Podcasts about space odyssey stanley kubrick

He learnt his craft from Shyam Benegal, became a pioneer & a legend of advertising filmmaking, learnt & taught scuba diving, started the Prithvi Cafe, and lived every moment to the full in a million different ways. Prahlad Kakar joins Amit Varma in episode 414 of The Seen and the Unseen to talk about his long and wondrous life. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) Also check out: 1. Prahlad Kakar on Instagram, LinkedIn, Twitter, IMDb and his own website. 2. Adman Madman: Unapologetically Prahlad -- Prahlad Kakar. 3. Genesis Film Production. 4. Probal DasGupta Goes to the Himalayas With Books in His Bag -- Episode 412 of The Seen and the Unseen. 5. Watershed 1967: India's Forgotten Victory Over China — Probal DasGupta. 6. Sahil Bloom's tweet on preparation vs planning. 7. Big City Blues -- Mervyn LeRoy. 8. Does India take its national symbols too seriously? — Jan 2008 episode of We the People. 9. Au Hasard Balthazar -- Robert Bresson. 10. The Bicycle Thief -- Vittorio De Sica. 11. Blade Runner -- Ridley Scott. 12. 2001: A Space Odyssey -- Stanley Kubrick 13. Straw Dogs -- Sam Peckinpah. 14. Prahlad Kakar's Bombay Dyeing commercial from 1983. 15. Ankur -- Shyam Benegal. 16. Bhumika -- Shyam Benegal. 17. Manthan -- Shyam Benegal. 18. Dekho Dekho, Duniya Dekho -- Prahlad Kakar's commercial for Air India. 19. Modesty Blaise, The Saint, Harry Potter and the work of Tom Clancy, Wilbur Smith and Louis L'Amour. This episode is sponsored by CTQ Compounds. Check out The Daily Reader and FutureStack. Use the code UNSEEN for Rs 2500 off. Amit Varma and Ajay Shah have launched a new course called Life Lessons, which aims to be a launchpad towards learning essential life skills all of you need. For more details, and to sign up, click here. Amit and Ajay also bring out a weekly YouTube show, Everything is Everything. Have you watched it yet? You must! And have you read Amit's newsletter? Subscribe right away to The India Uncut Newsletter! It's free! Also check out Amit's online course, The Art of Clear Writing. Episode art: ‘Shoot' by Simahina.

This is part of a series about overlooked movies from 2005. ***Referenced media:“The Bad News Bears” (Michael Ritchie, 1976)“Boyhood” (Richard Linklater, 2014)“Slacker” (Richard Linklater, 1990)“Dazed and Confused” (Richard Linklater, 1993)“School of Rock” (Richard Linklater, 2003)“Friday Night Lights” (Peter Berg, 2004)“Pollock” (Ed Harris, 2000)“Talk Soup” (Brad Gyori, 1991-2002)“Little Miss Sunshine” (Jonathan Dayton and Valerie Faris, 2006)“The Fly” (David Cronenberg, 1986)“Bad Santa” (Terry Zwigoff, 2003)“Crumb” (Terry Zwigoff, 2003)“2001: A Space Odyssey” (Stanley Kubrick, 1968)“Star Wars: Episode III – Revenge of the Sith” (George Lucas, 2005)“The Hitchhiker's Guide to the Galaxy” (Garth Jennings, 2005)“The Longest Yard” (Peter Segal, 2005)“Charlie and the Chocolate Factory” (Tim Burton, 2005)“Willy Wonka & the Chocolate Factory” (Mel Stuart, 1971)“The Dukes of Hazzard” (Jay Chandrasekhar, 2005)“King Kong” (Merian C. Cooper and Ernest B. Shoedsack, 1933)“King Kong” (John Guillermin, 1976)“King Kong” (Peter Jackson, 2005)Audio quotation:“Bad News Bears” (Richard Linklater, 2005), including music composed by Ed Schearmur, https://www.youtube.com/playlist?list=OLAK5uy_lJM7u4KxMEEijvYTOPM0T4eR7IBNXp6FU“This is War” (Ben Kweller, 2005), https://www.youtube.com/watch?v=7f-Q8BnVUsA&list=OLAK5uy_lJM7u4KxMEEijvYTOPM0T4eR7IBNXp6FU&index=5“Cocaine” (J.J. Cale, 1976), performed by Eric Clapton, https://www.youtube.com/watch?v=BxVZkNfxJdA&list=OLAK5uy_lJM7u4KxMEEijvYTOPM0T4eR7IBNXp6FU&index=8“Friday Night Lights” (Peter Berg, 2004)“‘NFL on FOX' Theme Song” https://www.youtube.com/watch?v=GU1o2blfeO0

This is part of a series about movies from 1971. ***Referenced media:“The Big Doll House” (Jack Hill, 1971)“The Omega Man” (Boris Sagal, 1971)“The Last Movie” (Dennis Hopper, 1971)“The French Connection” (William Friedkin, 1971)“The Last Picture Show” (Peter Bogdanovich, 1971)“The Big Boss” (Lo Wei, 1971)“Duck, You Sucker!” (Sergio Leone, 1971)“Fiddler on the Roof” (Norman Jewison, 1971)“Duel” (Steven Spielberg, 1971)“The War Game” (Peter Watkins, 1966)“THX 1138” (George Lucas, 1971)“The Hunger Games” (Gary Ross, 2012)“Oppenheimer” (Christopher Nolan, 2023)“Natural Born Killers” (Oliver Stone, 1994)“Man Bites Dog” (Rémy Belvaux, André Bonzel, and Benoît Poelvoorde, 1992)“2001: A Space Odyssey” (Stanley Kubrick, 1968)“Running Man” (Paul Michael Glaser, 1987)Audio quotation:“Punishment Park” (Peter Watkins, 1971)“The Running Man Revolution End Credits” from “The Running Man” (Paul Michael Glaser, 1987), written by Harold Faltermeyer, https://www.youtube.com/watch?v=rl73wrJU1nw&list=PLk83Uk_KUSSfJjwF0oZnhaESCw2cG9j0t&index=18 

