Podcasts about thom andersen

Moira and Adrian tackle the longstanding conservative fixation on the city of San Francisco, its people and its mores. From demographic anxieties, via Joan Didion's hippie-hate, to disaster movies, doom loops, and progressive prosecutors -- the history of SF-hate is a history of US politics. Books and media cited in this episode: Joseph Plaster, Kids on the Street: Queer Kinship and Religion in San Francisco's Tenderloin (2023)Susan Stryker, Victor Silverman (dirs.), Screaming Queens (2005)Thom Andersen, Los Angeles Plays Itself (2003)David Talbot, Season of the Witch: Enchantment, Terror, and Deliverance in the City of Love (2013) Joan Didion, Slouching Towards Bethlehem (1968)Eve Babitz, Eve's Hollywood (1974)Mike Davis, City of Quartz (1990)

This episode is a slight departure for this season—and we had fun with it. Rather than taking on a film directed by a blacklisted director, as usual, we're discussing a groundbreaking video essay about blacklisted directors. Thom Andersen's Red Hollywood (1996) discusses several of the directors and films we've discuss so far on the podcast. Andersen's goal in the film is to curate a list of overlooked films and demonstrate the bold themes that many of these directors were attempting to inject into some of them, much of which was later used as evidence against them in future HUAC hearings. The film features interviews with Abraham Polonsky, Ring Larnder, Jr., Paul Jarrico, and Alfred Levitt. Andersen (b. 1943) is the originator of the term "film gris," or socially conscious crime pictures from 1947 to 1952. He is perhaps most renowned for his experimental video essay Los Angeles Plays Itself (2003).    *Fact checking ourselves: —Tim implies that Kafka (yes, Kafka) is Germany, but in fact he only wrote in German. He was from Prague of course.  —Jason says that he lived in communes for 15 years, but actually it was about ten (oops).  We hope you enjoy!      

Join hosts Jason Christian, Anthony Ballas, and Tim Jones as they discuss Abraham Polonsky's debut film Force of Evil, a 1948 crime picture starring John Garfield, Beatrice Pearson, and Thomas Gomez. Force of Evil is one of thirteen movies the critic and filmmaker Thom Andersen identifies as film gris, or socially conscious crime cinema made from 1947 to 1951, during the height of the notorious House Un-American Activities hearings. In 1951, Polonsky refused to testify before his own HUAC hearing, and was subsequently blacklisted. He only directed two other films, Tell Them Willie Boy Is Here (1969) and Romance of a Horsethief (1971), and remained a committed marxist all his life. We hope you enjoy this episode!    

