Writer Robert Avrech on director Brian De Palma —
“Both Brian and I greatly admire Alfred Hitchcock so we were
pretty much on the same page aesthetically. That’s how I came
to write Body Double , a superb thriller that immediately thrust
me into the Hollywood limelight.”
— https://www.opednews.com/populum/page.php?
f=Behind-the-Scenes-with-Hol-by-Joan-Brunwasser-
American-Jews_Hollywood_Interviews_Judaism-Jewish-
131219-897.html
Writer Robert Avrech on director Brian De Palma —
“Both Brian and I greatly admire Alfred Hitchcock so we were
pretty much on the same page aesthetically. That’s how I came
to write Body Double , a superb thriller that immediately thrust
me into the Hollywood limelight.”
— https://www.opednews.com/populum/page.php?
f=Behind-the-Scenes-with-Hol-by-Joan-Brunwasser-
American-Jews_Hollywood_Interviews_Judaism-Jewish-
131219-897.html
See also Avrech in this journal —
“There are dark comedies. There are screwball comedies.
But there aren’t many dark screwball comedies.
And if Nora Ephron’s Lucky Numbers is any indication,
there’s a good reason for that.”
— Todd Anthony, South Florida Sun-Sentinel
Perhaps another indication — De Palma's Body Double .
"Like a rose under the April snow . . . ." — Streisand
"The Demolished Man was a novel that had fascinated De Palma
since the late 1950s and appealed to his background in mathematics
and avant-garde storytelling. Its unconventional unfolding of plot
(exemplified in its mathematical layout of dialogue) and its stress on
perception have analogs in De Palma's filmmaking." — Wikipedia
This, together with the Cuernavaca balcony in Deschooling MIT, is
perhaps enough of a clue for mystified theologians on St. Peter's Day.
In memory of actress Linda Cristal — The New York Times today —
“After a modest film career, followed by guest roles on television,
Ms. Cristal auditioned for ‘The High Chaparral,’ a western
developed by David Dortort, the creator and producer of ‘Bonanza.’
In her telling, it was a memorable occasion.”
Judy Carne and Hoss in NBC’s “Bonanza,” a nemesis of
CBS Sunday programming.
The New York Times on “Bonanza” in 2010 —
“Mr. Dortort oversaw production of the show for most of its run. In addition
to telling stories based on historical events involving the Comstock Lode and
the oncoming Civil War, the show dealt with themes like racial prejudice and
religious tolerance. Mostly, though, its drama, and its popularity, were because
of its focus on the Cartwrights and their tightknit bond.
‘What is the message?’ Mr. Dortort said. ‘Love is the message.’
David Solomon Katz was born in Brooklyn to Jewish immigrant parents from
Eastern Europe on Oct. 23, 1916, and grew up in a neighborhood famous for
the gangsters of Murder Inc. …”
Detail from the Norwegian webpage in the previous post —
Related material in this journal — Chariot Race and Vajrayana.
For the shirt, see Norwegian artist Josefine Lyche in
Related material — A pyramid by Lyche and erotic Picasso:
Those who enjoy the occult may be entertained by the number 347 in
“Pablo Picasso. Suite 347.” That number appeared in this journal,
notably, on Christmas Eve 2005 as a page number from the classic
The Club Dumas , a novel by Arturo Perez-Reverte.
Or: Kipling and the Temple of Doom
See also Kipling and The Temple.
This post was suggested by a remark of Holland Cotter in The New York Times
on April 19, 2012 —
“An 18th-century Jain diagram of the cosmos turns the universe
into a kind of salvational board game. “
Hence . . .
The previous post, and Wallace Stevens, suggest a search
in this journal for “The Trials of Device.” That search yields,
among other images, the following —
The Mephisto Waltz author, Fred Mustard Stewart, reportedly died
on February 7, 2007. A check of that date in this journal yields . . .
This is not John Belushi, whose cover of
Frankie Laine’s “Rawhide” was memorable,
but Laine himself.