It's bonus episode time. In today's Special Features episode Felicia is joined once again by Vinny Tucceri (listen to our episode on Agnès Varda's Cléo From 5 to 7) to discuss one of the 70s most underrated films about addiction, The Gambler (Karel Reisz 1974). We discuss the topic of addiction, how it comes in many forms, and the way James Caan's layered performance allows the audience the both sympathize and feel disappointment for this character's decisions. Send us your thoughts on the episode - what is your favourite James Caan role? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Vinny here: Twitter: @vinnybutbetter Letterboxd: @vinnyboombots88 Sources: The Gambler: How the Original Showcases Addiction Without Glamorizing It (collider.com) Karel Reisz, "The Gambler" | Interviews | Roger Ebert OUTRO MUSIC: Symphony No. 1 in D by Gustav Mahler FILMS MENTIONED: Cléo from 5 to 7 (Agnès Varda 1962) Hot For June (Ralph Thomas 1964) A Very Curious Girl (Nelly Kaplan 1969) Marvin and Tige (Eric Weston 1983) 2001: A Space Odyssey (Stanley Kubrick 1968) Blade Runner (Ridley Scott 1982) The Swimmer (Frank Perry 1968) Mean Streets (Martin Scorsese 1973) California Split (Robert Altman 1974) The Pope of Greenwich Village (Stuart Rosenberg 1984) Saturday Night, Sunday Morning (Karel Reisz 1960) Morgan – A Suitable Case for Treatment (Karel Reisz 1966) Who'll Stop the Rain (Karel Reisz 1978) Dog Day Afternoon (Sidney Lumet 1975) Mikey and Nicky (Elaine May 1976) The Friends of Eddie Coyle (Peter Yates 1973) Jingle All the Way (Brian Levant 1996) The Godfather (Franics Ford Coppola 1972) Reflections in a Golden Eye (John Huston 1967) Isadora (Karel Reisz 1968) Let it Ride (Joe Pytka 1989) Under the Volcano (John Huston 1984) Looking for Mr. Goodbar (Richard Brooks 1977) Atlantic City (Louis Malle 1980) Simon Killer (Antonio Campos 2012)

Felicia is once again joined by Ben Vargas (listen to our episode on Woman in the Dunes) to discuss Ingmar Bergman's story of a priest's inner turmoil in Winter Light (1963). We chat about how timeless Bergman's films are and how the subject matter of questioning one's own faith in not only religion, but humanity and one's own self is relatable to all audiences. Along with how the visual blocking compliments the character's speeches as they unfold on screen. This marks the final film in the Bergman series and it has been such a pleasure revisiting these complex and important pieces of cinema. His filmography is so vast we barely scratched the surface, I promise we'll see Bergman again soon. Send us your thoughts on the episode - which film is your favourite in the trilogy of faith? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Ben here: IG: @macefffron Twitter: @bensower Twitter: @cinemashitshow Sources: Seth's Top 10 | Current | The Criterion Collection OUTRO SONG: Song for a Winter's Night by Gordon Lightfoot FILMS MENTIONED: Woman in the Dune (Hiroshi Teshigahara 1964) On The Silver Globe (Andrzej Zulawski 1988) Possession (Andrzej Zulawski 1983) 2001: A Space Odyssey (Stanley Kubrick 1968) All the Beauty and the Bloodshed (Laura Poitras 2022) Citizenfour (Laura Poitras 2014) Diary of a Country Priest (Robert Bresson 1951) No Country for Old Men (Joel & Ethan Coen 2007) Through a Glass Darkly (Ingmar Bergman 1961) The Silence (Ingmar Bergman 1963) Persona (Ingmar Bergman 1966) Repulsion (Roman Polanski 1965) Wild Strawberries (Ingmar Bergman 1957) The Virgin Spring (Ingmar Bergman 1960) The Last House of the Left (Wes Craven 1972) First Reformed (Paul Schrader 2018) Fanny and Alexander (Ingmar Bergman 1982) The Night of the Iguana (John Huston 1964) Fat City (John Huston 1972) The Devil, Probably (Robert Bresson 1977) The Last Temptation of Christ (Martin Scorsese 1988) Bringing Out the Dead (Martin Scorsese 1999) After Hours (Martin Scorsese 1985) Raging Bull (Martin Scorsese 1980) The King of Comedy (Martin Scorsese 1982)

Felicia is joined by Geoff Thomas to discuss Ingmar Bergman's exploration of women's sexual autonomy, in The Silence (1963). We chat about the way Bergman tackles women's sexuality and how these characters experience both a liberation and repression of their bodies. We also discuss the theme of loneliness found in every character on screen and how the hotel location reflects their isolation. This is the first film part of the Ingmar Bergman series, and I think it's a great example of the way he writes women and why they were often the most interest characters in his films. Send us your thoughts on the episode - do you think this film is a comedy? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Geoff here: IG: @cinema_gnt Letterboxd: @gnthomas Website: https://cinemamemry.wordpress.com/ Sources: Feature Film - Productions - Ingmar Bergman The Silence (1963) - Movie Review : Alternate Ending The Silence – Senses of Cinema The Silence (1963) | The Criterion Collection https://www.criterion.com/current/posts/3461-mirrors-of-bergman The Silence movie review & film summary (1963) | Roger Ebert Atom Egoyan's Top 10 | Current | The Criterion Collection The Silence Blu-ray - Ingrid Thulin (dvdbeaver.com) OUTRO SONG: Enjoy the Silence by Depeche Mode FILMS MENTIONED: Monty Python and the Holy Grail (Terry Jones & Terry Gilliam 1975) The Seventh Seal (Ingmar Bergman 1957) Citizen Kane (Orson Welles 1941) 2001: A Space Odyssey (Stanley Kubrick 1968) RoboCop (Paul Verhoeven 1987) Scenes From a Marriage (Ingmar Bergman 1974) Autumn Sonata (Ingmar Bergman 1978) Wild Strawberries (Ingmar Bergman 1957) Persona (Ingmar Bergman 1966) Through a Glass Darkly (Ingmar Bergman 1961) Winter Light (Ingmar Bergman 1963) Cries and Whispers (Ingmar Bergman 1972) Fanny and Alexander (Ingmar Bergman 1982) Trouble Every Day (Claire Denis 2001) The Virgin Spring (Ingmar Bergman 1960) The Grand Budapest Hotel (Wes Anderson 2014) Bergman Island (Mia Hansen-Løve 2021) The Shining (Stanley Kubrick 1980) The Park (Damien Manivel 2016) What Ever Happened to Baby Jane (Robert Aldrich 1962) Repulsion (Roman Polanski 1965) The Piano Teacher (Michael Haneke 2001) Splendor in the Grass (Elia Kazan 1961)

