This is my blog post on Ben Affleck as Batman and the BS involved, but from the perspective of a Superman fan hated by all.
There’s an old friend of mine, that ya’ll Social Justice bloggers on here ought to meet. His name is Professor Monroe, and he is the cis white straight male protagonist of the otherwise regressive film, Cannibal Holocaust.
Yes the animal cruelty is unforgivable. Yes the depiction of Amazon tribesmen isn’t flattering. But in the middle of this… mess… we find at the eye of the storm a figure that not only redeems this film, but possibly perceptions of what white people are capable of to amend things.
He is a social scientist so ethical he makes Indiana Jones look like a grave robbing hack. He legitimately attempts to grant the Amazon tribesmen with more dignity than the rest of this movie, and the director does, and he is the soul anchor to positive humanity this film contains. Every social science student should see it. Not even kidding. Sadly nobody will watch it, because it’s called fucking Cannibal Holocaust. Even sadder is the fact that Robert Kerman, the guy who played Professor Monroe, disowned this movie due to the animal cruelty. He said it was the worst thing he’d ever done on screen. What else has he been in. Porn, and a little film called Debbie Does Dallas.
Go watch it. I can wait. You’re welcome.
"POC can’t be in fantasy stories, they weren’t around in those areas back then. its just not accurate."
"POC aren’t in sci-fi stories because there probably won’t be a lot of them in the future yknow?"
Like white people expect to still be the majority in the future.
It’s sad that Ralph Bakshi, a white Jewish animator who’s kinda bad at writing women, still has more POC characters in his films than 99% of mainstream Hollywood cinema. Now I know they’re often drawn in a stereotypical way, nobody’s arguing he’s pre-Tumblr in every sense of the word. Yet I think “pulling a Bakshi” with putting a bunch of POC characters in your movie written by white people is still a good idea. Especially when it’s been 30 years since Heavy Traffic came out and the problematic elements of the Bakshi formula can be ironed out and made better. There is a way. I mean, I’m a white dude and I know I’m not gonna be an old man in a world where white people would be the majority, I just accepted this and sit back while the old white men that make people like me look bad ruin our reputation while I scream at them on Twitter hoping the asylum seekers of the future forgive my impotent generation for having no real power to stop these borderline despotic arsemanglers. And honestly I think the asylum seekers my Australian prime minister and his opposition leader keep tossing into a sea probably would be an improvement over what leaders we have. 2050 will come along, and the goat meat industry here’s gonna be rad. It’s probably gonna be easier to terraform the desert for farmland Halal butchers will build their fortunes on than it will be to transform Mars into a Space Gondola Planet like in that anime ARIA. We’ll get there. Especially when Australia might be a racist country but we have actual Indigenous people in our Aborigine character based movies. Beat that, Lone Ranger.
It’s this frustration where you know you should see other movies but you wish you could quit that one movie you’ve seen over and over… Heavy Traffic is that movie for me because I’m unsure whether it’s still my favourite movie but I’m worried it isn’t because I might see more movies which could be better but you have to take that risk.
Still, Heavy Traffic is the best depiction of the creative process I’ve ever seen in cinema. The grit and the honesty makes it unable to be replaced. And my frustration comes from not being able to find any other movies remotely like it, but that’s what makes it so great. I’d like it if Bakshi toned down the crude stuff a bit and just had enough grit but not too much.
I take it some of you have never seen the movie Peeping Tom, but for those who haven’t, let’s just say it depicts the entire profession of photography in a bad light.
You know how I’ve been known to be shy of taking anyone’s picture at all because they don’t want to be photographed, so I end up with a barely used DSLR camera I’m terrified to pull out in public for fear of being labeled a creeper? This movie is why my creeper label fears are entirely inflamed.
Photographers get a real shafting in horror movies. They’re depicted as creepers or perverts that stalk you and or otherwise try to murder you somehow. If I was head of the Photographer’s Guild or whoever represents the photography industry I would have sued the pants off the guy who made this for defamation of the entire profession.
