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In time travel begin responsibilities Absent Fathers

Timecrimes (2007, Nacho Vigalondo)

This is a strange movie literature. I like both major influences: Robert Louis Stevenson and Alfredo Bioy Casares. The Invention of Morel stevensoniana was already a novel, but his poetic brilliance, its final image rarely found an author concerned with the nature of dreams. Several loans appear to me that the film has implied, including Robert A. Heinlein and Philip K. Dick, the latter known in depth by its director and screenwriter, but surprisingly the film side in question.

Where the film remains intact is phenomenal wealth as an aesthetic experience. Vigalondo use the camera in hand, dry flat for pain, but s and confirmed as narrator solvent and, above all, as a particularly gifted director to return to their expressive language without too much emphasis.

A very interesting to discuss this film is the anxiety of influence. We have already spoken of his literary models, but should be understood that Vigalondo, with an interesting film writing developed in his blog, is an anxiety of influence who speaks little and I suspect he knows a lot.: Martin Scorsese. Scorsese seems to me not only a great filmmaker, but ever more bizarre, a legitimate theory. Visibly, the film can from Rear Window and Body Double, but I want to dwell on that timeline, finally, when we take the philosophical or ethical considerations involving each, the work of a moralist (Hitchcock ) and a mild cynical (DePalma).

Scorsese is an important power in the work of Vigalondo. I could cite movies surely have influenced his work: The King of Comedy (1981) and After Hours (1984) would be two of the most important, no doubt. But more interesting is emblematic Taxi Driver (1976), a film still problem.

Vigalondo suspect is far from being a moralist, probably because I consider it pertinent to note his duel with Scorsese, who, unlike the more idealistic DePalma (its beauty and ugliness are not only ideal but ends Baroque , absolute spread their worlds or their images), is faced with the reality with some violence neorealist a shock that the director did not want to lose and, as Scorsese, is a responsibility that is born, precisely, the voyeur, the look. DePalma is a formalist, and I write this as a compliment, because his poetry is made of sensory memory and extreme film buff, but Scorsese has made his opposition cinema experience. There are many examples in his films, many in Goodfellas (1990), it suffices to compare the seductive sequence shot that proposes a change of narrator with the violent and paranoid cokehead climax of the film. It might be argued that the story requires such large oppositions, but suffice to see the fateful story DePalma (Carlito's Way ) to see how visible the difference between theoretical and formalistic.

Turning then to the line of Rear Window, it seems now quite clear that Hitchcock was, unquestionably, a great moralist, is Stewart's eyes to what ultimately , points and accuses. DePalma was also a cynical light: presenting a trauma of repression is through simulation that the protagonist than through the assumption another self who is busy becoming a monster and Hurd perfect crime. The cure of the protagonist of Body Double passes a seductive idea, worthy of Jean Baudrillard, based on misunderstanding, something that is not cause for mild farce but cynicism with optimism at the end.

It is true that the film Timecrimes more pessimistic of the author in so far that tells the brutal and sudden desire, delicate building itself and the sudden change in this. Although these indicators do not think Vigalondo is a conservative (and when I say r conservardo who I mean does not believe in the ability to change the human being), perhaps the resigned tone that takes his monster at the last moment in its history. This resignation is also self-awareness, especially in the memorable farewell object of desire and the haircut, interesting both for the notion of romance as counterfeiting involved. Counterfeiting puts him in the scale of Hitchcock and DePalma and turn it apart from both. But the consciousness of a monster of his act, their transfer of values, its moral and its gestation gesture of assurance, in the memorable end of the film leave many questions in the air.

Perhaps as will the world after that discovery, as will the marriage after such crimes, or as the police succeeded in interpreting the facts. It is a disturbing image, of course. Vigalondo not Dostoevsky and this did not imply anything other than the weather center to unveil moral characters that are compelling for their brutal paradoxes. Hector change, but in the end, is a version a bit more bruised and disturbing the boring man of principle. They knew Albert Camus and George Steiner, both with regard to Kafka, but the power of disturbing and often generate images on the brink of madness, if generally correspond to the best fiction somehow seeking philosophizing.

