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Lost “Masterwork” Found: Thomas White’s Who’s Crazy? (1966)

Friday, April 15th, 2016

A lost “beat” classic has been found and restored, featuring an epic soundtrack by Ornette Coleman.

As Peter Monaghan writes in Moving Image Archive News, “thanks to an overdue search of the filmmaker’s garage, a rarity from the experimental film ferment of the 1960s was just screened for the first time in almost 50 years, at Anthology Film Archives in New York. With that, Who’s Crazy?, in a restoration by Anthology’s John Klacsmann and distribution by Grand Motel Films, has reemerged as an emblem of its age.

In 1965, Thomas White, then a 33-year-old American living a bohemian life in Montparnasse, made the 73-minute feature in Heist-sur-Mer, Belgium, with a set of collaborators-of-the-moment. Those included members of New York’s Living Theater, playing a bus load of residents of an asylum for the insane, and a soundtrack by the jazz icon Ornette Coleman, who even recorded a cut for the film with singer Marianne Faithfull, then in her late teens and already embarked on a life course whose mayhem the inmates might have recognized.

The rediscovery of the film has made a splash, not only because, as Richard Brody put it in The New Yorker, in article entitled “A Lost Masterwork is Found,” the film “bursts the bonds of movie logic to unleash the primal ecstasy of the cinema,” but also because of its place in the history of truly independent filmmaking of that time.

It has, for instance, links to Shirley Clarke’s recently revived 1962 portrayal The Connection, which was made from a play mounted by Living Theater co-founders Judith Malina and Julian Beck . . . Who’s Crazy had been missing for decades, listed as lost by the Library of Congress.” And when the Library of Congress says that a film is lost, that’s usually the case. But here, we got lucky. Hopefully, as Brody notes in his essay, linked above, a DVD will soon be forthcoming.

Readers of this blog know that I hold a special place in my heart for such deeply personal works, made in an era before money was ruling factor in nearly all forms of social interaction, and what Brody referred to as “the primal ecstasy of the cinema” dominated filmmaking, which was then cheap, and within the range of nearly everyone- just pick up a camera and shoot.

At the same time, the standard rules of “three act narrative,” or any form of narrative for that matter, clearly went out the window, and what was valued above all was spontaneity, authenticity, and capturing the moment, rather than CGI ridden spectacles in which every movement is defined by green screen technology. Not everything has to be planned out in advance; in fact, sometimes nothing needs to be planned at all. Sometimes, if you get an enormously talented group of people together and give them free reign, the results can be remarkable.

Writing in The New York Times, Jim Hoberman agrees, noting that “an anarchic rave with a wacky new-wave flavor, “Who’s Crazy?” opens on a bus that breaks down in the middle of nowhere. The passengers are psychiatric patients who, eluding their keepers, take refuge in a deserted building, haphazardly creating a new society complete with rituals that include a trial and a wedding.

Mr. White, reached by phone this month at his home in Connecticut, said 10 hours of film were shot over 10 or 12 days. The scenario was based on the actors’ improvisation. ‘Nobody told them what to do,’ he said.

Left to their own devices, the performers engage in breathing exercises, dress up in funny hats, play instruments, mill around, stage group hugs, make a mess, cook food, play with candles, stare into one another’s eyes, break into primal screams and declaim poetry in beatnik rants that might have been recorded at an open mike at Cafe Wha? The polyrhythmic cascade of honks and squawks produced by Mr. Coleman, abetted by his sidemen — the bassist David Izenzon and the drummer Charles Moffett — imbue these activities with tremendous energy.”

Watch the trailer for the film by clicking here, or on the image above.

Bruce Baillie Finally Gets A Retrospective

Sunday, April 3rd, 2016

Bruce Baillie is one of the greatest, and yet least known, of all American filmmakers.