It's bonus episode time. In today's Special Features episode Felicia is once again joined by Perry Jackson (listen to our previous episode on 24 Hour Party People), and we chat about what Albert Brooks' work both as a director and comedy means to us both. How his style of comedy has translated through the decades and remains fresh as ever. We also discuss the concept of an unlikeable protagonist, and how the film relies on Brooks' charm to convince the audience to follow along with his story. Along with the character Robert Cole's career in film as an editor and how that ties into his compulsive nature to control the narrative of his life, and the lives of others. Oh, and we also have a lot of fun, because who doesn't have fun talking about quaaludes? Send us your thoughts on the episode - did you know Albert Brooks and Super Dave were related, or was Felicia the last person on earth to find this out? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Perry here: IG: @prryjcksn Twitter: @prryjcksn Letterboxd: @prryjcksn Sources:http://www.dvdbeaver.com/film2/DVDReviews32/modern_romance_blu-ray.htm https://www.imdb.com/title/tt0082764/trivia/?ref_=tt_trv_trv In praise of Modern Romance – Albert Brooks' masterpiece - Little White Lies (lwlies.com) The Raging Bull of Albert Brooks' “Modern... - Musings - Oscilloscope Labs Review: Modern Romance - Slant Magazine Modern Romance is a Goddamn Masterpiece — Nathan Rabin's Happy Place Modern Romance (1981) – The Postmodern Pelican 1981: Modern Romance - Blog - The Film Experience The unlikely film Stanley Kubrick considered a classic - Far Out Magazine OUTRO MUSIC: You Are So Beautiful by Joe Cocker FILMS MENTIONED: 24 Hour Party People (Michael Winterbottom 2002) Cure (Kiyoshi Kurosawa 1997) Manhunter (Michael Mann 1986) The Hunger (Tony Scott 1983) Blue Steele (Kathryn Bigelow 1990) Near Dark (Kathryn Bigelow 1987) Point Break (Kathryn Bigelow 1991) True Lies (James Cameron 1994) The Stupids (John Landis 1996) Top Gun (Tony Scott 1986) The Last Boy Scout (Tony Scott 1991) True Romance (Tony Scott 1993) Man on Fire (Tony Scott 2004) Out of Sight (Steven Soderbergh 1998) Broadcast News (James L. Brooks 1987) Drive (Nicolas Winding Refn 2011) Lost in America (Albert Brooks 1985) Defending Your Life (Albert Brooks 1991) The Muse (Albert Brooks 1999) Mother (Albert Brooks 1996) Eyes Wide Shut (Stanley Kubrick 1999) 2001: A Space Odyssey (Stanley Kubrick 1968) The Wolf of Wall Street (Martin Scorsese 2013) Beau Is Afraid (Ari Aster 2023) Easy Rider (Dennis Hopper 1969) Chilly Scenes of Winter (Joan Micklin Silver 1979) Minnie and Moskowitz (John Cassavetes 1971) Annie Hall (Woody Allen 1977) The Lonely Guy (Arthur Hiller 1984)

212 - The pressure is ON this week. I mean, damn, it's 2001: A Space Odyssey. It also happens to be Tristan's favourite movie, for reasons that he cannot explain. So that should make for a good podcast?See omny.fm/listener for privacy information.

In this episode, Matt Alt (⁠⁠⁠Pure Invention: How Japan Made the Modern World⁠⁠⁠) and Patrick Macias (⁠⁠⁠TokyoScope: The Japanese Cult Film Companion⁠⁠⁠) celebrate the return of Takeshi's Castle and the upcoming film KUBI with a look at Takeshi Kitano's (aka Beat Takeshi's) favorite films of all time! They include: 1. Children of Paradise (Marcel Carne, 1945) 2. 2001: A Space Odyssey (Stanley Kubrick, 1968) 3. A Clockwork Orange (Stanley Kubrick, 1971) 4. Seven Samurai (Akira Kurosawa, 1954) 5. To Live and Die in L.A. (William Friedkin, 1985) 6. Wild at Heart (David Lynch, 1990) 7. Bring Me the Head of Alfredo Garcia (Sam Peckinpah, 197) 8. Darkman (Sam Raimi, 1990) 9. Crazy Thunder Road (Sogo Ishii, 1980) 10. The Railroad Man (Pietro Germi, 1956) NEWS Anime luminary Maruyama warns Japan's top spot at risk RIP Frank Agrama, Chairman of Harmony Gold USA Toho Cinemas Raises Ticket Prices in June Tokyo Pokémon card shop bans sales to adults so kids can enjoy the hobby INFO ⁠⁠⁠⁠Pure TokyoScope on Twitter ⁠⁠⁠⁠ ⁠⁠⁠⁠Matt Alt on Twitter⁠⁠⁠⁠ ⁠⁠⁠⁠Patrick Macias on Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠Pure TokyoScope on YouTube⁠⁠⁠⁠⁠ Visit ⁠⁠⁠⁠www.tokyoscope.com⁠⁠⁠⁠ for merch Visit ⁠⁠⁠⁠TokyoScope on Patreon⁠⁠⁠⁠ for bonus episodes and content The podcast is produced by ⁠⁠⁠⁠jaPRESS LLC⁠⁠⁠⁠©, and engineered and edited by Patrick Macias Theme song by Marxy

“Hey, I've got some plums. Let's go down to KFC” The panel of peril take a quick break from the important business of smashing up a small pile of rocks using a big bone to watch this week's film. Yes, it's the proverbial good science fiction film, 2001: A Space Odyssey (Stanley Kubrick, 1968). Since the dawn of time man has wanted to destroy the moon. But when an ancient, unknowable, mysterious black monolith shows up on the moon will it be us (humankind) who are to be the destroyees? What does the object portend, and what influence will it hold over man and technology? Watch the trailer here: https://www.youtube.com/watch?v=oR_e9y-bka0 ********PLOT SPOILER ALERT******** A manned mission to Jupiter to locate another monolith goes seriously awry thanks to an AI named Chat GPT… ho ho ho, I mean HAL 9000 (voiced by Douglas Rain). The ship's operating system develops a genocidal attitude in the pursuit of the monolith, leaving Dave Bowman (Keir Dullea) as the only man able to stop it. Aye carumba (as they say in the far flung future of the year 2001)! What the actual flip did the panel make of this one? How the actual flip can they improve upon the villain's dastardly scheme? And who the actual flip will be victorious in this week's competition? Music by Lesfm from Pixabay Sound Effect by SamuelFrancisJohnson from Pixabay Music by PianoAmor from Pixabay