Heute reden wir über Städte: In der Serie Sense8 teilen Menschen in acht verschiedenen Städten der Welt ihre Gedanken und Eindrücke; im Film Los Angeles Plays Itself erfahren wir, wie sich LA in fiktiven Werken präsentiert; und im (realen) Berlin haben wir noch einen dystopisch anmutenden Betonklotz mit komplexer Vergangenheit und Gegenwart gefunden. Dann denken wir nochmal (weit) über Stadt- und Planetengrenzen hinaus und setzen unser Thema der interstellaren Reisen und Generationenschiffe fort. Kapitelchen & Tracklist 0:00:00 Candy Says – Kiss Kill CC BY-NC 0:01:01 Intro, Alltagsglitches & Genanalysen 0:10:56 Jamie Paige – People Posture Play Pretend CC BY-NC-SA 0:14:25 Sense8, Filme 0:29:38 lizzi trumbore – cicada song CC BY-NC-ND 0:32:40 Filme: Shoguns Star Wars Untertitel, Matrix 4 Revisited, Los Angeles, Wonder Woman et al 1984 0:49:42 Maize Wallin – The Clock Ticks On CC BY-NC 0:51:55 G wie Generationenschiff 1:20:03 Cara Esten (and the Rusty Sunsets) – Istanbul Fast Ferry Co (Far From Ocean Beach) CC BY-NC-SA 1:22:49 Audiorätsel 1:34:17 Yunomi – リフレクション (feat. nicamoq) CC BY-NC-SA 1:37:27 Betonklöpse II 1:54:20 Maize Wallin – Sitting At Their Window CC BY-NC 1:54:36 Zeitkapsel Shownotes Sense8 (IMDb) und Kubas 7D Personality Radar Chart Filme Shoguns Untertitel (Polygon) Los Angeles Plays Itself (Reg. Thom Andersen, IMDb) und Gone in 60 Seconds (von 1974, Trailer bei YouTube; so schlimm ist die Musik im Film nicht...) Generationenschiffe und Interstellares Unfolding the Space Between Stars: Anthropology of the Interstellar von Michael P. Oman-Reagan (via osf.io) Offener Brief: Regarding Messaging to Extraterrestrial Intelligence / METI Star Trek I, Ascension, Dune (Wikipedia) Audiorätsel: Quelle Betonklops Pallaseum ("Sozialpalast") und Hochbunker (Wikipedia), und auf berlin.de "Der Hochbunker in der Pallasstraße und seine Geschichte" (Berliner Woche) Fotografie von Boris Becker (Deeplink, kultur-port.de) Update zur Walsprache "Exploring the mysterious alphabet of sperm whales" (Nachricht auf MIT News) "Contextual and combinatorial structure in sperm whale vocalisations" (Artikel in Nature Communications)       Ist euch etwas Futuristisches im Alltag begegnet? Schickt es uns! Per Mail an fw@3c33.de oder per Mastodon-Nachricht an @fantawis@det.social. Wir besprechen eine Auswahl im Podcast. Credits & Lizenz Cover: basierend auf Robert Fludd Metaphysik und Natur- und Kunstgeschichte beider Welten, nämlich des Makro- und des Mikrokosmos, 1617; Public Domain via Wikimedia Commons Diese Folge erscheint unter CC BY-NC-SA 3.0, d.h. unsere Inhalte gerne teilen, remixen, aber uns bitte erwähnen und ja kein Geld verdienen! Musik siehe jeweilige Lizenzen.

Join hosts Jason, Anthony, and Tim as they discuss Robert Rossen's Body and Soul, a 1947 boxing film that critic Thom Andersen categorizes as film gris, or socially conscious crime cinema during the film noir years (1940s through the 1950s). Rossen testified at a HUAC hearing in 1951, pleaded the Fifth Amendment, and was blacklisted. Two years later, he testified again and this time he named 57 names and was given his career back in Hollywood. Rossen went on to direct several more features, including the celebrated pool epic The Hustler (1961) and Lilith (1964), starring Warren Beatty and Jean Seberg. We hope you enjoy!

Au sommaire de cette spéciale documentaire : Retour sur Los Angeles Plays Itself de Thom Andersen édité par Carlotta Films ainsi que Les âmes perdues de Stéphane Malterre et Garance Le Caisne disponible chez Blaq Out ; Évocation de l'ouvrage Dominique Marchais, le temps du regard signé Quentin Mével et Stratis Vouyoucas, paru chez Playlist Society ; Débat sur le métier de documentariste en compagnie d'Eric Bodoulé Sosso, réalisateur, entre autres, de Djambar, Sembène l'insoumis, et d'Olivier Fély-Biolet, metteur en scène, récemment, de Le Gars des Callouins. Bonne écoute à toutes et tous !

Join hosts Jason, Anthony, and Tim as they discuss Cy Endfield's The Sound of Fury aka Try and Get Me!, a 1950 crime film that critic Thom Andersen includes on his list of film gris movies, or socially conscious crime cinema, during the film noir years (1940s through the 1950s). Endfield was blacklisted in 1951 after his name was mentioned during the infamous House Un-American Activities Committee (HUAC) hearings. He subsequently relocated to London, where he went on to make a number of celebrated films, including Hell Drivers (1957) and Zulu (1964). In this episode we cite an essay by the Chicago critic Jonathan Rosenbaum that is included in his excellent 1997 book Movies as Politics. We hope you enjoy!

