Alex Pardee
http://eyesuckink.com/
The cake faced burgler is dark art at its finest. The man can detail a freckle. Destroying the scene piece by piece. Bunnywith to much talent. haha.
The Filmmaker Overview Essay
http://www.girishshambu.com/blog/2008...
excerpt
haring formal and social audacity, a brilliant ability to exploit the widescreen format, a rejection of the refined and self-sacrificing tenor of traditional Japanese cinema, a propensity for mixing fiction and reality, and certain key themes – sex and criminality, the abuse and resilience of women, incest, the social fissures of postwar Japan, the aggravated acts of outcasts in a tightly battened monoculture – Imamura and Oshima nevertheless can be construed as contraries, if not opposites. (It would be illuminating to pair certain of their films: Imamura’s A Man Vanishes with Oshima’s The Man Who Left His Will on Film; Pigs and Battleships with The Sun’s Burial; Vengeance Is Mine with Violence at Noon.) Where Imamura made defiantly “messy” and “juicy” (his preferred terms) films that celebrated the irrational, the instinctual, the carnal, squalid, violent, and superstitious life of Japan’s underclass, Oshima’s films are primarily ideational, probing, and controlled even when anarchic
stylelist
http://stylelist.out.com/
Your guide to all things queer and hip.
Out.com | Popnography.com | Out Stylelist
Out Traveler | Out Traveler G.P.S
Advocate.com | Mr Sardonic | Election 2008
Advocate Insider | Advocate GenQ
HereTV.com | GayWired.com
Coilhouse
http://coilhouse.net/
COILHOUSE is a love letter to alternative culture, written in an era when alternative culture no longer exists. And because it no longer exists, we take from yesterday and tomorrow, from the mainstream and from the underground, to construct our own version. We cover art, fashion, technology, music and film to create an alternative culture that we would like to live in, as opposed to the one that’s being sold or handed down to us. The result, in the form of articles, features and interviews, is laid out on our blog and in our print magazine for all to see. If our Utopia is your Utopia, then welcome! Anyone can contribute, and we encourage you to go to our submission page and get in touch.
Here, you will find an assemblage of the visual, cerebral, amusing, challenging and, above all, the ever-evolving. Below are samples of the topics you’ll find here, bits of the Info Strada aimed at inspiring literate progress and bringing entertainment to architects of their own past, present and, especially, future:
Dance, Dance, Revolution
http://profile.myspace.com/index.cfm?...
Engaging in a practice of permissive exploration, we strove to develop various formats for critical exchange that are both intellectually rigorous and playful. This intuitive and open generation of ideas, coupled with the speed and intensity necessitated by a limited creation period, propelled us towards an approach of decentralization. Not only did we as a Curation/Production group conceptualize and develop events, we also invited other artists to engage in the shaping of the festival. As a group we have nurtured a spirit of irreverence, and encouraged omni-directional experimentation throughout the festival’s framework. We offer a skeleton, a potentiality. We are excited to see where and how it will meet you. With love, Rebecca Brooks, Beth Gill, Erika Hand and Isabel Lewis. Neal Beasley was a member of the Trisha Brown Dance Company from 2003-2007. He is a graduate of Idyllwild Arts Academy and holds a BFA in dance from NYU/Tisch School of the Arts. In his newfound freelance life, he is currently scheduled to work with choreographers Beth Gill, Eleanor Bauer, and Larry Keigwin. He has taught technique and repertory internationally for TBDC, as well as in the New York studios. He directed rehearsals for Ms. Brown's creation for the Paris Opera Ballet, both in its 2004 debut and the revival earlier this year.