In 1968, Stanley Kubrick's sci-fi epic 2001: A SPACE ODYSSEY pushed movies light years into the future. It pioneered the use of special effects, makeup, sound design…and needle drops.For the season debut of our audio documentary series, host Rico Gagliano tells the story of the now-legendary classical tracks Kubrick dropped into his space movie—something the director did against the advice of just about everybody, and to the detriment of at least two composers' mental and physical health. It's an epic tale about an epic film, featuring guests like Kubrick's longtime executive producer Jan Harlan.The third season of the MUBI Podcast, titled “Needle on the Record,” dives into the unifying power of movie music and tells the stories behind some of cinema's most renowned “needle drops”—moments where filmmakers deployed pre-existing music instead of an original score. Each episode explores an iconic marriage of song and image that's become part of pop culture. It's a six-part mixtape for film lovers.To stream some of the films we've covered on the podcast, check out the collection Featured on the MUBI Podcast. Availability of films varies depending on your country.MUBI is a global streaming service, production company and film distributor dedicated to elevating great cinema. MUBI makes, acquires, curates, and champions extraordinary films, connecting them to audiences all over the world. A place to discover ambitious new films and singular voices, from iconic directors to emerging auteurs. Each carefully chosen by MUBI's curators.Also, check out Notebook magazine, our print-only publication devoted to the art and the culture of cinema. Created, prepared and published by MUBI. Each issue will come with an exclusive surprise, just for magazine subscribers. Subscribe at mubi.com/magazine

This is the fifth part of an eight-part series about difficult movies. Part 1 focused on S. Craig Zahler's “Dragged Across Concrete”. Part 2 focused on Bernardo Bertolucci's “Last Tango in Paris”. Part 3 focused on Don Edmonds's “Ilsa, She Wolf of the SS”. Part 4 focused on Paul Verhoeven's “Basic Instinct”. Part 6 will focus on Martin Scorsese's “Last Temptation of Christ”. Part 7 will focus on Spike Lee's “Bamboozled”. Part 8 will focus on Dinesh D'Souza's “2000 Mules”.***Referenced media:“Tron” (Steven Lisberger, 1982)“Friday the 13th” (Sean Cunningham, 1980)“Monty Python's Flying Circus” (Graham Chapman, John Cleese, Eric Idle, Terry Jones, Michael Palin, and Terry Gilliam, 1969-1974)“Monty Python and the Holy Grail” (Terry Gilliam and Terry Jones, 1975)“2001: A Space Odyssey” (Stanley Kubrick, 1968)“A Fish Called Wanda” (Charles Crichton, 1988)“A Clockwork Orange” (Stanley Kubrick, 1971)“Saturday Night Life” (Lorne Michaels, 1975-now)“Bill & Ted's Excellent Adventure” (Stephen Herek, 1989)“Ilsa, She Wolf of the SS” (Don Edmonds, 1975)“The Brood” (David Cronenberg, 1979)”Rocky II” (Sylvester Stallone, 1979)“Escape from Alcatraz” (Don Siegel, 1979)“The 36th Chamber of Shaolin” (Lau Kar-leung, 1979)“Meatballs” (Ivan Reitnman, 1979)“Moonraker” (Lewis Gilbert, 1979)“The Frisco Kid” (Robert Aldrich, 1979)“The Villain” (Hal Needham, 1979)“North Dallas Forty” (Ted Kotcheff, 1979)“More American Graffiti” (Bill L. Norton, 1979)“Americathon” (Neal Israel, 1979)“Hot Stuff” (Dom DeLuise, 1979)“Apocalypse Now” (Francis Ford Coppola, 1979)“Caligula” (Tinto Brass, 1979)“Rock ‘n' Roll High School” (Allan Arkush, 1979)“Wise Blood” (John Huston, 1979)“Skatetown, U.S.A.” (William A. Levey, 1979)“10” (Blake Edwards, 1979)“Nosferatu the Vampyre” (Werner Herzog, 1979)“The Black Stallion” (Carroll Ballard, 1979)“Jesus” (Peter Sykes and John Krish, 1979)Audio quotation:“Monty Python's Life of Brian” (Terry Jones, 1979)“Heaven Sound Effects All Sounds” https://www.youtube.com/watch?v=2HwZo9Oqql4&t=152s“Ilsa, She Wolf of the SS” (Don Edmonds, 1975)

Ein "Radioclash" ist eine 60-minütige Mischung aus Teilen von 12 oder 15 Minuten zu einem Thema. Gemacht oder Ausgesucht durch Sie oder jemanden Anderen. ## ThisIsRadioclash #019 : Les Ordinateurs 1. This is radioclash - Introduction Jingle ### SASCII 1. Mr Oizo - Pourriture 2. The User - dotmatrix 1 - control to efficiency 3. The User - dotmatrix 2 - efficiency 4. Daisy Bell - IBM 7094 programmed by Max Mathews. 5. Little Computer People - Little Computer People 6. Les Punks Stupides (Glafouk) - la technologie 7. 386DX - Smells like teen spirit 8. Eat Rabbit - i still don't understand computer 9. Add N to X - Plug me in ### THE BRAIN 1. Apple - Macintosh startup sounds 2. Station20 - Computeriinternet computer 3. Francis Lalanne - On se retrouvera 4. Ich bin - Danger 5. My robot friend - You're out of the computer 6. Les Matchboxx - Dorothée L.S.D. 7. France gall - Der Computer Nr. 3 8. Less Shadocks - Ordinateur Shadock 9. VLams - My brain's inside the computer 10. Kraftwerk - Home computer 11. Console - 14 Zero Zero 12. Apple Commercial - The computer man 13. Atari crew - Wer'e Geeks ### WOPR 1. Joseph Sargent - Excerpt from Colossus:The Forbin Project 2. Kraftwerk - It's More Fun To Compute 3. Excerpt from Wargames - John Badham, 1983 4. Arpanet - Software Version 5. Excerpt from Zardoz - John Boorman, 1974 6. Excerpt from Alphaville - Jean luc Godard, 1965 7. Le Syndicat Electronique - Unknown Computer 8. Excerpt from 2001: A Space Odyssey - Stanley Kubrick, 1968 9. Excerpt from TRON - Steven Lisberger, 1982 10. Wendy Carlos - Wormhole 11. Excerpt from Colossus: The Forbin Project - Joseph Sargent, 1970 12. Kraftwerk - Computer Love ### MC C-IMPERATRIZ 1. Trans Volta - Disco Computer 2. Zapp & Roger - Computer Love 3. ??? - Bohemian Rhapsody Old School Computer Remix 4. Ronald Jeenkees - 56K Rap 5. Jyl - Computer Love Une émission présidée par Sascii. # This is Radioclash Dieses Projekt wurde im "Musiques Incongrues Forum" nach einer Idee von Ogon Feraille geboren. Es ist alles Partizipative und Interaktiv, jeder ist herzlich willkommen. Machen Sie mit oder schlagen Sie ein Thema vor. Was immer Sie wollen, wann immer Sie wollen! Sind Sie ein Profi oder nicht, Mädchen oder nicht, Roboter oder nicht, geil oder nicht! * http://www.musiques-incongrues.net/ * http://www.thisisradioclash.org/

Making of a Masterpiece.

