aries1988 + movie   198

Barry Lyndon - Soundtrack (1975) - YouTube
1. Sarabande Main Title (Georg Friedrich Handel) (0:00)
2. Women of Ireland (Sean O'Riada) (2:40)
3. Piper's Maggot Jig (Traditional) (6:53)
4. The Sea Maidens (Traditional) (8:37)
5. Tin Whistles (Sean O'Riada) (10:44)
6. British Grenadiers, Fife and Drums (Traditional) (14:28)
7. Hohenfriederberger March (Frederick the Great) (16:43)
8. Liliburlero, Fife and Drums (Traditional) (18:00)
9. Women of Ireland, Harp (Traditional) (19:08)
10. March from Idomeno (Wolfgang Amadeus Mozart) (20:04)
11. Sarabande Duel (Georg Friedrich Handel) (21:37)
12. Lilliburlero (Traditional) (24:52)
13. German Dance No.1 In C-Major (Franz Schubert) (25:47)
14. Sarabande Duel (Georg Friedrich Handel) (28:05)
15. The Cavatina from Il Barbiere Di Saviglia, Film Adaptation (Giovanni Paisiello) (28:56)
16. Cello Concerto E-Minor, Third Movement (Antonio Vivaldi) (33:28)
17. Adagio from Concerto for Two Harpsichords And Orchestra in C-Minor (Johann Sebastian Bach) (37:21)
18. Piano Trio in E-Flat, Film Adaptation of the Opus 100 2nd Movement (Franz Schubert) (42:38)
19. Sarabande End Titles (Goerg Friedrich Handel) (46:56)
music  movie  18C 
february 2019 by aries1988
The Painful Price of Becoming Jackie Chan

The transfer was symbolically completed in 1999’s The Matrix, when Keanu Reeves, having downloaded a fighting program to his brain, opens his eyes and reverently whispers, I know kung fu.
kungfu  actor  movie  icon  hongkong  growup  bio  book  critic  pain  success  story  from instapaper
january 2019 by aries1988
一席 | 万象 建筑史话

rome  italia  architecture  movie  podcast  learn  artefact  course 
december 2018 by aries1988
How to Watch “Crazy Rich Asians” Like an Asian-American | The New Yorker
Jiayang Fan writes about the film “Crazy Rich Asians,” directed by Jon M. Chu, starring Henry Golding and Constance Wu, and based on the book by Kevin Kwan.
movie  chinese  usa  2018 
november 2018 by aries1988
Damien Chazelle’s “First Man,” Reviewed | The New Yorker

Chazelle, true to the title, and more intimate in his dramatic scope than Kaufman, is consumed by the curious case of Armstrong, forsaking all others. Long before he becomes the only man on the moon, he looks like the loneliest man in America.

If Armstrong is merely a name to you, take a look at the real Neil: those broad unfazeable features, the undemanding steadiness of the gaze, and a mouth that is happy, if conditions are favorable, to curve into a smile. Now consider Gosling—the sad-eyed heartthrob, a veteran of The Notebook (2004), and a tender presence who can’t help drawing us into his plights.

Recruiting Gosling to its emotional cause, First Man proceeds on the assumption that folk who are modest in displaying their feelings, like Armstrong, must by definition be deeply repressed and taut with untold misery. But they’re not. They’re just modest.
movie  cosmos  critic  rightwing  hollywood  actor  personality  emotion  stereotype  astronaut  american 
october 2018 by aries1988
“First Man,” Reviewed: Damien Chazelle’s Neil Armstrong Bio-Pic Is an Accidental Right-Wing Fetish Object | The New Yorker

First Man is worthy of enduring as a right-wing fetish object. It is a film of deluded, cultish longing for an earlier era of American life, one defined not by conservative politics but, rather, by a narrow and regressive emotional perspective that shapes and distorts the substance of the film.

the movie doesn’t stint on the distinctive Americanism of the action onscreen (including, in a scene of Armstrong ascending from the ground to the capsule of Apollo 11 in an elevator, a point-of-view shot that reveals, majestically, the words United States painted, vertically, on the side of the very tall rocket).

In its explicit content, and by artful omission, First Man subscribes to the misbegotten political premise that America used to be greater—and that the liberating and equalizing activism of the sixties ignored, dismissed, and even undermined that greatness.
critic  movie  rightwing  astronaut  nasa  society  usa  american  hollywood  hero  family  personality  children  death  moon  opinion  1960s 
october 2018 by aries1988
Paul Bloom on Cruelty – Econlib
I think that's one of the biggest mistakes we make about morality. I think that the reality is that fully appreciating someone's humanity opens up so many positive things--you can't be human without it; you can't have a decent relationship. It's the foundation of love, and friendship. But, it carries with it so many terrible risks. Really loving somebody, really knowing somebody opens up the possibility for love; but it also opens up the possibility for hatred.

we need to respect the fact that often we had no bad intentions and we will be right; and yet we can appreciate that our own small acts when accumulated makes people's lives miserable. And so we should stop these small acts.

