“Pontypool” was produced as both a motion picture, and as a radio play. Both versions of “Pontypool” were influenced by Orson Welles‘ infamous radio production of “The War of the Worlds.” The radio play was broadcast on the BBC’s Art & Culture section of their World Service website. It is approximately 58 minutes long, as opposed to the film’s running time of 95 minutes.
“he is conscious of the Seminary expanding ancient and vast on all sides—the yawning cold hallways like caverns of stone, the dank subvestries and classrooms with bubbling peeling plaster walls and a mildewed smell, frosty choirs of icy wood polished to a dull luster by the chafing of nervous hands.”
“schooled exclusively in cold places, always rain and chill waiting outside the walls; he would anxiously look forward to the halfhearted springs and moist, wilted summers.”
“A flat manylegged object exhaling odorless blue smoke scuttles over his left foot; he’s not disgusted, he doesn’t flinch.”
“Although he can’t see, there are shapes around him, darker shadows looming against the dark like cliffs and frothings like sea foam.There are things that seem like panels of transparence, windows, lightless as everything else but looking as if he’s peering through something, from one dark to another.”
“the streets buck and shift like the deck of a doomed ship, the air rises in hot transparent coils so that the city distorts, as if viewed through a window of wrinkled glass. The outlines of the buildings around him billow like smoke, they hide enormous roaring engines, legions of enemies.”
“his great coat is so black and terrible it’s almost leaking darkness, it smudges the air around him like a pall of coal smoke.”
“Passing the cemetery, he sees huge pulsing trees burrowing into graves with their roots, their branches forking like capillaries into fleshy clouds.”
Short but powerful, this neo-gothic novel, uses the crisp immediacy of the present tense to lead the reader on a hallucinatory journey from humanity to inhuman transcendence. After a miraculous recovery from near death, a young man known only as the Divinity Student is beset by strange dreams whose lingering effects further alienate him from his fellows.
The District! (Hungarian: Nyócker!) is a 2004 Hungarian caricaturistic animated film directed by Áron Gauder. Its original title is a shortened colloquial form of nyolcadik kerület, the eighth district of Budapest, also known as Józsefváros, including an infamous neighbourhood where the film takes place. It is sometimes labelled as the Hungarian South Park.
The animated technique for this movie was rather innovative. The artists took 350 headshot pictures of each actor and used these photos for the expressing emotions and the animation of the heads. The bodies were hand drawn.
The film displays the Hungarian, Roma, Chinese and Arab dwellers and their alliances and conflicts in a humorous way, embedded into a fictive story of a few schoolchildren’s oil-making time-travel and a Romeo and Juliet-type love of a Roma guy towards a white girl. (wiki)
timespace coordinates: 1900 – 1916 England / Battle of the Somme
Tolkien is a 2019 American biographical drama film directed by Dome Karukoski. It is about the early life of English professor J. R. R. Tolkien, author of The Hobbit and The Lord of the Rings, as well as notable academic works. The film stars Nicholas Hoult, Lily Collins, Colm Meaney, and Derek Jacobi. (wiki)
(…) What do we think of when we hear the word “meaning ether?” Probably not nearly enough — myself included! — for it is difficult to grasp what the term “meaning” signifies here. With respect to the chemical ether we had to refer to the numerical laws and to the Harmony of the Spheres. To the meaning ether, however, belongs the general and great harmony of the universe (as Kepler has expressed it). It can help us yet further if we consider a word which was used by the profound translator of many works of Chinese literature, Richard Wilhelm. He has chosen to translate the word “tao,” as used in the “Tao te Ching,” (“Tao” is translated into English as “way.”) with the German word “Sinn” (sense, or meaning). He points out that it had something of the same meaning as did the Greek word “logos” at the turning point of time, the beginning of the Christian era. If you consult a Greek dictionary, you will find a long list of meanings for the term “logos” — word, speech, computation, relationship, reason, etc. The mathematicians of 400 B.C. used the word “logos” when they stated a ratio, as 3:4. And when in the time of Plato it was established that there was no “logos,” or integral proportionality, between the diagonal and the side of a square, that was called an “a-logon,” or something without logos. Translated into Latin, logos became “ratio,” and something without “ratio” (or proportion) was something “irrational.” The discovery of the irrational in the time of Plato consisted in the proof that “irrationality” exists in the world of measure. That gives a faint indication of the paradox inherent in the deepest “sense of the word ‘sense’.”
But now you must understand that the negative mirror image of a mastery of the world of meaning, of the logos, must appear in our time, and where this negative image appears it is today called “information.” The “Science of Information” can only measure the quantitative aspect of information, and not that which is its true meaning.
by Georg Unger, 1978 (online)
timespace coordinates: Europe at night (2008 – 2010)
Abendland is a 2011 observational documentary film by Nikolaus Geyrhalter. The documentary, which has only scenes at night, explores European obsession with technology and security. Manohla Dargis of The New York Times called Abendland a “visually precise and politically amorphous” portrait of an imagined community: “The overall impression is a vision of Europe as a mosaic, as an artful amalgam of perfectly framed, seemingly disconnected moments during a long shared night, give or take a time zone change or two.” (wiki)
Baraka is a 1992 non-narrative documentary film directed by Ron Fricke. The film is often compared to Koyaanisqatsi, the first of the Qatsi films by Godfrey Reggio for which Fricke served as the cinematographer. It is also the most recent film to be photographed in the 70mm Todd-AO format, and the first film ever to be restored and scanned at 8K resolution. (wiki)
Named after a Sufi word that translates roughly as “breath of life” or “blessing,” Baraka is Ron Fricke‘s impressive follow-up to Godfrey Reggio‘s non-verbal documentary film Koyaanisqatsi. Fricke was cinematographer and collaborator on Reggio’s film, and for Baraka he struck out on his own to polish and expand the photographic techniques used on Koyaanisqatsi. The result is a tour-de-force in 70mm: a cinematic “guided meditation” (Fricke’s own description) shot in 24 countries on six continents over a 14-month period that unites religious ritual, the phenomena of nature, and man’s own destructive powers into a web of moving images. Fricke’s camera ranges, in meditative slow motion or bewildering time-lapse, over the Church of the Holy Sepulcher in Jerusalem, the Ryoan-Ji temple in Kyoto, Lake Natron in Tanzania, burning oil fields in Kuwait, the smoldering precipice of an active volcano, a busy subway terminal, tribal celebrations of the Maasai in Kenya, chanting monks in the Dip Tse Chok Ling monastery…and on and on, through locales across the globe. To execute the film’s time-lapse sequences, Fricke had a special camera built that combined time-lapse photography with perfectly controlled movements of the camera. In one evening sequence a desert sky turns black, and the stars roll by, as the camera moves slowly forward under the trees. The feeling is like that of viewing the universe through a powerful telescope: that we are indeed on a tiny orb hurtling through a star-filled void. The film is complemented by the hybrid world-music of Michael Stearns. ~ Anthony Reed, Rovi (rottentomatoes)