John Bleasdale talks to Michael Benson on his book Space Odyssey: Stanley Kubrick, Arthur C Clarke and the Making of a Masterpiece.Buy the Book Here.The definitive story of the making of 2001: A Space Odyssey , acclaimed today as one of the greatest films ever made, and of director Stanley Kubrick and writer Arthur C. Clarke- "a tremendous explication of a tremendous film....Breathtaking" ( The Washington Post ).Fifty years ago a strikingly original film had its premiere. Still acclaimed as one of the most remarkable and important motion pictures ever made, 2001: A Space Odyssey depicted the first contacts between humanity and extraterrestrial intelligence. The movie was the product of a singular collaboration between Stanley Kubrick and science fiction visionary Arthur C. Clarke. Fresh off the success of his cold war satire Dr. Strangelove, Kubrick wanted to make the first truly first-rate science fiction film. Drawing from Clarke's ideas and with one of the author's short stories as the initial inspiration, their bold vision benefited from pioneering special effects that still look extraordinary today, even in an age of computer-generated images.In Space Odyssey , author, artist, and award-winning filmmaker Michael Benson "delivers expert inside stuff" ( San Francisco Chronicle ) from his extensive research of Kubrick's and Clarke's archives. He has had the cooperation of Kubrick's widow, Christiane, and interviewed most of the key people still alive who worked on the film. Drawing also from other previously unpublished interviews, Space Odyssey provides a 360-degree view of the film from its genesis to its legacy, including many previously untold stories. And it features dozens of photos from the making of the film, most never previously published."At last! The dense, intense, detailed, and authoritative saga of the making of the greatest motion picture I've ever seen ... Michael Benson has done the Cosmos a great service" (Academy Award-winning actor Tom Hanks).Support this show http://supporter.acast.com/writers-on-film. Hosted on Acast. See acast.com/privacy for more information.

This Money on the Left/Superstructure teaser previews both our tenth and eleventh premium releases from Scott Ferguson's "Neoliberal Blockbuster" course for Patreon subscribers.For access to the full lecture, subscribe to our Patreon here: https://www.patreon.com/MoLsuperstructure.  If you are interested in premium offerings but presently unable to afford a subscription, please send a direct message to @moneyontheleft or @Superstruc on Twitter & we will happily provide you with membership access.  Course DescriptionThis course examines the neoliberal Blockbuster from the 1970s to the present. It focuses, in particular, on the social significance of the blockbuster's constitutive technologies: both those made visible in narratives and the off-screen tools that drive production and reception. Linking aesthetic shifts in American moving images to broader transformations in political economy, the course traces the historical transformation of screen action from the ethereal “dream factory” of pre-1960s cinema to the impact-driven “thrill ride” of the post-1970s blockbuster. In doing so, we attend to the blockbuster's technological forms and study how they have variously contributed to social, economic, and political transformations over the past 40 years. We critically engage blockbusters as "reflexive allegories" of their own technosocial processes and pleasures. Above all, we think through the blockbuster's shifting relationship to monetary abstraction and the myriad additional abstractions monetary mediation entails.Blockbusters:2001: A Space Odyssey (Stanley Kubrick, 1968)Jaws (Steven Spielberg, 1975)Star Wars (George Lucas, 1977)RoboCop (Paul Verhoeven, 1987)Toy Story (John Lasseter, 1995)Jurassic Park (Steven Spielberg, 1993)The Matrix (Wachowskis, 1999)Avengers: Infinity War (Joe & Anthony Russo, 2018)

This Money on the Left/Superstructure episode is the eleventh premium release from Scott Ferguson's "Neoliberal Blockbuster" course for Patreon subscribers. Typically reserved for Patreon subscribers, this special two-part episode about Toy Story is available to the general public in full. For access to the rest of the course, subscribe to our Patreon here: https://www.patreon.com/MoLsuperstructure. If you are interested in premium offerings but presently unable to afford a subscription, please send a direct message to @moneyontheleft or @Superstruc on Twitter & we will happily provide you with membership access. Course Description This course examines the neoliberal Blockbuster from the 1970s to the present. It focuses, in particular, on the social significance of the blockbuster's constitutive technologies: both those made visible in narratives and the off-screen tools that drive production and reception. Linking aesthetic shifts in American moving images to broader transformations in political economy, the course traces the historical transformation of screen action from the ethereal “dream factory” of pre-1960s cinema to the impact-driven “thrill ride” of the post-1970s blockbuster. In doing so, we attend to the blockbuster's technological forms and study how they have variously contributed to social, economic, and political transformations over the past 40 years. We critically engage blockbusters as "reflexive allegories" of their own technosocial processes and pleasures. Above all, we think through the blockbuster's shifting relationship to monetary abstraction and the myriad additional abstractions monetary mediation entails. Blockbusters: 2001: A Space Odyssey (Stanley Kubrick, 1968) Jaws (Steven Spielberg, 1975) Star Wars (George Lucas, 1977) RoboCop (Paul Verhoeven, 1987) Toy Story (John Lasseter, 1995) Jurassic Park (Steven Spielberg, 1993) The Matrix (Wachowskis, 1999) Avengers: Infinity War (Joe & Anthony Russo, 2018)

This Money on the Left/Superstructure episode is the eleventh premium release from Scott Ferguson's "Neoliberal Blockbuster" course for Patreon subscribers.  Typically reserved for Patreon subscribers, this special two-part episode about Toy Story is available to the general public in full.  For access to the rest of the course, subscribe to our Patreon here: https://www.patreon.com/MoLsuperstructure.  If you are interested in premium offerings but presently unable to afford a subscription, please send a direct message to @moneyontheleft or @Superstruc on Twitter & we will happily provide you with membership access.  Course DescriptionThis course examines the neoliberal Blockbuster from the 1970s to the present. It focuses, in particular, on the social significance of the blockbuster's constitutive technologies: both those made visible in narratives and the off-screen tools that drive production and reception. Linking aesthetic shifts in American moving images to broader transformations in political economy, the course traces the historical transformation of screen action from the ethereal “dream factory” of pre-1960s cinema to the impact-driven “thrill ride” of the post-1970s blockbuster. In doing so, we attend to the blockbuster's technological forms and study how they have variously contributed to social, economic, and political transformations over the past 40 years. We critically engage blockbusters as "reflexive allegories" of their own technosocial processes and pleasures. Above all, we think through the blockbuster's shifting relationship to monetary abstraction and the myriad additional abstractions monetary mediation entails.Blockbusters:2001: A Space Odyssey (Stanley Kubrick, 1968)Jaws (Steven Spielberg, 1975)Star Wars (George Lucas, 1977)RoboCop (Paul Verhoeven, 1987)Toy Story (John Lasseter, 1995)Jurassic Park (Steven Spielberg, 1993)The Matrix (Wachowskis, 1999)Avengers: Infinity War (Joe & Anthony Russo, 2018)

