Arquivos mensais:fevereiro 2011

Gente foda usa tapa-olho: Jeff Bridges

Dumezil observed that a wide range of Indo-European cultures produced myths—philologically related to one another—in which the universe was governed by one-eyed and one-handed gods acting in concert. The one-eyed gods tended to rule though magic, strong personalities, and mad bravado. The one-handed gods, by contrast, represented the rule of law—the ordering and arrangement ofContinuar lendo “Gente foda usa tapa-olho: Jeff Bridges”

Top-dúzia: Participações de 30 Rock (por enquanto)

12- As vozes de Martin Scorsese & Christopher Walken: Porque eles se deram o trabalho de gravar um telefonema

Margot Fonteyn versus Moira Shearer

We still had to find the dancer. And the actor Stewart Granger – a guy who knew all the girls – told me: “Micky, you’re looking for a girl?” And I said: “Yes, a girl who knows how to talk and dance.” “You know,” he answered, “there is a Scottish girl in the Saddle WalesContinuar lendo “Margot Fonteyn versus Moira Shearer”

Hollywood Portfolio 2011 da Vanity Fair

Nota 1: Sempre me perguntei se o Robert Redford conseguia dormir à noite por ter tirado o Oscar do Scorsese e do Raging Bull. Aparentemente consegue. Nota 2: O que aconteceu aos editoriais Hollywood da Vanity Fair? Até uns anos atrás eram escandolamente sensacionais como aquele do Hitchcock ou o Killers Kill, Dead Men Die,Continuar lendo “Hollywood Portfolio 2011 da Vanity Fair”

24 Frames: French Dressing (Ken Russell, 1964)

Mais uma coisa a se agradecer ao Ken Russell: ter tirado Marisa Mell de produções obscuras na Áustria/Alemanha e colocá-la na roda cult da Europa Ocidental. Depois da curta temporada inglesa com Russell e Dearden, os italianos acabaram por roubá-la para eles, sorte nossa e do Monicelli, Bava, Fulci, Lenzi e asseclas. Ora bolas, donaContinuar lendo “24 Frames: French Dressing (Ken Russell, 1964)”

Psicanálise, Criptografia, Nazis e Peeping Tom: Emergency Island

Air war broke out of the Oedipus complex of in-house research with one’s own children at home alone. Schreber, Freud, Klein, Spielrein, and Piaget were among the many scientists whose research with human subjects often never left home. Powell’s Peeping Tom, in which the serial killer protagonist photographs and kills the women who stand for the stepmother standing in for the mother whose death left him alone with a scientist father forever recording his own son’s visible reactions of fear – and grief – under the uniform lab conditions of traumatic home life, gives the psychoticmediatic rundown of this history of surveillance-survival research.
Although I take Powell’s Peeping Tom as the inside view of, and mascot for, the busy intersection of the genealogies I am unpacking, there turns out to be a World War II specificity to the film’s inception binding psychoanalysis to the making and breaking of codes. Leo Marks, who wrote the screenplay, came up with the idea for Peeping Tom while working in the offices and briefing rooms of the Code Department. His double interest (since childhood) in cryptography and psychoanalysis led him to contemplate the psychic conditions for an “indecipherable,” a coded message from a spy on location behind the enemy front that, because it cannot be decoded at the British end, leads to the request for an often fatal act of retransmission. Two transmissions of the same message in a row, and the enemy knows where you live.

24 Frames: Um Amor de Swann (Un Amour de Swann, Volker Schlöndorff, 1984)

Tinha ela na mão um ramalhete de catleias e Swann viu, sob o véu de renda que lhe cobria os cabelos, flores dessa mesma orquídea presas a uma pluma de penas de cisne. Trazia sob a mantilha um amplo vestido de veludo negro que, num apanhado oblíquo, punha a descoberto o largo triângulo de umaContinuar lendo “24 Frames: Um Amor de Swann (Un Amour de Swann, Volker Schlöndorff, 1984)”