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<i>Toni Erdmann</i>. Directed by Maren Ade. Sony Pictures Classics, 2016. 162 minutes</p>

Professional Lives

“Career woman” is a term that enjoyed a certain vogue across the latter half of the twentieth century. An American idiom much bound to the eighties but coined in the thirties, under the guise of defining what a woman is, the phrase points emphatically to what she is not: “a woman whose career is more important to her than getting married and having children.” An archetype born of its time, the career woman is bound to that era’s signature medium: The movies helped midwife her into Western culture; on film she was made unruly (and almost always white) flesh, fed on drive and solo popcorn dinners, dressed in power colors, and sent into an unreconstructed world, where her success or failure typically depended on her willingness to obey a more natural order. There is, of course, no such thing as a career man.

Rogue Taxidermy

July 5, 2016

In this short film, Dawn Whitmore interviews Robert Marbury and Katie Innamorato about taxidermy.

Jungle Jangle

sic on it, the cameras: witch-green greasepaint canopy—
pan down: the thick bamboo lattice
twine-bound—pan down: dirt with rags to gag up,

Mark Hamill Remembers Tunisia

Twenty-four-year-old Mark Hamill auditioned for the role of “Luke Starkiller” on December 30, 1975. Two and a half months later, he landed in Djerba, Tunisia, took a harrowing taxi ride to Tozeur, and began playing the role that would define his early career. 

Tracking Shots

Yes, there were “close-ups.” In a marriage like theirs,
there were many, and each was easy to find
(her lovely face, her smiles, her pensive stares)

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