The Right Column

Addicted to

slow-mo

There is an overwhelming trend to do the half-speed slowmo thing in commercials, etc. It has gotten trite and pianful to watch. I find my mind immediately turning away when I see it. Especially sickinging is the effect of the speeding modifying as the video progresses. The tootlings of fingers on a control is elevated to art in some people's eyes. The effect is merely to pervey a scene, the zoom-in with almost pornographic interest, to see things that are unreal, the effect of loosing oxegen, dwelling in the every now as it crumbles. That, to me, is what slowmo used incorrectly does.

And, of course, I am totally not inline with the main stream. And there have historically been some very awesome uses of slow-mo. I remember being impressed with various scenes of women playing volly-ball. I don't care what you say, it really was very interesting. But . . . not very descrete. And a little bit gratuitous.

I have some new poppy things going on here so please bare with me. It is all very beta, don't you know. It's new. It just happened because I was doing it somewhere else and decided to put it back here.

I'll admit it: I find the pop-up stuff annoying. It is aform of chinze, a cheep effect, like putting on too much rouge. It violates the static nature of the site. "Look at me. Look at me. I'm a picture. I pop up."

"But I don't pop up in an always useful way. and maybe the pop-up feature is a little annoying to you? Oh well. It's here now forever unless webmaster takes it away."

Ah, but I know when I should be done when it gets really surreal and silly. I'm going to be doing some experimental things so if you don't like the pop-up stuff, well, hopefully it will just get better.

 Geesh, I've flown far and away today,
       haven't I?

ON CINEMA

What percentage of movies exist only for the purposes of putting forward some paid-for point of view? What percentage of documentaries are just shill-pieces for various causes, maybe dubious causes? Is there any integrity at all in the production of 'art' movies, or does all cinema have to pass through some court of impromntour that varifies the correctness of thee opinions of the piece as put forward by . . . whoever-they-are's of a fussy-fussy nature?

It's a hard deal to realize that the stuff that is put out as film is mostly propaganda. And you can't go to the theatre anymore becaue you don't like being put-upon by the hyperviolence. And even if you choose a seemingly peaceful show you'll still get assaulted by the hyper-violence in the previews. I walk out and wait in the lobby during the agressive violent previews. Or try to arrive late. Or just cower in the seat covering my ears and my eyes. But the previews are designed to be the crack that gets you addicted to the idea that you gotta-gotta go and see that movie. So am I being a judgemental puritan by deciding that I don't like the psychological assault that these previews conduct and I choose to step away during the duration of the hauranging that is going on? I do all of this in a way as to attract as little attention as possible. I'm not trying to make a statement about violence in film. I think that, of course, stories have to reflect what is real in the world: state execution, violent extreamism?

There are certain topics that various aspects of the fussy-fussers (who bemoan and want to effect change and do-goodie-goodistic-nesses of a yummy nature, and actually use the words 'yummy' and 'scrrumptous' when talking to you.) harp on. I will call these aspects 'harping points'. The thing about a harping point is that it is a constant barrage of propaganda for some agenda of the fussy-fussers. The fussy-fussers are agenda-mongers who put out their idea and then demand worship to it. It can be any idea at all. It might be at the level of 'please floss', or perhaps it is a whole poison-science thing about the environment. The point is that any medium to get this point across is used. The lie is repeated over and over again in many different forums and with many different methods. When films are essentially just that kind of a thing they cease to be real in my mind. They are like giant 2 hour long commercials for the corruptocracy and the global-alramists. And when it seems that people get awards based upon their politics the awards become meaningless. Currupt politics and politicians ruin movies. Look at a movie like Triumpth of the will. It might be 'stirring', in a slow-mo pornographic way, but it is a bad movie for a very lot of reasons. It is a movie about death. It is a movie about delusion. It might be an orgy of light and lucifer, himself, seems to be there at times on the screen. But no, it's just that actor adolph, a guy playing a bad roll who was a shill for the great evil. When modern movies seem like that do we see it? Are there any people doiing what Rischestall did for Hitler for polticians of today? Are any of our (alledgedly) fairly elected officials capible of the level of corruption that was maanifest in the world jsut a few short generations ago?

The stuff of a bad movie? The stuff of fiction? But in my kind of fiction people can be redeemed. And if they don't they die like Hitler dies. Why? Because my fiction is trying to mirror the real world. Bad people, the nazi-souls, even if they don't know it, always fall off the cliff of their own making and end up in hells that they made for others. The worst of them always end badly. Always. So movies and fiction need to reflect that.

And so movies can put forward the proposition of 'what if' such an ultimately bad person existed in the world. A movie is often considered 'bad' if the film doesn't portray the execution of hte fate of the character who is married to evil intention and faith-ful only in faithlessness. the measure of a character in cinema is not of the same calabor as what we see in the real world. the dire consequences of film are usually worst case examples of how things can go drastically wrong for people on the path of soul.

