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About kenmorefield

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  • Interests
    Disc Golf, Cards (especially Euchre), Literary Criticism,

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  • Occupation
    Professor of English
  • About my avatar
    The Routledge International Handbook of Spirituality in Society and the Professions
  • Favorite movies
    The Godfather, Persepolis, The Man Who Planted Trees, Emma, A Man Escaped
  • Favorite music
    I dunno. My Ipod did once randomize a Meatloaf song and an Amy Grant song back to back.
  • Favorite creative writing
    * George MacDonald * Lord of the Rings (but not the dreadful movies) * Riddley Walker * Wicked * Dune * Emma (anything Austen, really) * The Remains of the Day * Nero Wolfe * Billy Budd Tom Jones (but not the dreadful movie). D. Martyn Lloyd-Jones
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  1. I actually just picked up a copy of YCTiWY (and The Browning Version) at the Alamo on the way to class. I will prioritize re-watching it this weekend.
  2. I finally caught up with Poetry. Good choice, thanks for those of you who pushed the film. It was not what I had it in the periphery of my mind it would be. (I think I had it confused in my head with Joon-ho Bong's Mother. )
  3. Quick update on blurbs -- the html template I am thinking about using has an "About Us" link that I thought would be nice for anyone who contributes a blurb to be able to write a few sentences about yourself and promote any personal or professional projects or affiliations. So be thinking about 2-3 sentences about you (optional) to include with any blurbs.
  4. Place your most ridiculous fortune cookies here:
  5. Hi Jeff, Thanks for being transparent about your concerns. Please know that you are welcome to participate in Round 2 or not as you feel most comfortable. That being said, I'd encourage you to, like Darren, rank the films you have seen to help the list better reflect the overall sentiments of the community. What follows, briefly, are myfour reasons behind recommending Round 2 participation. --Simply doing Round 1 voting advantages films that have been seen by fewer people. Because we often self-select against watching the films we are less interested in, those films often have higher averages than films that are rated highly by 90% of the community and have one or two naysayers. But having a higher cut-off/eligibility point advantages films seen by more people. So I'm looking for guidance from the results to think about how to handle, say hypothetically, a film that has a 4.3 average but was only voted on by 40% of the community and a film that had a 3.8 average but was seen by 80% of the voters. --The impact on a film a voter hasn't seen being on the list (or not) is already built into Round 1 voting, so nobody is hurting a film by ranking it lower (because he/she hasn't seen it) or ranking all the films one hasn't seen together at the bottom of the rankings (which is essentially what Round 1 voting does). --The more important function of Round 2, in my opinion, is to allow voters the opportunity to distinguish between films to which they gave the same score. I think this is true even for films one hasn't seen. I know I keep harping on this, but...there is, I believe, a meaningful difference between, say, the voter who has seen the first four 7 Up films, appreciated them, and is reasonably confident the film represents the series and ought to be on the list on the one hand, and the voter who hasn't seen Synecdoche, NY or Before Midnight because he/she hated every other Kaufman or Linklater film s/he ever saw and is reasonably confident they wouldn't value it too highly. --Worst case scenario of not voting in Round 2 is that a film one feels particularly passionate about doesn't make the final cut (last four out) because not enough other people saw it. So the impetus is probably a little higher if someone saw a title he/she was pleased but surprised made it to Round 2. But all that's just a roundabout way of saying that Round 2 is an opportunity for those who want it to give more nuanced feedback. Noone, however, should feel pressured.
  6. Thank you for these responses. If I can ask a couple of follow ups: 1) I can't find the -/tylermmcable directory or any other directory. Do you access this via cPanel or by some interface through the webhost (OVH)? When I go to OVH all I see is the account history (when I paid for what orders) not the files themselves. 2) Do you have a recommendation for some other hosting company besides the two I mentioned? I'm not sure if you picked OVH or Tyler/Image did. Honestly, I'm quite happy with the work you have done but I am also concerned that were anything to happen to you there would be nobody who knew how to address technical issues or answer basic questions like how to upload a page similar to: https://artsandfaith.com/t100/2011/t100/ Also, I don't really know how many people from Image had (access to) the administrative password/log-in information and whether its still floating around. I was able to change that for the Invision (software) control panel, but I honestly don't know who else, if anyone, has access to the forum files via OVH or cPanel.
  7. <----Played Kafelinkov in high school production of YCTiwY many, many moons ago.
