Tommy

Culture Warrior

The music video is in terminal condition, if not certainly dead. MTV hasn’t been associated with music for a long time, and nobody invests real money in the format that formerly revolutionized the relationship between audiences and musicians. The music video had a great run, introducing us to visionary directors and creating profound visual iconography whose power was unmatched by album covers and promotional materials, but beyond the occasional breakout video that circulates on YouTube, it’s time to say goodbye to the format that brought us everything from “Billy Jean” to “Frontier Psychiatrist.” In the past few years a new music/video hybrid has become increasingly prevalent. The “visual album” (as coined by Animal Collective) continues to emerge as a means of creative visual expression and (often) as a form of cross-promotion for an album. Unlike music videos, visual albums stage, sometimes with interruptions, the majority of a musician or band’s LP. Even though this format seems designed to exist exclusively through web distribution (visual albums can occasionally be too long, interconnected, and narratively or stylistically cohesive to be parsed out as standalone shorts or individuated music videos, but aren’t long enough to be feature films), the visual album is also a risky declaration in the age of iTunes, proclaiming albums to be cohesive works of musical artistry rather than conveniently divisible bits of audio information.

read more...

It’s difficult for me to reflect on filmmaker Ken Russell’s career without recounting my own personal relationship to his work. When I was a junior in college, an uncensored 35mm print of his mad and magnificent The Devils (1971) was screened on my university campus. The film is unavailable in the US in its original widescreen, X-rated form in any home video format, so that experience for me remains one of the singular theatrical viewings of my life. Since then, I’ve been hooked on his work. Perhaps more than any director, I’ve felt a habitual need to share Russell’s work with friends. Sometimes they reject his challenging and decidedly non-subtle, often hyperkinetic visions, but it’s always rewarding when I show one of his films to somebody who confirms that I’m not crazy – that there is a brilliant method underlying the batshit madness of the work helmed by this eccentric British director. I recently hosted a Halloween screening of his enduringly fascinating 1980 sci-fi film Altered States (1980) genuinely afraid that the audience would respond negatively to the film’s abject body transformation narrative and overall tonal strangeness, but the end credits were met with a warm round of applause. Russell was certainly one of the most bizarre directors that Britain has ever housed, but he was hardly only that.

read more...
Some movie websites serve the consumer. Some serve the industry. At Film School Rejects, we serve at the pleasure of the connoisseur. We provide the best reviews, interviews and features to millions of dedicated movie fans who know what they love and love what they know. Because we, like you, simply love the art of the moving picture.
Fantastic Fest 2014
6 Filmmaking Tips: James Gunn
Got a Tip? Send it here:
editors@filmschoolrejects.com
Publisher:
Neil Miller
Managing Editor:
Scott Beggs
Associate Editors:
Rob Hunter
Kate Erbland
Christopher Campbell
All Rights Reserved © 2006-2014 Reject Media, LLC | Privacy Policy | Design & Development by Face3