Friday, January 17, 2014

Chomsky. Preface. NecessaryIllusionsThoughtControlInDemocraticSociety1989.

  Thefivechapters that folllow are modified versions of thefive1988Masseylectures I delivered overCBCradio in nov.1988. These lectures suggest certain conclusions about the functioning of themostadvanced democraticsystems of the modern era, and particularly, about the ways in which thought and understanding are shaped in the interests of domestic privilege. Following these fivechapters are appendices that are intended to serve, in effect, as extended footnotes amplifying some of the points raised, separated from the text so as not to obscure toomuch the continuity of the discussion. There is an appendix, divided into sections, for each chapter. Each section is identified by the part of the text to which it serves as an addendum. These appendices should be regarded merely as a sample. As references indicate, some of the topics touched upon in the text and appendices are explored in further detail elsewhere. Many of them merit serious searchprojects.
  The issues that arises are rooted in the nature of western industrialsocieties and have been debated since their origins. In capitalistDemocracies, there is a certain tension with regard to the locus of power. In aDemocracy the people rule, in principle. But decisionmakingpower over central areas of life resides in private hands, with largescale effects throughout the social order. Oneway to resolve the tension would be to extend the democraticsystem to investment, the organisation to work, and so on. That would constitute a major social revolution, which in my view at least, would consummate the political revolutions of an earlier era and realise some of the libertarian principles on which they were partly based. On the tension could be resolved, and sometimes is, by forcefullyeliminating public interference with State and private power. In the advanced industrial societies the problem is typicallyapproached by a variety of measures to deprive democratic political structures of substantive content, while leaving them formallyintact. A large part of this task is assumed by ideological institutions that channel thought and attitudes within acceptable boundes, deflecting any potential challenge to established privilege and authority before it can take form and gather strength. The enterprise has many facets and agents. I will be primarilyconcenred with oneaspect: thoughtcontrol, as conducted through the agency of the nationalMedia and related elements of the elite intellectualculture.
  There is, in my opinion, much toolittle inquiry into these matters. My personal feeling is that citizens of the democratic societies should undertake a course of intellectual selfdefense to protect themselves from manipulation and control, and to lay the basis for moremeaningfulDemocracy. It is this concern that motivates the material that follows, and much of the work cited in the course of the discussion.

Thursday, January 16, 2014

Lyric. StarsFellOnAlabama.


MitchellParish and FrankSPerkins

We lived our little drama
We kissed in a field of white
And stars fell on Alabama last night
I can't forget the glamour
Your eyes held a tender light
And stars fell on Alabama last night

I never planned in my imagination
A situation so heavenly
A fairy land where no one else could enter
And in the center just you and me
My heart beat like a hammer
My arms wound around you tight
And stars fell on Alabama last night

Wednesday, January 15, 2014

Transcript. Corman. ReservoirDogs1992.DVD.SE.Artisan.


1.      My father was an engineer, and I went to college toStanford as anEngineeringmajor, feeling I would follow in his footsteps. It wasn't until my senioryear that I realised that Engineering was not for me, and I was interested inFilms. But I could start over and take another major and spent extra year in college or I could just graduate. I thought, I just want to get out of here, I want to graduate. Theonlyjob I could get, because Hollywood was verytough place to get a job in those days, was as a messenger atFox. Started as a messenger, worked my way up as a storyanalyst, and they reallywanted me to go toEurope. And I had some time onGIBill, so I went toOxford onGIBill, traveled aroundEurope, came back, got a job as a literary agent, and wrote and sold my own script. And I offered to work for a producer [gratis] for nothing as an associateproducer to learn and to get the credit, so that when the picture was over, I would be able to say, I was a writerproducer. I rasied twelvethousandUSD partly from my sale of the script and partly from the gusy I went to school with, and madeMonsterFromOcean'sFloor plus a little money and firmament [?], and I neverlooked back. Omitted.
2.      I actually have lost count how many films I have produced. I know a little more about how many I have directed. I think I directed a little bit less than sixty, maybe fiftyseven, fiftyeight films, something like that. As to how many films I've produced, I don't even know myself, because sometimes I've done coproductions overseas,  whether I should count those or not. But assuming I count those, as coproducer, producing for somebodyelse, I think it's around fourhundredsandfifty or a little more. We're shooting at the moment, so it will go up onemore within a couple of weeks. Omitted.
3.      These days, I'm known mostly as a producer, but when I was a primarily a director, which was the latefifties and through thesixties and up until around ninetyseventy or so, I was considered okay. Particularly inEurope. FrenchNewWavecritics, some of them became directors, picked up on [discussed] my work before the critics in theUnitedStates. FromParis toLondon, the english critics, wrote good things about it. And, eventually, a couple of american critics said that, Okay, this guy is okay. Omitted.
4.      If I were talking to a young filmmaker who had started and was interested in how his career was going to progress, I would guide his career, I would say the numberonerule is to do your best on every project. When I started, I knew we were doing essentially lowbudgetBpictures. Now, if you're brilliant, you may jump on your first try or your second try. But, normally, you do a film, a number of films, and work up, assuming you're on that path. I would say, Turn down the absolute losers, Don't get involved with anything that you know is going to be bad. But, if it has any chance, do the film, and do it the best you can. The guys that I knew who would take lowbudgetfilms and say, Well, it's just a cheap film, I'm just going to knock it off. I'll get money. Those guys are out of the business today. The ones who took lowbudgetfim that seemed to have limited potential, but who said, I will make thebestfilm on this subject I possibly can, those are the ones who have built their careers.