  8. One of my goals for the summer is to get a handle on the web organization of Arts & Faith so that I can make informed decisions going forward. Unfortunately, my knowledge of Internet issues is fairly limited to end-user stuff. Here's what I know: 1) Artsandfaith.com is a registered domain main that I have through GoDaddy. That domain is directed to the web-hosting service of my choice. 2) The board has a software license with Invision that allows us to you the forum software. That software has an administrative control panel that allows me to log into the parts of the forum that are Invision (forum) and make changes there. This is similar to Wordpress in my experience where the control panel for the sofware is different form the control panel for the whole site. 3) The board is currently hosted by a company called OVH that is in Canada/Montreal. This is where things get a litlte murky. Here are things I don't understand or don't know: 1) How, if at all to log into OVH to make changes to files or upload files directly using FTP or some other means. (Some of the Top 100 and Top 25 pages are clearly housed in the same domain Web Hosting, but I don't know where.) 2) I have log in account for something called cPanel. It appears to be a personal account for a former administrator or assistant. It is unclear to me whether cPanel actually houses anything or is simply a tool used work on sites/files hosted elsewhere. I presume it is not good security to leave the same account name and passwords to cPanel that Image was using , but I also don't know if it is possible to sever connections between Arts & Faith and that cPanel account or whether that will crash the site. 3) OVH has something called VPS (virtual private server) and something called Cloud hosting. I don't know the difference or which I/we have. 4) As a result of these issues, any time the board software (Invision) has to be updated, the board crashes because some adjustments have to be made manually (I presume) in the web hosted location. None of these are preventing the site from working right now, but running machinery that you don't understand makes it seem inevitable that you will eventually push the wrong button or alter the wrong file and end up messing things up. Here's what I'd like to see happen: 1) Eventually I'd like the hosting to be someplace that I'm more familiar with, like GoDaddy or BluHost. That would be more $$, probably, but experience tells me with GoDaddy, there is at least a 24-hour tech support that speaks English (most of OVH control panel is in French or translated though inelegant web translator), similarly when I called them, language barriers make it hard for us to understand one another. 2) I'd like to have the Arts & Faith stuff separated from the previous admin assistant's cPanel account, if possible. (Don't know if that mean I need to make a cPanel account or if there is some other way of making site updates.) Can anyone help me with any of this? (By help I mean talking me through it, explain to me what I need to do. I don't mean pay for it...because right now I'm still within budget. But it's harder to budget when you don't really understand what it is you are buying/paying for.)
  9. I went ahead and assigned some blurbs (see message #2 above). Please keep in mind that only 25 of the 29 films will make the final list, so if you don't want to do the actual writing until after Round 2 is completed, that's okay. Do be thinking about what you want to say, though, so that we can have a reasonably quick turn around time to get the list up. I was able to give everyone so far his first or second choice, so if you anyone wants to take on additional blurbs as volunteers slow down, I am okay with that. As I said, we have a little lull right now while voters who care to do so are catching up with one or two films before doing round 2 ranking.
  10. In principle, I don't object to any of this, but being okay with it and having the technical know-how to do it (or the coin to pay someone else) are two different things. The blog roll / external links is a dicey issue for historical reasons (once upon a time there was a home page feature of select links but it was limited to only certain members and the criteria for whose site/work could be linked and whose could not was somewhat capricious.) So if we had something similar I might be inclined to have that be an ad space or a place reserved for people who donate some $$ to defray website costs. EDIT: I also wonder if there were a different landing page whether that would mess up any existing links either externally or internally...
