Share
Text:AAA
Thursday, Jun 26, 2008

Feel that heat? Summer just continues to sizzle. For 24 June, here are the films in focus:


Wanted [rating: 9]


...if they’re not careful, those Marvel superheroes better watch out. Wanted could usurp their position as 2008’s best popcorn escape.

Hollywood is notorious for repeating ideas. When something is successful, you can guarantee studio suits are desperate to find a way of copying it. With this Friday’s release of Wanted, something even more unusual takes place. While it’s clear that this movie borrows liberally from the Wachowski’s action packed bullet time virtual reality revisionism, it also incorporates much of Fight Club‘s insignificant rebel in a crass corporate pond philosophizing. Together, the combination adds up to a strangely unique experience. On the one hand, you easily recognize the various references. On the other, Russian director Timur Bekmambetov uses the homage as a means of manufacturing his own incredible vision.read full review…



Wall*E [rating: 10]


WALL*E announces yet another massive leap in technological talent for the fabled filmmakers, a textural, tactile quality that continues to push CG 3D into uncharted artistic arenas.


By its very definition, imagination is limitless. The only true restrictions to the notion exist in the connection to actual human thought. Clearly, whoever is hiring (or perhaps, cloning) the creative forces at Pixar have found a way to circumvent said biological boundary. In an artistic endeavor where there are no sure things, this astounding animation studio has that most unprecedented of reputations - they never make a mistake. Not only are their films fantastic examples of motion picture craftsmanship, but they keep getting better with each and every new offering. Take their latest, the special sci-fi allegory WALL*E. It a stunning achievement in computer generated imagery, and once again expands the company’s range in dealing with subject matter both speculative and wonderfully sly.  read full review…



Standard Operating Procedure [rating: 8]


In some ways, Standard Operating Procedure is too appalling to appreciate. It’s like watching the Nuremberg Trials, Nazis purposefully passing the buck higher and higher up, fully aware that no one above a certain rank is around to take the blame.

As the old saying goes, a picture is worth a thousand words. In the case of the horrifying images witnessed by the world as part of the investigation of Abu Ghraib prison in Iraq, very little of said commentary centered on context. The acts inferred by the photos were shocking, even more so when placed alongside the Bush Administration rhetoric that the United States was functioning as “liberators” and “peacekeepers” in a nation already haunted by a ruthless, tyrannical dictator. Yet there were photos of American soldiers, seemingly torturing, humiliating, and endangering the lives of so-called ‘enemy combatants’, all in the name of the War on Terror. read full review…



The Counterfeiters [rating: 8]


What’s clear about The Counterfeiters is that it is intended to be a Holocaust film where the archetypal facets associated with the era are reduced to a filmic footnote.


By now, you’d figure that the Holocaust and the Nazi persecution of European Jews would be all tapped out, creatively. After all, the last three decades have seen numerous media exposés and artistic interpretations. From the sublime to the subjective, Hitler’s Final Solution is one of the most well worn (and historically necessary) subjects tackled by filmmakers, and yet the potential storylines seem never ending. A perfect example is the 2008 Best Foreign Film winner Die Fälscher (translation: The Counterfeiters). Telling the true story of underworld crime figure Salomon Sorowitsch and his forced labor efforts on behalf of his SS captors, we wind up witnessing one of the most unusual and effective views of this undeniably horrific time ever offered. read full review…



Married Life [rating: 4]


There will definitely be an audience for this kind of slow burn situational potboiler, but for many, there will be too much stagnancy and not enough sizzle


Marriage might just be the perfect cinematic allegory. You can infer so many differing metaphoric elements in the dissection of why men and women marry - and sometimes separate - that the permutations appear endless. There’s the emotional facet, the sexual supposition, the commitment and loyalty facets, and of course, the scandal ridden and adulterous angles. Together with an equal array of stylistic approaches, we wind up with a veritable cornucopia of combinations, a wealth of possibilities linked invariably to the age old notion of vows taken and knots tied. So why is it that Ira Sachs period piece drama, Married Life, is so downright flat? Could it be that this filmmaker has finally found the one cinematic category - the noir-tinged whodunit - that defies matrimony’s easy explanations and illustrations? read full review…



The Legend of God’s Gun [rating: 9]


...a shot on video fever dream filtered through the latest high tech post-production optical candy factories to produce one of the most original and unforgettable films of the newly crowned “noughts”.


It’s an interesting time for the once dead film genre known as the Western. Ever since Clint Eastwood snagged an Oscar for his “revisionist” revival of the spiraling cinematic favorite, post-modern moviemakers have embraced a more deconstructed version of the oater. In their mind, the standard element of black hat/white hat, good vs evil no longer holds sway in a society far more ambiguous and ethically unsure. While recent horse operas have tried to trade on those wholesome, old fashioned values (the recently released 3:10 to Yuma), others have actually tried to dig deeper into that dilemma. The 2006 Australian hit The Proposition was one such example, as is the upcoming Brad Pitt ‘epic’ The Assassination of Jesse James by the Coward Robert Ford. Both movies see the stereotypical symbolism inherent in the category as a means of making larger, more metaphysical points.  read full review…


Now on PopMatters
PM Picks
Announcements

© 1999-2015 PopMatters.com. All rights reserved.
PopMatters.com™ and PopMatters™ are trademarks
of PopMatters Media, Inc.

PopMatters is wholly independently owned and operated.