1. Buffy - Halloween.
2. Freaks & Geeks - Tricks and Treats.
3. The Peanuts - It's the Great Pumpkin, Charlie Brown.
4. Eine beliebige "Treehouse of Horror"-Episode der Simpsons, oder ein Marathon ebendieser.
5. Daria - Depth Takes A Holiday. (Nicht Halloween-spezifisch, aber MIT Halloween)
6. The Office - Halloween.
7. Castle - Vampire Weekend.
8. How I Met Your Mother - Slutty Pumpkin.
9. My So-Called Life - Halloween.
10. The Big Bang Theory - The Middle Earth Paradigm.
Saturday, October 31, 2009
Friday, October 30, 2009
PS Devin
I suspected that the song Devin played for Landry on "Friday Night Lights" wasn't an original, but naturally I failed to look it up until now: so here it is....
"She don't use butter / She don't use cheese / She don't use jelly / or any of these: / She uses Vaseline."
The Flaming Lips - She Don't Use Jelly
"She don't use butter / She don't use cheese / She don't use jelly / or any of these: / She uses Vaseline."
The Flaming Lips - She Don't Use Jelly
...
In meinem Häuserblock ist die Straßenbeleuchtung ausgefallen. Ich wohne genau an der Grenzlinie: hinter mir Dunkelheit, gegenüber Licht. Das gibt diesem nach Winter riechenden Tag kurz vor Halloween eine merkwürdige Stimmung - als wäre das hier nicht die Stadt, sondern irgend ein kleines Dorf. Die Menschen auf die Straßen sehen einander nicht mehr so, wie sie es gewohnt sind, und deswegen begegnet man sich mit einer Mischung aus vestärktem Misstrauen und Verwunderung, weil man irgendwie das Gefühl hat, in einer kleinen Blase gefangen zu sein. Ich sollte das ja gewohnt sein - am Stadtrand wo ich aufgewachsen bin gibt es genug unbeleuchtete Feldwege, die manchmal zu meinen Nach-Hause-Wegen gehörten - aber hier ist das eine ganz andere Geschichte. Vielleicht auch, weil es wirklich nur ein paar Straßen sind, und nur die Straßenbeleuchtung - Ampeln funktionieren, der Strom ist nicht ausgefallen.
Strange.
Auch besonders in der Kombination mit dem Gefühl, die letzten Wochen ein wenig den Anschluss verpasst zu haben - den Anfang der Proteste krank, dann aus anderen Gründen nicht auf der Uni, und über etwas, das einen selbst betrifft, das man eigentlich genau verfolgen möchte, bloß aus der Distanz betrachten zu können, ist nicht schön. Ab Montag wird das hoffentlich anders!
Strange.
Auch besonders in der Kombination mit dem Gefühl, die letzten Wochen ein wenig den Anschluss verpasst zu haben - den Anfang der Proteste krank, dann aus anderen Gründen nicht auf der Uni, und über etwas, das einen selbst betrifft, das man eigentlich genau verfolgen möchte, bloß aus der Distanz betrachten zu können, ist nicht schön. Ab Montag wird das hoffentlich anders!
Columnize my Randomness, Part 22
OK, so this is a bit complicated and biased towards TV shows:
First of, the NY Magazine has two interviews with the female leads of "Mad Men": Christina Hendricks (Joan Holloway) and Elisabeth Moss (Peggy Olsen). The female characters of "Mad Men" and how they react differently to the social climate of the Sixties, to the opportunities and restrictions, are what draw me into the show - but I have to admit that the idea Elisabeth Moss conveys in the interview, of Peggy being the ultimate feminist because she "just wanted a chance at her job", doesn't really resonate with me. Feminism is supposed to be about more than just playing by the patriarchal rules and getting equal pay for it, right? (By the way, the one thing that makes "Mad Men" even more enjoyable are the reviews over at Slate - they are an ongoing discussion about each episode, an exchange of letters of sorts. I think this is a smart approach to tv critisizm.)
So, "Heroes". I was taken by surprise how much I enjoy the fourth season of this show. I had given up on it after the first season, still following, but never really enjoying, and now I find myself in a state where I can barely wait until the next episode comes out. Also, I need to revise the list I wrote last year: Claire can stay. In a weird twist of fate, the vague idea of having Claire hook up with a girl this season (which Hayden Panettiere came up with and has been pretty vocal about) was turned into a meaningful, slowly developing relationship by the "Heroes"-writers (kudos). Besides, the list was doomed anyway: two people I wanted to survive have been killed off (by the way: Brea Grant used to play another unlikely Dillon resident, a riot grrrl, in "Friday Night Lights", and the only moment in the history of "Heroes" in which Claire had chemistry with another character featured Elle, played by Kristen Bell of "Veronica Mars" fame).
