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Sunday, November 12th, 2006
This movie "Cleo from 5 to 7" is making me think about subtitles (and wish, wish I understood French better than the very minimal amount I do, so I could understand the cross-talk and the background noise). It is subtitled very well, actually -- I seem to sense a certain self-consciousness on the part of whoever did the translation, about the limitations they faced. Two elements of filmmaking that I don't think are recognized as art forms in themselves, are subtitling and colorizing. At one point Angèle asks Cléo something like "But I thought he adored you?" and she replies, "Il m'adore!" which is translated as "He does!" -- I picked up on this and was wondering why the translation isn't "He adores me!" and then I realized French doesn't have a verb which could be used in a reply like English "does", so the translation is probably correct idiomatically.
posted afternoon of November 12th, 2006: Respond
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Saturday, November 11th, 2006
I watched it again tonight, and I am hoping to do so tomorrow as well. So many little bits are catching my attention! I want to make observations about it here but i fear they would mostly just be on the order of, "and then that scene, the one where the Cléo broke her mirror and AngèleDorothée was trying to reassure her [or whatever the content is of the scene that I am talking about], wasn't that just amazing?" and not have much to say about it that would help if you haven't already seen the movie. So see it, then we'll talk.
posted evening of November 11th, 2006: Respond
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Friday, November 10th, 2006
I am watching this movie right now and it is just stunningly good. Check out this lyric: With all doors open wide
With the wind rushing through
I'm like an empty house
Without you
Without you
Like a derserted isle
Invaded by seas
My sands slip away
Without you
Without you
With beauty unseen
Exposed to cruel winter
My soul cannot dream
Without you
Without you
Gnawed away by despair
My body decays
In an open bier
Without you
Without you
If you wait too long
I'll have been laid to rest
Ashen, pale and alone
Without you
Without you
Without you (This sort of reminded me of Syd Barrett's performance of "Golden Hair" by Joyce -- I'm not sure why though.) There is a sort of interesting thing going on too, with a sort of hedonistic or romantic refusal to engage reality, I'm not sure if it is exactly a criticism of that tendency, it might be a self-criticism or a derogatory description of an other, or something else. Also: Pee-wee Herman's inspiration must be the character in the film shown during the "Projectionist's Booth" sequence. (Wow -- just looked at IMDB and realized that the actor I am saying is Pee-wee's inspiration, is Jean-Luc Godard.) (Here is a pretty interesting post about this film.)
posted evening of November 10th, 2006: Respond
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Friday, October 27th, 2006
I felt proud of Sylvia today -- we have been taking a beginning Mandarin class together and making gradual progress -- tonight we went to listen to the Music from China ensemble playing at Seton Hall. We were looking at the program (which was in both Chinese and English) and Sylvia pointed to a 小 and said "Look Dad, 'xiao'!" And she was right. I was surprised, because I had not even been looking at the Chinese characters figuring I would not recognize any of them. So we looked at them for a while and found a number of characters we recognized, mostly numbers.
posted evening of October 27th, 2006: Respond
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Saturday, October 21st, 2006
We watched Porco Rosso tonight -- I liked it way better than any other Miyazaki movie I've seen to date, and I have loved every one of them. For one thing the ending is really haunting, where all of the others have finished up pretty tidily. And I just love that sort of inter-war jazz aesthetic, which wasn't in the others -- it had a similar feel to Casablanca, which worked in a really surreal way with the anime/little girl nature of Miyazaki's work.
posted evening of October 21st, 2006: Respond
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I have been doing some posting at Coming out of the Cave, the blog I've established to try and unravel Blumenberg's Höhlenausgänge. So go read there if you're interested in it. (I would be putting up another post but Blogger is not cooperating right now.)
posted evening of October 21st, 2006: Respond
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Thursday, October 12th, 2006
Blumenberg's Höhlenausgänge was just now brought to mind by something Teofilo said. Now I'm really interested and want to go back and look at it some more. Update: I got in touch with a philosopher at Texas Women's University who has done some work on Blumenberg. He recommends I look at the first section of The Genesis of the Copernican World and the material on gnosticism in Part II of The Legitimacy of the Modern Age as an already-translated source for Blumenberg's ideas about the city as a recapitulation of the cave. Update: I have started a new blog: Coming out of the Cave, dedicated to understanding Höhlenausgänge.
posted morning of October 12th, 2006: Respond
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Steadman uses as an epigram for The Joke's Over, a bit of advice Thompson gave him: "Ralph, never write. You'll bring shame on your family." And to tell the truth, his writing is a bit uneven. There are bits that seem hackneyed and trite. Other parts however are keenly insightful, and his artistic vision (and the interesting events being described) make up for the uneven prose quality.
posted morning of October 12th, 2006: Respond
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Wednesday, October 11th, 2006
I have moved the on-again, off-again READIN Family Album offsite -- You can find it at Flicker, where you will be able to browse around through the photos way more flexibly than you ever could here.
posted evening of October 11th, 2006: Respond
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I stopped in at Coliseum Books last night, to savor the short remaining time before it closes. One of the "staff picks" is Ralph Steadman's new book, The Joke's Over: Bruised Memories: Gonzo, Hunter S. Thompson and Me. I picked it up and was immediately blown away by Kurt Vonnegut's brief preface -- I had never realized he was friends with Steadman and Thompson though it makes good sense. I've been reading about Steadman's meeting with Thompson at the Kentucky Derby of 1970. Lots of laughs so far but objectionably little illustration -- I want to see the drawings he is describing. (He says the editor of Scanlan's lost them.)
posted morning of October 11th, 2006: Respond
➳ More posts about Kurt Vonnegut
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