Watching a Star Wars pre-quel in a Post-Trump Amerikka.

Rogue One was a call to action. This film makes a reference to  the  military-sanctioned torture seen in Abu Ghraib prison back in ’03( trigger warning: torture) 

In this particular scene, the multi-talented Brit Riz Ahmed160711-news-nightof-hp-lg is hooded and captured, while shouting that he knows of a secret  plans.

There is something to be said about the blind swordsman, other wise known as Zatoichi.

Found in the Mortal Kombat franchise: KENSHI.chibi_kenshi_by_misterwanka-d8sevd3

He cannot see, but ‘The Force is within Him.’ Thus, when he dies, those around him take on this presence.

I won’t go off on a Star Wars fan-rant about the definition of ‘the force,’ however, I will say this: If you have ever felt the force to do something about this disastrous global nonsense that we are in, then Now is the time to do, no longer think. Feel your senses at the heightened level that they are now and now that this will only continue, if shocking details about plans for this land’s future are revealed.

I have had the great opportunity of seeing the sites of various sites of Southern Civil Rights Resistance, i.e. Selma, Alabama; Bomb-ingham Mississippi; insidefeature2STONE MOUNTAIN, Georgia;

Memphis, Tennessee; Harlem and Seneca Village, NYC, to say the least. I have seen this  various pieces of White Supremacy and I have felt the spirits of those that they have destroyed.

Most of us were silenced by the DNC.

The Two-party system is one of this land’s greatest illusions.

Amerikkka may have been claimed by the hooded knights, but now is our time, for reclamation. We must do this through artistic and creative means, in order to make our message clear. We will not not stand for feelings of guilt from the election. We will go forth and stake our claim to the land that has way too much blood on its hands already. Enough is Enough, y’all.

Oh yeah…don’t forget: an overwhelming majority of White Women voted for Trump.

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Theory Response Paper EXCERPT

Change Clothes”: Rethinking Kuleshov’s And Astruc’s Male Cinematic Constructor

camera-stylo  looks to the author as genius, a figure that is gifted with knowledge and feels a duty to share it with the rest of the world. Astruc believes that the filmmaker is the new author and  holds power in producing meaning. So, what is the audience’s responsibility? Does an author really express if there is no audience to receive? Although, Astruc believes film has a future in the popular sphere; for him, the technologies of  16mm and TV allow the viewer to explore filmmaking/film viewing in different ways. The filmmaker, for Astruc, is one of modern middle class means: a man that can “possess a projector” does so with a certain level of time and money. The lower-classes of people, the working classes, will they fit into this future of Astruc? Yes, this exclusion is noticeable. Once again, it is pointing to the fact that for early film theorists, the cinematic medium is for the male genius. 

(My excerpt comes from my fourth page, last paragraph)

Here, I  apply Astruc’s ‘classical’ film theory to our cinematic landscape today: a diverse, multi-gendered one. If camera-stylo positions the author with intellectual power, where do folks that don’t go to the cinema regularly(lower socioeconomic classes), fit into this equation? Additionally, Astruc’s exclusive use of male pronouns, positions the filmic philospher as one that is masculine. What about the female audience members as well as film directors/producers/screenwriters?




“Don’t disrespect the game like that.”

In light of the fiftieth super bowl this past week month, I have decided to share a remix of 2-time champ, Ray Lewis of the Baltimore Ravens.

the video was compiled by DJ Steve Porter. Due to the juxtaposition of the  sports interview and on-field personas, these types of remixes transform the sports celebrity into something musical, and comedic.   The clip takes part in the fragmented/ non-sourced/quotification Internet pop culture landscape that Kerr illustrates.

PS. I would also recommend Randy Moss and OchoCino/TO remixes

Week 5 Discussion Questions

  1. Postmodernism is characterized by a subversion of established ideas, humor and self-awareness. Where do we see instances of self-awareness and self parody in “You only Live Twice”? How do these enhance the narrative for the viewer? What does the viewer need to be aware of and understand to “get” the joke? In other words, what elements of the series that it once took seriously it it now making fun of? 
  2.  As Jennifer Swift-Kramer states, in “Casino Royale,” Peter Sellers “was aiming to pull off a multiple role in a new way, by fracturing his performance to include drama, comedy and sheer abstraction on two separate yet related tracks simultaneously. Sellers finally settled on a deflected interpretation of the Bond persona and its increasingly heavy baggage: Playing someone playing a character.” One could argue the same is true for Connery in “You Only Live Twice.” In what instances is his Bond “someone playing a character”? How does Connery infuse the role with self-referential comedy and utilize Jameson’s idea of ‘pastiche'(“mimicry…without any of parody’s ulterior motives”[Jameson 17]) while at the same time keeping it from becoming a complete farce like “Casino Royale?”
  3. Chapman points out that “the Bond films, from Goldfinger onwards, contribute to the obsession with technology by fetishizing it.” We’ve seen that technological innovations and gadgets were important in the first films, but do they take a more central role in “You Only Live Twice?” How are they used in the narrative? Also, how is this rise in the importance of technology connected to Bond’s journey to Japan? In fact, there seems to be an overall fascination with objects and products in the Bond films. Where do we see product integration, technological or otherwise, in “You Only Live Twice” and how does it contribute to our understanding of the film?”