As Manohla Dargis writes in The New York Times, “one of the most perfect films that I’ve ever seen runs a total of three minutes. Shot in 1966, Bruce Baillie’s All My Life opens on a pan of an old picket fence framed by the blue sky above and a stretch of summer-brown grass below. On the soundtrack, you can hear the crackle and hiss of an old record that’s soon filled with the sounds of Ella Fitzgerald singing ‘All My Life’ in a 1936 session with the pianist Teddy Wilson.

In many respects, the image is perfectly ordinary, the kind that you chance on if you’re driving along, say, a California road, as Mr. Baillie was when he popped out of a car, seized by inspiration. Yet, as the camera continues to float left and Fitzgerald begins singing (‘All my life/I’ve been waiting for you’), something magical — call it cinema — happens in the middle of the first verse. As the words ‘my wonderful one/I’ve begun’ warm the soundtrack, a splash of red flowers on the fence suddenly appears, as if the film itself were offering you a garland.

Of course it’s Mr. Baillie, now 84, who, with artistry and sensitivity — to color, nature and a camera movement that unwinds like a scroll — found the precise moment to join that song with those flowers, a union that illuminates the sublime in the everyday. The film’s genesis, Mr. Baillie told the writer Scott MacDonald in 1989, was that Fitzgerald recording and ‘the quality of the light for three summer days’ on a stretch of Northern California coast. After days of admiring the light’s beauty, Mr. Baillie said he decided, ‘No, I cannot turn my back on this!’ By the final day, he had begun immortalizing that light with a camera, a roll of outdated Ansco film stock and a tripod.

You can watch All My Life and other Baillie films online, but don’t. If you really want to see that masterwork the way it was meant to be experienced, you should watch it in the partial retrospective of his work that begins Saturday, April 9 at the Film Society of Lincoln Center. Organized by Garbiñe Ortega, this traveling five-program series, All My Life: The Films of Bruce Baillie, includes 14 of his films dating from 1961 through 1977, as well as 13 short titles by contemporaries like Stan Brakhage, Robert Nelson and Chick Strand. In New York, the Baillie screenings, which begin April 9, are part of a larger Film Society documentary series, Art of the Real.”

Baillie has been patiently working on these films for years, and almost studiously avoided the limelight; in addition to the films that Ms. Dargis mentions, I would add several of my own favorites – Quixote (1965), Quick Billy (1968-1969), Have You Thought of Talking to The Director? (1962), Mass for the Dakota Sioux (1964), and A Hurrah for Soldiers (1963), one of the most effective and elegiac short films ever made, which Baillie describes as being “dedicated to Albert Verbrugghe, whose wife was killed in Katana by U. N. soldiers.”

Baillie’s films are simply “essential cinema” in every sense of that oft-used phrase, and the chance to see his work in a gallery setting should not be passed up, if you can possibly attend these screenings. As Baillie said of his film work, “there were ages of faith, when men made natural connections between themselves and the place in which they lived, the plants they cultivated, the fuel they used for warmth, their beasts, and their ancestors. My work will be discovering in American life those natural and ancient contacts through the art of cinema!”

Bruce Baillie – an authentic, and undervalued, poet of the cinema.

Nollywood Cinema Explodes – 2,500 Films Produced Annually

Saturday, February 20th, 2016

Director Bond Emeruwa and crew shoot a scene for a film shot in Nigeria.

As Norimitsu Onishi reports in The New York Times, “the stories told by Nigeria’s booming film industry, known as Nollywood, have emerged as a cultural phenomenon across Africa, the vanguard of the country’s growing influence across the continent in music, comedy, fashion and even religion.

Nigeria, Africa’s most populous nation, overtook its rival, South Africa, as the continent’s largest economy two years ago, thanks in part to the film industry’s explosive growth. Nollywood — a term I helped coin with a 2002 article when Nigeria’s movies were just starting to gain popularity outside the country — is an expression of boundless Nigerian entrepreneurialism and the nation’s self-perception as the natural leader of Africa, the one destined to speak on the continent’s behalf.

“The Nigerian movies are very, very popular in Tanzania, and, culturally, they’ve affected a lot of people,” said Songa wa Songa, a Tanzanian journalist. ‘A lot of people now speak with a Nigerian accent here very well thanks to Nollywood. Nigerians have succeeded through Nollywood to export who they are, their culture, their lifestyle, everything.’