L.A. After Midnight: Dan Gilroy's Nightcrawler Finishing December and starting 2024. (Sorry, we're a bit late getting this one out.) A continuation and closing out of Ibrahim Chavez's Los Angeles. We've talked James Ellroy, Charles Bukowski, Thom Andersen, and Paul Schrader's Los Angeles. This week we filter the darkest, most cynical, and bleakest impressions of Los Angeles through the tabloid and exploitative lens of television news in Dan Gilroy's 2014 Nightcrawler. Featuring a powerful and disturbing performance from Jake Gyllenhaal, Nightcrawler is one of the great films of the 2010s. Take a listen as Mr. Chavez and I re-visit this film, looking at the role of news reporting in today's world and the power of the image in captivating, intriguing, and frightening audiences. Take a listen and let us know what you think. We can be reached at gondoramos@yahoo.com.  As always, we continue to look to you good and loyal listeners for support. If you have listened and enjoyed our bantering over these nearly eight years please feel free to support us with a monetary contribution. We're not asking for a whole lot. Whatever you can give is appreciated. The holidays are coming an we could use the help. Stop being cheap bastards and give what you can. Follow the link below to contribute.  Our Continued Thanks. https://www.buymeacoffee.com/watchrickramos  

  Join hosts Jason, Anthony, and Tim as they discuss Joseph Losey's 1950 crime film The Lawless, an underseen and somewhat uneven example of what the filmmaker and critic Thom Andersen calls film gris, or socially conscious crime cinema during the film noir years (1940s through the 1950s). Losey was blacklisted in 1952, after his name was mentioned during the infamous House Un-American Activities Committee (HUAC) hearings. He subsequently relocated to London, where he had a second (and admittedly more artistically accomplished) life as a film director, collaborating, mostly notably, with the Nobel Prize–winning playwright and screenwriter, Harold Pinter.    

At Night and From a Distance: Thom Andersen's Los Angeles Plays Itself We're starting the month of December (and ending 2023) with a dive into Los Angeles in a month of programming curated by our own Ibrahim Chavez. Our first episode of December is a look at film critic and teacher, Thom Andersen's "video essay" Los Angeles Plays Itself (2003). A legend in the world of documentary filmmaking, Andersen's film was seen sporadically in screenings set up by Andersen, showings at the American Cinematheque in Los Angeles (Hollywood), and filesharings through film lovers. In 2014 the film film was finally released on DVD through Cinema Guild and can also be seen (for free) on YouTube.  Examining the city of Los Angeles in three distinctive categories (Background/Character/Subject), Andersen's film is a love letter to the city and cinema itself. Questions are asked and Answers are forwarded. Take a listen and see if you agree with our thoughts on this wonderfully entertaining look at one of the world's great cities. You can reach us at gondoramos@yahoo.com to give us your thoughts. As always, we continue to look to you good and loyal listeners for support. If you have listened and enjoyed our bantering over these nearly eight years please feel free to support us with a monetary contribution. We're not asking for a whole lot. Whatever you can give is appreciated. The holidays are coming an we could use the help. Stop being cheap bastards and give what you can. Follow the link below to contribute.  Our Continued Thanks. https://www.buymeacoffee.com/watchrickramos 

C'était inespéré, le fantastique documentaire Los Angeles plays itself est enfin disponible en haute définition et de façon légale grâce à Carlotta. Composé quasi intégralement d'extraits de films préexistants (et pas du tout sur le cyclimse) Thom Andersen y interroge la façon dont sa ville, Los Angeles, a été représentée au Cinéma.Une problématique (parmi d'autres) assez lâchement contournée par Gareth Edwards qui atomise nucléairement Los Angeles dès le début de The Creator, histoire de ne pas avoir à se positionner sur la question.A vos agendas !Vendredi 13/10, 19h30, bar/restaurant du TNB, blind test amoureusement concocté par nos soins !Dimanche 15/10, 20h15, Le Film du Dimanche Soir: Guet-Apens de Sam Peckinpah

C'était inespéré, le fantastique documentaire Los Angeles plays itself est enfin disponible en haute définition et de façon légale grâce à Carlotta. Composé quasi intégralement d'extraits de films préexistants (et pas du tout sur le cyclimse) Thom Andersen y interroge la façon dont sa ville, Los Angeles, a été représentée au Cinéma.Une problématique (parmi d'autres) assez lâchement contournée par Gareth Edwards qui atomise nucléairement Los Angeles dès le début de The Creator, histoire de ne pas avoir à se positionner sur la question.A vos agendas !Vendredi 13/10, 19h30, bar/restaurant du TNB, blind test amoureusement concocté par nos soins !Dimanche 15/10, 20h15, Le Film du Dimanche Soir: Guet-Apens de Sam Peckinpah  

