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About mike_h

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  1. "What's the deal with the name of the tent?" is a perfectly reasonable question (I'm assuming that's what you mean by references to "the banner"). I'm sure it was just an effort to get attention at a place where the competition is stiffer than most places -- and apparently it worked. "Gender Revolution" seems to me a fairly accurate way to describe a discussion where traditional gender roles and attitudes (and interpretations of Scripture) are being rethought within an Evangelical context. If you feel threatened or bothered by that name or discussion, you're not the only one. I haven't sa
  2. Alan, I get it -- I'm trying to defuse the emotions a bit. In any case, I'm the Flickerings guy. You want me to defend Cornerstone Festival, I'm not sure that's my calling entirely. But I wish you'd start a thread on CBE and move into something substantive and stop with the heated rhetoric. Your appeal to objective standards about what is the right or wrong way to run a festival ("poor judgment", having the CBE tent is "wrong", etc) when in fact these are your opinions, doesn't do much for bringing about the dialogue you want. Denouncing the CBE like they were the KKK seems over-the-top a
  3. Glad to see Cornerstone Festival remains too conservative for some, too liberal for others! For me, the fest is an ideal of which the reality always falls short, but the ideal has so inspired and nurtured me over the years that I'm glad to continue to reach with others toward the ideal. From the inside, the fest is a barely-contained anarchy -- hardly a monolithic or ideologically-driven enterprise, and always on the edge of going broke. Whenever I consider the differences between attendees or even staff, I can't understand how it all hangs together and I'm always certain it can't last much
  4. How distressing to learn that flamboyance may have been committed at Cstone Fest! We'll have to look into that... Meanwhile, the Imaginararium Post-Fest Report is up, with a Flickerings Report coming maybe by next week (the latter may include a photo of Doug Cummings lighting the Official Flickerings Flame with the Secret Elixer). Both programs went really well this year, maybe the best ever. It was a blast hanging out with Doug and Crow and Ann D., talking about movies over an Elephant Ear (and weeping over the woes of the St. Louis Cardinals). Some of my Flickerings highlights over
  5. Well, (sniff), it will be a reunion of sorts. And the world will be as One once again. -s. Guys, you're making me cry. Actually, my tears come from the terror of thinking about next year before this year is out, before the subsequent and obligatory "Never again" period while I wait for the empty tanks to refill again (they always do), staring at the blank piece of paper in a fog. However, we've always made it through that period, so I will take it on faith that there will be a next year, after all, and all my A & F chums will be there, too. (And you were there. And you were there
  6. Actually, I've not seen The Messiah -- how is it? The later Rossellini hasn't yet had the same effect on me as his postwar films. For me, that little group of films fit together like an impassioned conversation about faith and love and viewing them together can be like a sort of spiritual retreat.
  7. There's the dreaded question... and the answer is: yup. Occasionally -- nay, frequently --I am reminded that Flickerings is a very small venue at a very large music fest -- like when I ask if my Showcase selectees can get passes. (Then again, they do remember us in the advertising for the fest, when they list us off near the top... "MUSIC... FILMS..." Guess you can only get so much mileage out of all that MUSIC.) I guess the only way to look at it is, "Gee, you mean after I've paid admission to this huge music festival, I get to go to this cool little film festival for FREE.." Or some
  8. Totally cool! Glad I thought to mention somewhere on the website the fact that we screen from DVD (and the birds and dust). So's people know what they're getting into... But still, very cool. Thanks.
  9. Jeffrey, thanks for the encouragement and plug. Wish you could be there with us.
  10. Hey, Folks! Thanks for talking up the Imaginarium at Cornerstone Festival. All the credit to Leary for suggesting I give a call to David Dark for the Canticles seminar. Wish you could be there to wax rubble with us, Mike. We're real happy with the Imaginarium program and are excited about all the links to the Flickerings program (thanks for noticing, Doug!) Speaking of which, the Flickerings program info is now posted. Looking forward to meeting Jason and hope to see many of you other A & Fers there this year. Let me know if you have any questions. Thanks for your support over th
  11. Hey, all. I saw He Who Must Die (Celui qui Doit Mourir) last year at a special screening at Facets in Chicago, hosted by Studs Terkel. He'd chosen the film as a part of an ongoing guest "critics choice" series, partly as his own sort of response to Mel Gibson's film (which he hadn't seen, but didn't like). I was excited to see a film representing a confluence of a pair of ongoing interests. Jules Dassin's career is facinating story of a solid Hollywood director gone abroad to practice his craft in a sort of exile. Nikos Kazantzakis's struggle with the flesh and spirit (which shows up mos
  12. Gigi: I'm no expert, but I've been dealing with this exact issue this week. I use Handbrake to extract from DVD, but the output file I end up with is an .mp4 -- Final Cut Pro, as you've discovered, doesn't like that suffix. You'll need to convert the files to .mov Quicktime files (or else Mpeg 2 files) which will play in Final Cut. A program that does this is FFmpeg, available here. You'll also need a couple other downloads and installs to make the program work, but that page will guide you through the process. Good luck!
  13. I just watched Richard Linklater's film previous to Slacker, It's Impossible to Learn to Plow by Reading Books. I turned the commentary on pretty early, I must confess, but it was very helpful to get to know a bit more the way Linklater thinks about his work, especially what he was thinking early on. He described his experiments in form in that film as a quest for "oblique narratives" -- which confirmed that the character's use of the phrase "oblique strategies" in Slacker was highly significant. It was good to hear about his own deliberateness in seeking a way out of the Hollywood narrati
  14. I link the notion of narrative authority both to the "flattened" structure/attitude of the film but also to the authoritative narratives of most of the characters. Instead of a strong author, we have a myriad of strong authors, as it were. In this Slacker reminded me of David Byrne's True Stories, which was similar in strategy and tone (a catalog of oddball characters -- and also set in Texas!). I remember Byrne explaining his own non-judgmental perspective toward his characters, saying something to the effect that they were all there to be appreciated and enjoyed. I both sympathize and re
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