“Because the dynamic of power and desire is so difficult to parse, teacher-student affairs have captured the minds of writers, among them David Mamet (Oleanna), Jonathan Franzen (The Corrections), Philip Roth (The Dying Animal), Christopher Isherwood (A Single Man), J. M. Coetzee (Disgrace), Zoë Heller (Notes on a Scandal), and Susan Choi (My Education). The prospect of Robert Stone, winner of a National Book Award and a two-time finalist for the Pulitzer Prize, adding his name to this list is appealing. What fearless take will the author of such muscularly bleak novels as Dog Soldiers and Damascus Gate, now a sage at 76, offer on our modern response to the intellectual/erotic dichotomy of the teacher and the prize student?”—
I’ve never understood the continued fascination with this — I tend to veer away from books featuring this plot device, although I did attempt Susan Choi’s My Education since it seemed like a new take on it.
“[T]his is where the film consistently skips a step, jumping from initial attraction to romantic culmination without bothering with all that boring stuff about, you know, actually falling in love. It’s like jumping from the first scene of When Harry Met Sally (or, again, almost any other romantic comedy you could name) straight to the last.”—
“I also think that suggesting that a class of works isn’t worth investment is a way of denying that work accountability for its quality and its politics–it’s the flip side of the defense mounted by superfans of movies, television, or video games when they’re uncomfortable with a critique that complicates their love of a product, the cry that “it’s just a movie/TV show/video game.”—Why I Care So Much About Mass Culture, Including Superhero Movies | ThinkProgress
“The evasion of disputes is a defining tactic of smarm. Smarm, whether political or literary, insists that the audience accept the priors it has been given. Debate begins where the important parts of the debate have ended.”—On Smarm, by Tom Scocca
Using sources including the Treasures of the Film Archives, an international registry maintained by the International Federation of Film Archives, and conversations with American film archivists, Pierce determined that 1,575 of the 10,919 movies produced during the silent period still survive today in their complete, original form (on 35mm film), 1,174 exist as foreign releases or in lower-quality formats like 28mm or 16mm film, and 562 exist as fragmentary or abridged edits of the original features. 70 percent of those silent movies are gone forever.
The thing that makes any “black movie” good is exactly the same thing that unmakes the “black movie” as a useful construct: A good “black movie” is a film that recognizes black people as humans — not symbols or vehicles for white enlightenment or redemption — and reminds us that it’s the mainstream movie industry that doesn’t get it, not audiences.
“[I]f the people who are recruited to the newsroom because they add perspectives that might otherwise be overlooked are also taught that they should leave their politics at the door, or think like professional journalists rather than representatives or their community, or privilege something called “news values” over the priorities they had when they decided to become journalists, then these people are being given a fatally mixed message, if you see what I mean. They are valued for the perspective they bring, and then told that they should transcend that perspective.”—A News Organization That Rejects the View From Nowhere - Conor Friedersdorf - The Atlantic