Nollywood generates about 2,500 movies a year, making it the second-biggest producer after Bollywood in India, and its films have displaced American, Indian and Chinese ones on the televisions that are ubiquitous in bars, hair salons, airport lounges and homes across Africa.

The industry employs a million people — second only to farming — in Nigeria, pumping $600 million annually into the national economy, according to a 2014 report by the United States International Trade Commission. In 2002, it made 400 movies and $45 million.”

Nollywood films are now available online in the United States via YouTube and other sources. For authentic African filmmaking made with local talent and eschewing million dollar budgets, as opposed to what makes the rounds at festivals but never really reaches the African populace, Nollywood films are a real reflection of African culture, and an ever-expanding industry with a worldwide impact. Having passed India in film production output, Nollywood is poised to explode worldwide. Now, let’s have some real distribution in the United States, OK?

Nollywood cinema is the cinema of the future – inexpensive, personal, and genuine.

David Bowie 1947-2016

Monday, January 11th, 2016

One the world’s most influential pop /music / film/ performance artists has died at the age of 69.

As Jon Pareles wrote in The New York Times, “David Bowie, the infinitely changeable, fiercely forward-looking songwriter who taught generations of musicians about the power of drama, images and personas, died on Sunday, two days after his 69th birthday. Mr. Bowie’s death was confirmed by his publicist, Steve Martin, on Monday morning.

He died after an 18-month battle with cancer, according to a statement on Mr. Bowie’s social-media accounts. ‘David Bowie died peacefully today surrounded by his family,’ a post on his Facebook page read. His last album, Blackstar [produced by Bowie's long time associate Tony Visconti] a collaboration with a jazz quintet that was typically enigmatic and exploratory, was released on Friday — on his birthday . . . He had also collaborated on an Off Broadway musical, Lazarus, that was a surreal sequel to his definitive 1976 film role, The Man Who Fell to Earth.

Mr. Bowie wrote songs, above all, about being an outsider: an alien, a misfit, a sexual adventurer, a faraway astronaut. His music was always a mutable blend: rock, cabaret, jazz and what he called ‘plastic soul,’ but it was suffused with genuine soul. He also captured the drama and longing of everyday life, enough to give him No. 1 pop hits like Let’s Dance . . .

Mr. Bowie earned admiration and emulation across the musical spectrum — from rockers, balladeers, punks, hip-hop acts, creators of pop spectacles and even classical composers like Philip Glass, who based two symphonies on Mr. Bowie’s albums Low and Heroes. Mr. Bowie’s constantly morphing persona was a touchstone for performers like Madonna and Lady Gaga; his determination to stay contemporary introduced his fans to Philadelphia funk, Japanese fashion, German electronica and drum-and-bass dance music.”

David Bowie crossed nearly every boundary in popular culture and art, appearing in films, creating a multitude of characters such as Ziggy Stardust and The Thin White Duke, and then abandoning them when they were no longer of interest. Bowie was also much underrated as a singer, and in this era of auto-tuning, it’s interesting to listen to this isolated vocal track for the song Under Pressure, in which Bowie belts out the lyrics to the song with both skill and passion.

Bowie also has a surprisingly long and effective film career, appearing in a wide variety of films, from Labyrinth, The Man Who Fell to Earth, The Prestige (in which he played the equally visionary Nikola Tesla) the biopic Basquiat, as well as The Hunger, The Last Temptation of Christ, and David Lynch’s Twin Peaks: Fire Walk with Me. In all these films, the persona he projected was very much like his stage presence; distant, but absolutely in the moment, whatever that moment might be.

Two years ago, the BBC produced an excellent documentary on one of Bowie’s most creative periods, Five Years, and as columnist Paul Morley observed in The Telegraph, Bowie “was the human equivalent of a Google search, a portal through which you could step into an amazing, very different wider world – if he mentioned in an interview, or referenced in his work, someone like Andy Warhol, Jean Cocteau, Antonin Artaud or Marcel Duchamp, I would immediately want to find out what he was talking about.

