Amoeblog

Films and Video Games

Posted by Eric Brightwell, March 16, 2010 12:34pm | Post a Comment

With Tron – Legacy, the sequel to a movie about video games, scheduled to open in theaters this coming December and Tron – Evolution, a video game based on a sequel of a movie about a video game scheduled for release in November, now seems like a perfect time to look at the Ouroboros-like nature of film and video games and film.

Tron The Wizard WarGames Joy Sticks Cloak & Dagger Cloak & Dagger

In the early 1980s, Hollywood still sometimes made films that weren’t re-makes, adaptations or sequels and before there were movies adapted from video and computer games, there were movies about video and computer games. Tron (1982) was the granddaddy of them all. The Wizard (1989), WarGames (1983), Joysticks (1983), Cloak and Dagger (1984) and The Last Starfighter (1984) soon followed. 

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Korean film festival of Los Angeles - KOFFLA 2010

Posted by Eric Brightwell, March 2, 2010 02:20pm | Post a Comment

KOFFLA 2010

I’m kind of embarrassed to admit it, but up until three months ago, the only Korean films and dramas I’d seen were 녹색 의자 (Green Chair), 미녀는 괴로워 (200 Pound Beauty) and 소울메이트 (Soulmate). I’d been given a grip of dramas by the good folks at MBC but I’d dutifully passed them along to my own soulmate’s mom, who’s a raging Korean drama addict.

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Black Cinema Part III - the TV age and beyond

Posted by Eric Brightwell, February 15, 2010 12:42pm | Post a Comment
This is the first installment in a three part history of early Black Cinema.
To read Part I, covering the independent Race Movie years of the 1910s and '20s, click here
To read Part II, covering the Hollywood Studio years of the 1930s and '40s, click here



In American silent films, minority roles were almost invariably filled by white actors in exaggerated and offensive make-up. Latinos in silent films usually played greasers and bandits; Asian-Americans usually played waiters, tongs and laundrymen; and blacks usually played bellboys, stable hands, maids or simply "buffoons." Not surprisingly, both Asian-Americans and blacks responded by launching their own alternative silent cinemas. But whereas Asian-American Silent Cinema quickly faltered, silent, black "race movies" flourished. In the 1930s and '40s, Hollywood began to phase out the practice of blackface (while continuing the practice of redface and yellowface) and successfully wooed race movies' sizable and thus profitable audience. By the 1950s, with its enormous budgets and star power, Hollywood had effectively co-opted and destroyed the independent Black Cinema known as race movies. The result was that there were far fewer examples of Black Cinema in the decade. In the years that followed, as TV chipped away at film’s dominance, a few black actors began appearing on the small screen in shows like Beulah (1950-1953) and The Amos 'n Andy Show (1951-1953) which, whilst hardly socially progressive, at least offered more acting opportunities for black actors.

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Black Cinema Part II - Race Movies - The Hollywood Studio Era

Posted by Eric Brightwell, February 7, 2010 12:13pm | Post a Comment

This is the first installment in a three part history of early Black Cinema.
To read Part I, covering the independent Race Movie years of the 1910s and '20s, click here
To read Part III, covering the TV Age of the 1950s and '60s, click here


In the silent film era, most roles for minority characters were filled by white actors in make-up. As a result, Asians and blacks began making their own, alternative cinemas. But whereas Asian-American silent film quickly faltered, black silent film flourished and a great number of race movies were cranked out to eager and under-served black filmgoers. 

By the 1930s, though yellowface and redface continued to be common practice, blackface began to disappear from the mainstream as Hollywood began efforts to woo the audience it had previously been content to insult. This meant there were many new opportunities for black actors, albeit mainly as musicians, porters, chauffeurs, waiters, hat check girls, maids, bootblacks, convicts, bartenders, bone-through-the-nose Africans or buffoons. Because of the improving but still less-than-satisfying opportunities afforded by Hollywood, many black actors supplemented their Hollywood bit parts with simultaneous careers in race movies.

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Laurel Canyon

Posted by Eric Brightwell, December 16, 2009 03:30pm | Post a Comment
Pendersleigh & Sons Cartography's Map of Hollywood
Pendersleigh & Sons Cartography's map of Hollywood, showing the approximate location of Laurel Canyon

This blog entry is about Laurel Canyon. To vote for other Los Angeles neighborhoods, click here. To vote for Los Angeles County communities, click here. To vote for Orange County neighborhoods, vote here.
Streets of Laurel Canyon

The woodsy area in the Hollywood Hills now known as Laurel Canyon was originally inhabited by the Tongva. A spring-fed stream attracted Mexican shepherds in the 18th century. After the region became part of the US, Anglos arrived. About 100 years ago, the area was divided up, cabins were erected and the area was marketed to vacationing tourists. The first movie made in Hollywood was shot in Yucca Corridor in 1910. Though the film industry remained centered in Edendale for a few years, it gradually shifted to Hollywood and Laurel Canyon became the home of some of the burgeoning industry's photo-players.
Laurel Tavern

Famed cowboy star Tom Mix bought the Laurel Tavern and converted it into his residence. Mary Astor had a love nest on Appian Way. Gay Mexican "Latin Lover" Ramón Novarro lived there until his murder in 1968.
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