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October 17 Old BoyOld Boy a Chan-wook Park film
The Film Society of Lincoln Center kicks off the fifth annual incarnation of its reliably excellent Film Comment Selects series with Old Boy, a revenge melodrama from Korean director Park Chan-wook that won the Grand Prix from the Quentin Tarantino-led jury at last year’s Cannes Film Festival. It’s easy to see what turned Tarantino’s crank, since Old Boy is on some level a glib, violent fantasy that combines an array of genre chestnuts (this one features violent dentistry, incest and extreme sushi) into something resembling an auteurist statement. Despite that prestige, it’s no masterpiece, and its relentless murkiness — not to mention its headlong plunge into operatic tragedy — can be a bit wearing.
The story that eventually unravels is twisted and devious enough that Hitchcock may well have gotten a chuckle out of it, but Park never seems to have a firm grip on his material. Certainly the film benefits from the tremendously grim lead performance he gets from Choi Min-sik (Shiri), who we get to know in the film’s first extended flashback sequence as Oh Dae-su, a pudgy-looking middle-aged drunkard. Oh is then transformed — over the course of a 15-year incarceration at the pleasure of persons unknown — into a dour, shaggy-haired, vengeance-bent wreck of a man. The film’s best scenes come while Oh is imprisoned in that shabby hotel room, watching a television that, he notes in voiceover, serves as both clock and calendar. Park casually deploys a tremendous passage-of-time montage sequence that has Oh on the left side of the screen, undergoing a self-administered training regimen that has him pounding the walls of his cell like the aging Jake La Motta in Raging Bull, as the years fly by on the right hand side, in a frame that shows the outside world as experienced only through the TV screen.
Once he gets out, a drama that figures to be singleminded — compare to the set-up and execution of John Boorman’s terrific Point Blank — gets bogged down in, well, plotting. Oh eventually discovers that there’s something more important than taking down the man responsible for his ordeal — figuring out why it happened. But by that time there’s a million whats and whys already floating around the movie theater. Does Oh escape from his cell, or is he released? What’s up with the hypnotist? And what’s the deal, really, with his girlfriend? (At one point, I was convinced that Oh had never really left his prison and was instead hallucinating everything that happened to him in the wider world.) As Oh follows a trail of scattered clues that lead him into a psychological pas de deux with his dominating tormenter, motivations become clearer and the storyline becomes more distended, reaching ever farther backward in time to explain what the fuck is going on.
If the narrative — and its self-flagellatory culmination — is ultimately unsatisfying, Old Boy still manages to be absorbing viewing from minute to minute. It’s at its best when it indulges a not-inconsiderable sense of humor, as in the long, single-take tracking shot where Oh dispatches a small army of thugs with a hammer, which is why it’s a shame that the overall mood is so bleak. (The Vivaldi is a pretty nice touch.) But if Korean cinema interests you, and if you think you have the stomach for this kind of material, Old Boy qualifies as a stylish must-see. ![]()
comment by Bryant Frazer http://www.deep-focus.com/flicker/
菊影--红楼梦菊影--红楼梦 曹雪芹 秋光叠叠复重重,潜度偷移三径中。
The Feather PillowThe Feather Pillow by Horacio Quiroga
For three months—they had been married in April—they lived in a special kind of bliss. Doubtless she would have wished less severity in the rigorous sky of love, more expansive and less cautious tenderness, but her husband's impassive manner always restrained her. The house in which they lived influenced her chills and shuddering to no small degree. The whiteness of the silent patio—friezes, columns, and marble statues—produced the wintry impression of an enchanted palace. Inside the glacial brilliance of stucco, the completely bare walls, affirmed the sensation of unpleasant coldness. As one crossed from one room to another, the echo of his steps reverberated throughout the house, as if long abandonment had sensitized its resonance. Alicia passed the autumn in this strange love nest. She had determined, however, to cast a veil over her former