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by Matt Mazur

20 Oct 2010


I’ve long been an admirer of Geena Davis, of her daring commitment to originality in a plastic business, of her sharp sense of humor, and of her formidable, MENSA-approved intellect.  Let us not forget that she was also one half of Thelma and Louise, one of the most iconic, brilliant pieces of feminist cinema of all time, and that she is a champion archer. And a working mother.

If there was any doubt that Davis could claim the credit of “hero” on her resume, than her current project, The Geena Davis Institute on Gender in Media, forever cements her reputation as a passionate crusader for women. According to the Institute’s official website (www.SeeJane.org)“six years ago, while watching children’s television programs and videos with her young daughter, Davis noticed a remarkable imbalance in the ratio of male to female characters. From that small starting point, Davis went on to raise funds for the largest research project ever undertaken on gender in children’s entertainment.”

Davis recently talked about her work with David Frost:

by Timothy Gabriele

20 Oct 2010


A look under the microscope reveals an oddly beautiful array of 8mm found footage of swimmy little shadows and dissipating neon-dyed chromosomal helixes. Grubby Little Hands is a Philadelphia-based band that sounds like at times like a more ramshackle Elephant Six band, with a folky bent that’s not so much freaked as is pleasantly somnambulant or whimsically lazy. “Twelve Tones, Two Windows” finds them at their drowsiest, barely able to whisper the lulling tones above the sweet chiming backdrop. But that makes it wonderful music to pass out to, a last fizzle from the campfire embers as the night winds down.

by Andrew Gilstrap

20 Oct 2010


Swedish sisters Klara and Johanna Soderberg are still on their way out of their teens, so their music sometimes displays an earnestness that can chafe at those of us who have been around a little bit longer.  You know what, though? We need to get pushed off of our crusty “Grampa Simpson” high horses sometimes, and the sympathetic harmonies that kick in about two minutes into “Ghost Town” certainly do the trick. That devastating regret-filled stanza about being left behind in someone’s memory doesn’t hurt, either. Young or old, we’ve all been there before.

by Matt Mazur

20 Oct 2010


The MPAA just slapped the dreaded “NC-17” rating onto this Weinstein year-end release, leading many prognosticators to sound the death knell for the film’s Oscar chances, even after the film played to raves at international film festivals such as Sundance, Cannes, and Toronto.

Clearly, American audiences need to get over the ham-fisted notion that cinematic sex and nudity are what their children need to be shielded from.

With endorsements from a tidal wave of critics who believe Blue Valentine is being unfairly judged for its realistic depictions of sex, look for the film to gain even more traction in the awards game thanks to a little good old-fashioned controversy. The film may have actually been given a new lease on life, rather than a death sentence after all.

Stars Gosling and Williams look to be at the very top of their games.

by PopMatters Staff

20 Oct 2010


Meat Beat Manifesto have been perfecting their techno sound since 1987 and have been major influencers on trip-hop, as well as drum and bass along the way. MBM’s latest album, Answers Come in Dreams, dropped last week via Metropolis Records and today we present the premiere of their new video for “Waterphone”. Juxtaposing vintage film footage—among some of the earliest recorded by the first movie cameras of the turn-of-the-century—with their hyper-modern electro beats, “Waterphone” is both artsy and cerebral.

//Mixed media
//Blogs

Indie Horror Month 2016: Diving into 'Reveal the Deep'

// Moving Pixels

"In Reveal the Deep, the light only makes you more aware of the darkness

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