The first point is that the robots are probably sentient. I mean, it's impossible to know. It's the standard, you know, undergraduate dormitory argument at 2 in the morning, how can I know you're conscious? How can you know that I'm conscious? But, these robots are of such sophistication, complexity, it beggars belief that they don't have feelings.
utilitarianism  human  cruel  thinking  movie  culture  debate  mind  other  love  family  morality  anger  incel  mob  robot 
october 2018 by aries1988
The future was now at the 1939 World's Fair – and it is still awesome | Aeon Videos
From the perspective of the 21st century, it’s hard to imagine what a marvel the 1939-1940 New York World’s Fair would have been to its visitors. Still living in the heavy shadow of the stock market crash of 1929, the many people who flocked to the big exhibition found not only bounteous luxuries such as free Coca-Cola, but the unveiling of unthinkable new technologies that promised that a better world lay ahead. Using sparkling, rare, colour film footage – itself a brand-new technology at the time – the US director Amanda Murray mines the memories of several people who attended the New York World’s Fair in 1939.
worldfair  usa  childhood  memory  modernity  technology  newyork  movie  interview 
august 2018 by aries1988
057 先锋的使命【我不是药神、被误解的包豪斯】
movie  architecture  history  book 
july 2018 by aries1988
What Wes Anderson’s “Isle of Dogs” Gets Right About Japan | The New Yorker
Anderson is a white, non-Japanese director, but had he not been interested in the power dynamics behind translation, and instead made a twee fever dream imitating Japanese aesthetics, “Isle of Dogs” would have looked and sounded a lot different. His commitment to showing the daily rhythms of a living, breathing Japanese people reveals itself not only in his cast of twenty-three Japanese actors but in his depictions of how exactly a Japanese TV-news anchor transitions to a new topic (“This is the next news”), what milk cartons for elementary schools look like (labelled “extra-thick”), or how a couple of scientists might celebrate—with a clink, “Yo—oh!,” and a clap. The film invites a kinship with a viewer who will find these banalities familiar, and lets these moments flow by, unnoticed, for those who do not.
movie  japan  culture  language  translation  debate  power 
may 2018 by aries1988
大坏狐狸的故事 (豆瓣)
animation  français  movie  watch  kid  chinese  farm 
march 2018 by aries1988
The top 25 films of 2017
Nothing makes me want to quit my job and just watch movies all day than David Ehrlich's annual video countdowns of the year's be
video  movie  list  bestof  2017 
february 2018 by aries1988
“Cat Person”
“It was a terrible kiss, shockingly bad; Margot had trouble believing that a grown man could possibly be so bad at kissing.”
love  sex  perception  story  movie  imagination 
february 2018 by aries1988
« C’est devenu compliqué d’être un homme »

La drague, le flirt, la séduction obéissaient aux mêmes codes qui les avaient régis depuis la nuit des temps (approche, sourires, beaux habits, beaux discours, recherche du point de contact – physique, sentimental ou intellectuel) à la seule différence que le chemin vers l’arrivée (un baiser, une caresse) était sans doute plus bref.

J’ai en mémoire cette fameuse phrase de Roland Barthes à propos du langage dans sa leçon inaugurale au Collège de France (1977) : « Le fascisme, ce n’est pas d’empêcher de dire mais d’obliger de dire. » On en est là, non ?

J’attends à présent que mes petits-enfants grandissent pour les emmener au cinéma. Et si jamais James Bond doit envoyer deux SMS et trois e-mails pour obtenir le consentement d’une James Bond Girl, si Han Solo doit se mettre aux genoux de la princesse Leia pour un baiser, si Indiana Jones doit ranger son fouet, bref si on doit en arriver là, je leur passerai les DVD des vieux films. Vaillant et entêté, je résisterai sur mon petit îlot battu par les flots.
essay  france  usa  female  movement  movie  sex  sexism  opinion  censorship  from instapaper
december 2017 by aries1988
Jia Zhangke: life in interesting times
“I’m not so much going against what the audience wants; for me the focal point is this particular female character, the mother, who has grown through the film. I really wanted to know what it’s like for her to live alone in the world, with her son somewhere else far away. I wanted to know, at the end of this story, her state of mind. And that’s the scene I came up with.”
movie  jiazhangke  china 
december 2017 by aries1988
Martin Scorsese’s Strained “Silence” | The New Yorker

They hail from Portugal, although you might not immediately guess as much from their speech; should you wish to be charitable (and the movie is designed to kindle the conscience), you would describe Rodrigues’s accent as itinerant—it wanders freely between, say, Amsterdam and Trieste, seeking sanctuary where it may.

