Tag: narrative

An Interstellar dog’s dinner

Minor spoiler warning because this is a discussion of Christopher Nolan’s new film Interstellar, if that kind of thing causes you angst. Nothing that wouldn’t be seen a mile off by any intelligent viewer of the trailer or the film itself, nor is there anything that wouldn’t be seen coming at interstellar distances (GET IT?) by any science fiction fan.

Thanks for all your help, sarcastic robot!

Interstellar is the story of three middle-aged white rappers who talk and gesticulate into a fish eye lens while a giant octopus monster fights a huge robot… no, wait… this is the plot of the video for Intergalactic.

The real Interstellar is a really well-crafted film with some beautiful imagery and design. Despite being an overlong and self-indulgent movie, the nearly three hour running time doesn’t feel like you’ve been wasting your life. Certainly it’s better for a film like this–…

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Scarlett Johansson’s murder van

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… and how she was punished for it.

It’s been out a while, but I only just got around to Jonathan Glazer’s Under the Skin, the enigmatic, glacial barely-horror film in which an alien (Scarlett Johansson) drives around in a white Transit van and preys upon lone men in Scotland. I’ve not read the novel by Michel Faber, upon which the film was based, so this discussion is purely about the latter. There’ll be spoilers, so if you haven’t seen the film and you’re one of those big babies there’s plenty of other things to read on this blog.

You know some bad news is coming, because I’ll start with the good. The film captures the bleak beauty and grey light of Scotland perfectly. It looks like the most grimly lush Radiohead video ever, if Radiohead singles were ever nearly two hours long. The score by Mica Levi puts…

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“The plot didn’t matter at all”

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Just some splendid stills from thrillers (mostly) of the 1940s and 1950s, reproduced from ‘Film Noir’ (Alain Silver, James Ursini, Paul Duncan: Taschen). I love Film Noir. ‘Gilda’ is one of the best and most noirish. Above is Rita Hayworth doing a passive-aggressive musical number/striptease in a club to get back at her boyfriend and her ex-boyfriend for their machinations with each other and with her. As you do.

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Nazo, Emperor of the Universe

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See the first post about Japanese kamishibai (paper theatre) in the 1930s and the previous post about WWII kamishibai for more information and commentary about the origins and context of these images.

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Banzai?

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See the first post about Japanese kamishibai (paper theatre) for more information and commentary about the origins and context of these images.

Here we move into the 1940s, WWII and the dodgy, overly-positive world of propaganda. Propaganda is almost by definition absurd and deceptive; if it wasn’t so cognitively dissonant and detached from observed reality then we’d just call it informative or documentarian. But there’s still something particularly disturbing about the hijacking of a medium intended mainly for children. The slides shown here are from How to Build a Home Air Raid Shelter and from Kintaro the Paratrooper. The latter is a militaristic rewrite of the traditional story about Momotoro the Peach Boy, who joined up with animal friends to defend Japan from invading demons. You can see what they did there, obviously.

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Cry of the Andes

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This is the first of several posts about Japanese kamishibai (paper theatre), a popular form of storytelling that began in the 1930s, peaked in the post-war/American occupation period, and more or less died out with the rise of Japan as a modern, technologically developed country. The material is all from Eric P. Nash’s great book Manga Kamishibai. As usual, out of respect for the author and the publisher (and also to piss off the imbeciles who are always going on about printed books being dead trees and obsolete, everything’s online now, blah blah blah) I’ll hopefully be posting just enough to arouse your interest without coming anywhere close to making it pointless to buy or borrow the book.

Kamishibaiya (paper theatre storytellers) would roll up to a street corner on their bicycles, which also supported a butai– a miniature wooden theatre into which the illustrated boards for the…

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Poetic squashing

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Nearly 2400 years have passed since Aristotle perfectly summed up good and bad writing in The Poetics, and yet still we get narrative disasters like (for example) Prometheus. Aristotle obviously didn’t know Hollywood existed and yet he describes it perfectly in the first paragraph quoted below. He even tells us how to do “villain crushed by a huge object” correctly…

“Of simple plots and actions those that are episodic are the worst. By an episodic plot I mean one in which the sequence of the episodes is neither probable nor necessary. Plays of this kind are written by bad poets because they cannot help it, and by good poets because of the actors; writing for the dramatic competitions, they often strain a plot beyond the bounds of possibility, and are thus obliged to dislocate the continuity of events.
However, tragedy is the representation not only of a complete…

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