C'était inespéré, le fantastique documentaire Los Angeles plays itself est enfin disponible en haute définition et de façon légale grâce à Carlotta. Composé quasi intégralement d'extraits de films préexistants (et pas du tout sur le cyclimse) Thom Andersen y interroge la façon dont sa ville, Los Angeles, a été représentée au Cinéma.Une problématique (parmi d'autres) assez lâchement contournée par Gareth Edwards qui atomise nucléairement Los Angeles dès le début de The Creator, histoire de ne pas avoir à se positionner sur la question.A vos agendas !Vendredi 13/10, 19h30, bar/restaurant du TNB, blind test amoureusement concocté par nos soins !Dimanche 15/10, 20h15, Le Film du Dimanche Soir: Guet-Apens de Sam Peckinpah  

durée : 00:58:27 - Los Angeles au cinéma (1/2) : Les mystères d'une ville - par : Thierry Jousse - À l'occasion de la sortie en Blu-ray du film essai "Los Angeles Plays Itself" de Thom Andersen, Ciné Tempo explore les liens musicaux entre Los Angeles et le cinéma. Voici une première ballade dans la ville des mystères.

On this episode of Cyberpunk Summer, we're welcoming special guest, writer, critic, and podcaster Inkoo Kang to talk about Blade Runner, Ridley Scott's 1982 film adaptation of Philip K. Dick's 1968 novel Do Androids Dream of Electric Sheep? Set in the dystopian Los Angeles of 2019, Harrison Ford plays a cop hunting down bio-engineered androids known as replicants, who have returned to Earth from the space colonies where they were sent to work as slave labor.Note: Enjoy this episode of the podcast as a video at patreon.com/femfreq or on Youtube here: https://youtu.be/OBZNlKhygx8Time Stamps:46:19 - What's your Freq Out?Inkoo on the Peacock series Angelyne and the Starz series P-ValleyAnita on the novella The Empress of Salt and Fortune by Nghi VoKat on Thom Andersen's 2003 video essay Los Angeles Plays ItselfLinks Mentioned:Inkoo's Criterion Collection essay on Parasite: https://www.criterion.com/current/posts/7158-parasite-notes-from-the-undergroundKat's Freq Out, Los Angeles Plays Itself: https://vimeo.com/ondemand/losangelesplaysitselfFREQ Show episode about Blade Runner - https://www.youtube.com/watch?v=HYRsDi4fGOANicole He's cyberpunk, yelling-at-computer-game, ENHANCE.COMPUTER - https://nicole.pizza/enhance-homeFind Inkoo:https://twitter.com/inkookangat the Washington Post - https://t.co/Rxm1rf972bAll About Almódovar podcast - https://podcasts.apple.com/us/podcast/all-about-almod%C3%B3var/id1533092827All About Campion podcast - https://podcasts.apple.com/us/podcast/all-about-campion/id1589998212Find Us:Join our PatreonOur WebsiteSubscribe to FFR on Apple PodcastsSubscribe to our Star Trek PodcastTwitterInstagramtwitch.tv/femfreq (every Thursday at 6:30pm PT)

In 2021 Daniel Clarkson Fisher inaugurated an online Tumblr site with the goal of documenting instances of actual libraries appearing in film (https://costarringyourlocallibrary.tumblr.com). Inspired by Thom Andersen's Los Angeles Plays Itself (2004), it is a mix of public scholarship, architectural appreciation, and audiovisual essayism. Show notes at: https://sowhat.fims.uwo.ca/3-3-co-starring-your-local-library/

This episode kicks off our mini-series on Los Angeles in film. We start with the ultimate doc about Los Angeles representation, ‘Los Angeles Plays Itself.' And joining us this week to talk about LA in film is the fabulous film critic Carlos Aguilar. The gang discusses their own relationship with the city they live in, the city of angels. Plus, they cover which films most accurately represent the city. And, as always, we've got ‘Staff Picks.'Go to Soylent.com/maxfilm and use code MAXFILM to get 20% OFF your first order.Staff Picks:Alonso – Postcards from the EdgeDrea – No Sudden MoveCarlos – SummertimeWith Alonso Duralde, Drea Clark, and Carlos Aguilar