This Money on the Left/Superstructure episode is the tenth premium release from Scott Ferguson's "Neoliberal Blockbuster" course for Patreon subscribers. For access to the rest of the course, subscribe to our Patreon here: https://www.patreon.com/MoLsuperstructure. If you are interested in premium offerings but presently unable to afford a subscription, please send a direct message to @moneyontheleft or @Superstruc on Twitter & we will happily provide you with membership access. Course Description This course examines the neoliberal Blockbuster from the 1970s to the present. It focuses, in particular, on the social significance of the blockbuster's constitutive technologies: both those made visible in narratives and the off-screen tools that drive production and reception. Linking aesthetic shifts in American moving images to broader transformations in political economy, the course traces the historical transformation of screen action from the ethereal “dream factory” of pre-1960s cinema to the impact-driven “thrill ride” of the post-1970s blockbuster. In doing so, we attend to the blockbuster's technological forms and study how they have variously contributed to social, economic, and political transformations over the past 40 years. We critically engage blockbusters as "reflexive allegories" of their own technosocial processes and pleasures. Above all, we think through the blockbuster's shifting relationship to monetary abstraction and the myriad additional abstractions monetary mediation entails. Blockbusters: 2001: A Space Odyssey (Stanley Kubrick, 1968) Jaws (Steven Spielberg, 1975) Star Wars (George Lucas, 1977) RoboCop (Paul Verhoeven, 1987) Toy Story (John Lasseter, 1995) Jurassic Park (Steven Spielberg, 1993) The Matrix (Wachowskis, 1999) Avengers: Infinity War (Joe & Anthony Russo, 2018)

This Money on the Left/Superstructure episode is the tenth premium release from Scott Ferguson's "Neoliberal Blockbuster" course for Patreon subscribers.For access to the rest of the course, subscribe to our Patreon here: https://www.patreon.com/MoLsuperstructure.  If you are interested in premium offerings but presently unable to afford a subscription, please send a direct message to @moneyontheleft or @Superstruc on Twitter & we will happily provide you with membership access.  Course DescriptionThis course examines the neoliberal Blockbuster from the 1970s to the present. It focuses, in particular, on the social significance of the blockbuster's constitutive technologies: both those made visible in narratives and the off-screen tools that drive production and reception. Linking aesthetic shifts in American moving images to broader transformations in political economy, the course traces the historical transformation of screen action from the ethereal “dream factory” of pre-1960s cinema to the impact-driven “thrill ride” of the post-1970s blockbuster. In doing so, we attend to the blockbuster's technological forms and study how they have variously contributed to social, economic, and political transformations over the past 40 years. We critically engage blockbusters as "reflexive allegories" of their own technosocial processes and pleasures. Above all, we think through the blockbuster's shifting relationship to monetary abstraction and the myriad additional abstractions monetary mediation entails.Blockbusters:2001: A Space Odyssey (Stanley Kubrick, 1968)Jaws (Steven Spielberg, 1975)Star Wars (George Lucas, 1977)RoboCop (Paul Verhoeven, 1987)Toy Story (John Lasseter, 1995)Jurassic Park (Steven Spielberg, 1993)The Matrix (Wachowskis, 1999)Avengers: Infinity War (Joe & Anthony Russo, 2018)

This Money on the Left/Superstructure teaser previews both our eight and ninth premium release from Scott Ferguson's "Neoliberal Blockbuster" course for Patreon subscribers. For access to the full lecture, subscribe to our Patreon here: https://www.patreon.com/MoLsuperstructure. If you are interested in premium offerings but presently unable to afford a subscription, please send a direct message to @moneyontheleft or @Superstruc on Twitter & we will happily provide you with membership access. Course Description This course examines the neoliberal Blockbuster from the 1970s to the present. It focuses, in particular, on the social significance of the blockbuster's constitutive technologies: both those made visible in narratives and the off-screen tools that drive production and reception. Linking aesthetic shifts in American moving images to broader transformations in political economy, the course traces the historical transformation of screen action from the ethereal “dream factory” of pre-1960s cinema to the impact-driven “thrill ride” of the post-1970s blockbuster. In doing so, we attend to the blockbuster's technological forms and study how they have variously contributed to social, economic, and political transformations over the past 40 years. We critically engage blockbusters as "reflexive allegories" of their own technosocial processes and pleasures. Above all, we think through the blockbuster's shifting relationship to monetary abstraction and the myriad additional abstractions monetary mediation entails. Blockbusters: 2001: A Space Odyssey (Stanley Kubrick, 1968) Jaws (Steven Spielberg, 1975) Star Wars (George Lucas, 1977) RoboCop (Paul Verhoeven, 1987) Toy Story (John Lasseter, 1995) Jurassic Park (Steven Spielberg, 1993) The Matrix (Wachowskis, 1999) Avengers: Infinity War (Joe & Anthony Russo, 2018

This Money on the Left/Superstructure teaser previews both our eight and ninth premium releases from Scott Ferguson's "Neoliberal Blockbuster" course for Patreon subscribers.For access to the full lecture, subscribe to our Patreon here: https://www.patreon.com/MoLsuperstructure.  If you are interested in premium offerings but presently unable to afford a subscription, please send a direct message to @moneyontheleft or @Superstruc on Twitter & we will happily provide you with membership access.  Course DescriptionThis course examines the neoliberal Blockbuster from the 1970s to the present. It focuses, in particular, on the social significance of the blockbuster's constitutive technologies: both those made visible in narratives and the off-screen tools that drive production and reception. Linking aesthetic shifts in American moving images to broader transformations in political economy, the course traces the historical transformation of screen action from the ethereal “dream factory” of pre-1960s cinema to the impact-driven “thrill ride” of the post-1970s blockbuster. In doing so, we attend to the blockbuster's technological forms and study how they have variously contributed to social, economic, and political transformations over the past 40 years. We critically engage blockbusters as "reflexive allegories" of their own technosocial processes and pleasures. Above all, we think through the blockbuster's shifting relationship to monetary abstraction and the myriad additional abstractions monetary mediation entails.Blockbusters:2001: A Space Odyssey (Stanley Kubrick, 1968)Jaws (Steven Spielberg, 1975)Star Wars (George Lucas, 1977)RoboCop (Paul Verhoeven, 1987)Toy Story (John Lasseter, 1995)Jurassic Park (Steven Spielberg, 1993)The Matrix (Wachowskis, 1999)Avengers: Infinity War (Joe & Anthony Russo, 2018)

