Utsnitt: om Kathryn Bigelows “Detroit”

Filmkritikern David Broady är hyfsat kritisk mot Kathryn Bigelows nya film “Detroit”, och skriver hos The New Yorker:

As I watched this protracted scene of captivity, terror, torture, and murder in the Algiers Motel, I wondered: How could they film this? How could a director tell an actor to administer these brutal blows, not just once but repeatedly? How could a director instruct another actor to grimace and groan, to collapse under the force of the blows? How could a director even feel the need to make audiences feel the physical pain of the horrific, appalling police actions?


Från New York Review of Books – “The True Story of Rastafari“:

Yet it can be hard to reconcile the image sold to the world with local realities—not to mention the original politics and principles of the Rastafari movement. Rastafari began not simply as a form of countercultural expression or fringe religious belief. It involved a fight for justice by disenfranchised Jamaicans, peasant laborers and the urban underemployed alike, in what was then a British colony. In the 1930s, the Rastafari established a self-sufficient community to put their beliefs into practice. Almost eighty years later, the people Marley’s music spoke to—members of Jamaica’s “sufferah” underclass—continue to live in deep poverty, while the redemptive social organization the movement sought to create has been largely forgotten.


Zach Lieberman berättar om ett år av digital skissande, bl.a. det här:

The sketches are the opposite of work to me, so I try to be totally un-work like. I don’t use github, I don’t keep code clean, I just make and record without thinking very carefully about anything. I sketch up until the point I think it’s interesting, record it, post it and clock out. It’s the opposite of how I approach commercial work. When I sketch I want to work as messy and mindlessly as possible — I don’t plan, I just see where the wind blows.