Category Archives: Video

Art

httpv://www.youtube.com/watch?v=Cri7aQHRT7k

This video shows the winner of “Ukraine’s Got Talent,” Kseniya Simonova, 24, drawing a series of pictures on an illuminated sand table showing how ordinary people were affected by the German invasion during World War II.

She begins by creating a scene showing a couple, sitting holding hands on a bench under a starry sky, but then warplanes appear, and the happy scene is obliterated.

It is replaced by a woman’s face crying, but then a baby arrives, and the woman smiles again. Once again, war returns, and Miss Simonova throws the sand into chaos from which a young woman’s face appears.

She quickly becomes an old widow, her face wrinkled and sad, before the image turns into a monument to an Unknown Soldier.

This outdoor scene becomes framed by a window as if the viewer is looking out on the monument from within a house.

In the final scene, a mother and child appear inside, and a man standing outside, with his hands pressed against the glass, saying goodbye.

Mesmerizing!

The Great Patriotic War, as it is called in Ukraine, resulted in one in four of the population’s being killed, with eight to 11 million deaths out of a population of 42 million.

Kseniya Simonova says:  “I find it difficult enough to create art using paper and pencils or paintbrushes, but using sand and fingers is beyond me.  The art, especially when the war is used as the subject matter, even brings some audience members to tears.  And, there’s surely no bigger compliment.”

Saturday Night at the Movies: “The Third Man”

httpv://www.youtube.com/watch?v=un26BBFQ5_M

Russell Perkin has already posted on Graham Greene and Frye and evidently will be doing so again soon with something on “Shakespeare, Greene and ideology.”  This seems like a good time, therefore, to feature a movie written by Greene, enjoyed by Frye, and now of course regarded as a classic in its own right: The Third Man.

In his diary entry for April 26, 1950, Frye records having seen the movie with Helen the night before and describes it as “very good’:

The musical accompaniment — a zither playing the same series of chords over & over — was very effective, & the whole atmosphere of post-war Vienna, its spirit broken by occupation & its poverty grinding everyone down to a squalid sort of mutual prostitution, was horribly convincing. The villain, done by Orson Welles himself, was the type Hollywood movies generally idealize — a cheerful, handsome, appealing boy who was a complete psychopath, & the curiously empty & helpless horror that such a character inspires came through in a magnificent scene — the only one where he said anything — on a Ferris wheel with the American hero [Joseph Cotten], whose inept honesty made just the right foil. The ferocity of the heroine’s devotion [Alida Valli] to the man whom she knew had betrayed her tied up what was really a pretty grim story, for all the melodramatic chase-through-the-sewers that made it more reassuring for the young women behind us.

It’s funny now that Frye turns his nose up at the “melodramatic chase-through-the-sewers.”  At the very least it proves that he did not reflexively fall into archetype spotting simply because it might niftily prove a point.  Every Frygian since would recognize the sequence as a nicely framed descent into the underworld, and all no doubt sooner or later comment on it.  Furthermore, this particular “melodramatic chase” is artful and modest compared to the Wagnerian tumescence of the formula as it is rendered these days.  Over Christmas I went with my neighbors and their kids to see Avatar.  For the first 90 minutes I was enchanted by it — in terms of cinematic art and technology, it is undeniably a watershed — and I considered posting on it in the context of Frye’s observations about how comprehensive an art form the movies actually are.  But, oh my, then the formula kicked in (this is a James Cameron movie after all, the director who included a chase scene on the sinking Titanic in which gunshots are fired), and all of the care and ingenuity that went into creating the world of Pandora in 3D sickeningly descended for almost a full hour into a futuristic hightech blood letting.  It was like falling out of love and waking up cold and hungover all at once.  I joked to my friends afterwards, if only Cameron believed in the movie he’d been making up to that point.  If every life is precious (as Avatar unrelentingly insists), then why was so much of it so readily expendable?

In any event, The Third Man is literarily grounded popular film making at its best: smart with a sharp tongue and a sound ear and at least a couple of unexpected moments of cinematic genius.

Happy New Year

httpv://www.youtube.com/watch?v=iS9RPyznAPg

Just taking a break from the VH1 “Top 100 One Hit Wonders of the 80s” marathon to wish you a happy new year and to announce our latest additions to the Denham Library.

But, first, for the record, Flock of Seagulls were not one hit wonders.  Everyone remembers their megahit “I Ran” but tend to forget that they charted again with “Wishing (If I Had a Photograph of You)”, the Pachelbel’s Canon of New Wave pop tunes.  Besides, even if they really were just one hit wonders, they’d still be revered and remembered because nothing, absolutely nothing, says 1982 like Mike Score’s waterfall haircut.  It captures the time, like Beatle boots.

Okay, so happy new year.

Also check out our newest acquisitions at the Denham Library, two sets of class notes from the mid-1950s: Nineteenth Century Thought and Modern Poetry.

After the jump, Pachelbel’s Canon, the Flock of Seagulls’s “Wishing (If I Had a Photograph of You)” of Baroque music.