dreams and live like a sleeping beauty in the hostile house, trying not to think about anything until her husband arrived each evening. It is not strange that she grew thin. She had a light attack of influenza that dragged on insidiously for days and days: after that Alicia's health never returned. Finally one afternoon she was able to go into the garden, supported on her husband's arm. She looked around listlessly. Suddenly Jordan, with deep tenderness, ran his hand very slowly over her head, and Alicia instantly burst into sobs, throwing her arms around his neck. For a long time she cried out all the fears she had kept silent, redoubling her weeping at Jordan's slightest caress. Then her sobs subsided, and she stood a long while, her face hidden in the hollow of his neck, not moving or speaking a word. This was the last day Alicia was well enough to be up. On the following day she awakened feeling faint. Jordan's doctor examined her with minute attention, prescribing calm and absolute rest. 'I don't know,' he said to Jordan at the street door. 'She has a great weakness that I am unable to explain. And with no vomiting, nothing. . . if she wakes tomorrow as she did today, call me at once. When she awakened the following day, Alicia was worse. There was a consultation. It was agreed there was an anaemia of incredible progression, completely inexplicable. Alicia had no more fainting spells, but she was visibly moving toward death. The lights were lighted all day long in her bedroom, and there was complete silence. Hours went by without the slightest sound. Alicia dozed. Jordan virtually lived in the drawing room, which was also always lighted. With tireless persistence he paced ceaselessly from one end of the room to the other. The carpet swallowed his steps. At times he entered the bedroom and continued his silent pacing back and forth alongside the bed, stopping for an instant at each end to regard his wife. Suddenly Alicia began to have hallucinations, vague images, at first seeming to float in the air, then descending to floor level. Her eyes excessively wide, she stared continuously at the carpet on either side of the head of her bed. One night she suddenly focused on one spot. Then she opened her mouth to scream, and pearls of sweat suddenly beaded her nose and lips. 'Jordan! Jordan!' she clamoured, rigid with fright, still staring at the carpet. Jordan ran to the bedroom, and, when she saw him appear, Alicia screamed with terror. 'It's I, Alicia, it's I!' Among her most persistent hallucinations was that of an anthropoid poised on his fingertips on the carpet, staring at her. The doctors returned, but to no avail. They saw before them a diminishing life, a life bleeding away day by day, hour by hour, absolutely without their knowing why. During their last consultation Alicia lay in a stupor while they took her pulse, passing her inert wrist from one to another. They observed her a long time in silence and then moved into the dining room. 'Phew. . .' The discouraged chief physician shrugged his shoulders. 'It is an inexplicable case. There is little we can do. . .' Alicia's life was fading away in the subdelirium of anaemia, a delirium which grew worse through the evening hours but which let up somewhat after dawn. The illness never worsened during the daytime, but each morning she awakened pale as death, almost in a swoon. It seemed only at night that her life drained out of her in new waves of blood. Always when she awakened she had the sensation of lying collapsed in the bed with a million-pound weight on top of her. Following the third day of this relapse she never left her bed again. She could scarcely move her head. She did not want her bed to be touched, not even to have her bedcovers arranged. Her crepuscular terrors advanced now in the form of monsters that dragged themselves toward the bed and laboriously climbed upon the bedspread. Then she lost consciousness. The final two days she raved ceaselessly in a weak voice. The lights funereally illuminated the bedroom and drawing room. In the deathly silence of the house the only sound was the monotonous delirium from the bedroom and the dull echoes of Jordan's eternal pacing. Finally, Alicia died. The servant, when she came in afterward to strip the now empty bed, stared wonderingly for a moment at the pillow. 'Sir!' she called Jordan in a low voice. 'There are stains on the pillow that look like blood.' 