I have also discovered that watching the pilot episode of "Californication" contributes to the enjoyment of "Heroes" - since Madeline Zima's Gretchen is like the other side of the coin to her performance as Mia Cross. I originally thought that a show about David Duchovny getting laid (that was pretty much the concept, right?) wouldn't be my cup of tea, but it turns out that "Californication" is actually really enjoyable, in a twisted, great performances and edgy storylines (like "Weeds") kinda way.
In other tv show news: "Friday Night Lights", a show I only discovered this summer, returned for a fourth season last Wednesday. This season is all about the class struggle between the two Dylan highschools, one fancy and rich, the other for the less fortunate underdogs. The Coach has just been mobbed from his old post, but his wife is still the principal of the competing highschool. The season brings back some of the people who graduated last year (Matt and Tim, who both decided not to go to College after all), but focuses on new cast members and some of those who haven't graduated yet (Landry and Julie Taylor) - and seeing other people being happy about the return of Devin (played by Stephanie Hunt) made me happy. She has such a small role, and yet lightens up every scene - apart from the fact that her presence in a small Texan town seems so very unlikely. Stephanie Hunt, by the way, has written and directed her own movie. Information and the trailer for "Love and Tambourines" can be found here.
And talking about how really small productions can sometimes get things right more than really huge, expensive ones: I stumbled upon this web series called "Anyone But Me" - there are nine episodes so far (the second season starts in December), each about ten minutes long, and they center on this girl who moves from New York to a suburb because her dad, suffering from the aftermath of 9/11, needs fresh air. The acting is incredibly good, and it is just amazing how much character development can happen in such a short period of time. If this is the future of television, I can't wait. Two interviews: with Rachael Hip Flores (who plays Vivian, the main character) and Nicole Percent (who plays her girlfriend, Aster).
And finally, just to throw in some music: The Mountain Goats aka John Darnielle have a new record out: it's called "The Life of the World to Come" and I already mentioned how much I enjoyed the awe and enthusiasm one critic over at PopMatters greeted it with. The intimate video was directed by Rian Johnson, who was also responsible for the music video for "Woke up New" and is the director of "Brick", one of my favourite movies (which apparently featured a reference to the band that escaped me).
The Mountain Goats: Ezekiel 7 and The Permanent Efficacy of Grace
In other news: new Tegan and Sara (Sainthood, favourite song so far is "Northshore"), new Shannon Wright (Honeybee Girls, with a cover of "Asleep" by The Smiths!!!). And "Blister in the Sun" should always remain the angry, disturbing song about teenage desire that it is supposed to be, not THIS (Sorry, Nouvelle Vague. The use of your songs in "Sugar Rush", Camille as a guest voice and the weird, kinda great "Too Drunk To Fuck" drew me in, but this is just wrong).
First of, the NY Magazine has two interviews with the female leads of "Mad Men": Christina Hendricks (Joan Holloway) and Elisabeth Moss (Peggy Olsen). The female characters of "Mad Men" and how they react differently to the social climate of the Sixties, to the opportunities and restrictions, are what draw me into the show - but I have to admit that the idea Elisabeth Moss conveys in the interview, of Peggy being the ultimate feminist because she "just wanted a chance at her job", doesn't really resonate with me. Feminism is supposed to be about more than just playing by the patriarchal rules and getting equal pay for it, right? (By the way, the one thing that makes "Mad Men" even more enjoyable are the reviews over at Slate - they are an ongoing discussion about each episode, an exchange of letters of sorts. I think this is a smart approach to tv critisizm.)
So, "Heroes". I was taken by surprise how much I enjoy the fourth season of this show. I had given up on it after the first season, still following, but never really enjoying, and now I find myself in a state where I can barely wait until the next episode comes out. Also, I need to revise the list I wrote last year: Claire can stay. In a weird twist of fate, the vague idea of having Claire hook up with a girl this season (which Hayden Panettiere came up with and has been pretty vocal about) was turned into a meaningful, slowly developing relationship by the "Heroes"-writers (kudos). Besides, the list was doomed anyway: two people I wanted to survive have been killed off (by the way: Brea Grant used to play another unlikely Dillon resident, a riot grrrl, in "Friday Night Lights", and the only moment in the history of "Heroes" in which Claire had chemistry with another character featured Elle, played by Kristen Bell of "Veronica Mars" fame).
I have also discovered that watching the pilot episode of "Californication" contributes to the enjoyment of "Heroes" - since Madeline Zima's Gretchen is like the other side of the coin to her performance as Mia Cross. I originally thought that a show about David Duchovny getting laid (that was pretty much the concept, right?) wouldn't be my cup of tea, but it turns out that "Californication" is actually really enjoyable, in a twisted, great performances and edgy storylines (like "Weeds") kinda way.