He flooded plain everyday reality with extraordinary, unexpected information, processing the details through a buoyant, mobile mind, and made intellectual discovery seem incredibly glamorous. He helped create in my own mind a need to discover ways of making sense of both the universe and the self by seeking out the different, the difficult and the daring.”

David Bowie – one of the art world’s major figures – now no longer with us.

Why Women Are Underrepresented in Hollywood

Thursday, December 31st, 2015

Director Lois Weber, a true cinema pioneer, directing in Hollywood in 1916.

Critic Manohla Dargis zeroes in on why women are so poorly represented in Hollywood today, even more so than in the past. Notes Dargis, “The movie industry is failing women. And until the industry starts making serious changes, nothing is going to change . . . American commercial cinema has long been dominated by men, but I don’t think there has ever been another time when women have been as underrepresented on screen as they are now.

The biggest problem isn’t genuinely independent cinema, where lower budgets mean more opportunities for women in front of and behind the camera. The problem is the six major studios that dominate the box office, the entertainment chatter and the popular imagination. Their refusal to hire more female directors is immoral, maybe illegal, and has helped create and sustain a representational ghetto for women.”

What will it take to break the logjam?

Manohla Dargis – “The Best Advice for Movie Lovers”

Wednesday, December 9th, 2015

Thanks to Manohla Dargis of The New York Times for this mention.

The quote comes from an interview I gave to Peter Monaghan of Moving Image Archive News back in August on my new book Black and White Cinema: A Short History, in which I said that “if you go on Amazon and you see some great black-and-white film, and it’s going for $3, or any kind of foreign or obscure film, buy it, because it’s going out of print, and they’re not going to put them back into print. With VHS, everything came out, everything. And then they looked at what sold, and what didn’t sell didn’t make the jump to DVDs.

There were thousands of films, tens of thousands of films, that were on VHS and never made the jump to DVD. Important films. Now that we’re going to Blu-ray, lots of films aren’t making that jump. And then there’s electronic sell-through. If you download something, you’re not going to put it on your computer because it takes up too much space, so you’re going to have to put it up on ‘the cloud,’ and then you’re going to have to pay to store what you ostensibly own.”

And it’s true – if you see a valuable DVD listed for a low price, grab it. It isn’t coming back.

“The Power of Pictures: Early Soviet Photography, Early Soviet Film”

Sunday, September 27th, 2015

A frame blowup from Mikhail Kalatozov’s Salt for Svanetia (1930), now screening at the Jewish Museum.

Here’s a great review by Holland Cotter of The New York Times of a new show at the Jewish Museum in New York City.  As Cotter writes, in part: “Revolutions sell utopias; that’s their job. Art, if it behaves itself and sticks to the right script, can be an important part of the promotional package. This is the basic tale told by ‘The Power of Pictures: Early Soviet Photography, Early Soviet Film’ at the Jewish Museum, but with a question added: What happens to art and its makers when the script is drastically revised?

In the years following the 1917 revolution, Russia was a social and political experiment in progress, and a wild, risky one. It had a stake in emphasizing its brand-newness, its difference from the rest of the world. Its young government made every effort to promote the idea that it was creating a liberated, radical Now to set against a repressive, conservative Then.

In this heady atmosphere, avant-garde art, chance-taking by definition, was officially embraced as a natural complement to progressive politics. Photography and film, modern forms as yet untainted by history, were considered particularly suitable for molding life in the present. And both had inventive practitioners.

Already, by the mid-1920s, Sergei Eisenstein, a Red Army veteran, was memorializing the revolution in movies. Utopia-minded painters like El Lissitzky and Alexander Rodchenko were proposing alternative modes of seeing by bringing abstraction into photography . . .