Continue reading

“Allah Akbar”

httpv://www.youtube.com/watch?v=qmuSeyLjI5Y

If you’re following events in Iran, you know that what may soon be referred to as the Ashura Revolution is underway throughout the country and particularly in Tehran, with crowds of protesters out in the streets daily in numbers that haven’t been seen since June and July.  Young people especially continue to be targeted for beatings, rape and murder by regime thugs, the basij militia.  Supreme Leader Ayatollah Khamenei is now openly reviled.  There is talk of a general strike, beginning as early as Monday.  This illegitimate regime may finally be losing its grip.  One telling sign is that the fraudulent “president” Mahmoud Ahmadinejad is nowhere to be seen and is not mentioned even in state media.

The video above features a nightly phenomenon: people at their windows or on their rooftops shouting “Allah akbar” en masse.  Andrew Sullivan calls it the “cry of freedom,” and it is, as Frye would say, as primary as it is primal.  Sullivan’s site is easily the best raw news source anywhere at the moment — his Iranian contacts are pouring in reports hourly, and he’s blogging around the clock on developments.  If you want to know what’s happening in Iran in real time, then Sullivan’s Daily Dish is the place to go.  Be warned, some of the video he posts is disturbing.  As Sullivan himself has put it, this revolution may not be televised, but it will be YouTubed.  Welcome to the new world of New Media.  It’s why CNN is withering on the vine and newspapers are hemorrhaging readers.

Saturday Night at the Movies: “The Great Dictator”

httpv://www.youtube.com/watch?v=LMV4oGzxu7g

Completing our look at Frye’s “The Great Charlie” published in The Canadian Forum in August 1941 (previous posts here and here and here).

Frye says of Chaplin’s little tramp in Modern Times that the character takes us back to our “primitive belief” that “the lunatic is especially favoured by God,” a theme he carries on in his discussion of The Great Dictator (1940):

This, of course, is not fully intelligible without some reference to religion, and it is in this that The Great Dictator shows its chief advance on Modern Times. To the Nazi the Jew sums up everything he hates: he is of a different race, he is urban, he is intellectual, he is often undersized, he has a sense of humour and tolerance. For these reasons he is also the perfect Chaplin hero: besides, a contempt for this big-happy-family racialism is the first principle of American anarchism. Imagine Huckleberry Finn without Jim or Moby-Dick without Queequog, and you can soon see why Chaplin had to be a Jew. But the picture itself is not Jewish, but Christian to a startling degree. The parallel between the dictator who gains the world but loses his soul and the Jewish barber on one hand, and Caesar and a Jewish carpenter on the other, is very unobtrusive but it is there. Chaplin knows well enough what the Jew Freud and the Christian Pope Pius agree on, that anti-Semitism is a preparation for, and a disguised form of, anti-Christianity. But his conception of Christianity is one conditioned by his American anarchism. What attracts him about Christianity is that something in it that seems eternally unable to get along with the world, the uneasy recurrence, through centuries of compromise and corruption, of the feeling that the world and the devil are the same thing. Hence the complement to his Jewish barber is a dictator who is also an antichrist. The picture opens with a huge cannon pointing at Notre Dame. ‘Oh, Schultz, why have you forsaken me?” [c.f. Mark 15:34] Hinkel blubbers at one point, and when his counsellor whispers ‘god’ to him he screams and climbs a curtain. At probably the same moment Hannah says that if there is no God her life would be no different, which recalls Thoreau’s remark that atheism is probably the form of religion least boring to God. The horrible isolation of the will to power makes its victim not superhuman but subhuman: ‘a brunette ruling a blond world.’ When Hinkel explains that he is shaved in a room under the ballroom with a glass ceiling, it sounds like a very corny gag, but it is quite consistent with his scurrying up the curtains, mangling nuts and bananas, and dashing about in the futile restlessness of a monkey. Hinkel may not be the historical Hitler, but he is, perhaps, the great modern Satan Hugo and Gide and Baudelaire longed to see, though he would have disappointed them, as Satan always does. Opposite Hinkel is the inarticulate, anonymous, spluttering Jewish barber, who hardly speaks until a voice speaks through him, and with that voice the picture ends. How anyone can imagine that it could have any other end is beyond me. (Northrop Frye on Modern Culture, 101-2)

Unfortunately, YouTube has no complete version of the movie posted.  However, there are a number of clips of famous sequences, such as the one above (Adenoid Hinkel giving a speech in mock-German as an imperturbable translator offers a coolly inadequate translation), and those after the jump.

Continue reading

Stocking Stuffers

httpv://www.youtube.com/watch?v=QNBUaw2RT4A

For the naughty and nice alike: check out our latest additions to the Denham Library (hit that link in the upper right corner, hit it like you mean it).  There’s hours of browsing in there now, and there’s more coming.

Meanwhile, featured above is an arrangement of “O Come All Ye Faithful” by California online band, Pomplamoose.  “Online band” means they only perform on the internet, and it’s quite an experience.  Their most recent YouTube hit, “Hail Mary,” after the jump.

Continue reading

Out-of-the-Way Christmas Videos

httpv://www.youtube.com/watch?v=S-5ar30_tgg

“Jingle Bells” from India

Andrew Sullivan’s blog, The Daily Dish, is running an ongoing series of “Depressing Christmas Songs” — which, interestingly enough, has strong Canadian representation, thanks to Joni Mitchell, Stan Rogers, and Sarah McLachlan.

In keeping with Russell Perkin’s newly published article in the Journal (see the live link at the upper right corner of our Menu column), here are some truly out-of-the-way Christmas songs that are appropriate to the winter solstice, which is today.

Continue reading