In other tv show news: "Friday Night Lights", a show I only discovered this summer, returned for a fourth season last Wednesday. This season is all about the class struggle between the two Dylan highschools, one fancy and rich, the other for the less fortunate underdogs. The Coach has just been mobbed from his old post, but his wife is still the principal of the competing highschool. The season brings back some of the people who graduated last year (Matt and Tim, who both decided not to go to College after all), but focuses on new cast members and some of those who haven't graduated yet (Landry and Julie Taylor) - and seeing other people being happy about the return of Devin (played by Stephanie Hunt) made me happy. She has such a small role, and yet lightens up every scene - apart from the fact that her presence in a small Texan town seems so very unlikely. Stephanie Hunt, by the way, has written and directed her own movie. Information and the trailer for "Love and Tambourines" can be found here.
And talking about how really small productions can sometimes get things right more than really huge, expensive ones: I stumbled upon this web series called "Anyone But Me" - there are nine episodes so far (the second season starts in December), each about ten minutes long, and they center on this girl who moves from New York to a suburb because her dad, suffering from the aftermath of 9/11, needs fresh air. The acting is incredibly good, and it is just amazing how much character development can happen in such a short period of time. If this is the future of television, I can't wait. Two interviews: with Rachael Hip Flores (who plays Vivian, the main character) and Nicole Percent (who plays her girlfriend, Aster).
And finally, just to throw in some music: The Mountain Goats aka John Darnielle have a new record out: it's called "The Life of the World to Come" and I already mentioned how much I enjoyed the awe and enthusiasm one critic over at PopMatters greeted it with. The intimate video was directed by Rian Johnson, who was also responsible for the music video for "Woke up New" and is the director of "Brick", one of my favourite movies (which apparently featured a reference to the band that escaped me).
The Mountain Goats: Ezekiel 7 and The Permanent Efficacy of Grace
In other news: new Tegan and Sara (Sainthood, favourite song so far is "Northshore"), new Shannon Wright (Honeybee Girls, with a cover of "Asleep" by The Smiths!!!). And "Blister in the Sun" should always remain the angry, disturbing song about teenage desire that it is supposed to be, not THIS (Sorry, Nouvelle Vague. The use of your songs in "Sugar Rush", Camille as a guest voice and the weird, kinda great "Too Drunk To Fuck" drew me in, but this is just wrong).
Thursday, October 29, 2009
...und Handlungsmöglichkeiten, II
Die siebentägige Besetzung des Audimax und anderer österreichweiter Hörsäle- und Institute endet heute um 17:00 in einer Großdemonstration, die in Wien ab 17:00 von der Uni Wien über den Minoritenplatz und das Wissenschafstministerium zur Uni zurück führen wird. Im Vorfeld halten zahlreiche Studienrichtungsvertretungen HörerInnenversammlungen ab (manche haben schon gestern).
Korrektur, ein Tag später: die Besetzung "endete" nicht damit. Inzwischen beginnt der autonome Vorlesungsbetrieb in den weiterhin besetzten Sälen.
Die heute verteilte 12-seitige U-Bahnzeitung "Morgen" ist hier online abrufbar.
Auf dem Blog #unsereuni kann man neben der aktuellen Liste der Forderungen unter anderem Videobeiträge der im Audimax abgehaltenen Vorträge ansehen (z.B. Christian Felber von Attac).
Inzwischen wurde der zuständige Minister für andere Dienste auserwählt (immer diese Kompromisse), womit unter Umständen auch der nicht gerade erfolgsversprechende Posten des Wiener ÖVP-Chefs frei wird - bloß ein Jahr vor den nächsten Wahlen.
Korrektur, ein Tag später: die Besetzung "endete" nicht damit. Inzwischen beginnt der autonome Vorlesungsbetrieb in den weiterhin besetzten Sälen.
Die heute verteilte 12-seitige U-Bahnzeitung "Morgen" ist hier online abrufbar.
Auf dem Blog #unsereuni kann man neben der aktuellen Liste der Forderungen unter anderem Videobeiträge der im Audimax abgehaltenen Vorträge ansehen (z.B. Christian Felber von Attac).
Inzwischen wurde der zuständige Minister für andere Dienste auserwählt (immer diese Kompromisse), womit unter Umständen auch der nicht gerade erfolgsversprechende Posten des Wiener ÖVP-Chefs frei wird - bloß ein Jahr vor den nächsten Wahlen.
Wednesday, October 28, 2009
Halloween is the time for Whedony references
Apart from the fact that Friday's episode of "Dollhouse" ("Belonging"), the last before a month-long hiatues that will be followed by double-features, was the most breath-taking, shocking, intelligent piece of television I've seen in quite some time (especially with the creepy Boyd reveal and the lengthy "Nikita"-Cleaner-reference), two other shows decided to reference Joss Whedon shows: Claire on "Heroes" went "all Buffy" on hazing sorority girls (and, one could argue, the show itself kinda went "all Buffy" with the College-storyline) and Richard Castle put on a special costume, although the genius retort of his daughter is cut from the clip - she says "There are no cows in space" (and the case of the week featured a vampire that was staked but did not go "poof"). I like to think of "Castle" as the nice great aunt that you enjoy seeing when you do but don't really miss if she should decide to move to a distant country.