And this does.

**

This film picks up where the previous work, the short Shock . Not a detail to chance. As I see it, C Hoque is a formal exercise near mint condition. In Shock , detected Roberto's brutal intelligence Alcover Oti a dip in the generic codes of action-adventure film and a tribute to western in duels. I agree.

Oti also aims Alcover Vigalondo the film contains a very elaborate speech on the failure of contemporary male, which I think is strictly true because, with the exception perhaps of three science fiction stories, most of bulk of his work (including Marisa and 7.35) is about a manhood in a conflict almost autistic with his own desire and their respective relationships.

The final plane crash is a humbled man. But above all, a man humbled by all the reasons he is unable to perceive. Not so much by the failure of his delusional defense of women, but because of who leads. It is a formidable detail.

***

should recover appointments Eugenio Trias on Vertigo. But there is an equally interesting piece in Literature and Evil by Georges Bataille, in particular superlative analysis of Wuthering Heights by Emily Brontë:

"Eroticism is, I think I, ratification of life even in death. Sexuality involves death, not only because newcomers extend and replace the missing, but because sexuality is at stake the life of being played. Cloning is disappearing, and people disappear simpler asexual reproduction. Do not die, if death means the passing from life to decay, but that was at play, stop being one who was (as it is double). Individual death is only one aspect of the excess be proliferator. Sexual reproduction is not, assume time, more than one aspect, the more complicated, the immortality of life that came into play in the reproduction asexual: immortality, but at the same time, individual death. "

The Hector is a childless marriage and therefore boring. Jordi Costa pointed that "the foundation of all happiness in marriage (or family) are based on the tomb of an erotic fantasy that had to be destroyed." Is an accurate description and bright, but that would make the film in a purely pessimistic view.

This lack of interest, this captivating reenactment of vulgarity subject to a protection against the storm serves to expand the man who led the Shock and passing from a liability (and tedious) family man a real man Protector recommended not look back. Vigalondo commits the audacity to turn to the only moral reference for the film, a scientist played by himself in an awkward reactor of events in a child player of an invention that overcomes. That's why the film does not revolve around a doomed humanity but on a dark, hidden behind a yawn when there is another, awkward, flawed and unreliable. Or maybe they are just men.

Required Reading:
- Review Ruben Lardín.

- Criticism Robert Alcover Oti.

- Review Jordi Costa.

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I came back from Gijón, closing days with a little less than memorable (and noting wonderful hyperbole.: School and La Petite Claudine are better talkers than writers). You can read the chronicle Alberto Olmos and see some photos Laura Rosal.

The title of the post is also my first book. Sale in Alpha Mini, small library, light and deep kind of editorial Alpha Decay. Here have information on this ensayito dedicated to connecting the work of Millar, Lethem and Chabon and tell you some things about superheroes and families on the brink of destruction.

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The book has been wonderful excuse to reports, but what they reported today is the Interstellar Meeting bloggers Gijon with incomparable titanazos list. Here are here route and the opportunity to see the event in glorious streaming.

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Gijón Focopalooza

The Focopalooza is a unique event, organized by / about Focoforo, but open to anyone who has wanted to party with good people taking cases and usually show up here linked most often by a matter of affinity or admiration. I have not been, and may envy rise to stratospheric levels as they arise the first reviews, but I promised that the next will be there first. And you? Do not have wanted to see a crazy mix of Ultrashow with a pass-party Crank? Nuns Do Come and lectures on comics and games with the verb John Tones , the head of the whole shebang (well, almost), and Noel Ceballos ?

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JD Salinger (1919-2010)

(Originally published in No 316 Chimaera )

In Six Degrees of Separation, a play written in 1989 and famed for its cinematic translation of 1993, John Guare put into the mouth of Paul, the scammer that connects the lives of its characters, a memorable reflection on The Catcher in the Rye strung through most lunatic readers: namely, from an anonymous teacher who ended up committing suicide from by Mark David Chapman, the murderer of John Lennon (another fan of the book, by the way), to the assassin John Hinkley. For Guare / Paul the great message is Death of Imagination, represented in a time when the imagination is an act of tourism and surprise rather than an introspective look. The character says that all tracks are and the great feeling that the book conveys the paralysis

system exemplifies how well Holden Caulfield, his rebellious protagonist who embarks on a journey downhill. The inability to see and understand the Other. Starting with oneself.

