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Robinson in Ruins is a 2010 British documentary film by Patrick Keiller and narrated by Vanessa Redgrave. It is a sequel to Keiller’s previous films, London (1994) and Robinson in Space (1997). It documents the journey of the fictional title character around the south of England. (wiki)
(…) “You have probably heard of “the weird” by now, but you may not quite know what it is, or why so many genre critics, cultural theorists, and philosophers are keen to engage with it. It might once have been quarantined as a subgenre associated with sullen Goths and all those arrested-adolescent readers of H. P. Lovecraft, but it has long slithered free of those confines, and now leaves a trail not just straight across the internet, but on the page and in mainstream TV shows and movie screens.
Writers of the New Weird in Britain, like M. John Harrison and China Miéville, briefly rallied to this banner in 2003 before morphing into something else (although the critics still lumber around with the term). Philosophers such as Graham Harman and Eugene Thacker have proposed a “weird realism” — a rival term to “object-oriented ontology” — that replaces Husserl or Heidegger with Horror. One of the early signs of this shift was Mark Fisher’s own symposium on Lovecraft and Theory at Goldsmiths College in London in 2007. In film, David Lynch was always “wild at heart and weird on top,” from his early animated short films up to Inland Empire. On TV, True Detective was pretty weird, with its echoes of Robert Chambers’s The King in Yellow and dark nihilistic mutterings lifted from Eugene Thacker’s In the Dust of this Planet: The Horror of Philosophy Volume 1. Stranger Things was quite weird, although a little too soft-focused and retro to be fully paid up, but The OA was definitely out-and-out weird. Jeff VanderMeer’s Southern Reach trilogy of books (Annihilation, Authority, and Acceptance, all of which appeared in 2014), so far the major achievement of the American translation of the New Weird, will hit mainstream cinemas with Alex Garland’s film adaptation in 2017. Best get weirded up.
Fisher’s guide to this terrain is an excellent place to start your orientation. The book displays his signature knack for reading popular culture (principally music, fiction, and film) in an expressive, demotic way that is still vigorously political and philosophical. Somehow, Fisher magically renders post-Lacanian, post-Žižekian Marxism and the radical anti-subjectivist philosophy of Gilles Deleuze entirely accessible. Only Fisher can enthuse about old Quatermass TV shows in terms of their “cosmic Spinozism” and still (mostly) make sense. With typical disdain for cultural boundaries, Fisher moves crab-wise from Lovecraft and H. G. Wells to the impenetrable mumblings of punk band The Fall; obscure Rainer Werner Fassbinder TV shows from Germany; Lynch, Stanley Kubrick, and Andrei Tarkovsky films; Nigel Kneale TV series from the 1970s; the music of Joy Division; The Shining; the unclassifiable fiction of Alan Garner and Christopher Priest; Jonathan Glazer’s extraordinary avant-garde SF film Under the Skin; and surprising appearances of Margaret Atwood’s early fiction Surfacing and Christopher Nolan’s portentous quantum SF blockbuster Interstellar (which receives a great defense).” (read more here)
(…) “In music, literature, art, film and photography, as well as in new and hybrid forms and media, the English eerie is on the rise. A loose but substantial body of work is emerging that explores the English landscape in terms of its anomalies rather than its continuities, that is sceptical of comfortable notions of “dwelling” and “belonging”, and of the packagings of the past as “heritage”, and that locates itself within a spectred rather than a sceptred isle.
Such concerns are not new, but there is a distinctive intensity and variety to their contemporary address. This eerie counter-culture – this occulture – is drawing in experimental film-makers, folk singers, folklorists, academics, avant-garde antiquaries, landscape historians, utopians, collectives, mainstreamers and Arch-Droods alike, in a magnificent mash-up of hauntology, geological sentience and political activism. The hedgerows, fields, ruins, hills and saltings of England have been set seething.”
“What are those pressing concerns, though, and what are the sources of this unsettlement? Clearly, the recent rise of the eerie coincides with a phase of severe environmental damage. In England, this has not taken the form of sudden catastrophe, but rather a slow grinding away of species and of subtlety. The result, as James Riley notes, is “a landscape constituted more actively by what is missing than by what is present”. This awareness of absence is expressing itself both in terms of a vengeful nature (a return of the repressed) and as delicate catalogues of losses.”