Vera Brunner-Sung is a filmmaker who uses experimental, documentary, and narrative techniques to explore the relationship between place and identity. Vera's documentary short film, Character, premiered at the 2020 Sundance Film Festival. The child of immigrants from Korea and Switzerland, Vera grew up in Ann Arbor, Michigan. Early on, her intercultural, mixed-race experience created a fluid sense of belonging that informs her work. After undergraduate work in public policy and visual art at Brown University, she moved to California to study film with Thom Andersen, Rebecca Baron, James Benning, and Betzy Bromberg at CalArts. Vera’s films, videos, and photographs have been presented at festivals, museums, and galleries in the U.S. and abroad, including Sundance, the Torino Film Festival, CPH:DOX, Leeum Samsung Museum of Art, MoMA PS1, San Francisco International Film Festival, Ann Arbor Film Festival, and Images Festival. Her first feature, Bella Vista, had its world premiere at the International Film Festival Rotterdam in 2014, and went on to win her the George C. Lin Emerging Filmmaker Award at the 15th San Diego Asian Film Festival. She is a 2015 Fellow with the Center for Asian American Media and a 2020 Sundance FilmTwo Fellow. In addition to making films, Vera is a writer and educator. Her essays, reviews, and reports have appeared in print and online publications including Sight & Sound, Cinema Scope, and Millennium Film Journal. Her chapter on the representation of site-specific art in contemporary documentary film appears in Documenting the Visual Arts (ed. Roger Hallas, Routledge, 2019). She has taught at the University of California, San Diego, and the University of Montana, and is currently an assistant professor at The Ohio State University. This episode was recorded in partnership with the Big Sky Documentary Film Festival. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/americanfilmmaker/support

What were you doing in 2007? Mike Ott was starting his first teaching job as a film professor at a community college in Southern California. There he meets a bafflingly confident 18 year old Leigh Harkrider, who thinks his student film, “Enslavence” is going to send him to stardom. What feels like a fictional sitcom is filled with unforgettable characters and youthful hubris, but there is some redemption for Leigh. Kid Icarus is like a spiritual sequel to American Movie for the MySpace generation. You can watch it on Amazon Prime and Kanopy.Mike Ott studied under Thom Andersen at Cal Arts where he received his MFA degree in Film/Video. His latest film, California Dreams (2017), premiered at Berlin Critics Week and in the US at SXSW. Mike's films have won numerous awards including, an Audience Award at AFI Fest, a Gotham Award and an Independent Spirit Award. Mike lives part time between Los Angeles and Berlin with his wife Isolda Dychauk.Follow Mike Ott on:Instagram: @ott_mikeFollow Sup Doc on:Twitter: @supdocpodcastInstagram: @supdocpodcastFacebook: @supdocpodcastsign up for our mailing listYou can support Sup Doc on Patreon.

This is the very first episode of 2019. In this episode, two Melbourne based artists: Ka-yin Kwok and Walter Bakowski shared their memorable art experiences obtained during the time towards the end of last year 2018.  Ka-Yin talked about her art trip to LA, USA that she did in November 2018. In particular, Ka-yin discovered amazing works in the exhibition "Adrian Piper: Concepts and Intuitions  1965-2016" at Hammer Museum, UCLA. Whereas, Walter, told us about their experience of participating in MCA Art Bar event during Primavera exhibition. Walter raised concerns about this particular politically charged entertaining event. Please enjoy to listen. Speakers:Walter Bakowskihttps://www.walterbakowski.comKa-yin Kwokhttp://kayinkwok.comThe links from Ka-Yin’s talk:Los Angeles plays itself, by Thom Andersenhttps://www.youtube.com/watch?v=Ifii8LvR-sshttps://www.imdb.com/title/tt0379357/LACMAhttps://www.lacma.orgGetty Museum http://www.getty.eduThe Broad https://www.thebroad.orgHauser & Wirthhttps://www.hauserwirth.comEcho parkChris Kraus Essay http://semiotexte.com/?page_id=139Hammer Museum, UCLAhttps://hammer.ucla.edu/exhibitions/2018/adrian-piper-concepts-and-intuitions-1965-2016/Adrian Piper: Concepts and Intuitions, 1965-2016Cornered, 1988https://mcachicago.org/Collection/Items/1988/Adrian-Piper-Cornered-1988Calling cardshttps://adrianpiper.weebly.com/my-calling-card-1986-1990.htmlFunk Lessons 1986-1994http://www.adrianpiper.com/vs/video_fl.shtmlThe Links from Walter’s talkPrimavera 2018 MCAhttps://www.mca.com.au/artists-works/exhibitions/primavera-2018/Hoda Afsharhttps://www.hodaafshar.com