Jerome David Salinger was born in 1919 and Caulfield, his most iconic, and appeared to star in a story published in the New Yorker in 1941. Its overwhelming success Salinger became the figure of someone becoming increasingly elusive, which reached its peak in 1963 following the publication of his latest book (two nouvelles together) that took him into silence, only interrupted by an interview (short and sullen and ) in 1971.

Many things can be discussed in the literature,

starting with the same Catcher in the Rye.: Its chronic psychological block of Caulfield is evidently lower than the side of The Tin Drum Günter Grass, much more complete and gives relevance to factors specific to the highly sophisticated psychological delusion of its protagonist, creating an unreliable narrator, but also a series of echoes that leak from the verbal repetitions (and echoes) to the distribution of images. Salinger hit full in the voice of its narrator, not with the latter's capacity to suggest their bad grades deep. Proof of this virtue is that Caulfield clear to the reader that his story will have nothing to do with David Copperfield ("And All That Crap") and so on Salinger narrator begins a kind of current and vulgar lie when we touch, "that continue most successful and sophisticated writers of his generation like John Cheever, Saul Bellow and John Updike, all paid to his impact. But since then, the realistic narrator, preferably teen or child, paralyzed is common in literary works, from the pain of Safran Foer Extremely Loud and Incredibly close to the narrator marking Haruki Murakami Norwegian Wood, Kafka on the shore or South of the Border, West of the Sun through the Mark Haddon's The Curious Incident of the Dog at midnight.

Therefore, his most striking is the more experimental and chaotic: the Glass family that appears in their stories and their nouvelles and the reader is in charge of rebuilding their own way. The image, unforgettable, idyllic front of the beach hotels that broke with the brutal and sudden suicide of Seymour Glass in excellent A Perfect Day for Banana plez were only the beginning of a family by the extreme sensitivity maracas, Manhattan and strangers spiritual discoveries absolutely life-changing.

is in those works where there is more mystery and variety of narrators, including stages, in which a singular narrative and genealogical puzzle is reconstructed by a reader who attends a narrative marked by trivial details Traditionalists, at the Fitzgerald (not coincidentally The Great Gatsby is the favorite book of Holden Caulfield), in which the characters end up overflowing soul. What is undoubtedly a literary triumph whose shadow influences our musicians of today and the melancholy pop songs encrypted Belle & Sebastian, and filmmakers such as dysfunctional families Wes Anderson all defined on the basis of details and even baptized from salingerianos characters like Boo Boo Tannenbaum Glass who gave his name (and model) to The Royal Tenenbaums.

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The office, the writer, his friends, etc. Champions

( Originally published in Book Notes )

Marchette Chute. Shakespeare and his time Translation Ullán Maria Dolores Raich. Ed Young, 1960

This column will only allow pedantry modest quote Shakespeare without any translation mediate to save bilingual editions. For the rest, I reviewed and read the two versions of Marchette Chute, the original and an old copy, now found in libraries, which reissue is a must. The translation of Ullán is perhaps too old-fashioned, still only fluent in key, grammarians, but using a vocabulary sometimes too pompous, sometimes even wrong. Regarding Chute, all references listed at the beginning of the book, which can be a problematic decision for the picky reader who want to address the sources directly. Work the author refers to "occupy more than text and defines the creative process as" a kind of mosaic, built with small details that only make sense when juxtaposed with each other. " In his colossal

, somewhat repetitive (it's an extension, between forced and inspired great trial and round The Western Canon) and sometimes great Shakespeare: The Invention of the Human , Harold Bloom spends much exposing test academic readings from cultural studies bent to discredit the English playwright. Constant suspicion of Shakespeare, speaking Eloy Fernandez Porta in this entervista with Antonio J. Rodriguez in recalling that "our views on them would seem absurd to past masters. So Moratín regarded Shakespeare as a writer second, and this reflected the views widespread cultural establishment of his day, that is, the Enlightened, for whom the author of Titus Andronicus was a exaltao and tacky. " In another sense, James Wood speaks author's English as a dissonant element precisely backbone to any purely materialist version of the case.

