Tag: death
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Here’s a sign that the feces-slinging partisan playpen that is the Internet is getting to you: I caught myself feeling decidedly strange as I made plans to write this tandem review of an essay collection by Andy Nowicki—a devout Catholic—and Valencia, an autobiographical novel by James Nulick, whose protagonist catches AIDS during a gay-sex-and-crack binge.
“Who’s going to want to read about both of them?” said my stupid brain. (more…)
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May 31, 2015 Trevor Lynch
Blade Runner
English original here
Film Ridleyho Scotta z roku 1982 Blade Runner se řadí mezi klasická díla sci-fi žánru a představuje vrchol tvorby slavného britského režiséra. Blade Runner vyniká ve všech ohledech. Jedná se o velice nápaditou vizi budoucnosti, uskutečněnou v dechberoucím vizuálním provedení. Herci předvádí solidní výkony, někteří pak až výjimečné – především Rutger Hauer jako Roy Batty. Napínavé akční scény jsou akrobatické, baletní a brutální. Klíč k pochopení znepokojivé emocionální působivosti díla však spočívá v jeho hlubokém mytickém podtextu. (more…)
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January 16, 2015 Greg Johnson
Postmodernisme, hédonisme, et mort
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2,770 words
Editor’s Note:
This text continues the transcript by V. S. of Jonathan Bowden’s interview at the Union Jack Club in London on Saturday, November 21, 2009, after his lecture/performance on Punch and Judy. The title is editorial.
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Czech translation here
Ridley Scott’s 1982 movie Blade Runner is a science fiction classic and surely the director’s finest work. Blade Runner excels on all levels. It is a highly imaginative vision of the future realized with a stunning visual style. The script is intelligent, even poetic. The cast is uniformly strong, with a number of powerful performances, particularly Rutger Hauer as Roy Batty. The gripping action sequences are acrobatic, balletic, and brutal. But the key to the film’s unsettling emotional power is its deep mythic subtext. (more…)
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April 30, 2013 Trevor Lynch
The Dark Knight
English original here
Dans ma critique du Batman Begins de Christopher Nolan, j’ai affirmé que le film génère un conflit spectaculaire autour des enjeux les plus élevés qui soient : la destruction du monde moderne (symbolisé par Gotham City) par la “Ligue des Ombres” Traditionaliste contre sa préservation et son amélioration “progressive” par Batman.
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1,155 words
French translation here
“Postmodernism” is one of those academically fashionable weasel words like “paradigm” that have now seeped into middlebrow and even lowbrow discourse. Those of us who have fundamental and principled critiques of modernity quickly learned that postmodernism is not nearly postmodern enough. (more…)
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January 17, 2013 Romano Vulpitta
Yukio Mishima, Yojuro Yasuda, & Fascism, Part 2
Part 2 of 2
Translated by Riki Rei
6. Mishima’s Literature of Action
Let’s try searching for similarities between Mishima’s literature and fascism viewed from a literary perspective. If we use one word to describe Mishima’s literature, it is a literature of action. (more…)
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3,668 words
The Keynote Speech at the 42nd Yukoku-Ki in Tokyo, November 25, 2012
Translated by Riki Rei
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4,936 words
Editor’s Note:
Unless you’re living in Tora Bora, you probably know that Christopher Nolan’s third Batman movie, The Dark Knight Rises, is coming out this week. (more…)
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In my review of Christoper Nolan’s Batman Begins, I argued that the movie generates a dramatic conflict around the highest of stakes: the destruction of the modern world (epitomized by Gotham City) by the Traditionalist “League of Shadows” versus its preservation and “progressive” improvement by Batman.