“Digging down to reveal the hidden content of the under-earth is another trope of the eerie: what is discovered is almost always a version of capital. Keiller’s Robinson tracks the buried cables and gas-pipes of Oxfordshire, following them as postmodern leylines, and tracing them outwards to hidden global structures of financial ownership. Wheatley’s deserters rapaciously extract “treasure” from the soil, by means of enslavement and male violence. In his cult novel Cyclonopedia (2008), the Iranian philosopher Reza Negarestani figured oil as a sentient entity, developing Marx’s implication that capital possesses emergent and self-willed properties, that it is somehow wild.” / see: 771-robinson-in-ruins-2010
(read more here)
Philip K. Dick’s Electric Dreams, or simply Electric Dreams, is a British anthology television series based on various writings from author Philip K. Dick, each of the 10 stand-alone episodes are set in a different and unique world — some that lay in the far reaches of the universe and others that are much closer to home. While the stories may be worlds apart, central to each is the exploration of the importance and significance of humanity. (rt)
timespace coordinates: 1930 Germany – 1942 Prague
The Man with the Iron Heart (released as HHhH in France and Killing Heydrich in Canada) is an English-language French-Belgian biographical war drama-thriller film directed by Cédric Jimenez and written by David Farr, Audrey Diwan, and Jimenez. It is based on French writer Laurent Binet‘s novel HHhH, and focuses on Operation Anthropoid, the assassination of Nazi leader Reinhard Heydrich in Prague during World War II. The film stars Jason Clarke, Rosamund Pike, Jack O’Connell, Jack Reynor, and Mia Wasikowska. (wiki)
The original working title of this film, “HHhH”, is a war-time Gestapo acronym for Himmlers Hirn heißt Heydrich (“Himmler’s brain is called Heydrich”),
“When I was a little girl, I would imagine that each of these trees was a sentry watching
over me as I passed by. I wish you could have seen it in those days. We had a party every weekend. There were vast buffets, flowers everywhere. There would be an orchestra
who would play all night. And when it was time to go to bed I would hide under the piano so my mother couldn’t find me. I wish you could have seen it in those times…”
timespace coordinates: ancient Rome AD 475
The Last Legion is a 2007 Anglo-Italian action adventure film directed by Doug Lefler. Produced by Dino De Laurentiis and others, it is based on a 2002 Italian novel of the same name written by Valerio Massimo Manfredi. It stars Colin Firth along with Sir Ben Kingsley and Aishwarya Rai, and premiered in Abu Dhabi on 6 April 2007.
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The film is loosely inspired by the events of 5th-century European history, notably the collapse of the Western Roman Empire. This is coupled with other facts and legends from the history of Britain and fantastic elements from the legend of King Arthur to provide a basis for the Arthurian legend.
timespace coordinates: Stone Age / Bronze Age Manchester
Early Man is a 2018 British stop-motion animated historical sports comedy film directed by Nick Park, written by Mark Burton and James Higginson, and starring the voices of Eddie Redmayne, Tom Hiddleston, Maisie Williams, and Timothy Spall. The film follows a tribe of primitive Stone Age valley dwellers who have to defend their land from bronze-using invaders in an association football match.
timespace coordinates: 1607 Powhatan Confederacy / Thirteen Colonies / Virginia > 1616 London
The New World is a 2005 British-American romantic historical drama film written and directed by Terrence Malick, depicting the founding of the Jamestown, Virginia, settlement and inspired by the historical figures Captain John Smith, Pocahontas of the Powatan Native American tribe, and Englishman, John Rolfe. The cast includes Colin Farrell, Q’orianka Kilcher, Christopher Plummer and Christian Bale.
According to History professor Cathy Schultz, Powhatan’s people “were far from the innocent, childlike creatures we see in the film.” Schultz points out that Powhatan “ruled by conquest over the surrounding tribes,” in contrast to the film’s depiction of them as peaceful except where in conflict with the English. Furthermore, most scholars agree that there was no romantic relationship between Pocahontas and Smith. She would have been 10 years old in 1608 when they were said to have first met.
TimeSpace Warps 