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How a silent film featuring an all-Native American cast came to be made, lost (seemingly forever), discovered nearly a century later (in shambles), then restored and shown to the cast’s descendants is one of the most fascinating stories in the annals of American filmmaking. The Daughter of Dawn may be the only all-Native cast silent film ever made.
The end — of the world, of course — will consist of the following elements: fighter jets, exploding cars, flamethrowers, automatic weaponry. Beheadings by lightsaber. Necks broken by starlets. And the solemn intoning of the Bruce Leeism, “You offend me, you offend my family.” T.S. Eliot was wrong. The world won’t end in a whimper, apparently, but with a series of very loud bangs. At least it will in the revelation as revealed in “The Bananapocalypse,” the trailer for the new Asian American YouTube channel YOMYOMF (pronounced yawm-yawm-eff), an acronym of the Bruce Lee bon mot that gives the channel its name.
The end — of the world, of course — will consist of the following elements: fighter jets, exploding cars, flamethrowers, automatic weaponry. Beheadings by lightsaber. Necks broken by starlets. And the solemn intoning of the Bruce Leeism, “You offend me, you offend my family.” T.S. Eliot was wrong. The world won’t end in a whimper, apparently, but with a series of very loud bangs. At least it will in the revelation as revealed in “The Bananapocalypse,” the trailer for the new Asian American YouTube channel YOMYOMF (pronounced yawm-yawm-eff), an acronym of the Bruce Lee bon mot that gives the channel its name. Millions have already witnessed the Bananapocalypse, so to speak (2,162,711 and counting, as of this writing).
Faulkner wasn’t the only literary icon who went to Hollywood to make a bundle writing for the movies. In 1933, Nathanael West moved to California on a contract for Columbia pictures, as did Dorothy Parker the following year. In an interview with The Paris Review in 1956, Parker said she wasn’t capable of talking about her Hollywood experience: “It’s a horror to look back on. When I got away from it, I couldn’t even refer to the place by name….”
Filmcraft: Directing is composed of 16 interview-profiles of internationally acclaimed filmmakers. Goodridge also devotes five Legacy chapters to “innovators and pioneers in the filmmaking field.” The directors he chooses “to represent the first 115 years of cinema” are the usual suspects: Kurosawa, Bergman, Ford, Hitchcock, and Godard — the filmmakers whose films you wind up watching eventually, dutifully.
History Channel’s terrific miniseries about the well-publicized feud between the Hatfield family of West Virginia and the McCoy family of Kentucky was recently nominated for 16 Emmy Awards. The well-deserved accolades include acting nods for stars Kevin Costner, Bill Paxton, Tom Berenger and Mare Winningham; a best directing nomination for Kevin Reynolds; and a nomination for outstanding miniseries or TV movie.
Movies reflect, predict and process the violence and ethos of a generation. And in the case of the recent shooting in the movie theater in Colorado, The Dark Knight Rises became the setting for a real-life tragedy. It's worth considering that if the shooter had actually seen the film, things might have turned out differently. Maybe.
Batman has been stuck in the same cycle for 70 years. As soon as the “Dark Knight’s” mythology becomes too dark, he is reinterpreted through the faddish lens of pop cultural parody. Consequently, Batman’s legend lacks substance. So he’s reinterpreted once again with darker shadings. But “The Dark Knight Rises,” the final chapter in Christopher Nolan’s epic addition to the Batman myth, looks past both interpretations. As Nolan promised us from the beginning, his trilogy offers a realistic superhero. But can there really be such a thing? Should there be?