But for me, the best way to think about Halloween is still to remember the utter creepness of giant fluffy bunnies, predicting the end of the world or otherwise.
But for me, the best way to think about Halloween is still to remember the utter creepness of giant fluffy bunnies, predicting the end of the world or otherwise.
Monday, October 26, 2009
The Monday List: Bandnames
1. Kara Thrace and her Special Destiny (Christian Speed Metal)
2. Gertrude Has a Dinosaur (Kimya-Dawson inspirierter Anti-Folk ohne Happy-End)
3. No This Time He Is Really Dead (Best of Heroes-Cast minus Zachary Quinto)
4. The Who Did They Make Us This Times (Impro-Rock - jeder macht alles, aber perfekt)
5. The Big Bads (obviously competitive hip hop)
6. The Wacky Jennies (eine "Betty"-Coverband mit ziemlich durchgeknallten Liveshows)
7. Father Issues (Eine Zweimann-Konzeptband - aber den zweiten Mann sieht das Publikum nicht! -Warum?)
8. Bloody Ad Men (klassische Big-Band, Rasenmäher als Bühnenaccessoir)
9. Joe Sweden (Zwei Worte: Mann, Klavier)
10. I used to be the next american vice president and all i got was this lame sweater vest (Bebrillte Songwriterin mit einem heart of geek und fragwürdigen Deutschkenntnissen)
2. Gertrude Has a Dinosaur (Kimya-Dawson inspirierter Anti-Folk ohne Happy-End)
3. No This Time He Is Really Dead (Best of Heroes-Cast minus Zachary Quinto)
4. The Who Did They Make Us This Times (Impro-Rock - jeder macht alles, aber perfekt)
5. The Big Bads (obviously competitive hip hop)
6. The Wacky Jennies (eine "Betty"-Coverband mit ziemlich durchgeknallten Liveshows)
7. Father Issues (Eine Zweimann-Konzeptband - aber den zweiten Mann sieht das Publikum nicht! -Warum?)
8. Bloody Ad Men (klassische Big-Band, Rasenmäher als Bühnenaccessoir)
9. Joe Sweden (Zwei Worte: Mann, Klavier)
10. I used to be the next american vice president and all i got was this lame sweater vest (Bebrillte Songwriterin mit einem heart of geek und fragwürdigen Deutschkenntnissen)
Sunday, October 25, 2009
Das Lied zum Sonntag
PJ Harvey - Big Exit
Herbst!
Look out ahead -
I see danger come.
I want a pistol,
I want a gun.
I'm scared baby,
I wanna run.
This world's crazy:
Give me the gun
Baby, baby -
Ain't it true.
I'm immortal
When I 'm with you.
But I want a pistol
In my hand.
I wanna go to
A different land.
I met a man:
He told me straight
"You gotta leave
It's getting late."
Too many cops,
Too many guns.
All trying to do something
No-one else has done
Baby, baby
Ain't it true
I'm immortal
When I 'm with you
But I want a pistol
In my hand
I wanna go to
A different land
Sometimes it rains so hard
And I feel the hurt
In my heart
Feels like the end of the world
I see the children
Sharp as knives
I see the children
Dead and alives
Beautiful people
Beautiful girls
I just feel like it's the end of the world
I walk on concrete
I walk on sand
But I can't find
A safe place to stand
I'm scared baby
I wanna run
This world's crazy
Gimme the gun
Baby, baby
Ain't it true
I'm immortal
When I 'm with you
But I want a pistol
In my hand
I wanna go to
A different land
[auf "Stories from the City, Stories from the Sea", 2000]
Friday, October 23, 2009
Viennale '09 - Zum Programm
Nachdem ich es letztes Jahr tatsächlich zu drei Filmen geschafft habe (am glücklichsten war ich über "Jerichow" inklusive Christian-Petzold-Fragestunde), habe ich dieses Jahr wirklich überhaupt keine Zeit, um die Viennale zu genießen - deswegen auch verspätete Programmempfehlungen (manche Filme werden wahrscheinlich schon ausverkauft sein). Aber vielleicht bietet sich ja später noch eine Möglichkeit, Versäumtes nachzuholen?
"Adventureland" von Greg Mottola: Sonntag, 25. 10., Urania, Dienstag, 27. 10., Künstlerhaus, Gartenbau.
Den fand ich überraschend gut, auch wegen der zurückhaltenden Performances von Jesse Eisenberg, Kristen Stewart, Martin Starr und Ryan Reynolds. Die Viennale ist ein heimlicher Tipp für kleinere US-amerikanische Filme, die sich um Teenager drehen (etwa "Dandelion" mit Vincent Kartheiser vor ein paar Jahren, auch eine große Überraschung) - auch wenn sich wahrscheinlich anspruchsvollere und schwerer zu findende Filme mehr anbieten als der neue Film von "Superbad"-Regisseur Mottola.