Of the two movies, Scorsese’s is infinitely the subtler and more elegantly wrought, patient and pensive where Gibson opts for pugnacity, yet Hacksaw Ridge exerts something—a basic grip on the audience, tugging at our nerves and our desire to forge ahead—that Silence cannot quite muster.

The image is doubly devotional. Scorsese is insisting on the lifelong urge to keep faith with God, but, equally, no film director can delve into a conflagration to find a single object—trusted and mislaid, though never forgotten—and not pay tribute to the end of Citizen Kane, where the sled once belonging to the young Charlie Kane is casually tossed into a furnace
movie  japan  critic  religion  director  moi 
december 2017 by aries1988
Song Ma on Twitter
movie  korea  history  manchuria 
november 2017 by aries1988
Les tribulations du cinéma d’auteur en Chine
« Jia Zhang-ke, explique Marco Müller, est persuadé qu’il existe en Chine un bassin cinéphile qui peut compter cinquante millions de spectateurs. Il y a un énorme travail de formation à faire pour toucher les jeunes générations, et Pingyao, qui va se transformer en ville du cinéma pendant huit jours, pourrait en être l’épicentre. »
movie  china  2017 
october 2017 by aries1988
Cyberpunk Cities Fetishize Asian Culture But Have No Asians - Motherboard
The neon kanji billboards. Neander Wallace's yukata, and Joi's cheongsam. The busy Chinatown. The interactive wall of anime apps. K's rice-filled bento box. The dual Japanese-English text on everything. All signs that point to a vibrant, multicultural city, but somehow devoid of non-white characters.

"Since the late 1970s, a key idea in Western science fiction has been that Japan represents the future. Japan's 'weird' culture is a figure for an incomprehensible tomorrow," wrote Annalee Newitz about our fetishization of Japan's idiosyncrasies.
scifi  asia  ethnic  american  culture  movie  opinion 
october 2017 by aries1988
Kazuo Ishiguro wins Nobel Literature Prize
The British writer is known for novels including The Remains of the Day and Never Let Me Go.
2017  writer  japanese  uk  movie 
october 2017 by aries1988
The Interpreter Wednesday, August 2, 2017
The story tracks a British spy, posing as a defector in East Germany, whose sense of purpose and self unravel as he comes to see his side as little better than that of his adversaries. Both, he realizes, profess sweeping ideologies that are merely covers for ruthless power politics. Both claim moral high ground but do terrible things, and promote the very evils they claim to combat, in a struggle that destroys innocent lives, dehumanizes its participants and corrupts what it was meant to save.
list  movie  coldwar  1960s  classic 
august 2017 by aries1988
Des internautes se partagent des photos qui semblent sorties tout droit d’un film de Wes Anderson

Le réalisateur américain Wes Anderson est connu pour son obsession de la symétrie et son esthétique fantaisiste. De La Famille Tenenbaum à The Grand Budapest Hotel ou Moonrise Kingdom en passant par Fantastic Mr Fox, il accumule les plans soigneusement ajustés. Or il y a quelques semaines, un nouveau défi est apparu sur le réseau social Reddit : des milliers de fans du réalisateur se partagent leurs photographies prises aux quatre coins du monde et qui s’inscrivent parfaitement dans l’univers de ses films. Nous avons compilé les meilleures d’entre elles.
movie  fan  photography  photo 
july 2017 by aries1988
The 25 Best Films of the 21st Century So Far.
The 25 Best Films of the 21st Century So Far. We are now approximately one-sixth of the way through the 21st century, and thousands of movies have already been…
list  movie  bestof  watch  from instapaper
june 2017 by aries1988
The Long Shot - The New Yorker
Jia is not much interested in plot. His attraction to film seems to owe more to the dictum of André Bazin, the French theorist whom he counts as an inspiration, that photography “embalms time.” Jia crams his movies with so many hair styles, pop songs, and news references that they feel like time capsules of the here and now. He has a single, unwavering theme: the liminal space in which individuals try, usually in vain, to move from one life to another—floating migrants, laid-off factory hands, restless teen-agers, all trapped on the margins of China’s boom, with enough technology to glimpse the wider world but no way to reach it. In Jia’s cosmology, trains usually speed out of sight before you can catch them and motorcycles break down.

His characters are often inspired by people he grew up with—friends, in his words, “as ignorant and coarse and full of vitality as roadside weeds.”

the movement made a searing impression on him. “Although it failed, it didn’t really fail,” he said, “because it took freedom and democracy, individualism, individual rights, all these concepts, and disseminated them to many people, including me.”

Jia immersed himself in films from Taiwan and Europe, often watching three a day. Those which he could not find in the school archives he found on the street, as pirated V.H.S. tapes. He often pedalled his bicycle across town to watch screenings at a French cultural center in Beijing.

