“I realized, if not now, when? Or more aptly, if not now, never.”
My inner “ballet girl” says thank you for this beautiful essay.
The amazing Neil deGrasse Tyson on the feeling of social responsibility as an educated black man in astrophysics. Profound profound stuff.
For all of us trying to make it in the fields we want to be in, to break the stereotypes, and to know that just being visible means we count. Neil deGrasse Tyson makes the terrific point. — ssw15
Neil deGrasse Tyson almost bringing me to tears here.
“We are so convinced of the goodness of ourselves, and the goodness of our love, we cannot bear to believe that there might be something more worthy of love than us, more worthy of worship. Greeting cards routinely tell us everybody deserves love. No. Everybody deserves clean water. Not everybody deserves love all the time.”
― Zadie Smith, White Teeth
…the rampages in A Touch of Sin stem from ills particular to contemporary China: economic inequality (mine bosses exploiting villagers), social instability (migrant workers floating from job to job), a weak social safety net (an injured factory worker has no insurance), and a desperate sense of every man for himself (don’t even ask about women).
Ordinarily, I try to avoid violent films. I simply can’t stomach them. But I’m eager to see Jia Zhangke’s take on it in his new movie, A TOUCH OF SIN, which appears to be an exploration of violence itself, not just the glorification of it.
Just bought my tickets today to see David Henry Hwang’s new play, KUNG FU. Very excited.
Michelle Dean at Housing Works Bookstore, 12/3/13
This is the perfect response.
As Spike Lee’s perplexing adaptation of Park Chan-wook’s Oldboy hits U.S. theaters, we ponder the ongoing influence of Asian cinema on Hollywood, and how the expanding Asian market is influencing American film in other ways. [Read more…]
"…it’s becoming more and more interesting playing find-the-kowtow-moment in big American films, looking for scenes and moments and dialogue inserted entirely to ingratiate an American film with one specific market. And I’m simultaneously dubious about and entertained by the way American and Asian film culture is blending, with Chinese pictures looking more and more like Hollywood studio releases, while American pictures are continuing to cherry-pick elements from Asian culture for exotica (like Japanese-style ghosts) and explosive style. As with so many other cultural elements, it seems like the rise of modern mass communications and increasingly permeable markets is moving us all very slowly in the direction of a monoculture."