"Antichrist" von Lars Von Trier (mit ziemlicher Sicherheit ausverkauft): Donnerstag, 29. 10., Gartenbau, Freitag, 30. 10. Künstlerhaus.
Das ist nicht unbedingt eine Empfehlung, eher eine Chance, auf diverse "Der Tag, als ich "Antichrist" sah"-Erlebnisberichte hinzuweisen, die das Ende spoilen (wobei es vermutlicherweise zu Empfehlen ist, das Ende im voraus zu kennen). Ich bin eine verweichlichte Göre und schaue deswegen lieber "Hard Candy" mit Ellen Page und vorgetäuschten Kastrationen (whoops, that was the Spoiler).
"Beeswax" von Andrew Bujalski: Freitag, 30.10., Urania, Samstag, 31.10., Stadtkino.
Genre: Mumblecore. Vielleicht einen Versuch wert?
"Caravaggio" von Derek Jarman": Dienstag, 27.10., Metro, Mittwoch, 4.11., Stadtkino.
Lebensgeschichte des Malers, ihm Rahmen des "Tribute Tilda Swinton".
"Ddongpari / Breathless" von Yank Ik-june: Montag, 26.10., Gartenbau, Mittwoch, 28.10., Urania.
Eine rabiate Schülerin krempelt das Leben eines Schuldeineintreibers um (sorry für den Untertitellosen Trailer).
"Fish Tank" von Andrea Arnold: Mittwoch, 28.10., Gartenbau, Mittwoch, 4.11., Metro.
Ausgezeichneter britischer Film über das trostlose Leben in einem Londoner Vorort.
"Fisshu sutori / Fish Story" von Nakamura Yoshishiro: Freitag, 23.10., Urania, Samstag, 31.10., Metro.
Dieser Trailer wird sogar noch besser, weil man kein Wort versteht, aber nur zur Erklärung: 2012 droht der Weltuntergang und kann nur durch einen Punk-Song abgewandt werden. Yay.
"Lourdes" von Jessica Hausner: Samstag, 31.10., Gartenbau, Mittwoch, 4.11., Künstlerhaus.
Nach "Lovely Rita" und "Hotel" widmet sich die Regisseurin diesmal den dunklen Seiten des Religionstourismus.
"Moon" von Duncan Jones: Montag, 26.10., Gartenbau, Dienstag, 27.10., Metro.
Sam Bell (Sam Rockwell) ist nach einer dreijährigen Mondmission alleine mit dem freundlichen Bordcomputer - bis Dinge schief zu gehen beginnen. "2001", "Solaris" etc.
"Natsul / Daytime Drinking" von Noh Young-seok: Freitag, 23.10., Gartenbau, Dienstag, 3.11., Urania.
Nach der Trennung von seiner Freundin versinkt Hyuk-jin im "Daytime Drinking" - und beginnt eine Odyssee durch das Hinterland Südkoreas.
"Orlando" von Sally Potter: Donnerstag, 29.10., Urania.
Kunstvolle Verfilmung des Virginia-Woolf-Romans über eine Figur (Tilda Swinton), die sich im Laufe von Jahrhunderten englischer Geschichte immer wieder verwandelt
"Rushmore" von Wes Anderson: Freitag, 30.10., Filmmuseum.
Wer nicht schon eine der vielen Chancen genutzt hat, Wes Andersons Meisterwerk (gemeinsam mit "The Royal Tenenbaums" sehr nahe dran an JD Salinger) im Kino zu sehen, sollte das hier nachholen: mit Jason Schwartzman, gerade verschwendet in einer Fernsehserie ("Bored to Death") und Olivia Williams, gerade Teil einer der besten Fernsehserien, die verfügbar sind ("Dollhouse").
"White Material" von Claire Denis: Mittwoch, 28.10., Gartenbau.
Während um sie herum ein Bürgerkrieg wütet, kämpft eine Kaffeefarmerin (Isabelle Huppert) um ihre Plantage in Westafrika.
"Yi ngoi / Accident" von Cheang Pou-soi: Samstag, 24.10., Gartenbau, Montag, 2.11., Urania.
Eine Gruppe von Nerds inszeniert Todesfälle, die wie Unfälle aussehen.
Dokus:
"Garapa" von Jose Padilha: Sonntag, 25.10., Stadtkino, Donnerstag, 29.10., Metro
Das Gefälle zwischen Arm und Reich in Brasilien wird hier anhand dreier Familien gezeigt, deren Grundnahrungsmittel das Titelgebende Garapa ist, ein nährstoffarmes Gemisch aus Zucker und Wasser.
Außerdem: der neue Soderbergh (The Girlfriend Experience), der neue Coens-Brüder (A Serious Man), der neue George A Romero (Survival of the Dead),
"Adventureland" von Greg Mottola: Sonntag, 25. 10., Urania, Dienstag, 27. 10., Künstlerhaus, Gartenbau.