Slow Writing: Thom Andersen on Cinema (Visible Press) Slow Writing is a collection of articles by Thom Andersen that reflect on the avant-garde, Hollywood feature films, and contemporary cinema. His critiques of artists and filmmakers as diverse as Yasujirō Ozu, Nicholas Ray, Andy Warhol, and Christian Marclay locate their work within the broader spheres of popular culture, politics, history, architecture, and the urban landscape. The city of Los Angeles and its relationship to film is a recurrent theme. These writings, which span a period of five decades, demonstrate Andersen’s social consciousness, humour and his genuine appreciation of cinema in its many forms. Thom Andersen’s films include the celebrated documentary essays Eadweard Muybridge, Zoopraxographer (1975), Red Hollywood (1996), Los Angeles Plays Itself (2003), and The Thoughts That Once We Had (2015). Of the thirty-four texts included in the book, six are hitherto unpublished; others have been revised or appear in different versions to those previously available. Praise for Slow Writing “There are few writers and few filmmakers who make me rethink what cinema is more than Thom Andersen. Sometimes this is a matter of introducing fresh perspectives, such as making cinema and architecture more mutually interactive. It’s always a political matter of figuring out just who and where we are, and why.”----- Jonathan Rosenbaum “In his disarmingly plainspoken introduction, Thom Andersen more or less apologizes for not becoming a film critic, and for not delivering a manifesto. Slow Writing shows us just how terrific a critic he hasn’t (mostly) bothered to be. This book belongs on a very small and special shelf of the most incisive and ungrandiose books by artists.”----- Jonathan Lethem Thom Andersen has lived in Los Angeles for most of his life. His knowledge of and enthusiasm for the city has deeply informed his work, not least his widely praised study of its representation in movies, Los Angeles Plays Itself (2003), which was voted one of the 50 Best Documentaries of All Time in a Sight & Sound critics’ poll. Andersen made his first short films and entered into the city’s film scene as a student of USC and UCLA in the 1960s. His hour-long documentary Eadweard Muybridge, Zoopraxographer (1974) was realised under an AFI scholarship and has lately been restored by the UCLA Film and Television Archive. His research into the victims of the Hollywood Blacklist, done in collaboration with film theorist Noël Burch, produced the video essay Red Hollywood (1996) and book Les Communistes de Hollywood: Autre chose que des martyrs (1994). Andersen’s recent films include Reconversão (2012) on the work of Portuguese architect Eduardo Souto de Moura, and The Thoughts That Once We Had (2015), a personal history of cinema loosely inspired by Gilles Deleuze. A published writer since 1966, Andersen has contributed to journals such as Film Comment, Artforum, Sight and Sound and Cinema Scope. He has taught at the California Institute of the Arts since 1987, and was previously on faculty at SUNY Buffalo and Ohio State University. Also a respected film curator, he has acted as programmer for Los Angeles Filmforum and curated thematic retrospectives for the Viennale. Slow Writing: Thom Andersen on Cinema is the first collection of his essays.  Tosh Berman is a writer and poet.  His two books are Sparks-Tastic (Rare Bird) and a book of poems, The Plum in Mr. Blum's Pudding (Penny-Ante Editions).  He is also the publisher and editor of his press, TamTam Books, which published the works of Boris Vian, Serge Gainsbourg, Guy Debord, Jacques Mesrine, Ron Mael & Russell Mael (Sparks) Gilles Verlant, and Lun*na Menoh. 

Episódio especial! Chico Fireman, Michel Simões e Tiago Faria recebem convidados especiais, Aaron Cutler e Mariana Shellard são os curadores da mostra "Hollywood e além: O cinema investigativo de Thom Andersen" (40:13) e visitam a varanda para falar do documentarista americano. Mas antes, eles participam também do papo sobre Procurando Dory (3:12) e um raio-x completo de todas as animações da Pixar (19:00), incluindo um top 5 desse trio varandeiro. Bom Podcast!

