Sunday, May 7, 2017

"Quality TV" and the body

Oh! Speaking of WestWorld!

Here's the thesis of my TV professor back in South Africa. I spoke about it a little bit in class. It links back to all the discussions that we've had about how an HBO show needs to have violence, rape and boobs. So. Enjoy.

She has other great papers, but I for the life of me can't figure out how USC libraries works... so.

Dr. Alexia Smit (UCT

Movie Finales?

So I watched the final episode of WestWorld last night... I know, I'm super lame.

Although it was all very interesting, I couldn't help but consider that the episode was a full HOUR AN A HALF! A full-length movie.

This made me consider the possibility of some kind of blend between television and film in which television would serve to set up films. If that makes sense?

I know there is some semblance of that with television shows going on to be adapted for the big screen, but those narratives are often unlinked and non-canonical. What if all the TV we watched was homework in preparation for the next big blockbuster (the finale of the series)? Studios would theoretically be happy because it fulfills their long coveted IP conditions. Plus, the increased budget and communal experience (of going to the movies) could bump up the experience a little bit... Not to mention us TV writers could get some of that film money.

I dunno. Maybe I'm crazy

Saturday, May 6, 2017

I don't see race

I really enjoyed this, particularly regarding our discussions about the "post-racial, colorblind utopia" in which we are all so lucky to exist.

Tuesday, May 2, 2017

Rose Gold: The Colour Palette of Milenial Materialism

This may be tangential, but I found this article on Sarah Cwyer's new exhibition really fascinating in relation to what we have been discussing particularly re. materialism/ commercialism + post-feminism;

“What is the right way to talk about something? Do people understand more if you communicate with things bought and sold?”

“Several male artists I know have told me I am having a moment,” the female voice says in the film, “as if the moment will pass soon. Rose Gold is having a moment too.” Commercial trends extend to artists and artworks, to social movements and political causes. But where does the wildfire of a trend stop, and what’s left after it burns out? Is there any lasting power? The final line of the film lets this question hang: “Is the Rose Gold iPhone a totem?” the male voice muses. “Maybe you won’t even remember it at all.”