Kristen Bialik is a writer, teacher and graduate student of Journalism and Mass Communication. In her spare time, she's a baker of pies and maker of stories.
TODAY IN NETWORK AWESOME MAGAZINE
Have you heard that cinema is dying? Yes, it’s true! The motion picture, the dominating cultural force of the 20th century is on its last legs as traditional film cameras and film distribution is being replaced by the inexpensive and convenient digital descendant of the original moving image. The ongoing arguments for and against digital cinema have been covered relentlessly in the filmic community and compiled succinctly by Christopher Kenneally in the 2012 documentary Side by Side.
Even those that don’t care about film production have been dragged into this mass requiem of the seventh art. Oscar darlings such as The Artist (Hazanavicius, 2011) and Hugo (Scorcese, 2012) have delivered the intensive nostalgia of the century old art form to the forefront of the public consciousness by reminding modern moviegoers of bygone eras that they were almost certainly not alive during, let alone actively participating in.
Leon Carax’s 2012 film Holy Motors, his first feature length work in over a decade, fits perfectly into this autumnal eulogy for the classic ideal of film and would have fit right into the Academy Award narrative if it wasn’t for its decidedly obtuse metaphor for the death of film as well as its delightfully shocking, surreal imagery (apparently the academy ins’t ready for CGI snakelike monsters having graphic sex and a man coming home to his family of chimpanzees)...
Deep in the heart of darkness, or at least in some secluded lair in a Philippine jungle, mad scientist Dr. Gordon, with his blank faced and slightly daft but beautiful daughter Neva, is preparing a mutant race of “super-beings,” creatures genetically modified to survive the coming ecological apocalypse. He really believes this.
In the meantime, deadpan hotshot, and all around white guy, Matt Farrell is kidnapped while scuba diving in the pristine waters near Dr. Gordon’s hideaway. Apparently, Farrell’s DNA is of superior quality, and is just what the doctor needs to bring his plan of a man/animal (manimal, if you will) hybrid super-race to successful fruition. Naturally, hilarity ensues as Dr. Gordon, Matt Farrell, and Steinman, an ambiguously sexual one-named Neo-Nazi throwback with unreliable hair, match wits for dominance in this New Zoological Eden...
Anthony Galli currently lives in Athens, Georgia. He shares a birthday with his black cat, Magic, and they both claim Wings of Desire as their favorite film. Anthony has published two books of poetry, Amnesia for Insomniacs and Invisible Idiot.
“This is the true story... of eight strangers... picked to live in a house...work together and have their lives taped... to find out what happens... when people stop being polite... and start getting real... The Real World.”
You know what it is. With one measly sentence, the world was introduced to what would become known as “reality TV.” And what better place for the format to debut than MTV (Music Television), a station that until shortly before The Real World's 1992 debut, primarily played new wave music videos? Well, that's what the show's co-creators Mary-Ellis Bunim and Jonathan Murray thought, anyway. We have them to thank (or blame) for 20 years of sex, booze, and bitch slaps (not to mention my favorite reality TV image, Survivor champ Richard Hatch's pixelated penis.) But the truth is, the network that today drags TV down to new depths with trashploitation shows like My Super Sweet 16 and, of course, Jersey Shore, was once a magnet for young (and weird!) artists with fresh voices...