third war links

---Branded trailer

---Schoolhouse Rock and the kill list

---A. O. Scott's zingers

---Parler Le Fracas

---Alien and the academics

---"First, it’s awkward and potentially destabilizing to say Pakistan is a U.S. ally but the U.S. has to fight a war against terrorists on its soil. Second, it’s politically perilous to ask a war-weary public to get used to fighting what’s effectively a third war in a decade"

---interviews with Samuel Fuller and Bill Murray

---"Southland Tales‘s visual flow is also that of these post-cinematic media that play such a role within it. Properly cinematic images are intermixed with a barrage of home video footage, internet and cable-TV news feeds, commercials, simulated CGI environments, and especially sequences in which the film’s characters are watching all of the above on multiple computer windows or screens. The compositional logic of Southland Tales is paratactic and additive, having little to do with conventional film syntax. Indeed, Kelly’s disjunctive flow is almost the polar opposite of Eisensteinian montage." --Steven Shaviro

---the first feminist film

---"The future of content is code" by Dani Fankhauser

---Roderick Heath on Hell's Angels

---Gilliam's preferred animated films

---Richard Brody considers Alphaville as Dennis Cozzalio reviews Dark Shadows as Gavin Rothery revisits Blade Runner

---"Look, the hard thing—I’m sure you’ve experienced this, too—is that once you have a project, you think about how you’re going to photograph the scene until you actually do it. I have always felt that the camera view is just as important as what’s in front of the camera. Consequently, I’m obsessed with how I’m shooting the scene. When you’re making a movie, you think about it all the time—you’re dreaming about it, you wake up with ideas in the middle of the night—until you actually go there and shoot it. You have these ideas that are banging around in your head, but once you objectify them and lock them into a photograph or cinema sequence, then they get away from you. They’re objectified; they no longer haunt you." --Brian De Palma

---a new form of fame

---the sixth mass extinction, the weather, the drought, and the sea's loss of "75 percent of megafauna"

---The Language and Style of Film Criticism, a review

---Hustwit's tips for documentary filmmakers

---"Most people I know in academia want to get out. Which is a pretty new situation. I’ve never encountered that before. When I arrived in Oxbridge, at the tender age of 18, it was massively upper class and very patrician and I had a very hard time there. As a tutor in Oxford over the years, I saw all that—superficially at least—modulate. You know, Etonians with bones through their noses, and Wykehamists carefully dropping their vowels, distressing their jeans and their accents. But at least in those years, the neo-managerial ethos hadn’t exerted its clammy grip, so much, over universities. [Neo-managerialism] is absolutely hideous. I mean, it has effectively brought to an end hundreds of years—at least a two hundred-year-old tradition—of the university as a centre of critique, in a society where critique otherwise is pretty hard to come by. That is a momentous and historic development, and I’m really rather glad, personally speaking, that it coincides with my exit." --Terry Eagleton

---cyberpunk redux

---trailers for 360, Django Unchained, Get Lucky, Wreck-It Ralph, Red Lights, and The Imposter 

---lastly, Moonrise Kingdom's books