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  • Interests
    Haunting my library for Criterion titles, reading, writing, video games (to an extent), Wikipedia, music, and of course, film.

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  • Occupation
    Student (12th grade)
  • About my avatar
    A frame from Nostalghia.
  • Favorite movies
    http://letterboxd.com/camerenlee/list/my-real-favorite-films-list/ (Favorite filmmakers (with top three starred): Ingmar Bergman* Robert Bresson Rainer Werner Fassbinder* Stanley Kubrick Richard Linklater Martin Scorsese Andrei Tarkovsky*)
  • Favorite music
    Miles Davis (esp. 1950-75), The Who, Grateful Dead, Gustav Mahler, Zappa, Yes, Beatles/assorted solo, Stones, Pink Floyd, Genesis (esp. 1970-77)/solo Peter Gabriel, Van der Graaf Generator/solo Peter Hammill, Clash, Coltrane (both John and Alice), Sonic Youth, Gentle Giant, Hüsker Dü/Sugar/Bob Mould solo, Replacements, Ride, Slowdive, classic Fairport Convention/Richard Thompson (including with Linda), Zeppelin, King Crimson, Joy Division/New Order (80s material), Sparks, Spacemen 3, My Bloody Valentine, Flaming Lips, The Fall, Elvis Costello, Glenn Branca, Captain Beefheart, Elliott Smith, Nick Drake, Hendrix, Godspeed You! Black Emperor, Gong, Gil Scott-Heron, Popol Vuh, Philip Glass, Parliament/Funkadelic, Public Image Ltd. (first three albums), Robyn Hitchcock/Soft Boys, Bowie, Marvin Gaye, Roy Harper, Roxy Music, Rush, Julian Cope/Teardrop Explodes, Sly & The Family Stone, Soft Machine, Smiths, Nirvana, Soundgarden, Steely Dan, Springsteen, Neil Young, Byrds, Stevie Wonder, Thin Lizzy, U2, Van Morrison, Judas Priest, XTC, Nick Cave, National Health, Muddy Waters, Jethro Tull, Moody Blues, The Move, Lush, Minutemen, The Orb, Massive Attack, Björk, Love, Velvet Underground/Lou Reed/John Cale/Nico, Leonard Cohen, Joni Mitchell, Kate Bush, Keith Jarrett, Japan/David Sylvian, Isaac Hayes, The Jam, Stooges/Iggy Pop, Harry Nilsson, Harmonium, Fleetwood Mac, Ennio Morricone, Vangelis/Aphrodite's Child, Curve, The Cure, Cream, Cocteau Twins, Big Star (plus the one Chris Bell solo album 'I Am The Cosmos'), Charles Mingus, Caravan, Can, Brian Eno, Bauhaus, Siouxsie & the Banshees, Amon Düül II, Tangerine Dream, Talking Heads, Swans, Todd Rundgren, Tom Waits, Tool
  • Favorite creative writing
    A Portrait of the Artist as a Young Man - James Joyce Ulysses - James Joyce Wise Blood - Flannery O'Connor Gravity's Rainbow - Thomas Pynchon The Sound and the Fury - William Faulkner The Power and the Glory - Graham Greene The Rebel - Albert Camus The Fall - Albert Camus Catch-22 - Joseph Heller God Knows - Joseph Heller Under The Volcano - Malcolm Lowry Paradise Lost - John Milton The Recognitions - William Gaddis Pale Fire - Vladimir Nabokov Waiting For Godot - Samuel Beckett The Brothers Karamazov - Fyodor Dostoyevsky The Portable Nietzsche (though I have a lot of problems with his philosophy, I absolutely love Nietzsche as a rhetorician and commentator)
  • Favorite visual art
    Franz Marc Francis Bacon Pablo Picasso Stan Brakhage Vincent van Gogh Francisco Goya Hieronymus Bosch Pieter Bruegel

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  1. Kinch

    Out 1

    I have the Carlotta Films boxset staring me down from my windowsill.
  2. Called it. Also, Altman's Player and In a Lonely Place. Not bad at all.
  3. Is this word used outside the context of professional wrestling?
  4. Kings of the Road (and, by extension, the other two entries of his Road Trilogy) is also a foregone conclusion, I'd say, since Janus is touring that Wenders retrospective right now. It would also seem to be supported by what Wenders himself told Indiewire in late 2014.
  5. I've been going on a bit of a social media mourning frenzy today. She was-no, is-someone I had a lot of admiration and respect for, and the reports as to its nature make the news worse.
  6. Kinch

