they should look beyond their troubled childhoods to the language of how
the story is told. Stone is simply saying that the media, by making
celebrity of violence, makes people like Mickey and Mallory possible.
(They do have a kind of twisted logic and code of honor they attach to
the killings that makes little sense -- but who said mass murder had to
be logical or even palitable.)
Many influences can be seen in the film -- "Bonnie and Clyde" and David
Lynch's "Wild Heart" to name two -- but Stone uses the storytelling
device (ie, the experimental MTV-style filmmaking) to also create an
homage to the pioneers of experimental film that brought these devices
into our film/TV language. NBK seems to have much in common with the
early films of John Waters -- grotesque, almost comedic, violence;
explorations of the celebrity of mass murder. Even the final scene with
Morton Downey, Jr. is reminiscent of the final murder committed by Divine
in "Pink Flamingos" in its dialogue and realization.
I have to admit that I felt guilty about enjoying a film that had so much
violence in it. However, the viewer has to approach NBK on the same
level as the Waters films -- it is so grotesque that it becomes parody.
The danger is that young people seeing the film don't think about these
influences and what Stone is doing. It was much more disturbing to hear the
giggles and guffaws of the teenagers in the cinemall audience in all the
wrong places than what was happening on-screen.
Randy A. Riddle
[log in to unmask]
------------------------------
Date: Sun, 4 Sep 1994 10:56:11 -0400
From: Timothy Garrand <[log in to unmask]>
Subject: Re: computers as an instructional tool
I have had success using the computer interactive text FILM/TV ANALYSIS:
THE MEANING OF THE MOVING IMAGE in my introductory film classes. I wrote
this tutorial; it is published by Academic Software 1-800-666-3652.
Basically this text presents basic concepts in film and TV, gives
examples for these concepts and then quizzes students on what they have
read. It has allowed me to spend more time in class actually analyzing
film and TV and less time teaching basic concepts.
Tim Garrand
New England College
------------------------------
Date: Sun, 4 Sep 1994 11:41:40 EDT
From: Cal <[log in to unmask]>
Subject: Re: computers as an instructional tool
Thanks to Tim Garrand for mentioning the interactive FILM/TV ANALYSIS.
My intention is much simpler. I set up a private listserv list (whimsically
called SHOWBIZ) as a way of bringing my netjunkie habit into a class that I
thought I had left behind when I retired two years ago.
My class does not deal with the art of film but with the business that
makes the art possible: production, distribution, exhibition (theaters
and all the newer venues).
In any event I don't think that Temple has the capacity for using
computers in the way described. We have a couple lab spaces with
about 75-100 computer stations which are always pretty busy.
When I last was attending faculty meetings on a regular basis
they seemed to be talking about installations for interactive teaching
I know nothing more about that initiative. My guess is that
it is not going anywhere since Temple's current thrust is to build a
major league football team.
-------------------------------------------------------------------
Cal Pryluck, Radio-Television-Film, Temple University, Philadelphia
<[log in to unmask]> <[log in to unmask]>
------------------------------
Date: Sun, 4 Sep 1994 15:33:57 EDT
From: Marit Saltrones <[log in to unmask]>
Subject: Adventures of Priscilla
You Austrailians are actually doing all of us in the States a great favor
with your road movies. Priscilla is as good an exploration of the genre as
Thelma & Louise. And you're right about Stamp - his performance is
brilliant. So touching and wistful...
Although I'm sure it doesn't fall in the strict definition of road movie, I
thought Ricky and Pete was a lovely nod in that direction.
------------------------------
Date: Sun, 4 Sep 1994 19:02:27 PDT
From: "Eric M. Freedman" <[log in to unmask]>
Subject: CALL FOR PAPERS: QUEER THEORY
Call for Papers: Do You Read Me? Queer Theory and Social Praxis
SPECTATOR, a journal of film and television criticism
published by the University of Southern California,
is seeking manuscripts for an upcoming special issue
on queer theory (Fall 1994). Topics could include,
but are not limited to: considerations of queer
theory's place in academia; metacritical analyses
of queer reading strategies; activism and queer politics;
the use of queer theory in understanding new technologies
and/or popular culture; the dynamics of sexuality in
relation to race, gender and nation as reflected in current
media production; questions of history; marginalized film
and video practices/makers; analyses of specific
media texts; and new approaches to the general arena
of queer theory from theoretical queers.
This volume also welcomes contributions from
media-makers and media activists.
Deadline for submissions: October 15, 1994
Send submissions and inquiries to:
Eric Freedman, Editor
SPECTATOR
School of Cinema-Television
Division of Critical Studies
University of Southern California
University Park
Los Angeles, California 90089-2211
Phone: 213-740-3334
FAX: 213-740-9471
E-Mail: [log in to unmask]
------------------------------
End of SCREEN-L Digest - 3 Sep 1994 to 4 Sep 1994
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