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Excerpt from Examined Life, 2008. (imdb)
Slavoj Zizek investigates the surprising ethical implications of charitable giving.
Slavoj Žižek on CBC radio
spacetime coordinates: 2000’s New York
Cloverfield is a 2008 American found footage science fiction monster horror film directed by Matt Reeves, produced by J. J. Abrams and Bryan Burk, and written by Drew Goddard. The film, which is presented as found footage shot with a home camcorder, follows six young New York City residents fleeing from a gigantic monster and various other smaller creatures that attack the city while they are having a farewell party.
http://www.imdb.com/title/tt1060277/
spacetime coordinates: 2010’s Louisiana
10 Cloverfield Lane is a 2016 American science fiction horror film directed by Dan Trachtenberg, produced by J. J. Abrams and Lindsey Weber and written by Josh Campbell, Matthew Stuecken and Damien Chazelle. The film stars John Goodman, Mary Elizabeth Winstead, and John Gallagher Jr. It is the second installment in the Cloverfield franchise. The film was developed from a script titled The Cellar, but under production by Bad Robot, it was turned into a spiritual successor of the 2008 film Cloverfield. The film follows a young woman who, after a car crash, wakes up in an underground bunker with two men who insist that an event has left the surface of Earth uninhabitable. The film is presented in a third-person narrative, in contrast to its predecessor’s found-footage style.
http://www.imdb.com/title/tt1179933/
spacetime coordinates: 2028 Cloverfield Station
The Cloverfield Paradox is a 2018 American science fiction horror film directed by Julius Onah, written by Oren Uziel and Doug Jung, and produced by J. J. Abrams‘s Bad Robot Productions. It is the third installment in the Cloverfield franchise. The film stars Daniel Brühl, Elizabeth Debicki, Aksel Hennie, Gugu Mbatha-Raw, Chris O’Dowd, John Ortiz, David Oyelowo, and Zhang Ziyi, and follows an international group of astronauts aboard a space station who, after using a particle accelerator to try to solve Earth’s energy crisis, must find a way home after accidentally traveling to an alternate dimension.
The film was based on God Particle, a spec script from Oren Uziel which had the main plot of the space station crew but unconnected to Cloverfield. The script was acquired by Paramount Pictures and Bad Robot in 2012. It had been initially planned as part of Paramount’s low-budget InSurge distribution label, but following the folding of that label, its production was expanded as a Paramount-distributed film. Only during production did Abrams decide to link the film to Cloverfield, adapting Uziel’s screenplay and adding scenes to establish this connection, following the same approach used by 10 Cloverfield Lane from its original script, The Cellar. Abrams saw the ability to use the particle accelerator accident as a means for future events to cause changes in the past, establishing a way to narratively link the Cloverfield franchise together.
spacetime coordinates: the Orient Express, winter of 1934
Murder on the Orient Express is a 2017 American mystery drama film directed by Kenneth Branagh with a screenplay by Michael Green, based on the 1934 novel of the same name by Agatha Christie. The film stars Branagh as Hercule Poirot, with Penélope Cruz, Willem Dafoe, Judi Dench, Johnny Depp, Josh Gad, Derek Jacobi, Leslie Odom Jr., Michelle Pfeiffer, and Daisy Ridley in supporting roles.
The film is the fourth adaptation of Christie’s novel, following the 1974 film, a 2001 TV film version, and a 2010 episode of the television series Agatha Christie’s Poirot. The plot follows Poirot, a world-renowned detective, as he seeks to solve a murder on the famous trans-European train in the 1930s.
http://www.imdb.com/title/tt3402236/
spacetime coordinates: 19th-century England, Yorkshire > the Amazon and its tributaries > the Andes of Peru and Ecuador
“Pushing against its scientific reputation as downright boring, moss in particular served to create some botanical, aesthetic sense of a setting that allowed for illicit sexual encounters and for primal yearnings. The reasons for this strange dual identity of bryophytes as both mundane and as primal are relatively clear: realistically, moss provided a soft bed for sexual romps that had to take place outside of stuffy Victorian homes. Serving, perhaps predictably, as a slang term for pubic hair, moss was understood to be consistently moist and jewel-like, glittering like emerald colonies under light. (…) Although tropes of sexual encounters occurring in gardens and forests far predated the nineteenth century, both realistically and literarily, these hidden moss grottoes conjured up an image of something semi-religious, some secret refuge from the trials of urban — and overwhelming imperial tropical — life.”
TimeSpace Warps 