Like photography, film in this period was ideologically constrained but conceptually advanced. The symphonic brilliance of Eisenstein’s 1925 Battleship Potemkin and his 1927 October, or Ten Days That Shook the World transcends the official approved narratives. Mikhail Kalatozov’s far less familiar Salt for Svanetia from 1930, a quasi-ethnographic film shot in the remote Caucasus, is enchantingly strange even with its tacked-on Soviets-come-to-the-rescue ending.

Remarkably, the show presents these films complete, along with nine other beauties in a small, comfortable viewing theater built into one of the Jewish Museum’s galleries. They are all screened back-to-back, four a day, with a few, including Grigory Kozintsev’s fascinatingly operatic 1926 adaptation of Gogol’s The Overcoat, repeated twice in the rotation.”

If you’re in Manhattan, check it out – some beautiful and little known work here.

Uncle John (2015)

Sunday, September 20th, 2015

Steven Piet, John Ashton and Erik Crary on the set of Uncle John.

As the film’s publicity materials succinctly note, “small town bully turned born again Christian, Dutch, has gone missing. Well-regarded member of the community, John, is not a suspect, but has everything to do with it. Dutch’s younger brother, Danny, has his own theory about the disappearance and it centers on John.

Meanwhile, John’s nephew, Ben, arrives in town with his new girlfriend Kate just as John finds himself confronted with threats from Danny.” And that’s just the beginning of one of the most beguiling and mesmeric films in recent memory, made by two young men in sixteen days on an absolutely minimal budget. But as David Lynch noted on his Twitter feed, “check out @UncleJohnMovie – it caught me up and held me for days!”

As Neil Genzlinger noted in a rave review in The New York Times, “the simmering mystery Uncle John is so subtle, so exquisitely paced and so determined not to go in any of the obvious directions that it’s hard to believe the film is Steven Piet’s first feature. Piet, who with Erik Crary also wrote the script, sketches some memorable characters while keeping his two-pronged story sparse, ominous and deliciously ambiguous.

John Ashton is just right as the inscrutable title character, an older fellow in a rural town where an unlikable man named Dutch has gone missing. Shortly before his disappearance, Dutch apparently found Jesus, and he had been visiting various townspeople, confessing to misdeeds and such. Dutch and John’s sister were an item long ago, but something murky happened to the sister, and perhaps now something murky has happened to Dutch.

While all of this is being slowly revealed, many miles away in Chicago a young man named Ben is becoming smitten with a new co-worker, Kate. Alex Moffat and Jenna Lyng are very watchable as this might-become-a-couple, but what do they have to do with the goings-on out in the country? Turns out Ben has a beloved uncle who raised him, a man by the name of John. And when the two young flirters head his way for an impromptu visit, all secrets will be revealed. Or will they? It’s tantalizing, sublimely creepy stuff that keeps you guessing even after the credits roll.”

Added Frank Scheck in The Hollywood Reporter, Uncle John’s “other virtue is reintroducing John Ashton to the screen in his first major role in decades. The character actor, memorable for his sardonic comic turns in Midnight Run and the Beverly Hills Cops movies, delivers an understated but career-defining performance as the title character.

Seen disposing of a body in the film’s opening moments, John is an unassuming widower who looks like he wouldn’t hurt a fly. Whether engaging in small town gossip with his buddies at the coffee shop or politely ignoring the flirtations of one of his carpentry clients, he maintains a low-key demeanor that is only betrayed by the quiet intensity of his gaze . . .

The film is an impressive dual calling card for its tyro director who keeps the tension at a simmering boil throughout both genres. And the late-career performance by the veteran Ashton (sans his usual mustache) is a revelation. The now 67-year-old actor has been steadily employed over the years, but he’s rarely had a role as good as this one and it’s a pleasure to watch him run away with it.”

You can also read an excellent interview with the director and screenwriter in Indiewire, in which Piet and Crary note that “throughout the process, we tried very hard to keep from becoming precious about the whole project. Not that its easy — trying to get a micro-budget film together is all-encompassing because it requires your non-stop attention and a willingness to ask for endless favors.