Mike and Sean check-in with a first look at some of the films they've been seeing at this year's Vancouver International Film Festival. Discussed in this episode are new movies from star auteurs Guy Maddin, Thom Andersen, and Miguel Gomes, as well as ones from up-and-coming directors such as Lee Kwangkuk, Luo Li, Kim Gwangtae and Philip Yung.

Una película sobre películas. O más bien una película sobre la imagen que las películas proyectan de una ciudad. La ciudad más fotografiada del mundo es a la vez la menos fotogénica, dice su autor, lo que es el resultado de procesos político-económicos como la desindustrialización de Los Angeles, y también de rol de comodín como escenario de cualquier cosa, un ciudad que borra su rostro para convertirse en cualquier otra cosa. Los mitos urbanos, la relación con la arquitectura moderna, la vida de las minorías, la degradación de los espacios y servicios públicos, son algunos de los temas que mencionamos y desarrollamos en el podcast.

Colin Marshall sits down in Los Feliz with artist, filmmaker, and writer William E. Jones. They discuss what one learns by viewing a city through the prism of its gay porn; how Los Angeles gives away the least of itself in that form as in others; home he introduced Fred Halsted's "gay porn masterpiece" L.A. Plays Itself to Los Angeles Plays Itself maker Thom Andersen, and how the movie helped fund Chantal Akerman's first projects; Selma Avenue, once the "hustler central" of Los Angeles; the city as he came to know it in the movies before he came to know it in real life; the Los Angeles tendency to identify with specific neighborhoods; how truly coming to know the city somehow requires both driving and not driving; what made he and Thom Andersen decide to make a "useful" book of their conversations; his examination of the nonsexual elements of the gay porn, and the other work that got him a reputation for a time as "the porn guy"; his resolution not to create around any obvious unifying concept; why Morrissey's robust Latino fandom confounds people, and how it ties into Los Angeles' long strain of musical Anglophilia; the similarities between the industrial decay of northern England and the forlorn provinciality of Southern California suburbs; how city centers, to an extent excepting Los Angeles', have fallen to "fabulous wealth and enormous corporate power"; the way places never turn out quite as intended here, and what it means for civic pride, the force that begins a city's slide into decadence; what kind of a town Los Angeles has become for experimental film; the city's ability, now at stake, to nurture "something like a bohemia," which Glasgow has done where London hasn't; and what traces of Fred Halsted's Los Angeles survive today.

Colin Marshall sits down in Silver Lake with Thom Andersen, professor at the California Institute of the Arts' School of Film/Video and director of films including Red Hollywood, the new Reconversion, and the well-known documentary Los Angeles Plays Itself, on the truth and falsity of the city's representation in motion pictures. They discuss The Fast and the Furious shooting on his street; the end of the current era of impressive car chases crafted by Nicolas Winding Refn and Quentin Tarantino; H.B. Halicki's original Gone in 60 Seconds, and the importance of its literalism regarding greater Los Angeles' South Bay; how rarely mainstream cinematic interest looks beyond white people of "immodest means," and what the films that do go beyond them achieve (such as the creation of detective films that actually involve detecting); Killer of Sheep, Boyz n the Hood, and the differences between garden-variety "gang movies" and those that truthfully deal with survival; the questions to do with the black population, bank bailouts, and the destruction of the working class he believes movies could address but rarely do; how much more interesting reality is than our imaginations, which by now have long since filled up with junk; Los Angeles as a representational battleground, and the way filmmakers have an alibi here not to do important work; the native's lack of advantage in understanding this city, and the outsider's advantage in making it strange again, as seen in Zabriskie Point, The Outside Man, Model Shop, and Point Blank; the changes in Los Angeles, how they vanish in comparison to the changes in major Asian cities, and how they have for the most part taken place among the people rather than in the infrastructure; the racism of Crash versus the naïveté of Falling Down; his continuing fascination with the Los Angeles wherein people struggle to make a living; and what fillms and books can to do change minds, given that they so often make minds in the first place.