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  • Private Hell 36

    Private Hell 36

    Wanted to shout out my new article in Film History, which explores the demise of Ida Lupino's company The Filmakers and how it essentially would be the first step to the return of a conglomerate style vertically integrated Hollywood after United States v. Paramount (1948). Throughout the article, I look at how entrepreneurs have exploited the desires of creative independence by artists, and connect it to practices that occur today at companies like Netflix, Amazon, and Apple.

    You can read the article by signing up for a free JSTOR account, or otherwise please contact me elsewhere.

  • L for Leisure

    L for Leisure

    ★★★★★

    The End of History is only the beginning. The definition of graduate life—the most “thinking” profession—defined entirely outside of its labor, though inexplicably tied to it. Instead, a heightened sense of bodies, time, space. Interrogations on sex and materialism are suddenly forbidden pleasure. “Are you ready?” Vibes have never been better.

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  • Good Time

    Good Time

    ★★★★

    A green Sprite bottle, given almost a mythical introduction in a frenetic monologue, slips out of the hand of a character and roles into a puddle of water. The camera, finally imparted from its intense close-ups to a God's eye long shot, lingers just for a second as it rolls into a puddle where it could be misconceived as trash. An object of everyday life that has been signified with narrative agency (A MacGuffin up there with the Arc of…

  • Moonrise Kingdom

    Moonrise Kingdom

    ★★★★★

    I could talk about how this film's structure finally achieves the blissful melancholy that has been at the heart of all of Wes Anderson's films. I could talk about the precision of his framing and tracking shots, and how often he finds visual comedy through a perfect edit, or the slight entrance of new material into the frame. I could talk about how depressing the film is, the hints of both a traumatizing past, and that in a way, Sam…