Ann Hornaday discusses “The Aesthetic Politics of Filming Black Skin”: “For the first hundred years of cinema, when images were captured on celluloid and processed photochemically, disregard for black skin and its subtle shadings was inscribed in the technology itself, from how film-stock emulsions and light meters were […]
At Daily Grindhouse, Ric Meyers writes about, “A History of Disrespect: The Weinstein Company’s War on Asian Cinema.” Meanwhile, at Flavorwire, Jason Bailey asks and answers. “Why Do Asian Films Have To Be Dumbed Down For An American Audience?”
Althea Crome makes amazing and tiny, tiny knit art. Check out her website for galleries of her work and to watch her knit clothing for the puppets in the animated film, Coraline. Indiana Public media profiles Crome here. and see her brain cozy and all the other brains […]
The Hairpin looks at “The Most Wicked Face of Theda Bara”: “She was the first in a long line of what came to be known as femme fatales — dangerous, devouring women who pop up in various genres at cultural moments when anxiety over the woman’s place in […]
Kate Conway writes about how powerful she found the Women Who Kick Ass Panel in San Diego Comic-Con’s Hall C. “These dudes onstage weren’t selling themselves to me; they didn’t even care what I thought. Here we were, in the biggest room at Comic-Con, and I only felt […]
Kenneth Anger talks about making Lucifer Rising (1966): “I used a bit of deception to film it in Egypt. I said I was doing a documentary on ancient Egyptian beliefs and needed to film in the actual settings: in front of the Sphinx, at Karnak, along the Nile […]
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The Cultural Gutter 