After seventy years, Jerome Siegel’s heirs regain what he granted so long ago – the copyright in the Superman material that was published in Action Comics Vol. 1. What remains is an apportionment of profits, guided in some measure by the rulings contained in this Order, and a trial on whether to include the profits generated by DC Comics’ corporate sibling’s exploitation of the Superman copyright. -- Judge Larson
A nonprofit night of collaboration and experimentation embracing the
concepts of improvisation in any genre and any sound.
Created as a labor of love by a handful of Amoeba employees, it is
designed to be a space for people to step outside of what they
normally do and collaborate with others in an unexpected live setting.
IZZY COX: VOODOO MURDER BALLAD QUEEN
The Muse Project (burlesque/cabaret): Featuring Uni and her Ukelele
along with Tippy Canoe
Kawaiietly Please with Japanese Extreme Super Sushi Chef Assassin Kung
Fu Master Masochist Percussionist TAKA
END.USER (breakcore.sonic insanity)
Live 16mm film projection, manipulations & hand-painted slides by Televega
Vegan Delicacies by Komeme
Live Painting by Hive Gallery Artists
Vinyl Records & Other Giveaways by Amoeba & KXLU
We have quite a few visual artists doing live painting for this show.
Here they are:
Amoeba Music & KXLU present: undergounDNUOS
@ Charlie Os (downtown at the Alexandria Hotel)
501 S. Spring Street
Los Angeles, 90013
THIS SHOW IS FREE!
Depicting beauty gets a free pass compared to depicting violence. Mankind's history of brutality indicates that violence is as much -- if not more -- a determining factor in the creation of what now constitutes civilized self than our love for beautiful things. Why, then, no "that portrait of the beautiful Contessa is pure exploitation?" Accusations of exploitation only enter when there's a gaping wound involved (or prurient nudity, which is objected to on the grounds that it does violence to its subject -- an objection that is, in practice, limited to pornography for heterosexual men). It's assumed that there's something wrong with you for taking any sort of pleasure in the the depiction of the violent side of our cultural constitution. Despite that, I had a real enjoyable time the other day at the moving picture show thanks to Michael Haneke. Funny Games is a good, psychological thriller that's no more gruesome than Psycho, largely due to Haneke's mastery of Hitchockian prestidigitation. Just like Morrison in Florida, the meat of the matter is more suggested than shown. Many critics were distraught over Haneke's hooks-on-the-eyelids sadism anyway, referring to his film as another instance of "torture porn" and/or that it's nothing but a misery to sit through (at least for right-thinking folk):
- The “Hostel” pictures and their ilk revel in the pornography of blood and pain, which Mr. Haneke addresses with mandarin distaste, even as he feeds the appetite for it. -- A. O. Scott
- To a healthy human mind, however, it’s one of the most repugnant, unpleasant, sadistic movies ever made. No matter what virtues of craft one can find within, no matter what themes lie beneath, Funny Games is aesthetically indefensible. -- Andy Klein
- Professional obligations required that I endure it, but there's no reason why you should. -- J. Hoberman
- The joke is on arthouse audiences who show up for Funny Games, which is basically torture porn every bit as manipulative and reprehensible as Hostel, even if it's tricked out with intellectual pretension. -- Lou Lumenick
- [T]he film itself inched close to the sort of exploitational detail that it was supposed to abhor—a proximity that only gets worse in this later version, which adds a definite carnal kick to the sight of the heroine being forced to strip to her underwear. -- Anthony Lane
In truth, Haneke brings much of that kind of moralizing on himself. In an interview with Scott Foundas, he gives his reason for remaking his German-language film in English, namely to better address its target audience: "For the consumers of violence — in other words, Americans." Evidently, Germans and other Europeans aren't the ones who come first to his mind when it comes to enjoying the representational infliction of pain on others. Maybe he believes his countrymen don't consume specular violence when they have a recent history with the real thing ... but I doubt it. Rather, it's due to a moralizing European arthouse pretension, as can be read in an interview he did with Jim Wray: "Funny Games['s] subject is Hollywood’s attitude toward violence. And nothing has changed about that attitude since the first version of my film was released — just the opposite, in fact." He'd probably suggest turd-munching served a real aesthetic purpose when Pasolini used it, but not so much when John Waters did -- if Haneke ever contemplated the aesthetics of coprophagia, that is. Not to be outdone by the Europeans -- and as a function of their culture-envy -- the middlebrow American critics attempt to prove their highbrow bona fides by turning the table on Haneke, dismissing his film as another instance of the (sub-)genre he was himself purportedly condemning (cf. the video above). Haneke isn't above the Americans, say they, he's just as bad.
The prisoners were subjected to experiments, apparently of great concern to those who conducted them. The outcome was a disappointment for some - death for others - and for others yet, madness. One day they came to select a new guinea pig from among the prisoners. He was the man whose story we are telling. He was frightened. He had heard about the Head Experimenter. He was prepared to meet Dr. Frankenstein, or the Mad Scientist. Instead, he met a reasonable man who explained calmly that the human race was doomed. Space was off-limits. The only hope for survival lay in Time. A loophole in Time, and then maybe it would be possible to reach food, medicine, sources of energy. This was the aim of the experiments: to send emissaries into Time, to summon the Past and Future to the aid of the Present. But the human mind balked at the idea. To wake up in another age meant to be born again as an adult. The shock would be too great. Having only sent lifeless or insentient bodies through different zones of Time, the inventors where now concentrating on men given to very strong mental images. If they were able to conceive or dream another time, perhaps they would be able to live in it. The camp police spied even on dreams. This man was selected from among a thousand for his obsession with an image from the past. -- Narrator, La Jetée
I hate temporal mechanics! -- Miles O'Brien, Star Trek: Deep Space Nine
Thanks to YouTube, I finally got around to watching La Jetée by Chris Marker. Perhaps most surprising after all the ink that's been spilled analyzing this experimental work is how much it resembles the old science fiction stories of EC's Weird Science. These stories -- like the majority of those from EC -- featured some twist ending that followed along like fate from whatever course of action the protagonist chose in the beginning.
[Spoiler Warning: if you want to be surprised by the derivative content, finding enjoyment in noticing it yourself, read no further.]
It has a contaminating virus just like 28 Days Later, which was itself just like The Crazies.
It has a region quarantined off from the rest of civilization (this time, Scotland), with the remaining people left to rot, just like 28 Weeks Later, which itself borrowed the bit from Escape From New York.
It has a little girl who loses her family during the initial infestation and develops into a Wonder Woman, just like Resident Evil.