Daily Archives: September 1, 2022

Letter to VIDEO WATCHDOG (1992)

This was (mainly) published in Video Watchdog‘s July/August 1992 issue, with an accidentally deleted passage included in the errata section of their September-October 1992 issue.  -– J.R.

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A brief note of clarification about my liner notes to the Criterion laserdisc of CONFIDENTIAL REPORT -– cited and questioned by Tim Lucas at the beginning of his excellent article [VW 10: 42-60]. The only reason why I failed to mention a third and (in my opinion) better version of MR. ARKADIN in these notes –- a version discussed by Lucas elsewhere in this issue –- is that I was under strict instructions from Criterion not to bring this matter up. I reluctantly agreed to this suppression of information only because I knew I would be writing about this version elsewhere (in [the January-February 1992 issue of] Film Comment), and I’m mentioning this anecdote now because I think it dramatizes the thin line separating criticism from publicity in most liner notes -– a general problem that readers of this magazine should be alerted to.

I don’t wish to denigrate the often fine work done by Criterion in making many important works available, but I do believe that the level of scholarship that’s attainable in commercial enterprises of this sort varies considerably from case to case. Read more

En movimiento: Big History, Mixed Signals

Written in September 2014  for my December “En movimiento” column in Caimán Cuadernos de Cine. — J.R.

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Last September, I ordered from Amazon a three-disc DVD box set released by Lionsgate called Big History consisting of 17 episodes lasting almost seven and a half hours.  My curiosity was spurred by an article by Andrew Ross Sorkin in the New York Times Magazine about billionaire Bill Gates enthusiastically discovering this package — a college course taught by Australian professor David Christian — while working out in his private gym, and then deciding to use this TV series to try to revolutionize the teaching of history in both American high schools and colleges.

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To my amazement, and in spite of all my qualms, Big History proves to be one of the most exciting things I’ve seen this year — not as moral instruction or as a technical tour de force (unlike Steven Knight’s Locke, which resurrects the heroism  of the great Westerns, or Godard’s Adieu au langage, which reinvents 3-D) and not as distilled and hallucinatory poetry (unlike Pedro Costa’s Horse Money), but as a series of lucid pedagogical lessons, especially welcome for someone like me who has always been weak in science. Read more