I didn’t spend the last four years of college learning a Photomedia degree so horror movies could trash talk people of my skill set by labelling them as serial killers and perverts. Part of why you go to college to learn photography isn’t just the glitz and glamour of a possible fashion career, you learn the ethics and legal stuff of the trade for the exact reasons this movie, Peeping Tom makes abundantly clear. In fact street photography privacy laws are set up so this kind of shit can be avoided.
This is my face after watching Lena Dunham’s film Tiny Furniture. And I had no idea just how good her HBO show Girls was in comparison to this crap which wasn’t even sound mixed properly. I guess this is why they call mumblecore that, and also whyGirls isn’t mumblecore. BECAUSE HBO WARRANTS SUFFICIENT SOUND EDITING SO YOU CAN FUCKING HEAR THE CHARACTERS SPEAK.
To say nothing of the story. I’ve seen many bad films in my time, some of which had some moments, but when your movie is getting into Richard Hell’s Blank Generation territory, your movie is dead in the water because at least Blank Generation had a cameo from Andy Warhol. This movie on the other hand had NOTHING. I had no attachment to the characters, and the jokes weren’t funny. Lena Dunham was not ready for prime time here and the success of her new show Girls proves how far she’s come in spite of this terrible movie.
I have repeatedly made statements about my problems with HBO programming like Sex And The City and Girls being used as pop cultural propaganda and a glorified tourism ad for New York and the arts snobbery lifestyle that comes with it.
Artists of the world, in any medium, you need to up your game.
The argument that the arts cannot prosper outside of New York is hard to take seriously when one considers the massive achievements by foreign directors in the medium of film alone, Akira Kurosawa, Ozu, Alejandro Jodorowsky, Fernando Arrabal, Guillermo del Toro, Fritz Lang, Ruggero Deodato, Pasolini, Fellini, the list goes on and that’s just non-English speakers.
Literature casts an even wider net of great stories which are unfairly ignored due to their not being translated, but I assure you, in one specific case I think you’ll agree: if William Shakespeare managed to change the English language without so much as a college degree, I doubt he needs New York’s help. Your English teachers are all the publicity he needs.
And as for the poor fools who after reading my dissertation on why New York arts snobbery is overrated, especially those people in my street art lectures considering moving there after graduation… have you not read the news?
Talking to these people it’s like Hurricane Sandy never happened, they’re so naive that they’ll make it that they don’t even look up how tough it is for the underclasses in Harlem who already live there. I am aware of the Australian cultural cringe, but surely considering we have actual health care and a safety net here Sydney and Melbourne look pretty good when compared with America which is downtrodden by recession and misery.
I’m out, peace.
Watching Three Colours: Blue right now. Is it true what Cracked said about sad movies making depression easier to bear? Maybe they were right.
ME: So I was watching this John Irving video on YouTube where he was talking about whether writers should like the movies and he said “I like the movies but a good movie seems to happen by accident rather than what deserves to happen and it made me have empathy for you as a film grad guy…
HIM: I’m trying to download my game and my girlfriend will be here soon.
Videodrome isn’t just a movie, it’s a warning, in the form of James Woods where the character he plays is this huge car alarm trying to make you not become That Guy. We all know That Guy, in the sense I’m talking about That Guy, I’m bringing to light the existence of That Guy who tries to hunt down the goriest, most depraved videos you can imagine, just so he can laugh at the absurd cruelty of something like A Serbian Film or Vase De Noces which are infamous in one way or another. That Guy does this because apparently “horror films just aren’t disturbing enough” so he ends up renting Cannibal Holocaust cause he heard it’s messed up enough to make him feel something, anything at all. In the past three years I thought I’d slowly become That Guy but considering the purpose devoid of irony I have for hunting down weird art house and exploitation fare (OFLC related censorship in Australia and a general, somewhat naive interest in oddball cinema, like some like collecting weird or obscure music or comic books) - I’m not as worried about this as I used to be.