Den fand ich überraschend gut, auch wegen der zurückhaltenden Performances von Jesse Eisenberg, Kristen Stewart, Martin Starr und Ryan Reynolds. Die Viennale ist ein heimlicher Tipp für kleinere US-amerikanische Filme, die sich um Teenager drehen (etwa "Dandelion" mit Vincent Kartheiser vor ein paar Jahren, auch eine große Überraschung) - auch wenn sich wahrscheinlich anspruchsvollere und schwerer zu findende Filme mehr anbieten als der neue Film von "Superbad"-Regisseur Mottola.
"Antichrist" von Lars Von Trier (mit ziemlicher Sicherheit ausverkauft): Donnerstag, 29. 10., Gartenbau, Freitag, 30. 10. Künstlerhaus.
Das ist nicht unbedingt eine Empfehlung, eher eine Chance, auf diverse "Der Tag, als ich "Antichrist" sah"-Erlebnisberichte hinzuweisen, die das Ende spoilen (wobei es vermutlicherweise zu Empfehlen ist, das Ende im voraus zu kennen). Ich bin eine verweichlichte Göre und schaue deswegen lieber "Hard Candy" mit Ellen Page und vorgetäuschten Kastrationen (whoops, that was the Spoiler).
"Beeswax" von Andrew Bujalski: Freitag, 30.10., Urania, Samstag, 31.10., Stadtkino.
Genre: Mumblecore. Vielleicht einen Versuch wert?
"Caravaggio" von Derek Jarman": Dienstag, 27.10., Metro, Mittwoch, 4.11., Stadtkino.
Lebensgeschichte des Malers, ihm Rahmen des "Tribute Tilda Swinton".
"Ddongpari / Breathless" von Yank Ik-june: Montag, 26.10., Gartenbau, Mittwoch, 28.10., Urania.
Eine rabiate Schülerin krempelt das Leben eines Schuldeineintreibers um (sorry für den Untertitellosen Trailer).
"Fish Tank" von Andrea Arnold: Mittwoch, 28.10., Gartenbau, Mittwoch, 4.11., Metro.
Ausgezeichneter britischer Film über das trostlose Leben in einem Londoner Vorort.
"Fisshu sutori / Fish Story" von Nakamura Yoshishiro: Freitag, 23.10., Urania, Samstag, 31.10., Metro.
Dieser Trailer wird sogar noch besser, weil man kein Wort versteht, aber nur zur Erklärung: 2012 droht der Weltuntergang und kann nur durch einen Punk-Song abgewandt werden. Yay.
"Lourdes" von Jessica Hausner: Samstag, 31.10., Gartenbau, Mittwoch, 4.11., Künstlerhaus.
Nach "Lovely Rita" und "Hotel" widmet sich die Regisseurin diesmal den dunklen Seiten des Religionstourismus.
"Moon" von Duncan Jones: Montag, 26.10., Gartenbau, Dienstag, 27.10., Metro.
Sam Bell (Sam Rockwell) ist nach einer dreijährigen Mondmission alleine mit dem freundlichen Bordcomputer - bis Dinge schief zu gehen beginnen. "2001", "Solaris" etc.
"Natsul / Daytime Drinking" von Noh Young-seok: Freitag, 23.10., Gartenbau, Dienstag, 3.11., Urania.
Nach der Trennung von seiner Freundin versinkt Hyuk-jin im "Daytime Drinking" - und beginnt eine Odyssee durch das Hinterland Südkoreas.
"Orlando" von Sally Potter: Donnerstag, 29.10., Urania.
Kunstvolle Verfilmung des Virginia-Woolf-Romans über eine Figur (Tilda Swinton), die sich im Laufe von Jahrhunderten englischer Geschichte immer wieder verwandelt
"Rushmore" von Wes Anderson: Freitag, 30.10., Filmmuseum.
Wer nicht schon eine der vielen Chancen genutzt hat, Wes Andersons Meisterwerk (gemeinsam mit "The Royal Tenenbaums" sehr nahe dran an JD Salinger) im Kino zu sehen, sollte das hier nachholen: mit Jason Schwartzman, gerade verschwendet in einer Fernsehserie ("Bored to Death") und Olivia Williams, gerade Teil einer der besten Fernsehserien, die verfügbar sind ("Dollhouse").
"White Material" von Claire Denis: Mittwoch, 28.10., Gartenbau.
Während um sie herum ein Bürgerkrieg wütet, kämpft eine Kaffeefarmerin (Isabelle Huppert) um ihre Plantage in Westafrika.
"Yi ngoi / Accident" von Cheang Pou-soi: Samstag, 24.10., Gartenbau, Montag, 2.11., Urania.
Eine Gruppe von Nerds inszeniert Todesfälle, die wie Unfälle aussehen.
Dokus:
"Garapa" von Jose Padilha: Sonntag, 25.10., Stadtkino, Donnerstag, 29.10., Metro
Das Gefälle zwischen Arm und Reich in Brasilien wird hier anhand dreier Familien gezeigt, deren Grundnahrungsmittel das Titelgebende Garapa ist, ein nährstoffarmes Gemisch aus Zucker und Wasser.