However, keeping that framed inside the fact that the rest of the world is also doing its own thing was incredibly helpful. Without proper money, way more no’s than yes’s came in. But, by keeping things reasonable and honest, the yes’s we got were for the right reasons.

In terms of production specifically, micro-budget on this one meant there would be no room for indulgence, ego or indecision because it was all going to be over in 16 days anyway. By doing what we could in extensive prep to set that up for success, and by trying to maintain a collaborative, healthy vibe on set because you are all there making a movie together, the whole experience was the most difficult but satisfying thing attempted to date. For us, the goal now will just be respecting those lessons and trying to grow from it all as the next project gets set up.”

There’s one other person who really deserves mention here – cinematographer Mike Bove. Bove’s clean, CinemaScope-ish visuals, shot with an Alexa digital camera, really bring the film to life, and take full advantage of natural light and the sparse settings of the film, which was shot on location in Wisconsin, and briefly, in Chicago.

It seems that Piet and Crary had three different levels of budgeting to work with – the dream budget, the “B” level budget, and the bare bones budget, and what happened in the end is that they mostly used the “C” schedule, shooting only what they needed. And that’s good – it’s perfect the way it is.

This is a dazzling debut film - check out the trailer here.

The 4 Adventures of Reinette and Mirabelle

Saturday, September 12th, 2015

The 4 Adventures of Reinette and Mirabelle is a minor but enchanting Eric Rohmer film . . .

. . . and it’s too bad there won’t be any more, as even the slightest of Rohmer’s film is a tonic in the oversaturated, hyper-edited CGI world of the present, harking back to a time when humanistic concerns, were more important than the latest mobile gadget. As Aaron Goldberg wrote of the film when it first appeared in the web journal Senses of Cinema, “while not highly regarded (by some) in the expansive Rohmer canon, The 4 Adventures of Reinette and Mirabelle stands as one of Rohmer’s most playful, if not hilarious features.

Filmed quickly on 16mm while Rohmer was waiting to get decent sunset shots for his sublime Le Rayon vert (1986), The 4 Adventures of Reinette and Mirabelle features mainly non-professional actors who improvised most of the witty and frank dialogue . . .  Rohmer’s old-school (cinematic) ‘new wave’ chops are working in full effect here. From the shaky vérité camerawork, to long discussions about morality and art, his romantic heart is working in cruise control, delivering a film that ably stands it’s own ground.”

Added Caryn James in The New York Times, “as if making a joke about the famous talkiness of his films, Eric Rohmer’s latest work begins and ends with silence – or at least the idea of silence. In the first of the connected episodes in Four Adventures of Reinette and Mirabelle, the voluble Reinette treasures silence so much she wakes her friend Mirabelle before dawn to hear ‘the blue hour,’ which is not an hour but a second, not a sound but a brief silence between darkness and light, when the night birds stop singing and the day birds have not yet begun.

Four Adventures is more conspicuously comic, more overtly ethical, more pointed in its action than most of his recent works . . . Part of Rohmer’s genius, of course, is that he keeps creating such lives – ordinary and rarefied at once, almost but not quite beyond our grasp. No one actually lives in the world of a Rohmer film, where the name of a specific television show or rock star never mars a character’s timeless dialogue, where his characters’ heightened sense of everyday life seems absolutely adventurous.

But the deep lure of his work is the suggestion that it is possible to be as articulate or as witty or even as extravagantly morose as a Rohmer character, to stumble across those undramatic moments of perfect grace on some beach or in some meadow.”

Indeed, while the film may appear to be slight, it is in fact a resonant and uplifting work; it just seems effortless, but then again, when you’re a genius, you can knock films out like this in your sleep. But the saddest part about The 4 Adventures of Reinette and Mirabelle is that it isn’t available on DVD; there’s so much junk trolling about the web, but here’s a sublime and joyful film that really deserves a DVD release. But there is a VHS release, and since I still have a VHS player for such emergencies, I ordered one of the last copies available – used – on Amazon for about $10. You should do the same.