    M (1931)

    Alongside Imamura's Vengeance is Mine, this is the serial killer film I regard highest, largely due to its disinterest in psychoanalytically pegging down the killer*, and how the cinematic energy most of its successors expend on that is redirected into an approach that treats Beckert as a sort of sociological stimulus. * IMO, the most potent and most honest serial killer film is the one that acknowledges that, even if the atrocities of the killer can be given some cogent interpretation through taxidermy or mommy issues or Blake paintings or gender dysphoria or the seven deadly sins, there will always be an incongruous element, simply because the killer is a human being and not a geometric construct. And that is where the horror lies. A common tendency in these films is to analogize the killer's actions to the brushstrokes of a painter, but to do this one must, in a sense, make the killer a canvas in and of themselves upon which one projects their psychobabble. (Deconstructing this killer-as-artist theme brings Against Interpretation to mind, in fact.
  7. Despair is the only Russian-phase Nabokov I've read, and even then, I'm not sure it should count, since I read his updated-as-well-as-translated 1967 version. Nevertheless, it's very good. (Also, as the biggest Fassbinder fan on the forum, I am contractually obligated to mention his 1978 adaptation. Stoppard wrote the screenplay, FWIW.) Also, NBooth, do you have any interest in tackling Ada? It's soooo worth it.
  8. This is something I totally want to see. To be honest, Rivette is a real blind spot, as I've only seen (the long version of) La Belle Noiseuse.
  9. I'll go one further and never look. I can't imagine any classic Roeg getting the remake treatment, but hypothetical casting for remakes of The Man Who Fell To Earth or Bad Timing could make for an entertaining cinephile's parlor game. Alt+MAlt+N
  10. The one with Yul Brynner? Oh, that sounds absolutely terrible. Like with another literary adaptation starring him (The Sound and the Fury, which I have avoided as well*), what baffles me is the apparent focus on Dmitri Karamazov due to the star casting. Not to say that William Shatner and Richard Basehart are/were unknowns, but...look at the posters; it was Yul's show. But I'm getting away from my point; Dmitri isn't a dull character, but I think that, if an adaptation absolutely had to focus on one of the brothers, Alexei or Ivan (who is one of my very favorite literary characters) would be far more interesting selections. *How do you justify taking Quentin (the first one) out of TSatF? Alt+MAlt+N
  11. Even with those ratings in mind, in your opinion, are there pieces that one could regret missing out on if they were to stick with Images? (Bear in mind that I've been toying with the idea of doing some major Wikipedia contributions to all things Bergman.)
  12. Agreed, and this is coming from a Camus fan. I often wish The Fall got all the attention instead. Thank you. Holden's inability to consider the possibility that he may also be "phony" drove me up a wall even when I was 13. No, I was never immune from this kind of thinking as an adolescent, but...I have problems with Holden that I've never had with, say, Stephen Dedalus, who I've always felt closer to. (Hence my profile name.)
  13. Kinch


    I'm sorry, but I just can't take a side. I refuse to compare masterworks of such different aims.
  14. (Since it doesn't have its own thread, I'm posting this here.) A couple weeks ago, I read The Dark Knight Returns for the second first time. See, TDKR was one of the two graphic novels I owned when I lived with my mother (the other was The Infinity Gauntlet), and since I hadn't read it since I was 7, I'd been wanting to look at it again for a couple years. However, I did hesitate for a long time out of fear that there would be a trigger somewhere, as has been the case when I reevaluated other things in my life pre-removal. (For example, I've never been able to finish The Neverending Story, which we were watching when I was removed.) I'm glad I got over myself, for while I can't see it as a flawless masterpiece, TDKR was very powerful. Granted, I haven't yet seen 2/3rds of the Nolan trilogy, so these tropes may be old hat now, but...wow. Now that I have a better grasp of what Superman represents, for instance, and can empathize with cynical resentment of his ideals in the context of Reagan-era America, the battle between him and the Bat is much more moving, and it makes the most politically horrifying piece of Watchmen an opening for a flawed, but beautiful heroism. As I read Bruce's thoughts as he wrestled with Superman, I thought of that line from the The Rebel that everyone cuts the most important part of when they quote: "What is a rebel? A man who says no, but whose refusal does not imply a renunciation." Also, in the second two books particularly, Bruce looks like Brando in Last Tango in Paris.
  15. Why are Region 1 copies of Lancelot du Lac so expensive?

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