We are discussing 2001: A Space Odyssey (1968), Arthur C. Clarke's eleventh novel today! Co-hosts: Heather, Mallory, Amy Other science fiction discussed: Rendezvous With Rama, Contact, The City And The Stars, Ready Player One, The Deep Range, Childhood's End, and Michael Benson's 2018 nonfiction book "Space Odyssey: Stanley Kubrick, Arthur C. Clarke, And The Making Of A Masterpiece

This Money on the Left/Superstructure teaser previews our seventh premium release from Scott Ferguson's "Neoliberal Blockbuster" course for Patreon subscribers. For access to the full lecture, subscribe to our Patreon here: https://www.patreon.com/MoLsuperstructure. If you are interested in premium offerings but presently unable to afford a subscription, please send a direct message to @moneyontheleft or @Superstruc on Twitter & we will happily provide you with membership access. Course Description This course examines the neoliberal Blockbuster from the 1970s to the present. It focuses, in particular, on the social significance of the blockbuster's constitutive technologies: both those made visible in narratives and the off-screen tools that drive production and reception. Linking aesthetic shifts in American moving images to broader transformations in political economy, the course traces the historical transformation of screen action from the ethereal “dream factory” of pre-1960s cinema to the impact-driven “thrill ride” of the post-1970s blockbuster. In doing so, we attend to the blockbuster's technological forms and study how they have variously contributed to social, economic, and political transformations over the past 40 years. We critically engage blockbusters as "reflexive allegories" of their own technosocial processes and pleasures. Above all, we think through the blockbuster's shifting relationship to monetary abstraction and the myriad additional abstractions monetary mediation entails. Blockbusters: 2001: A Space Odyssey (Stanley Kubrick, 1968) Jaws (Steven Spielberg, 1975) Star Wars (George Lucas, 1977) RoboCop (Paul Verhoeven, 1987) Toy Story (John Lasseter, 1995) Jurassic Park (Steven Spielberg, 1993) The Matrix (Wachowskis, 1999) Avengers: Infinity War (Joe & Anthony Russo, 2018)

This Money on the Left/Superstructure teaser previews our seventh premium release from Scott Ferguson's "Neoliberal Blockbuster" course for Patreon subscribers.For access to the full lecture, subscribe to our Patreon here: https://www.patreon.com/MoLsuperstructure.  If you are interested in premium offerings but presently unable to afford a subscription, please send a direct message to @moneyontheleft or @Superstruc on Twitter & we will happily provide you with membership access.  Course DescriptionThis course examines the neoliberal Blockbuster from the 1970s to the present. It focuses, in particular, on the social significance of the blockbuster's constitutive technologies: both those made visible in narratives and the off-screen tools that drive production and reception. Linking aesthetic shifts in American moving images to broader transformations in political economy, the course traces the historical transformation of screen action from the ethereal “dream factory” of pre-1960s cinema to the impact-driven “thrill ride” of the post-1970s blockbuster. In doing so, we attend to the blockbuster's technological forms and study how they have variously contributed to social, economic, and political transformations over the past 40 years. We critically engage blockbusters as "reflexive allegories" of their own technosocial processes and pleasures. Above all, we think through the blockbuster's shifting relationship to monetary abstraction and the myriad additional abstractions monetary mediation entails.Blockbusters:2001: A Space Odyssey (Stanley Kubrick, 1968)Jaws (Steven Spielberg, 1975)Star Wars (George Lucas, 1977)RoboCop (Paul Verhoeven, 1987)Toy Story (John Lasseter, 1995)Jurassic Park (Steven Spielberg, 1993)The Matrix (Wachowskis, 1999)Avengers: Infinity War (Joe & Anthony Russo, 2018)

This Money on the Left/Superstructure teaser previews our sixth premium release from Scott Ferguson's "Neoliberal Blockbuster" course for Patreon subscribers. For access to the full lecture, subscribe to our Patreon here: https://www.patreon.com/MoLsuperstructure. If you are interested in premium offerings but presently unable to afford a subscription, please send a direct message to @moneyontheleft or @Superstruc on Twitter & we will happily provide you with membership access. Course Description This course examines the neoliberal Blockbuster from the 1970s to the present. It focuses, in particular, on the social significance of the blockbuster's constitutive technologies: both those made visible in narratives and the off-screen tools that drive production and reception. Linking aesthetic shifts in American moving images to broader transformations in political economy, the course traces the historical transformation of screen action from the ethereal “dream factory” of pre-1960s cinema to the impact-driven “thrill ride” of the post-1970s blockbuster. In doing so, we attend to the blockbuster's technological forms and study how they have variously contributed to social, economic, and political transformations over the past 40 years. We critically engage blockbusters as "reflexive allegories" of their own technosocial processes and pleasures. Above all, we think through the blockbuster's shifting relationship to monetary abstraction and the myriad additional abstractions monetary mediation entails. Blockbusters: 2001: A Space Odyssey (Stanley Kubrick, 1968) Jaws (Steven Spielberg, 1975) Star Wars (George Lucas, 1977) RoboCop (Paul Verhoeven, 1987) Toy Story (John Lasseter, 1995) Jurassic Park (Steven Spielberg, 1993) The Matrix (Wachowskis, 1999) Avengers: Infinity War (Joe & Anthony Russo, 2018)

This Money on the Left/Superstructure teaser previews our sixth premium release from Scott Ferguson's "Neoliberal Blockbuster" course for Patreon subscribers.For access to the full lecture, subscribe to our Patreon here: https://www.patreon.com/MoLsuperstructure.  If you are interested in premium offerings but presently unable to afford a subscription, please send a direct message to @moneyontheleft or @Superstruc on Twitter & we will happily provide you with membership access.  Course DescriptionThis course examines the neoliberal Blockbuster from the 1970s to the present. It focuses, in particular, on the social significance of the blockbuster's constitutive technologies: both those made visible in narratives and the off-screen tools that drive production and reception. Linking aesthetic shifts in American moving images to broader transformations in political economy, the course traces the historical transformation of screen action from the ethereal “dream factory” of pre-1960s cinema to the impact-driven “thrill ride” of the post-1970s blockbuster. In doing so, we attend to the blockbuster's technological forms and study how they have variously contributed to social, economic, and political transformations over the past 40 years. We critically engage blockbusters as "reflexive allegories" of their own technosocial processes and pleasures. Above all, we think through the blockbuster's shifting relationship to monetary abstraction and the myriad additional abstractions monetary mediation entails.Blockbusters:2001: A Space Odyssey (Stanley Kubrick, 1968)Jaws (Steven Spielberg, 1975)Star Wars (George Lucas, 1977)RoboCop (Paul Verhoeven, 1987)Toy Story (John Lasseter, 1995)Jurassic Park (Steven Spielberg, 1993)The Matrix (Wachowskis, 1999)Avengers: Infinity War (Joe & Anthony Russo, 2018)

