Wednesday, January 26, 2005
Friday, June 13, 2003
Wednesday, June 11, 2003
Screen Daily :: The Sydney Film Festival has approached both the State and Federal Government in the hope that Ken Park can be shown twice next week as scheduled, despite the Classification Review Board upholding the Office of Film and Literature Classification's refusal to classify the film. Australian film festivals do not ordinarily have to seek classification for their programmes, although the Classification Office has the right to ban a film. It was the little-known Queensland-based video distributor Independent Pictures which submitted the film for classification and the result means it cannot now be legally sold, hired or exhibited in Australia. The Classification Board believes "the film deals with matters of sex in such a way that they offend against the standards of morality, decency and propriety generally accepted by reasonable adults to the extent that it should be refused classification".
Thursday, June 05, 2003
Tuesday, June 03, 2003
Sunday, June 01, 2003
Telegraph ::
In recent years, Ruff has enlarged photographs he has found on pornographic sites on the internet. Because he slightly blurs the photos, the resulting art works are not particularly provocative. But that, I think, is the point. This is the first time in history when the things men and women actually do to each other sexually is easily available for everyone to see. You might think that seeing pictures of the most intimate acts of which human beings are capable would tell us something about who we are. But the exact opposite is the case. When Ruff shows us S&M sessions, lesbian and gay couplings and group sex, we learn precisely nothing.
So they become channelled on the one hand into what I call retro-sexist imagery, where sexism operates freely within the frame of a period style; and, on the other, into increasingly fetishistic sexual imagery, which depicts power relations as about S&M sex rather than who washes up or chairs the board.
Thursday, May 29, 2003
Admonton Journal :: Dracula is Maddin's most exquisite homage yet to the antique style of silent cinema, especially the works of German expressionists like F.W. Murnau (Nosferatu, Sunrise) and Fritz Lang (Metropolis).
Shot with a variety of formats and film stock, his imagery manages to weave together the strange commonality of ballet and silent film -- dynamic visual motion set to music, in this case Gustav Mahler's first and second symphonies. Mark Godden's original choreography is captured with verve although some dance purists carp that the ballet sequences have been shot from wrong angles and worse, submerged by the overpowering style of the film.
Vincent Martorano, a political science major, wrote that he had seen gay men "making out" on campus on several occasions and called the sight "an absolutely disturbing display." He also called homosexuality a disgrace to society. "I long for the days when homosexuality was viewed by society as an illness and gays opted to remain in the closet," he wrote. The paper received numerous letters protesting the comments, and the student editor wrote an editorial defending his decision to run Martorano's piece.
Sydney Morning Herald :: The film Secretary has caused a big stir since its first screening at last year's Sundance Film Festival. Not because it is a sweet, romantic fairytale, but because it opens with the 25-year-old Maggie Gyllenhaal performing secretarial duties with her arms locked in a crucifix position by an iron contraption fastened around her neck. Flash back six months and her character, Lee Holloway, is seen coming out of a mental institution, cutting or burning herself when life outside proves too much to handle. She eventually discovers her sense of self-worth when she takes a low-grade job as a typist. Her boss, played by James Spader, instructs her to bend over his desk and accept punishment for her spelling mistakes.
Engaging in S&M brings both characters out of their shells. Yet the film, directed by Steven Shainberg, doesn't show more than it needs to, and never views the relationship crudely or salaciously. This is largely down to Gyllenhaal, who spent a month with Shainberg analysing every scene, every line.
"I trusted the script implicitly," she says.
