Vladimir Putin has this week signed into a law some measures to ban swearing in films, books and music. Films with obscene content will not be granted a distribution certificate and exisiting books and music with foul language will have to be sold in special wrapping.
I spoke to Alison Flood of the Guardian about the new law, and what it says about the state of Russian politics:
Writers’ group English PEN has already condemned the move. Robert Sharp, its head of campaigns, says: “Swear words exist in every language and are part of everyday speech. Russian artists will no longer be able reflect genuine, everyday speech. Instead, they will have to sacrifice authenticity in order to please a committee of censors. This new law sends the signal that law-makers want to sanitise and silence the voice of ordinary Russians.”
In recent years, Sharp adds, we have witnessed Russia’s slow slide into authoritarianism, with impunity for the killers of Anna Politkovskaya, the prosecution of Pussy Riot, and the ban on discussing homosexuality. “These things have all squeezed the space for free speech in Russia. The government claims it is ‘protecting and developing culture’, but the effect will be to ensure that culture becomes staid, uniform and boring.”
Something I have always found inspiring is the short acceptance speech made by Steven Soderberg in 2001, when he collected an Oscar for directing Traffic.
What I want to say is, I want to thank anyone who spends part of their day creating. I don’t care if its a book, a film, a painting, a dance, a piece of theatre, a piece of music… anybody who spends part of their day sharing their experience with us, I think this world would be unlivable without art, and I thank you…
Who drives our culture? Conventional wisdom says it is Hollywood. After all, it is the ﬁlm industry that produces the most highly paid artistes and the most visible ‘A listers’. Film is a visual medium and it churns out icons at a steady, lucrative rate. The four-hour Oscars telecast is beamed live around the world.
By contrast, the announcement of the Man Booker Prize does not even get its own TV slot in schedules. The announcement is allowed to interrupt the news broadcasts, but the analysis and reactions are made to wait until a scheduled bulletin and it’s never the lead story.
Film claims global relevance, whereas publishing is parochial. Film claims to be popular, whereas publishing is elitist. Continue reading →
Do you remember the London 2012 Olympics opening ceremony? You know, that show directed by Danny Boyle at the start of the sporting fortnight? You do? Well, in that case, you will be fascinated by this video from Fifty Nine Productions, detailing their role creating the film and video elements of that show. Continue reading →
Although I support the message behind this James Bond Supports International Women’s Day video, I’m not really a fan of the video itself. I don’t really see how having Daniel Craig as James Bond just stand there for a bit, and then return in drag, adequately conveys the inequality between the way men and women are treated in society. Surely having a woman (say, Naomie Harris) perform Bond’s lines, while Daniel Craig delivers the Miss Moneypenny lines, would better convey how men and women are treated differently in all walks of life?
Could there ever be a female James Bond? This may seem like a silly question: That James Bond is a man (a womanising man, no less) seems to be a ‘defining feature’. Continue reading →
Listening to the Overthinkers over-think video game culture (last week) and films (this week), I have begun to worry that video games will never be ‘culture’. More generously, I am concerned that video games will never attain the same cultural currency as other art forms.
This is because people do not absorb the culturally significant video games of the past, as they do with significant literature, film, and music. Continue reading →
Two is a trend.Vine, the new social media app that allows you to post 6 sec video clips, has a square format. The videos are in a 1:1 aspect ratio. This follows Instagram, the popular photo sharing app that gives the user focus and colour filters to improve their images.
This trend arrives just at the time when wide-screen has become the standard, default aspect-ratio of choice for both video and TV. The footage generated by Apple iPhones, other cutting edge phone technologies, and the latest video cameras, all seem to be on the 2:1 ratio. Before the move to High Definition, TV and camcorder footage was all 4:3.
Why the change to 1:1 for Instagram and Vine? Perhaps because the ratio evokes Large Format photography. This conveys a seriousness, a permenance, and a respect for the art of photography… a useful quality to communicate in the ephermeral, digital world of online image sharing.
I watched Charlie Kaufmann’s Synecdoche, New York the other day. It is at times compelling, hilarious, and mysterious.
The story follows a theatre director, played by Philip Seymour Hoffman. Awarded a grant to produce a expansive artwork, he recreates scenes from his own life inside a huge warehouse. But of course, after a while, his own life revolves around producing the theatre piece… So that gets recreated inside the warehouse too. He has to recruit an actor to play himself, and eventually an actor to play the actor that plays himself! Likewise with the other important people in his life and the production. The play becomes more and more recursive, in the manner of Borges’ The Circular Ruins (a dream within a dream).
I have only just got around to reading John Lanchester’s delightful meditation on the London Underground. I missed it when it was published in the newspaper, but enough people shared it on social media that Twitter saw fit to e-mail it to me as a recommended story.
The essay deals with the rich topic of how we manage to be ‘alone’ in public places. Lanchester describes of the masques we wear and the techniques we use to create mental space to dwell within even though our physical personal space is invaded by other people at rush-hour.