Thoughts and criticism by Calum Marsh, staff writer for Slant Magazine, Cokemachineglow and InReviewOnline.

Pierrot Le Fou (1965)

Live fast / die young / bad girls do it well.


Pierrot Le Fou (1965)

Live fast / die young / bad girls do it well.

(via nictate)

Rawktumblr: The Reasonable Person's Guide to Supporting Music/The Reasonable Band's Guide to Selling It


In the wake of Emily White-gate, everyone has an opinion about money and music. Let’s turn those into an actual set of ethical, practical guidelines that reasonable music fans can turn to, rub their 8” beards and say, “Why yes, I do really love this band and I would like them to be able to make…

I think this may actually be the blog post that gets me to pay for music (for the first time in literally years and years).

(via rawkblog-deactivated20131111)


秋刀魚の味 / 1962 / 監督 小津安二郎

An Autumn Afternoon, 1962, dir. Ozu Yasujirô

These are the first four shots of Ozu’s last film. I think making them GIFs, rather than stills, is important, so that you appreciate just how little is going on in each shot - only the passage of time.

Think about this in comparison to the fourth film by Imamura Shôhei, made one year prior, which opens like this. Imamura worked on several Ozu films as an assistant before quitting and renouncing Ozu’s technique and ideology. There’s a slight commonality to the shot composition, but it is really, really a completely different beast.

"An Autumn Afternoon", Ozu’s last and, in my opinion, best film. 

(via truthandmovies)


—Sexual Aerosol


Four-minute thesis paper on whether that “2009: Turn your contacts into MySpace friends!” ad was a resolution or a threat. Inconclusive.



Charlie Chaplin’s THE GOLD RUSH is a great film and a joyous experience, but every viewing comes complete with an unavoidably crushing realization: the cinema (or art in its entirety?) peaked with the dancing rolls scene. our beloved medium was still in its infancy when Chaplin shot this bit in 1925, but here we are nearly 90 years later and it still appears as if this sequence will never be topped (and i say that with all the confidence of someone who has seen Rock of Ages).

p.s. apocryphal trivia: film audiences of the 20s enjoyed this scene so much that they would often demand that the projectionist replay it several times before continuing on with the rest of the reel.

The Criterion Collection edition of THE GOLD RUSH is out on 6/12/2012

(Source: truthandmovies)

Jamieson Cox: On Azealia Banks, "1991", and her connection to ball culture


bold as to christen her Azealia Xtravaganza, but isn’t it feasible to imagine her as the mother of her own house, scion of the House of Banks? She possesses the requisite swagger, style, and welcoming aura. Does anyone doubt her ability to throw shade?

I’ve already said more than I’d planned to, but I have to again answer this question with a resounding no — because these qualities alone do not make a legendary house mother, and because ball culture is simply not interchangeable with the broader inner-city New York interests in social status, swag, or street-sanctioned oh-snapness by the sole virtue of race. Ball culture subverts race, class, and most prominently, gender conformity as a matter of public performance

and private life; it’s not just a bitchy fashion show. So far in her career, Azealia Banks has done nothing to merit any serious comparison to the culture or its queens, and I’d hate to go have fun in Barcelona tonight without challenging this well-intentioned, but terribly misled assumption. “I’mma ruin you, cunt” is not analogous to “Cunty” by a substantially wide longshot.

Well and but so.

(via occupiedterritories)