Have a movie recommendation?DM me on Instagram or Facebook: @themoviecommentarypodcastEmail me: themoviecommentarypodcast@yahoo.comIn the history of cinema, there are certain films that come along that seemingly define their genre. The Good, the Bad, and the Ugly for spaghetti westerns, Ben-Hur for the epics, The Shining for horror films, and so many more, but no film defined its genre better than the 1968 Science-Fiction film 2001: A Space Odyssey.The making of 2001 is almost as interesting as the movie itself. In 1964, legendary filmmaker Stanley Kubrick met best-selling science-fiction writer Arthur C. Clarke. Together, they started working on a story that was based on a previous short story that Clarke himself had written. In a very unique development process, Kubrick made the movie as Clark wrote the novel.  Not only the writing process, but the filming of the movie itself was groundbreaking as well. Specialized sets had to be designed to give the illusion of being in space. Groundbreaking camera tricks were designed to help with the illusion. The special effects were the best of the time, and still somewhat hold up even today, including a special photography trick that gave us the most famous sequence in the movie. (Kubrick won his only Oscar for the effects on 2001) The story of 2001: A Space Odyssey is honestly too convoluted to be typed out in a few short paragraphs. It spans millions of years, beginning in the pre-man era of Earth all the way to the first year of the 21st century. There's feuding man-ape tribes. There's a space station and a moon-base. There's a mission to Jupiter. There's a malfunctioning (or not) computer. There's a bunch of stars. And in the middle of all of it, a big black rectangular monolith. How is all of this connected? Tune in to find out!!Apple Podcasts:https://podcasts.apple.com/us/podcast/the-movie-commentary-podcast/id1526950957 Spotify: https://open.spotify.com/show/1RLQAkNzaWQoVBLBZITNSCYoutube: https://www.youtube.com/channel/UCRxehtzRCZ4qjfLTMDIClbw/Soundcloud: https://soundcloud.com/user-347499519hGoogle Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy8zMDExNGVmYy9wb2RjYXN0L3Jzcw?sa=X&ved=0CAIQ4aUDahcKEwjol9z975HrAhUAAAAAHQAAAAAQBQStitcher: https://www.stitcher.com/podcast/the-movie-commentary-podcastiHeart Radio: https://www.iheart.com/podcast/1248-the-movie-commentary-podc-71326635/Instagram/Facebook: @themoviecommentarypodcast

This Money on the Left/Superstructure teaser previews our fifth premium release from Scott Ferguson's "Neoliberal Blockbuster" course for Patreon subscribers.For access to the full lecture, subscribe to our Patreon here: https://www.patreon.com/MoLsuperstructure.  If you are interested in premium offerings but presently unable to afford a subscription, please send a direct message to @moneyontheleft or @Superstruc on Twitter & we will happily provide you with membership access.  Course DescriptionThis course examines the neoliberal Blockbuster from the 1970s to the present. It focuses, in particular, on the social significance of the blockbuster's constitutive technologies: both those made visible in narratives and the off-screen tools that drive production and reception. Linking aesthetic shifts in American moving images to broader transformations in political economy, the course traces the historical transformation of screen action from the ethereal “dream factory” of pre-1960s cinema to the impact-driven “thrill ride” of the post-1970s blockbuster. In doing so, we attend to the blockbuster’s technological forms and study how they have variously contributed to social, economic, and political transformations over the past 40 years. We critically engage blockbusters as "reflexive allegories" of their own technosocial processes and pleasures. Above all, we think through the blockbuster's shifting relationship to monetary abstraction and the myriad additional abstractions monetary mediation entails.Blockbusters:2001: A Space Odyssey (Stanley Kubrick, 1968)Jaws (Steven Spielberg, 1975)Star Wars (George Lucas, 1977)RoboCop (Paul Verhoeven, 1987)Toy Story (John Lasseter, 1995)Jurassic Park (Steven Spielberg, 1993)The Matrix (Wachowskis, 1999)Avengers: Infinity War (Joe & Anthony Russo, 2018)

This Money on the Left/Superstructure teaser previews our fifth premium release from Scott Ferguson's "Neoliberal Blockbuster" course for Patreon subscribers. For access to the full lecture, subscribe to our Patreon here: https://www.patreon.com/MoLsuperstructure. If you are interested in premium offerings but presently unable to afford a subscription, please send a direct message to @moneyontheleft or @Superstruc on Twitter & we will happily provide you with membership access. Course Description This course examines the neoliberal Blockbuster from the 1970s to the present. It focuses, in particular, on the social significance of the blockbuster's constitutive technologies: both those made visible in narratives and the off-screen tools that drive production and reception. Linking aesthetic shifts in American moving images to broader transformations in political economy, the course traces the historical transformation of screen action from the ethereal “dream factory” of pre-1960s cinema to the impact-driven “thrill ride” of the post-1970s blockbuster. In doing so, we attend to the blockbuster’s technological forms and study how they have variously contributed to social, economic, and political transformations over the past 40 years. We critically engage blockbusters as "reflexive allegories" of their own technosocial processes and pleasures. Above all, we think through the blockbuster's shifting relationship to monetary abstraction and the myriad additional abstractions monetary mediation entails. Blockbusters: 2001: A Space Odyssey (Stanley Kubrick, 1968) Jaws (Steven Spielberg, 1975) Star Wars (George Lucas, 1977) RoboCop (Paul Verhoeven, 1987) Toy Story (John Lasseter, 1995) Jurassic Park (Steven Spielberg, 1993) The Matrix (Wachowskis, 1999) Avengers: Infinity War (Joe & Anthony Russo, 2018)

Michael Benson works at the intersection of art and science. A writer, artist, and filmmaker, his new book, Space Odyssey: Stanley Kubrick, Arthur C. Clarke, and the Making of a Masterpiece examines the four year long production of 2001: A Space Odyssey, and was published on the 50th anniversary of that film's release. During the last... The post 32. 2001: A Space Odyssey – The Making of a Masterpiece featuring Michael Benson appeared first on 15 Minutes With Chuck - podcast.