You start reading the book with echoes and predictions of talent. Are fascinating anomalies corresponding to the story of his father, John Shakespeare was an illiterate man (a rarity in his position as chamberlain) very gifted. Already in this short story, which includes a description of your company as a synthesis, a stimulus to the imaginative reader. Also in the early fascination with the Bard by Ovid and Chaucer : there is a complement to reading this biography based on literary reading of all these data. This procedure was speculative and Joycean novel is brilliant and Nothing like the sun of Anthony Burgess (whose biography deserves further comment other than synthetic) the most blatant and interesting example of how the reader fills in the gaps with the works of life authors.

But for the reader, the most exciting of the meteoric career of a man who was a child, who was enthusiastic reader and actor who was a brutal time requirements for these as the Elizabethan theater, is in the idea, brilliantly discussed, that Shakespeare was not literature at the time. It is the idea that forces us to read the works before their contexts, rather than mere result of the biography and context. What helps us understand Chute is that at the time, Ben Jonson the most prominent contemporary of Shakespeare, was a pedant and edit your worry Complete Works and that this achievement was for, in general, poets full time. Shakespeare did not worry about it too turned in their work as it was. Also the role of editor: the risky adventure of John Heminges and Henry Condell for editing the complete works of Shakespeare in 1619, and died with him in a time that Johnson had, in fact, achieved fame thanks to better his insistence, at first ridiculed, falling well cultural circles. Chute

suggests that Prospero, one of the great protagonists of The Tempest could be the playwright. It is a simple and beautiful images that close his biography. The genesis brings the origin of the story is compelling, speaking from a shipwreck in Bermuda become popular urban legend in 1610, for Shakespeare, the world (History of the happy faced with uncertainties, alive and full street of words in his essay has an inspired Centennial George Steiner) was an opportunity on which to build his work. To confirm the image of a Shakespeare scholar and retired in his late work, we el discurso inicial de Próspero:

To have no screen between this part he play’d
And him he play’d it for, he needs will be
Absolute Milan. Me, poor man, my library
Was dukedom large enough: of temporal royalties
He thinks me now incapable; confederates—
So dry he was for sway—wi’ the King of Naples
To give him annual tribute, do him homage,
Subject his coronet to his crown and bend
The dukedom yet unbow’d—alas, poor Milan!—
To most ignoble stooping.

La otra imagen que proporciona el libro es la del misterio, por supuesto, de los Sonetos de Shakespeare, todavía without chronology, still a win. Even his poems dated, as the narrative, still contains verses that are read as comments on how small Shakespeare read the classics. For example, The Rape of Lucrece (1594)

In Ajax and Ulysses, or What Might pyshiognomy Of Art
behold one

Or as his biography is filtered, as in Sonnet 23 :

As an unperfect actor on the stage,
Who with His fear is put Beside historical part,
Or Some fierce thing replete with too much rage,
Whose strength's abundancia weakens His own heart;

The book does not resolve these doubts, or other more famous grateful dealing with rigor (the death of Hamnet , the only son of the playwright, is treated from the neatness rather than from speculation, started by, among others, Samuel Taylor Coleridge ), but verifies some scams in his final chapter, such as Edmund Malone . Before foreshadow a man destined for posterity, which draws Chute slope is an artist of his time and his audience and given to get to know their world. What is, obviously, a triumph.

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Born July 4 (the Fourth Born of July, 1989, Oliver Stone)

Oliver Stone is your grammar.: crane shots and impossible to divine eye, long sequence shots that enhance the grandiloquent in his background, color games to illustrate the blood-and-the-pain past or possible, the assembly as a weapon. His speech is devilish and endless rhetoric, alarmist and hyper-expressive, even imaginative power. There are movies that seem born to Stone's controversial, but always playful. Murderers have their Natos , whose criticism I always thought was wrong and had been very interesting to focus on the portrayal of violence and his speech and having obtained a reading comparison to the Funny Games Michael Haneke. Another controversy is the glorious and oppressive JFK. But his fame comes thanks to his interest in making a chronicler of the United States in at least two fronts: politics and war. His own experience was the seed of Platoon (1986) and materials used to complete your perception of others in this film and The heaven and earth.