'They look like punctures,' the servant murmured after a moment of motionless observation. 'Hold it up to the light,' Jordan told her. The servant raised the pillow but immediately dropped it and stood staring at it, livid and trembling. Without knowing why, Jordan felt the hair rise on the back of his neck. 'What is it?' he murmured in a hoarse voice. 'It's very heavy,' the servant whispered, still trembling. Jordan picked it up; it was extraordinarily heavy. He carried it out of the room, and on the dining room table he ripped open the case and the ticking with a slash. The top feathers floated away, and the servant, her mouth opened wide, gave a scream of horror and covered her face.with her clenched fists: in the bottom of the pillowcase, among the feathers, slowly moving its hairy legs, was a monstrous animal, a living, viscous ball. It was so swollen one could scarcely make out its mouth. Night after night, since Alicia had taken to her bed, this abomination had stealthily applied its mouth—its proboscis one might better say—to the girl's temples, sucking her blood. The puncture was scarcely perceptible. The daily plumping of the pillow had doubtlessly at first impeded its progress, but as soon as the girl could no longer move, the suction became vertiginous. In five days, in five nights, the monster had drained Alicia's life away. These parasites of feathered creatures, diminutive in their hatitual environment, reach enormous proportions under certain conditions. Human blood seems particularly favourable to them, and it is not rare to encounter them in feather pillows. October 09 Cruel - Tori AmosCruel
so don't give me respect don't give me a piece of your preciousness flaunt all she's got in our old neighbourhood I'm sure she'll make a few friends even the rain bows down let us pray as you cock-cock-cock your mane no cigarettes only peeled HAVANAS for you I can be cruel I don't know why why can't my ba.ll.oo.n stay up in a perfectly windy sky I can be cruel I don't know why dance with the Sufis celebrate your top ten in the charts of pain lover brother bogenvilla my vine twists around your need even the rain is sharp like today as you sh-sh-shock me sane no cigarettes only peeled HAVANAS for you I can be cruel October 01 Charli SiebertCharli Siebert is a 24 year old digital artist from Huntington Beach, CA. All of her work is created digitally using programs like Photoshop and Poser, which she is completely self-taught in. Many of the themes seen in Charli’s work can be described as dark or provocative, with soft undertones of vulnerability and passion. She draws inspiration from personal experience and insight as well as experiences of others that she finds intriguing. She also enjoys illustrating strange little characters that she dreams up from her love of visionaries like Tim Burton, Jhone Vasquez, Roman Dirge, Mark Ryden and many others.
She was involved in a group exhibition (Digital World: Oz) at Niche.LA and Lounge441 on Gallery Row in Downtown Los Angeles, CA in August of 2005 which was reviewed by Art Forum’s Matthew Wilder who wrote “…"Digital World: Oz" features the gently dissolving images of the flabbergasting Charli Siebert…Siebert's independence from art-school cant is gratifying in itself, but her frosted, distressed, tactile-but-ethereal images are the real thing—Goth and sci-fi kitsch ossified into beaux-arts stateliness. Her porny, morbid figures hover in a state of being pitched somewhere between photorealism and PhotoShop artifice, as if a family of Joel-Peter Witkin ghouls had invented their own video game to live in…” Charli’s work has also been shown at the Los Angeles Center for Digital Art and Echo Gallery.
Charli’s work has also been featured in issues of Fleshrot magazine, Dark Moon Rising, 3D World Magazine, HDRI3D Magazine, Cthulhu Sex Magazine, Dark Realms Magazine, and an upcoming issue of Heavy Metal Magazine. She is a member of many online artist communities such as Renderosity.com, DeviantArt.com, Epilogue.net, SpookyArt.net, and 3dartists.com. She has done several story illustrations for Tales of the Talisman Magazine, Wicked Karnival Magazine, Opinions Magazine, Writers Post Journal and Black Petals Magazine.
“For me, being an artist is like having Tourette Syndrome or Obsessive Compulsive Disorder. The need to create compelling imagery is like a tick… it is an obsession that must be fulfilled.” |
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