Nick's Flick Picks: The Blog
A film blog under the influence
You all know the drill by now, I'm hoping. Obviously, I harbor no prayers for my nominees intersecting with Oscar's tomorrow morning by more than one degree, but if the Sound Branch cared about Creative and Subtle as much as they obviously love Loud, and if they had room in their hearts for more than one genre and more than one month of the releasing year, maybe one of these other four movies would have a shot.Labels: Awards 2008
posted by NicksFlickPicks at 5:30 PM
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The Desiring-Image: Gilles Deleuze and Contemporary Queer Cinema ($30/pbk). By Nick Davis. Oxford University Press, 2013.
The book that earned me tenure at Northwestern. Offers a new theoretical model of queer film, born from Gilles Deleuze's rarely-integrated notions of cinema and desire. Chapter-length readings of
Dead Ringers,
Naked Lunch, Shortbus, The Watermelon Woman, Brother to Brother, Beau travail, and
Velvet Goldmine, plus other films along the way! Written for a scholarly audience but hopefully interesting to anyone curious about recent cinema, ideas about desire, or LGBT aesthetics and politics. "Important and needed work...Deeply original." —D.N. Rodowick, "Seductive in its intellect and humbling in its prose." —Michele Aaron
Reading the Bromance: Homosocial Relationships in Film and Television ($32/pbk). Ed. Michael DeAngelis. Wayne State University Press, 2014.
Academic pieces that dig into recent portraits in popular media, comic and dramatic, of intimacies between straight(ish) men. Includes the essay
"'I Love You, Hombre': Y tu mamá también as Border-Crossing Bromance" by Nick Davis, as well as chapters on Superbad, Humpday, Jackass, The Wire, and other texts. Written for a mixed audience of scholars, students, and non-campus readers. Forthcoming in June 2014. "Remarkably sophisticated essays." —Janet Staiger, "Essential reading for anyone interested in contemporary models of gender and sexuality." —Harry Benshoff
Fifty Key American Films ($31/pbk). Ed. Sabine Haenni, John White. Routledge, 2009. Includes my essays on
The Wild Party,
The Incredibles, and
Brokeback Mountain. Intended as both a newcomer's guide to the terrain
and a series of short, exploratory essays about such influential works as The Birth of a Nation, His Girl Friday, Sweet Sweetback's Baadasssss Song,
Taxi Driver, Blade Runner, Daughters of the Dust, and Se7en.
The Cinema of Todd Haynes: All That Heaven
Allows ($25/pbk). Ed. James Morrison. Wallflower Press, via Columbia University Press, 2007. Includes the essay
"'The Invention of a People': Velvet Goldmine and the Unburying of Queer Desire" by Nick Davis, later expanded and revised in The Desiring-Image.
More, too, on Poison, Safe, Far From Heaven, and Haynes's other films by Alexandra Juhasz, Marcia Landy,
Todd McGowan, James Morrison, Anat Pick, and other scholars. "A collection as intellectually and emotionally
generous as Haynes' films" —Patricia White, Swarthmore College
Film Studies:
The Basics ($23/pbk). By Amy Villarejo. Routledge, 2006, 2013. Award-winning
film scholar and teacher Amy Villarejo finally gives us the quick, smart, reader-friendly guide to film vocabulary that every
teacher, student, and movie enthusiast has been waiting for, as well as a one-stop primer in the past, present, and future of film production, exhibition,
circulation, and theory. Great glossary, wide-ranging examples, and utterly unpretentious prose that remains rigorous in its analysis;
the book commits itself at every turn to the artistry, politics, and accessibility of cinema.
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Chicagoans! This site doesn't even accept advertising, but I'm making an unsolicited exception for the best, freshest, most affordable meal you can enjoy in the Loop, at any time of the day, whether you're on the go or eager to sit. Cuban and Latin American sandwiches, coffees, pastries, salads, shakes, and other treats. Hand-picked, natural, and slow-cooked ingredients. My friendly neighborhood place, a jewel in my life even before the Reader and Time Out figured it out. Visit!
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Watch this space! Chicago has a new, exciting, important, and totally accessible cadre of queer film critics who are joining forces to bring screenings, special events, and good, queer-focused movie chats to our fair city. Read our mission! Stay tuned for events! Cruise the website, and help get this great new group off the ground by enrolling as a friend (it's free!) and by asking how you can help.
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since 5.27.05 |
7 Comments:
I need (and want) to see Paranoid Park again, but I'd hope to have different reasons for liking it than yours for disliking it! If you get my drift. Trying too hard and illuminating too little is exactly how I felt about Last Days.
Completely with you on The Strangers, though -- it has the best sound design for a horror movie in years.
I would have Hunger on here too, in a shot.
Interestingly, "Rachel Getting Married" was the first title I jotted down for inclusion on my InContention "ballot" for Sound -- ahead of "WALL-E" even, which surprised me.
Stupidly, I still haven't seen "Mister Foe" -- I did some dogsbody work on the script years ago and haven't quite shaken off the bias. It SHOULD have good sound design, given the story world, so I'm glad to hear it does.
And Tim is so right about "Hunger" -- I can't believe I didn't think of that.
i loved the sound in HUNGER and PARANOID PARK but now that I've been studying up on Sound more (the differences between mixing and editing) it's paradoxically even more difficult now to differentiate where i think films should be rewarded.
bizarre.
my dream is DVDs with tons of different audio trackss to remove or listen to alone.
Drill, Schmill...Oscar Nom Day is my favorite Nick holiday - even if the AAMP stays tone-deaf to your recs of who should get the nominations.
Whatever the results, raise a glass of OJ + fixins' and celebrate. (cue Rare Earth, "I Just Want to Celebrate..".)
I feel exactly the same way about Paranoid Park. I was worried there for a bit that I was in the weeds on not getting the appeal.
And you have utterly SHAMED me in recognition of The Strangers, a film I loved, in a category I totally, inexplicably left it out of. That will be corrected.
I am really loving that Strangers citation (it's amongst my finalists too atm) and the sort of film is so often given short shrift in awards.
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