John Wyver writes: Another broadcast deadline is just three days away, this time for the Illuminations documentary for BBC Four, Coventry Cathedral: Building for a New Britain. You can expect lots more about this here once it is complete, but for the moment I am rather pre-occupied by it, and so this week’s links is perhaps a touch more modest than normal. Expect bumper editions in the coming weeks, but for now enjoy these articles and videos that have attracted my attention this week.
• State Funeral observes a period of mourning for Stalin: Nick Pinkerton for Sight & Sound on a film (above, and now on Mubi.com) that I’ve long been looking forward to – Sergei Loznitsa’s compilation from footage of Stalin’s funeral…
[Loznitsa’s] films offer a kind of understanding of the past, yes, but it’s precisely an understanding of what we can’t understand, even or especially through the testimony of the filmed image, for the ‘truth’ told by a camera is distorted by an infinity of variables, not least who is holding the camera, and what the person in front of it believes is expected of them.
John Wyver writes: after a week off, here is the latest list of links to articles and other elements that have caught my attention in recent days; with thanks, as always, to those in my Twitter feed who recommend a host of fascinating pieces.
• The untold story of the NFT boom: a remarkable essay by Clive Thompson for The New York Times Magazine which draws together and explains so much that has mystified me, and I’m sure many others, over the past weeks.
• The Existential Issue: Columbia Journalism Review asks ‘What is journalism?’ in an essential group of articles.
• Imperialism – a syllabus: a truly exceptional resource by Radhika Nadarajan and John Munro from Public Books in the form of an extensive reading list compiled by a historian of the United Kingdom and one of the United States that ’emphasizes approaches to empire that are anti-colonial’:
While our syllabus unfolds in a loose chronology, each week we highlight a structuring dynamic of imperialism, drawing through-lines between past and present. In addition to historical scholarship, essays, and interviews, we include literature and film, because creative forms have been crucial for making imperialism visible, critiquing its operations, and imagining a future after empire. Ultimately, this syllabus aims to foreground a history of imperialism that serves contemporary struggles.
• Uncovering the many Eric Hobsbawms: for Jacobin, Emile Chabal and Anne Perez introduce the extraordinary online Eric Hobsbawm Bibliography which ‘has over 3,000 entries, including details of every published book, journal article, book chapter, review, newspaper article and pamphlet [the historian] ever wrote, along with his unpublished work and his private papers.’
John Wyver writes: after getting The Winter’s Tale on to BBC Four last Sunday, things have quietened down a little; I’m beginning to read and watch things again, slowly, and here are some of the things that I’ve found interesting over the past week.
• Exterminate All the Brutes tracks the march of genocide: so good to see the brilliant filmmaker Paul Tickell writing for Sight & Sound on Raoul Peck’s essential four-part series (with Fraser James, above) that has just started a run on Sky:
Exterminate All the Brutes is a masterpiece to set beside Gillo Pontecorvo’s take on the Black Jacobin Caribbean, Burn! (¡Quiemada!, 1969), a film sadly neglected in comparison to his The Battle of Algiers (1966). Peck’s series is also in the same league as Ciro Guerra’s Embrace of the Serpent (2015). That film’s grotesque hallucinatory sequences in a riverside mission school capture Conrad and “the horror, the horror” of imperialism far more effectively than Apocalypse Now (1979), whose riffs on Heart of Darkness Peck references throughout this phenomenal documentary.
John Wyver writes: the past week has been professionally full-on, but a handful of interesting articles and videos still managed to catch my attention, and I’m happy to share them here…
if you’re an artist, each time out you have a problem, a subject matter, and you need to create a style that really works. With episodic, you create a template, and then directors just follow that template. So if you’re doing The Crown, you’re doing a lot of soft focus, backlighting. They all look the same. And that’s a kind of a comfort, too, because every time you watch The Crown, you know exactly how it’s going to look. The challenge of independent film is creating something that feels new, and that is going [to be] less and less in favor.
• Abandoning the Baird system: I’m not sure when this was posted but I only found it last week – an exemplary ‘History of the BBC’ post by David Hendy about ‘how the BBC abandoned Baird’s system for the technically superior cathode-ray tube stretches across four crucial years in the early history of television’.