This film is a great rendition of Tom Cruise as Ron Kovic, a veteran author of the book in which it is based and co-writer of the film. Kovic's story is of a paralyzed soldier returning from Vietnam and embarking on a path to peace activism. Also of a man with problems of conscience whose experience in Vietnam left him as the murderer of a fellow and horrified by the killing of innocent peasants in one operation. Cruise starts a very interesting way: from all-american girl obsessed with war disillusioned adult, aging and suffering in the eyes of the beholder. As if the film itself seems designed to highlight the virtues of Cruise as an archetype and as a star and then carefully dismantled, this looks like a movie designed to make your talent shine and makes a great level. But the interest of the development of a personality draws near Kovic cartoon: a soldier Virgin, oppressed by a castrating mother whose fury underlines Stone the evil eye, returning crippled and therefore ineligible to sex, whose commitment to the cause increases as you discover decorative accessory for the government, engaged in cutting costs to the hopsital and leaving veteran conveniently relocated to the protagonist. But Stone is his rhetoric and even tap the kitsch here several times, breaking molds, dares to show a hilarious bout of lame and the failure of Kovic draw in their encounter with a Mexican prostitute. And there's a good idea behind this simplification: an American of conscience should be free of attributes, to stop being a man, a genuine hero, while his first official story is that of a noble fighter.

However, there is the movie that Stone discovered something new about the Vietnam conflict. War is dirty and cruel, but the best of the topics covered in this film is dealing with the man and his possible (im) powers.

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American Kitsch, oe, oe, oe

The last article of Armond White on film criticism offers nothing new. In their rhetoric, I guess well learned from Pauline Kael, add charges, quite intense and quite serious about the current situation. White can be fun, but his tendency to sensationalism and essentially dual thinking that seems to cry all the time their status as moral authority, disguised arguments learned more or less Frankfurt School and some studies of the media, do not disguise his usual boring Protestant and beyond the self-importance (the critic, of the mainstream, of anything).

However, it is true that cinema is about to debate and dangerously beyond sports. In sports are often won or lost, and the debate comes down to this: to handle wins and losses, to convert that into a moral state. It is rather childish and there lies its charm, but also the setbacks that often produce and tender difficulty for the management period in perspective. One of the most perplexing things about movies is the view constant use of stars, notes and thin rhetoric all complexity to shout from the rooftops something more visceral. Not so much a debate as an attachment and, as in football, is based on using the state of each team to claim a series of values. It's exhausting and dialectic. But it also reduces the movies, and any art, not a possibility to discuss in depth about our approaches to the movies, but a ridiculous competition.

I think it's certainly taking sides and I think a discussion is worthwhile when you learn interesting approaches to a work, even if they are negative. But it would be fun to see this flock of opinions, often prioritize American cinema more or less mainstream over any other production, acting decades as that of fifty or seventy. The fifties were probably the best decade for American cinema and it would be fun to see how a child's rhetoric could reduce the most unlikely successes. The fifties gave a glorious production of fabrics, also great contributions made in the studio system and is little more than endless for any film buff, but this seems an impossible abstraction or a poetic delirium in the hands of movie lovers Champions League as sinister: there can only be a winner and, at most, a list of awesome movie to fit on a top ten.

the country the other day surprised me with an article especially badass. Signed by Gregory came Belinchón, often publish interviews and reports (provided decent, some notable ) in the newspaper, and this tone was so strikingly characteristic of other contexts or sites. Though fans of Nolan have all my skepticism, I think on Inception lecture worth the time and although I appreciate it more like a blockbuster as something distinctly odd that a visionary, which is not even remotely. As a piece of humor, I can understand the tone of the article, but discuss many of the notions implicit (being the more worrisome considering the Godfather as summa has reached Hollywood in artistic fields.)