In contrast to the epic historical Chinese dramas that were popular at the time, Jia had revealed a bitterly unadorned image of contemporary life and its discontents. To older Chinese admirers especially, the film’s honesty was bittersweet. “We had been forbidden from telling the truth for such a long time that once we were allowed to do so, we did not know how to tell the truth,” the painter Chen Danqing wrote of the film.

He felt powerless. “My motivation for making films was not simply a love of movies but also a sense of idealism, a hope that I could help to change society.”

In “Still Life,” a building launches into the air like a rocket, and a flying saucer zips across the sky. (As Jia has explained to a film magazine, China’s “official speeches and pictures are like U.F.O.s that never touch the ground.”)

“Not because they are kung-fu movies—I like kung-fu movies—but because the film underscores power, that we should ‘bow down’ before power! For ‘harmony in the world,’ we should give up individual fights and efforts. The ‘authority of power,’ the focus of his films, is what makes me extremely uncomfortable.”

“My expression, my view on history, my view on the truth must be independent,” he says, “but I tell myself not to get marginalized, because being marginalized means you can’t do anything. Marginalization can be a kind of pleasant stance—I really admire many of those people—but I would rather expend enormous energy trying to dance with the many levels of the era in which we live.”
reportage  bio  movie  chinese  china  leader  art  idea  people  nostalgia  countryside  shanxi  from instapaper
june 2017 by aries1988
生吃 (豆瓣)
march 2017 by aries1988
Hayao Miyazaki Meets Akira Kurosawa: Watch the Titans of Japanese Film in Conversation (1993)

If you let things slide thinking ‘well, this won’t be in view of the camera,' Kurosawa warns, then there’s no end to how lazy you can get. You either give it your all, or don’t even bother.

KUROSAWA – You know, I really liked that bus in Totoro.

MIYAZAKI – [Gleefully] Thank you.

[Miyazaki seems to be at a loss for words here]

KUROSAWA – What I think is really interesting about the Sengoku-era [1467-1567] is that. . .it’s perceived to be a time when, for example, one had to be loyal to his lord and obey similar moral and ethical codes. But in actuality, those only came into existence during the Tokugawa Shogunate [Edo-era; approximately 1603-1867] as an attempt to maintain some degree of order [and peace for the Tokugawa family]. The Sengoku-era, on the other hand, was quite the opposite — people had a lot of freedom then.

KUROSAWA – And that’s the kind of environment that spawned people like Hideyoshi [1536-1598]. They’re free-thinkers. You must be loyal to your husband — that wasn’t the case then. If he wasn’t worthy, then you could just abandon him. That’s what it was like.

KUROSAWA – Shakespeare might be uniquely British, but actually. . .Japan did have people like Macbeth during that era. You’d be surprised how easily you could make a Japanese story that parallels something out of Shakespeare.

The utter devastation of Kyoto towards the end of the Heian-era [794-1185], as depicted in the Houjouki [Tale of the Ten-Foot Square Hut] — earthquakes, great fires, dead bodies everywhere. . .rushing back from Fukuhara [modern day Kobe area] only to find your estate in complete ruins. . .

KUROSAWA – [Nod] Our physique undoubtedly deteriorated during the 300 years under Tokugawa. At first, I didn’t think such a drastic change was reasonable, or even possible. But when you look at the clothes from the early Showa-era [pre WWII] and compare it to those of today. . .in just 40 years, look at how much we’ve changed. They just don’t fit!
interview  japanese  movie  animation  history  leader  art  from instapaper
march 2017 by aries1988
Is Writing a Technology or a Language? Let's Ask Some Aliens | JSTOR Daily

Just comparing a transcript of speech to a purely written text reveals how sentences may often not be formally completed, thoughts backtracked, and how clauses are more sequential and less complex than they would be in a written version. Similarly, in a language like French, the spoken and written forms can be so syntactically different there can be literacy difficulties for even native speakers as they learn the written language. Many linguistic archaisms such as certain verb tenses that aren’t really used in spoken French remain alive and well in its written form.
language  movie 
january 2017 by aries1988
What Tolstoy’s ‘War and Peace’ can teach us

The uncanny physical immediacy of War and Peace is the result of Tolstoy bringing together personal memory, family history and dense archival research into the making of his narrative.

Stylistically, it was also unlike anything anyone else had written before: raw, richly inelegant, sometimes directionless, bursting through the confines of good literary form yet stained on every page with the juice of life.

Tolstoy has us hear the overture to calamity through Rostov’s drowsy senses, as an obscure, distant hum and roar, the shapeless aaaa and rrrr of life into which we are inexorably pulled and through which we struggle, as best we can, to find a place of safety.
book  literature  reading  russia  story  personal  movie  love  from instapaper
december 2016 by aries1988
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