• Watching home movies with Mister Peepers: home movies expert Dwight Swanson writes fascinatingly for UCLA Film and Television Archive blog about an episode of the 1953 NBC sitcom Mister Peepers, which is available here:
• Dia 2.0. Facing the future: some of my most remarkable visual arts experiences have been courtesy of Dia, which is partly why I was so interested to read Randy Kennedy for The New York Times on ‘how to re-engineer Dia’s tightly-bounded ethos to keep it vital in an art world now moving steadily beyond the mostly white, mostly male, sometimes swaggering heart of its founding collection.’
Will archives be tempted by the potential upside of NFTs and tokenize digital representations of their crown jewels (or the rights to these assets)? This would worsen an already bad situation, where institutions like our Library of Congress hold physical copies of millions of films, TV programs, and recordings that can’t be touched because someone else holds the copyright. Ideally, archives and museums should own and control both the physical and digital states of its collections. That won’t happen if they have to sell or license NFTs in order to survive.
• What they wrote about the war: Robert Minto for LA Review of Books on essays begun within weeks of each other in the summer of 1914 by Thomas Mann and George Bernard Shaw.
• Dirty dollars: a very fine online presentation of a Michael Sallah investigation for the Pittsburgh Post-Gazette into accused money launderers who ‘left a path of bankrupt factories, unpaid taxes, shuttered buildings and hundreds of steelworkers out of jobs’.
• Making The Winter’s Tale for screen: as for the full-on week, and indeed month, here’s a glimpse of what I’ve been working on, with a couple of brief appearances in interview:
John Wyver writes: a curtailed list today as we’re still deep in the post-production for the RSC’s The Winter’s Tale which is broadcast next Sunday, 25 April, at 7pm on BBCFour; I’ll aim to add more later. As always, these are articles and occasional videos and threads that have engaged me over the past week.
• A new India finds its voice in the films of Bimal Roy: for Criterion’s The Current, Devika Girish on one of the major directors of the golden age of Hindi cinema in the 1950s; header image: Roy’s Sujata (1959).
• What the papers say: fine, funny and fascinating research by John Hoare at [dirtyfeed] about what media studies folk might call the intertextual links for a famed Yes, Minister sketch (h/t here to Billy Smart).
• Analysis: What does a controller-less corporation look like? [£ but limited free access]: Max Goldbart for Broadcast on the BBC’s ‘radical overhaul to its commissioning structure – doing away with channel controllers and the “two-tick” system”; this is a hugely significant shift for the television service and yet this informed but short article is the only piece I’ve found on it.
• Getting the measure [£ but limited free access]: the wonderful Emma Smith for TLS on the completion of The Arden Shakespeare 3 and especially its final volume, Measure for Measure.
• Reanimating Cabaret, one frame at a time: I can’t quite make up my mind about this project by Doug Reside, curator of the Billy Rose Theater Division at the New York Public Library, who has sequenced a selection of 3,693 publicity images of Hal Prince’s original 1966 Broadway production, and other staging, so as to give them a kind of uncanny half-life – the results are defiantly odd and oddly compelling; the work is immaculately reported and presented by Jesse Green for The New York Times Magazine.
Took the kids to discover some nearby colonial countryside yesterday. We found a tale so heavy with symbolism it could have been written by George Eliot. The picture is Ayot House in Ayot St Lawrence, Hertfordshire, where our story starts. @ColonialCountr1 @Slavelegacies (1/9) pic.twitter.com/tNAKpUYntI
• Gargantuanisation [£ but limited free access]: a simply terrific John Lanchester LRB essay about the global shipping trade, which made me think about a topic I’d never considered before.
• Napoleon’s canal: Luke McKernan enjoys the pleasures of a walk along the Thames and Medway canal.
John Wyver writes: ahead of the limited easing of lockdown here’s another selection of links to articles and videos and threads that have caught my attention in the past week. The list is a little more limited than usual – apologies, but there’s a lot going on at the moment.
• Walkers in the city – Jules Dassin and Bruce Goldstein in New York: for Criterion’s The Current, Michael Sragow speaks with Goldstein about his short-form documentary Uncovering ‘The Naked City’ on the making of Dassin’s 1947 movie; the wonderful header image, taken from the feature, is of Dassin directing Ted de Corsia on Rivington Street.