Außerdem: der neue Soderbergh (The Girlfriend Experience), der neue Coens-Brüder (A Serious Man), der neue George A Romero (Survival of the Dead),
Untragbare Umstände und Handlungsmöglichkeiten
Chaotische, tendenziell ungeordnete Gedanken (weil ich es mit einem geordneten Post versucht habe, und gescheitert bin: PLUS Herbstfieber-Schnupfen, ergo kein Erlebnisbericht):
Die Handlungsmöglichkeiten der StudentInnen sind beschränkt - ich verstehe den Vorwurf, dass eine Besetzung der Hörsäle nur begrenzt sinnvoll ist - aber StudentInnen können nicht streiken, und in den letzten Jahren des Chaos, der Verwirrung, der Unsicherheit, der stetig schlechter werdenden Studienbedingungen, ist klar geworden, dass es keine anderen Möglichkeiten gibt.
Kommentare auf den Websiten prominenter Tageszeitungen - viele davon along the lines of "StudentInnen sollte gefälligst dankbar sein, egal was passiert, alles schlucken, und sich endlich mit den Sachzwängen des 21. Jahrhunderts abfinden". Prost Mahlzeit.
Nur ein paar Erfahrungen (und die sind unabhängig davon, ob ich in der Mindeststudienzeit bin): sich für zehn Veranstaltungen anmelden müssen, um zumindest eine zu bekommen, jedes Jahr ein anderes Anmeldesystem, überfüllte Hörsäle, zumindest am Anfang des Semesters, vollkommen überlaufene Seminare, die keinen Sinn haben, weil 50 Leute einfach ZU VIELE SIND, um eine prüfungsimmanente, Diskussions- und Mitarbeitszentrierte Lehrveranstaltung abzuhalten, zu wenige Angebote allgemein, um das Studium schnell abschließen zu können, über die Umstände frustrierte GastprofessorInnen, dich nicht wissen, wie sie damit umgehen sollen. Unter diesen Bedingungen ist weder lehren noch studieren möglich. Der organisatorische Spießrutenlauf nimmt inzwischen schon so viel Energie ein, dass für das tatsächliche Studieren kaum Zeit bleibt.
Ich weiß auch, dass viele dieser Probleme spezifisch für ein Massenstudium (an der Uni Wien) sind, ich weiß auch aus eigener Erfahrung, dass es genau so gut passieren kann, dass zu einem Seminar bloß fünf Leute erscheinen, zum zweiten Termin nur noch zwei, und die Veranstaltung deswegen abgesagt wird (dieses Jahr, in einem Geschichteproseminar).
Es war ein Fehler, vor etwas mehr als einem Jahr die Beschränkung der Studienbeiträge als ersten Schritt zu feiern - denn jetzt hält die Abschaffung als Grund dafür her, dass sich die Zustände weiter verschlechtert haben, obwohl sie vor einem Jahr nicht entscheidend besser waren als jetzt, bloß wegen der 400 Euro pro Semester.
Die Forderungen der BesetzerInnen hier.
Bei FM4
Beim Standard
Bei der Presse
#Unibrennt bei Twitter
Die Handlungsmöglichkeiten der StudentInnen sind beschränkt - ich verstehe den Vorwurf, dass eine Besetzung der Hörsäle nur begrenzt sinnvoll ist - aber StudentInnen können nicht streiken, und in den letzten Jahren des Chaos, der Verwirrung, der Unsicherheit, der stetig schlechter werdenden Studienbedingungen, ist klar geworden, dass es keine anderen Möglichkeiten gibt.
Kommentare auf den Websiten prominenter Tageszeitungen - viele davon along the lines of "StudentInnen sollte gefälligst dankbar sein, egal was passiert, alles schlucken, und sich endlich mit den Sachzwängen des 21. Jahrhunderts abfinden". Prost Mahlzeit.
Nur ein paar Erfahrungen (und die sind unabhängig davon, ob ich in der Mindeststudienzeit bin): sich für zehn Veranstaltungen anmelden müssen, um zumindest eine zu bekommen, jedes Jahr ein anderes Anmeldesystem, überfüllte Hörsäle, zumindest am Anfang des Semesters, vollkommen überlaufene Seminare, die keinen Sinn haben, weil 50 Leute einfach ZU VIELE SIND, um eine prüfungsimmanente, Diskussions- und Mitarbeitszentrierte Lehrveranstaltung abzuhalten, zu wenige Angebote allgemein, um das Studium schnell abschließen zu können, über die Umstände frustrierte GastprofessorInnen, dich nicht wissen, wie sie damit umgehen sollen. Unter diesen Bedingungen ist weder lehren noch studieren möglich. Der organisatorische Spießrutenlauf nimmt inzwischen schon so viel Energie ein, dass für das tatsächliche Studieren kaum Zeit bleibt.
