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Showing posts from 2019

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How Star Wars Uses the Force to Talk About Morality

December 20, 2019

2015 2017 absolutism dialectics duality Ethics evil good morality relativism rewatch rian johnson Star Wars star wars rewatch project The Force Awakens the last jedi

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The Witch & Social Repression

December 19, 2019

2015 2016 a24 agency civilization drama faith feminism frontier horror humanism humanity ideology paranoia repression robert eggers sexual politics sexuality society the witch

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Disney Live-Action Remakes, Ideology, & Fetishistic Disavowal

December 17, 2019

2019 aladdin female empowerment feminism fetishistic disavowal government greed Guy Ritchie hegemony ideology music nation nostalgia production design remake soundtrack special effects state power

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Little Joe, Big Pharma, & the Capgras Delusion

December 14, 2019

2019 Capgras delusion coming of age corporations depression drama drugs family genetics identity industry Invasion of the Body Snatchers jessica hausner little joe metaphor pharmaceutical sci-fi self

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Dark Waters and Systemic Disenfranchisement Under Capitalism

December 10, 2019

2019 capitalism corpo crime dark waters disenfranchisement exploitation female agency law mystery patriarchy politics science sexual politics socialism thriller todd haynes

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Parasite and the Tragedy of the Commons Rewritten as Class Conflict

December 09, 2019

2019 bong joon-ho capitalism class class conflict drama economy essay ideology parasite thriller tragedy

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The Lighthouse and the Gothic Sublime

December 08, 2019

2019 desire essay Freud genre gothic guilt horror psychoanalysis repression return of the repressed robert eggers sublime the lighthouse trauma unconscious

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Self-Discovery and Belonging in Carol

December 07, 2019

2015 agency belonging carol community drama history lb community life the universe and everything particular --> niversal romance self sexual politics sexuality todd haynes

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Wes

Greetings, Meat Popsicle!

Welcome to Screening Notes, my analytical movie review site!

I'm a proud cat dad, culinary amateur, and purveyor of socialist propaganda.

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Popular Posts

The Value of Science Fiction (analysis)

Jeff Russell's Starship Dimensions Maybe it's just me, but I feel like science fiction has a bad reputation. I have a distinct memory of going to see Oblivion with some friends, after which they said that it was fun but a little too unreal. While they enjoyed it for what it was, they didn't see the thematic value it contained. I don't think this was their fault as a viewer; on the contrary I get the feeling that the reputation of science fiction as little more than escapism conditions our brains to ignore the films' deeper aspects and just enjoy their spectacle. There are gonna be some spaceships, some aliens, and probably some battles between the spaceships and the aliens. Then when people do get critical of sci-fi they level their critique at the wrong things: you can't use a fire extinguisher as a jet pack, artificial gravity wouldn't work like that, those aliens don't look real. We need to change the way we think about science fiction because

The Cabin In The Woods Bestiary

So my analysis of The Cabin in the Woods is taking longer than I expected, mostly because I keep getting distracted by how awesome the movie is . One thing I couldn't help making was this, a list of all the possible monsters which could have terrorized the poor occupants of the cabin (in the woods). So while you wait for me to stop being distracted , enjoy this compilation. (Also please note if you're using Google Chrome then adding Hover Zoom will help you fully enjoy this article - don't worry it's free.) EDIT: My analysis of the movie is finished and can be found here . EDIT2: Someone put some of the images on imgur here , so check it that out if you like. The Cabin In The Woods Bestiary These are in the order seen on the betting board behind Richard Jenkins Werewolf , bet on by Finance. Pretty generic monster. Alien Beast , bet on by Bio Med. Some sources claim a much more direct reference to the Alien movies than this picture

Witness (quickie)

As someone who grew up with Han Solo and Indiana Jones, there's a soft spot in my heart for Harrison Ford. A few months ago, I ran around the internet looking for more movies starring him and stumbled across the 80's police-drama-slash-crime-thriller Witness (for those of you looking for the same, check out Francis Ford Coppola's The Conversation , it's the youngest I've seen Ford in a relatively big role and it's just a fantastic film). I finally got a chance to watch the movie, and while there's not really anything wrong with it, it's also not the most amazing movie you'll ever see.

Dark Waters and Systemic Disenfranchisement Under Capitalism

"The system is rigged! They want us to think it’ll protect us. We protect us!" When corporations realize they're too big to fail, they start putting human lives at risk in exchange for short-term financial gains, and we let them do it because we're terminally disenfranchised, we're bound to the system that oppresses us, we can't adequately resist because we need money to buy food and pay for shelter. A small-town farmer's cattle are dying by the hundreds, and he's convinced that a nearby landfill is to blame, but no one with any power will return his phone calls, so he desperately resorts to a tangential family connection and asks a corporate defense lawyer to switch sides and prosecute the very people he became successful protecting. In this way, Dark Waters develops a double-edged conflict: the people most affected by these corporations have no power to do anything about it, and the only people who do have the power to do something are a

Layer Cake (review)

Just to make this easier for some of you: if you are a big fan of the Guy Ritchie film-making method (e.g. Lock, Stock and Two Smoking Barrels (1998), Snatch (2000), etc.) then do yourself a favor, stop reading this review, and just go see Layer Cake (2004). It might be the best of its kind. For those of you who might be unfamiliar with Guy Ritchie's style, his movies generally take place in the seedy underbelly of England and involve crime and usually drugs. The way he tells his stories is what stands out for most people and should appeal to anyone who likes to "figure out" movies (or likes to be confused). Despite the deceptive ensemble casting there's usually a pretty clear protagonist (who often gives a voice-over at the film's beginning) and throughout the film the audience is (almost) never told/shown anything the protagonist wouldn't hear/see. This often leads the protagonist and the audience into situations they can't have expected (although

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