Every Eric Rohmer film is worth seeing, and this is one of his most playful, and joyful films.

Simon Denny – All You Need Is Data

Saturday, May 30th, 2015

Artist Simon Denny nails the darker side of the headlong rush to digital – the loss of humanity.

In his new show at MoMA PS1, which originally appeared in an earlier version Germany in 2012, artist Simon Denny critiques the culture of endless data, acquisition, and money as the ultimate value in an impressive installation entitled “The Innovator’s Dilemma,” based on the concept that “All You Need Is Data,” an obvious and ironic spin on the Beatles’ oft-repeated, if somewhat simplistic mantra, “All You Need Is Love.”

As the museum notes of the exhibition, “Denny’s work often refers to the psychology and abstract language of the new media economy, invoking ‘clouds’ of big data and the constant pressure to ‘update’ our lives. He typically finds the sources for his work within the materials, advertising, and packaging produced by technology and media companies, and often deploys graphic interfaces borrowed from commercial display to highlight connections between the utopian goals of the new media economy and those of historical modernism.”

Ken Johnson reviewed the show for The New York Times, observing that “in a recent column for The New York Times, the economist Paul Krugman argued that the benefits of the digital technology revolution of the past four decades have been greatly overestimated. The new technologies, he suggested, might be ‘more fun than fundamental.’ Worse, euphoric media chatter about how they’re changing the world for the better ‘acts as a distraction from more mundane issues,’ like putting people to work in usefully productive jobs.

In a similar vein, ‘The Innovator’s Dilemma,’ a hyperactive multimedia extravaganza by the Berlin-based artist Simon Denny at MoMA PS 1, takes down such irrational exuberance about technology and does it with sardonic verve. Along the way, it indirectly damns the high-end art market’s own inflationary mania. If Mr. Denny doesn’t get to the bottom of what’s causing the sociopathology infecting both industries, his show is certainly a rousing conversation starter . . .

To contemporary art followers, Mr. Denny’s strategies of satirical appropriation and parodic simulation might not appear particularly novel. Those who keep up with business journalism might find little of it especially newsworthy. Nevertheless, the combination of form and content makes for a persuasive protest against soulless capitalism.

In his catalog essay, Peter Eleey, PS 1’s chief curator and the show’s organizer, notes the obvious parallel of the tech industry’s drive to innovate to the contemporary art world’s hunger for the new and to today’s billionaire-inflated art market, with its proliferating fairs and private museums. It’s not an exact parallel: Old art may rise or fall in market value, but it usually doesn’t become worthless the way obsolete electronic devices do. But you get the idea.

In any case, there’s a deeper level of insight that Mr. Denny doesn’t quite crystallize, which has to do less with new technology than with money and how money disrupts and corrupts non-monetary values. As the title character of Shakespeare’s Timon of Athens, on discovering buried gold, put it, ‘Thus much of this will make black white, foul fair/Wrong right, base noble, old young, coward valiant.’

What happens in a society and culture where money becomes the measure of all things and technological innovation becomes just a way to make more money faster?”

More is less, and more wants more – I’d add another quote from Psalm 39.6 in the King James Bible, “Surely every man walketh in a vain shew: surely they are disquieted in vain: he heapeth up riches, and knoweth not who shall gather them.”

I’d say that this more than applies here – what’s the point of this endless acquisition, numbering of word patterns, the endless roll out of time wasting video games, the non-stop proliferation of useless apps and devices that separate us more and more from each other, plunging us into a wilderness of supposed “tech innovation?”

I’m with Simon Denny – I’ve seen the future, and it doesn’t work – for humans.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions.

In The National News

Wheeler Winston Dixon has been quoted by Fast Company, The New Yorker, The New York Times, the BBC, CNN, The Christian Science Monitor, US News and World Report, The Boston Globe, Entertainment Weekly, The Los Angeles Times, NPR, The PBS Newshour, USA Today and other national media outlets on digital cinema, film and related topics - see the UNL newsroom at http://news.unl.edu/news-releases/1/ for more details.

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