• A Zed & Two Noughts: Michael Sicinski reflects productively for Reverse Shot on Peter Greenaway’s 1985 feature…
one can sense [in Greenaway’s work] the fraught and unresolved relationship that Great Britain has to the Continent… Like his compatriot Derek Jarman, Greenaway adopted European cultural analysis as a way to provincialize Britain, to subject the nation to critique while at the same time mitigating its intellectual isolation. In contemporary terms, Greenaway’s cinema is the opposite of Brexit, an attempt at a full and unapologetic “Brentrance” into the larger expanse of European culture.
• The Travelling Players: … and for the same ‘Symposium’, Christine Newland revisits another film that was immensely important to me when I was at university, Theo Angelopoulos’s 1975 epic.
John Wyver writes: another cluster of recommendations for the second Easter in lockdown – articles, threads and videos, many culled from my Twitter feed, that have engaged me over the past week.
• BFI at Home | Romeo & Juliet with Josh O’Connor, Jessie Buckley, Lucian Msamati and Simon Godwin: a richly interesting conversation about the much-anticipated NT Live ‘original film’ (that’s the official tagline, image above) that premieres tonight on Sky Arts at 9pm:
• Shakespeare and lost plays: for the Folger’s ‘Shakespeare Unlimited’, David McInnis, Associate Professor in English and Theatre Studies, Culture and Communication at the University of Melbourne in Australia, introduces the arguments of his important new book, Shakespeare and Lost Plays.
• Shakespeare, 17:1: an exceptional resource in the shape of an open access issue of this significant journal, dedicated to ‘Shakespeare, Race and Nation’, guest-edited by Farah Karim-Cooper and Eoin Price.
John Wyver writes: another batch of pointers to content I’ve found stimulating and informative and engaging over the past week, with many recommended to me by colleagues and confreres on Twitter, to whom I remain immensely grateful.
Let’s start with a new video essay for Mubi.com about perhaps my favourite European director, Antonioni’s Cinema of Absence by Manuela Lazic and Alessandro Luchetti; the header image is Monica Vitti in L’avventura (1960)
[Tory] nostalgia testifies to an urgent need to come to terms with the unpleasant reality of Britain’s imperial past. But the anxiety to distance that past from the moral abyss of Nazism and slavery frustrates efforts to do so. To urge Britain to reckon with its imperial past through reparations, school curriculum, restitution, memorialization, or other methods that Germany has also employed in confronting its Nazi past does not automatically imply an equation of British imperialism with Nazism. Different kinds of violent and racist pasts may yet share a common need for redress.
Power & Publishing, a THREAD 1/n: Warm thanks to those who have helped share this essay. Its appearance marks the end of a 4.5 month struggle, which I share here, though perhaps risky—but we’re at a point where this is what needs to be said (conscious of https://t.co/0H4TWndUJX
• The populist delusion: writing for Prospect with passion and purpose, Jon Bloomfield and David Edgar lay out an ambitious programme:
The Conservatives suspect their coalition is unstable and that after four decades of neoliberalism the ground is moving against them. Hence their drive for a new populist model. In response, progressives need to avoid the traps set by our opponents, expose their inadequacies and weaknesses, and unite around a new social settlement for the future. Are we up to the task?
• The clown king – how Boris Johnson made it by playing the fool: if you haven’t read it already, catch up with Edward Docx’s brilliant analysis for the Guardian, including citations from Paul Bouissac, ‘the leading scholar on the semiotics of clowning’, and a close reading of Johnson’s novel Seventy-Two Virgins (published 2004):
The book is beyond merely bad and into some hitherto unvisited hinterland of anti-art. More or less everything about it is ersatz. Commentators who fall for his self-conjured comparisons to Waugh and Wodehouse miss the point entirely and do both writers an oafish ill-service. Because here again: Johnson is not seriously interested in writing novels at all. It’s not that he’s a fraud. Rather, as ever, he is a jester-dilettante peddling parody and pastiche.
• The end of closed democracy?: Anthony Barnett’s extended essay for Open Democracy is very good on where next for President Biden and the United States.
