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tom moody

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Been awaiting IMDb critic tedg's review of The Black Dahlia, since he "gets" De Palma and it doesn't disappoint. Many commentaries (including this one) talked about the "discovery of the body" scene and the casting of Mia Kirshner but tedg explains them best. First the body:
About 22 minutes into this there is a wonderful crane shot, probably done without artificial assistance, beginning five minutes which is the heart of the overly complex story. It sets up two apparently unrelated threads in the story that interweave from this point. It is of the front of a building where later there will be a shooting, moves up and over the building to look at a vacant lot behind where we see a woman making a gruesome discovery. She runs to the street alongside the building where we see the car of our two cops coming to park in front and engage in a shooting. We move in front of the car to a bicyclist, who plays no role in the story. He brings us to a couple walking down the sidewalk approaching the front of the building where they will encounter our cops. We come down to street height and listen in on their conversation.

Its masterful. Even if you think everything that follows is a mess, its a glorious mess made glorious by our setting of the knitting needles.
And Kirshner:
But there's another joy here too. The story no surprise features a film within the film. It's the whole story, there, with elements of that internal film overlapping the main story in three or four significant ways. The star of this inner film, who also is our bisected victim is a character played by Mia Kirshner. She's so much more alive and real than anyone else in the main story, I can only assume it was deliberate and a truly thrilling risk. If you follow film, you'll know her very similar and hugely complex role in "Exotica," a landmark film.

- tom moody 4-22-2007 2:16 am [link] [7 comments]

ashley bloglines GIF

Bloglines, the art-disrespecting RSS reader I use, messed up a Chris Ashley HTML drawing in kind of an interesting way. Originally posted to Nasty Nets.

- tom moody 4-20-2007 9:32 pm [link] [2 comments]

The video in the previous post re-edits a promotion for a major, arts-supporting retailer, discussed here. The company hires street taggers, or actors playing street taggers, or artists making art that looks like street tagging (not sure which). As documented on the company's video, two taggers have a "paint off" or "paint beef" to see who is the better artist. To a slow-rolling hiphop beat, they start out painting their own individual white cubes like it's a real competition but then they begin painting the air with Adobe Illustrator-ish digital graffiti, then the painting on the cubes comes to life and hovers in the air like cyber-Judy Pfaff room abstractions, and the two cubes merge into a single installation that looks like it was all done by one person. We've neglected to mention that the company's logo appears in the installation and actually zooms out at the viewer.

- tom moody 4-20-2007 8:45 pm [link] [add a comment]

Art for All

"Art for All" [5.6 MB .mp4]

- tom moody 4-19-2007 8:14 am [link] [add a comment]

"Art for Others" [mp3 removed]

- tom moody 4-19-2007 8:13 am [link] [3 comments]


- tom moody 4-18-2007 8:34 pm [link] [6 comments]

One afterthought on Cindy Sherman vs Webcammers: the comparison made the most sense in the earlier days of cams, when bandwidth and the "state of the art" limited the cammer to a series of still photos. Most of the journalistic focus in say, the late '90s, was on privacy issues and the pics were treated as straightforward documentary "slices of life" rather than what they also were--a string of self-composed photos placing form and content demands on the cammer. A series of fictions that may or may not have related to someone's actual life, and in the case of "sex worker" camming were home-run small businesses. Thus you had playacting, dressing up, and adventurous camera angles just to keep viewers interested, and the record of these performances was a series of individual photos that could be collected, separated from the main stream, passed around the net, etc. The difference between this and Sherman's untitled film stills was just a matter of highbrow vs lowbrow intent, a vastly different collector apparatus, and no critics willing to furrow their brows over the cammers. Some might say that's all the difference in the world but I think the gap is pretty small. In the age of MySpace intro videos Sherman's relevance fades because of the time element. Now instead of postModern tableaux vivants we have basement cinema that refers to other cinema.

- tom moody 4-18-2007 7:02 pm [link] [5 comments]

I have a college chum teaching at Va Tech, just emailed him after many years to see if he's OK. I'm avoiding TV but guessing the shooter is dominating the news cycle. It's tragic beyond belief and difficult to comprehend how one person could be that alienated and furious. I guess it's inevitable that the Pres had to get involved with this, speechifying and what not. But it makes me sick seeing him in the news photos.

Update: My friend is OK.

Update 2: Firedoglake:
I remember during Columbine there were measures taken to assure that the gunmen's videos and writings didn't get released to the public, and that they did not become cult heros as a result of their actions. It seemed like a bit of decency amidst the mayhem. I really don't know what's to be gained journalistically by [MSNBC] broadcasting the killer's videos other than a ratings bonanza, but it seems quite ghoulish.

- tom moody 4-18-2007 4:36 am [link] [5 comments]