  11. kenmorefield


    Is Marjane raped in Vienna? I was showing this film to my World Literature class, and I noticed that in the montage after she is homeless (dumpster diving, picking up cigarette butts) she is shown sleeping in an alley and cowering against a wall as two shadows walk towards her. It is immediately after that montage that she calls home and (in a detail that makes more sense today than it did 12 years ago) insists that nobody asks her about Vienna when she goes home. She does say later to a friend in Teheran that in the West they don't care if you die in the street, so this could mean she is traumatized by the whole experience and not particularly so by one part of it. But the parts where she returns to Iran, deals with depression, gets married, and struggles to balance protecting herself with being free, parts which I had previously thought were the weaker elements of a very strong film, took on a new resonance when I thought of them as being part of Marjane having to process an incredibly painful trauma in absolute isolation and silence. It looks like in reading over this thread that I'm actually in the A&F minority in thinking the film a stone cold masterpiece. It's one of the few films I make a point to revisit every few years at least. As some people here know, my father was one of the American diplomats at the embassy in Iran from 79-81. Because of our proximity in ages (I'm four years older than Satrapi), I can't help but thinking about our parallel histories while watching the film and what I was doing at various points in the Persepolis narrative. My brother once surprised a reporter by saying what most people had the hardest time grasping about the Iran Hostage Crisis is that it was neither the high point nor the low point of his life. I always think about that when Marjane gives the line about how she survived a revolution and a war but was nearly killed by a banal love story. I was talking to a student today about cultural anthropology and great art and suggested the key question I'm wrestling with this semester is whether or not culture is the skeleton around which our identities are built or whether it merely contributes to surface, skin-deep differences that sometimes mask how essentially similar we all are. I tend to think the latter, and joy and genius of Persepolis is how effectively it allows me to not only understand but identify with someone who is a different gender from me, from a different culture than me, has had different traumas than me and yet is so very, very, much like me in so many ways. EDIT: In editing this comment I see I started with a question about whether Marjane was raped and ended with a testimonial about how deeply I identified with Marjane. I certainly don't mean that train of thought and transition to imply that I share that experience with her, since I don't.
  12. I wonder if Wild Strawberries is on every A&F list regardless of length/topic? Would be interesting to see what film/films have appeared on the most lists (different incarnations of Top 100 and Top 25).
  13. Not to be premature, but thinking about how to post/publish the list got me reviewing the page for the last Top 100: http://artsandfaith.com/t100/2011/t100/ A healthy part of the discussion in the run-up to doing the Top 25 was deciding between a Top 25 and a Top 100. We were trying to decide whether there was enough interest (we had 18 participants in Round 1 voting though there may have been one or two people who nominated films but didn't vote in Round 1). I am/was also concerned whether or not a new Top 100 or Top 25 would simply be a regurgitation of the same film(s) under a different label. Preliminary results there seem more interesting. I count 5 films among our finalists that were on the last Top 100 (Make Way for Tomorrow; Tokyo Story; Wild Strawberries; The Straight Story; and Summer Hours). In addition, some other films from the Top 100 were nominated but didn't make the Top 29 finalists (Babette's Feast, The Mirror, It's a Wonderful Life, Ran). We also had some different titles for the same auteurs (Gertrud instead of Ordet or Day of Wrath; Umberto D. rather than Bicycle Thieves; Maadadayo instead of Ikiru). So it's hard to tell if that reflects a change in A&F participation or change in reputations of the film. My tentative perception is that our list skews a *little* more toward classic Hollywood while the Top 100 goes a little more toward World Cinema (Browning Version, You Can't Take it With You, Old Man & The Sea, etc.) The fact that nobody nominated The Apostle, Tender Mercies, The Death of Mr. Lazerescu, or Amadeus suggests that people didn't just simply go through the Top 100 and pick out films about aging. And some of the films that were nominated (but didn't make the cut for "Growing Old(er)" theme also suggest a Top 100 would look different enough to be more than a repetitive exercise. That said, 18 participants does feel a little low for a Top 100 even if it seemed sufficient for a Top 25. I'm curious for any other assessments: has this process and the preliminary results made you more or less sanguine about doing another Top 100 in 2020?
  14. I'll go out on a limb and conjecture that this page was probably made outside of Invision's forum software and then FTP'ed or otherwise directly uploaded to the web host. It is copyrighted at the bottom for what that's worth, and it still has links to Image and Image branding, so I don't think I can simply use the previous page as a shell and put in new material. But if we wanted to have a separate page for the results and blurbs, we might be able to do a simplified page (or pages) that are uploaded to the server. As Evan says, that's a fair amount of work, though. (It looks like there are also separate pages for each blurb and film on the Top 100.) I am open to other suggestions.
  15. I've seen all of them except Poetry (picked up the DVD on way to class tonight to rectify that), though some I'd have to revisit to be able to write about since it's been awhile. As such, I was figuring I could play roaming safety and pick up what's left (if anything). That said, in a perfect world, my preferences would be (assuming they make the final cut): 1) Persuasion 2) Gertrud 3) King Lear But don't let that stop anyone from requesting those, because having more participants writing blurbs would make me happier than getting to write about any/all of my first choices. (Now, if we do decide to do the companion book, that's another story....)
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