And it isn't that I'm saying anything real here today. I'm just letting my fingers go on with it. And I'm not in an editing mood, so forgive me the inanity. Basic point: I've gone on about the movie It's a Wonderful Life for the lack of concern for the soul of the character of the evil banker. That is just one of the aspects of the movie that I find hard to digest. But that is a 'good' movie if you read the reviews that people put out (percentage of posative reviews). So obiously my point of view about the movie is not in the main stream. I like the movie, in general. I just think that there was more editing to do. I would have had some redemption for the Potter character. But the movie just drops it at the end. His fate does not matter. Clarance gets his wings and that is all that matters. We don't see the devil showing up to meet Potter and give him the consequences of what he has done. Maybe that would be in the sequel?

And as far as violence goes: it can't be removed from the story because so often that is just what the story is. Think about famous books, great novels, gospels. If the main character had not be violated in some way . . . then is the story even the same? So, those who wish to purge all thoughts of violence that is upsurd. But as far as having taste: that is the real issue.

And as far as bad movies go, movies that are only produced for agenda mongering purposes: if they make no profit they just show the folly of trying to farm public opinion by throwing money at hack script-writers (probaly kindred and kind of the people who fund this drivvel).

Maybe it isn't obvious to the world now what the bad movies will seem to be in the future: how awful some of the stuff that is aclaimed now will appear to future critics. I can't know. But the future will know. And that is the thing that must make every hack writer cringe: being found out that they wrote crap just to get a check and to feed their kids or their jones or both. Integrity? What does that mean when the baby is crying? The importance of keeping yourself froming flipping out over the despair of being a sell-out . . . pulling your hair out! The baby is crying. script is due. What are you to do? Random gun fire from the freeway and a possy of guys in flack uniforms storming a coffee house. . . If you take the violence out of the story is there any story left?

And then maybe there is the spiritual violence that is going on in one's own heart, mind, and soul (and all else of one's personhood). That violence is the real meat of any story. The violence of action always follows the violence of internal intent: spiritual violence. Spiritual violence is the real thing that destroys people. It doesn't need a gun or a sword. It uses . . . other methods. Immaterial methods. A film like that might be a good story if it doesn't get hoaky.

There was this awesome film that I loved. It had a theme of the overlaying outside sphere controlling all aspects of knowing and living. Then it had the idea of coming to know this in one's life. But after that, in the sequel, it couldn't get past being a comic book plot. It didn't take on any existenial cunnundrums. The movie just flopped there like a dead fish.

Oh well. It's hard. It's hard to be meaningful and relavent. I know because I flop too.

Take me
   take me out
  take me out of the
   out of the 
  out of the way of
       ferryman
    who is coming
      to get me.

  Give me please,
     so please
     for me
  just one more season
 to sing your praise
   all day
  and on
      and on
          and on
    into the evening.

 Take me home
  to my shore house.
   Take me down
      below the waves of the bay
  where the water is colder than heartbreak
     and the weather is volitile
   just wait
     not even a little while
   those storms
     those ever coming storms
   march along the sea
      and sky.
       

I got nothing more

January 27th, 2013

some day
      this guitar will play
   oh yay! 
   some day.
   hey hey hey hey.
    some day.

Praise the Lord for his unfailing love.
    Praise the Lord just because you love Him!

   Praise the Lord!

 You know
  Favorite movie lines?

If I took all of the nonsense
 out of my sights
  I'd probably have
 to delete half of them.

 



  When you break
       open the heart
     of chocholate lover's
     flower chocholate that
 tastes so gewie sweet and chewie
    licious
    it's delishious
  do not eat
     the dishes.

  Break open his bursting
     heart of love and
   give it to the day a
      free wind of warmth
   melting force to
  quench the longing thirst
     of lover's who
  can't find each other
 outside the dream
   outside of time
 they stand forever
 by their sides 
  and love but
   here on Earth
 it's the flow of the lava
  of constant affections
  from strangers, and
      long lost friends
 here you are again.

  Valentine's Day
     in the purgatory
  of the bachelors delusive
      no, elusive
   elusive 
     long ago memories
  out in the fog
   on the plautau by the bog
      and the wind
 come in sudden
   to clear the stenches of
         regrets off into those heartbrake clouds
   of long forgotten somewhere else's, today it
       is long to be driving
 through these foggy sea-side bulivards
     covered over in sand.
 The four wheel drive helps him
     up the long dune where the shoreline
       is  gone off and over the used to be's.

  It will be cold there. 
      He can go see it.
  he has the cardboard sparkling heart
     in a pink envelope and
    the ring in the car.
 The beach house?
      It was a nice thing
  to used to have.

   She will meet him in Hyannis
      for a nine o'clock meal.