Amoeblog

Chinatown (洛杉磯唐人街) - as in, forget about it Jake

Posted by Eric Brightwell, March 6, 2010 06:00pm | Post a Comment
Chinatown Skyline Cathay Manor Los Angeles Chinatown
          Rooftops, Cathay Manor (where I've wanted to party since moving to LA and a quiet street in Chinatown

Chinatown (洛杉磯唐人街) is Los Angeles neighborhood located just north of downtown. To vote for other neighborhoods, click here. To vote for Orange County neighborhoods, vote here. To vote for Los Angeles County communities, click here.

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The Mezzanine Shuffle - Turn and face the strange

Posted by Eric Brightwell, February 25, 2010 02:55pm | Post a Comment
Amoeba Music Hollywood Mezzanine Move Sign
Do this don't do that can't you read the sign?

As some of those who know me know, I used to work in the movie department here at Amoeba Hollywood. I was assigned to Black Cinema and Latino Cinema. You could say they were my beat. But I was a bit of a lone wolf who played by my own rules. But after one too many high-profile disasters, the sarge stuck me with a desk job, writing this blog. But I still take interest in my old neighborhood and some (OK one) of the customers still tell me to come back... he also gave me a couple of candy canes for Christmas which (since I don't much like sweets) sit in the guampa on my desk. They're yours if you want 'em. ,

Anyway, so the mezzanine just went through a major overhaul, which I had/got to be a part of...

 Amoeba Music Hollywood Mezzanine
The Mezzanine - Officially the largest selection of movies in the universe

Occasionally, when something big like this goes down, the powers that be will promise me some nice change if I bust the right brains. Or, to paraphrase Sean P, "They callin' me to come back to the streets, Eric B, a.k.a 'Sharp Crease'/Said it was necessary, these sucka weddoz out here very scary/They comin' whole they livin' in the month of February" to which I replied, "OK den." Also I was promised pizza. More about that later.

Silent night - Christmas movies of the silent era

Posted by Eric Brightwell, December 6, 2009 11:55am | Post a Comment
A Christmas Past DVD         A Christmas Carol & Old Scrooge DVD

Happy St. Nicholas Day! For your enjoyment, a little somethin' to break the monotony of all that hardcore Christmas that has gotten to be a little bit out of control...


Santa Claus
(1898) was directed by George Albert Smith (Weary Willie, Making Sausages), a former portrait photographer and member of the UK's Brighton set. In 1906, he and Charles Urban patented the world's first commercial color film process, Kinemacolor. Smith was something of an English Georges Méliès, employing and pioneering the use of special effects, mostly in the fantasy genre.

Scrooge; or Marley's Ghost (1901) was apparently the first adaptation of seemingly millions of Dickens's novel.


The Night Before Christmas
(1905) was directed by the great Edwin S. Porter (Uncle Josh in a Spooky Hotel, Uncle Josh at the Moving Picture Show, The Gay Shoe Clerk) and is a pretty loose adaptation of the famous poem by Clement Moore. It will undoubtedly appeal to fans of dioramas and vintage children.

Mummy Dearest

Posted by Eric Brightwell, April 15, 2009 06:06pm | Post a Comment


Mummy films
are unique among classic monster movies in that they're neither primarily based upon myths or literature. Only Isaac Henderson's 1902 play, The Mummy and the Hummingbird and Bram Stoker's 1903 novel, Jewel of the Seven Stars, have inspired cinematic adaptations (the latter spawning four to date) with its subject of an archaeologist attempting to revive a mummy. There were a few examples of the mummy in literature, as with Edgar Allan Poe's "Some Words with a Mummy," Théophile Gautier's The Romance of a Mummy, Ambrose Pratt's The Living Mummy, Louisa May Alcott's "Lost in a Pyramid or, The Mummy’s Curse" and Sir Arthur Conan Doyle's "Lot No. 249" and "The Ring of Thoth" all deal with mummies, albeit not always in a horror setting, and have never even loosely been adapted into film.

The rise of mummy films seem to be directly related to a then-widespread interest in archaeology and, more specifically, an enduring western vogue for Orientalism and fascination with the Near East.  Several major discoveries in the field of Egyptology occurred in the 20th century and helped renew and increase interest in one the the planet's oldest, most complex and enduring civilizations. Yet fascination with Egyptian mummies, with their tantalizing ties to the ancient past, never really translated into a healthy monster subgenre, only sporadically rising to the level of more continually popular monsters like vampires and ghosts.

From the women's picture to the chick flick

Posted by Eric Brightwell, March 31, 2009 05:52pm | Post a Comment
30 Helens

I wrongly assumed that it would be easy to fire off a blog briefly summarizing the history of women’s pictures. When I began, I quickly realized that it is a genre that’s simplistically treated as synonymous with both weepies/tearjerkers and their near opposite, the rom-com; it quickly proved to be more than I bargained for, which is why it’s showing up on this, the last day of Women’s History Month. The history of the genre occupies an interesting position, little discussed and yet obviously affecting and responding to the Hollywood narrative, the larger global film market, and broader history. Anyway, it proved to be a bit too much so, here's the fast & furious driveby account of a genre that deserves more.


First of all, tear-inducing films are by no means all women's pictures, which is why someone coined the annoying term “guy cry” for young male-targeted stories/films about dying dogs (e.g. My Dog Skip, Old Yeller, Where the Red Fern Grows, &c). For adult males, sentimental melodramas (usually tempered by the macho backdrop of war, the wild west or sports (e.g. Bang the Drum Slowly, Brian’s Song, Knute Rockne) allow men the opportunity to cry with less shame. But, whereas men generally try to resist crying, telling themselves in the heat of a battle scene as the hero lies dying in his buddy's arms, "It's only a movie. It's only a movie. You will not cry!"; women, it is assumed, seek out movies with the hope that they will have "good cry." I have no doubt that this is part of why women’s pictures have rarely been afforded serious critical examination and were only lauded, for the most part, near the beginning of film history.

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