A very interesting article about online film criticism is that Paul Brunick published in Film Comment in two parts (Part 1 / Part 2). But, of course, there is tremendous trials. Also in that issue is critical a great social network (2010, David Fincher) signed by Scott Foundas. But it is a criticism devoted to explaining the roundness of a trial by a perception, quite cultured and iconoclast of American culture. There is no victory for anyone.

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Buried ( Buried , 2010, Rodrigo Cortés)

should be credited to the great Rodrigo Cortés with at least two daring unexpected: first, to create a fable pre-economic crisis demiurges / supervillains absolutely visionary call Contestant (2007) and the second is to look at the script by Chris Sparling something like an authorial discourse.

This film is a virtuoso exercise set in a scenario in which the battle of Ryan Reynolds with thousands of voices becomes dead clever thriller with humor and love that intensify set to its most horrific, but also a kind of interesting comments on what the media called collateral damage (glorious euphemism for casualties): absolute distance from the socio-political climate, the ineffectiveness of security forces, unsentimental despair by the villain, a company that treats him as a significant economic loss and possible murder resolve bureaucratic and legal terms a conviction unmoved, and so on. Cortes seems to trust all the tools of his film and editing work is incredibly effective, quick cuts for the moments of shock, for crossings dream and others.

VICTIMS Placing the foreground, a prodigious Ryan Reynolds, many of these effects may be minor, but just think of the sadness of its end and the admirable fact that Cortés reinvents the cinema show with an address does not seem to stop about an imaginative planning and that seems to bring a vibrant account of anxiety and dangerous times of the minimum scenario reconstruction.: it is true that Hitchcock, one of the possible formal models of this thriller by the September piece of Tarantino in Kill Bill vol. 2 (2004) or Castaway (2000), was always a moralist's busiest human being while Cortes seems determined to make us notice the boundless connotations of a system doomed to entropy and impotence. The glorious dead end subject to the viewer to the lies of a world that neither he nor his character come to understand. Any glimmer of understanding may mean a fatal surprise, spurious.

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BURRUBÚ. One night of madness

One year (plus) then retake the Badil of Glamour. Why? Because yes, that drop crap the world do not need a reason for those who make you exclaim "yes!".
At this time they have spent a thousand and one things, good, bad, regular and more abundant, which ni-fu-ni-fa-it-all-the-hand . All do not fit into a post and besides, who wants to know what has already happened? Suffice it to say that we loved and left several men, that we have the odd particular kind of "practical romance ORNIS" to each other with better and worse students, who still love art and music and men what remedy!, who, though poor, we still have the glamor that characterizes us and we have coined a new term: BURRUBÚ.

And what is burrubú you may ask? When you say something you do not like ... Bu . When something you do not like anything you say ... Buuuuu . For when something is so terrible, he can put a smile, that's burrubú . When you try to flirt with you "that." Burrubú. The bride "sympathetic" to your sister. Burrubú. Getting a coffee cake with a friend, but then passes you by pipe. Burrubú. The vase has been your friend Pilarín in the head to go out. Burrubú. Have been disconnected for so long. Besides unforgivable ... BURRUBÚ.

I missed chic @ s!

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The cardinal spoke in Sanskrit ... Civic

In the wonderful blog

Secretum meum mihi find this Exqusite perlite, consisting of a report to Cardinal Dario Castrillon Hoyos, prefect of the Congregation for the Clergy and the Ecclesia Dei Commission . Cardinal exposes

laps of any kind without the problem of alleged "pedophile priests", stating that the cases reported are minimal compared to the 410,000 ordered that exist throughout the world also makes it clear that, despite pretend to be the common language Castilian interviewer and interviewee, the understanding seems somewhat remote and impossible. And incidentally, suggests that most reported cases are false ...

We would not seem burdensome, indeed, the sleepy passage of time since our last entry seems to exempt us from this fully, but this smear campaign to discredit the Church and her Divine Founder , his Vicar and his Mystical Body, is announced in several news that take you about 2,000 years old to catostante CNN.