Some Frankie Laine lyrics quoted here on Stewart’s death date:
“Times when I know you’ll be lonesome,
times when I know you’ll be sad
Don’t let temptation surround you,
don’t let the blues make you bad”
— “We’ll Be Together Again,”
Frankie Laine,
March 30, 1913 —
February 6, 2007
Mephisto fans may prefer Sting’s version of the phrase
“we’ll be together.” See Complex Reflection, April 20, 2012.
“There she stood in the doorway; I heard the mission bell….”
| Harvard University Press on a book, Persons and Things, it published on March 31, 2010 Moving effortlessly between symbolist poetry and Barbie dolls, artificial intelligence and Kleist, Kant, and Winnicott, Barbara Johnson not only clarifies psychological and social dynamics; she also re-dramatizes the work of important tropes—without ever losing sight of the ethical imperative with which she begins: the need to treat persons as persons. In Persons and Things , Johnson turns deconstruction around to make a fundamental contribution to the new aesthetics. She begins with the most elementary thing we know: and reveals that their claims upon us are fraudulent. Johnson revolutionizes the method by showing that the inanimate thing exposed as a delusion is central to fantasy life, that fantasy life, however deluded, should be taken seriously, and that although a work of art “is formed around something missing,” this “void is its vanishing point, not its essence.” She shows deftly and delicately that the void inside Keats’s urn, Heidegger’s jug, or Wallace Stevens’s jar forms the center around which we tend to organize our worlds. The new aesthetics should restore fluidities between persons and things. In pursuing it, Johnson calls upon Ovid, Keats, Poe, Plath, and others who have inhabited this in-between space. The entire process operates via a subtlety that only a critic of Johnson’s caliber could reveal to us. |
I prefer the more straightforward insanity of Operators and Things .
Barbara Johnson reportedly died on Aug. 27, 2009. See that date
in other posts now tagged Autistic Enchantment. (That phrase is
the sort of sneering tag one may expect from deplorable academics.)
“But for all its success, Mr. Webb largely distanced himself
from ‘The Graduate,’ which featured a Buck Henry and
Calder Willingham screenplay . . . . ”
— Harrison Smith in The Washington Post yesterday
Related material —
“the liberation of the plastic elements.”
“I appreciate simple, iconic and timeless forms —
things that can adapt or serve multiple purposes
and avoid being easily labelled. At the same time,
I love parts and fragments that reveal how things
move or work. Mostly, anything that tells its
own story and isn’t generalized or clad in some
sort of ornamental icing.”
— Charlottesville, VA, architect Fred Wolf, who seems
to have been associated with the business name
“Gauss LLC ” in Charlottesville.
Posts tagged Space Writer include —
.
The conclusion of an obituary for a former resident of Laurel Canyon —
“He would go to all these old junk shops and buy
black-and-white photos of nobody actors,’’
Mr. Klein said. “He didn’t want stills of the stars.
He said, ‘Actors that never made it — that’s
the real Hollywood.’ ’’
— Guy Trebay in The New York Times , June 23
Related music and art — Posts tagged Hollywood Nights.
The director of the 2007 film “The Number 23” reportedly died today.
In his memory — An image that appeared in the Leary link of last night’s
post on “a combination of Kafka and Joyce, with a touch of Orwell” —
"In July, 1960, having just received a doctorate from Harvard
and a research and training fellowship from the National Institute
of Mental Health, I drove, together with my wife, Sandylee,
from Cambridge, Massachusetts to Cuernavaca, Mexico."
— Michael Maccoby, June 26, 2014,
"Building on Erich Fromm's Scientific Contributions"
This is the Michael Maccoby of . . .
First published, with a less lurid cover, in 1958 by Arlington Books
of Cambridge, Mass.
What appears to be that 1958 edition, with the Maccoby introduction,
is available as a PDF —
http://paragoninspects.com/articles/pdfs/temp/operators_and_things.pdf .
Some Harvard-related material — See Leary and 6 Prescott .
“A love story of epic, epic, epic proportion” — Kristen Stewart on “Equals”
“Some things are more equal than others.” — Adapted from Orwell
Thursday, June 4, 2020
InternationaleFiled under: General — m759 @ 12:52 AM Edit This “We are proud to be part of an international community — Jill Pipher, President of the American Mathematical Society, The theme song — “The Internationale“ |
* See the previous post
and . . .
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