Ich weiß auch, dass viele dieser Probleme spezifisch für ein Massenstudium (an der Uni Wien) sind, ich weiß auch aus eigener Erfahrung, dass es genau so gut passieren kann, dass zu einem Seminar bloß fünf Leute erscheinen, zum zweiten Termin nur noch zwei, und die Veranstaltung deswegen abgesagt wird (dieses Jahr, in einem Geschichteproseminar).
Es war ein Fehler, vor etwas mehr als einem Jahr die Beschränkung der Studienbeiträge als ersten Schritt zu feiern - denn jetzt hält die Abschaffung als Grund dafür her, dass sich die Zustände weiter verschlechtert haben, obwohl sie vor einem Jahr nicht entscheidend besser waren als jetzt, bloß wegen der 400 Euro pro Semester.
Die Forderungen der BesetzerInnen hier.
Bei FM4
Beim Standard
Bei der Presse
#Unibrennt bei Twitter
Tuesday, October 20, 2009
Unsere Ideen sind...
Das ist eine vollkommen beliebige Zusammenstellung von Singleveröffentlichung die einzig und alleine gemeinsam haben, dass sie alle vage Wurzeln in Hamburg haben:
Erstens: Die Sterne - Deine Pläne. Auf der EP "Der Riss".
Ich habe die Sterne dieses Jahr wieder am Donauinselfest gesehen, zumindest kurz, aber irgendwas passte im direkten Vergleich zu 2005 nicht (Es war zu hell? Es gab kein wildes beliebiges Mittanzen tausender Menschen?). Auf jeden Fall fiel mir inmitten der leichten Enttäuschung nicht auf, dass die neuen Songs (und ich bin mir ziemlich sicher, dass "Deine Pläne" gespielt wurde) überhaupt nicht nach dem alten Material klingen. Nicht, dass die Sterne bis jetzt einseitig oder repetitiv gewesen wären - bloß irgendwas klingt hier einfach nicht mehr nach den Sternen. Das Gefühl der Befremdung wird vom Video perfekt vermittelt.
Zweitens: Jochen Distelmeyer - Wohin mit dem Hass. Auf dem Album "Heavy".
Dazu meinte ich im Review, dieser Song schließe nahtlos an alte Blumfeld-Zeiten an, in etwa "Diktatur der Angepassten". Allerdings... die Frage der Ironie, und was man mit diesen Textzeilen macht, wenn sie nicht ironisch gemeint sind, wenn sie nicht die mitsingende Menge mitdenkt und sich über sie lustig macht. Eine Freundin meinte vor ein paar Monaten, "Zombi" von Kante klinge nach arrogantem "Ich der Künstler bin natürlich die Elite"-Getue, bis ich sie darauf hinwies, dass die Elite hier mit heraushängeden Gedärmen über die Straße stolpert - vielleicht würde der Vorwurf hier passen? Ich weiß auch nicht. Wichig erschienen sind mir andere Songs auf jeden Fall mehr, dieses Jahr.
Drittens: Die Goldenen Zitronen - Die Entstehung der Nacht. Auf dem Album "Die Entstehung der Nacht".
Zum Beispiel welche von dieser Platte. Ein Textkörper, an den ich mich nicht herantraue (praktischerweise hier ganz ohne Text).
Kante arbeiten derweil am Theater.
Erstens: Die Sterne - Deine Pläne. Auf der EP "Der Riss".
Ich habe die Sterne dieses Jahr wieder am Donauinselfest gesehen, zumindest kurz, aber irgendwas passte im direkten Vergleich zu 2005 nicht (Es war zu hell? Es gab kein wildes beliebiges Mittanzen tausender Menschen?). Auf jeden Fall fiel mir inmitten der leichten Enttäuschung nicht auf, dass die neuen Songs (und ich bin mir ziemlich sicher, dass "Deine Pläne" gespielt wurde) überhaupt nicht nach dem alten Material klingen. Nicht, dass die Sterne bis jetzt einseitig oder repetitiv gewesen wären - bloß irgendwas klingt hier einfach nicht mehr nach den Sternen. Das Gefühl der Befremdung wird vom Video perfekt vermittelt.
Zweitens: Jochen Distelmeyer - Wohin mit dem Hass. Auf dem Album "Heavy".
Dazu meinte ich im Review, dieser Song schließe nahtlos an alte Blumfeld-Zeiten an, in etwa "Diktatur der Angepassten". Allerdings... die Frage der Ironie, und was man mit diesen Textzeilen macht, wenn sie nicht ironisch gemeint sind, wenn sie nicht die mitsingende Menge mitdenkt und sich über sie lustig macht. Eine Freundin meinte vor ein paar Monaten, "Zombi" von Kante klinge nach arrogantem "Ich der Künstler bin natürlich die Elite"-Getue, bis ich sie darauf hinwies, dass die Elite hier mit heraushängeden Gedärmen über die Straße stolpert - vielleicht würde der Vorwurf hier passen? Ich weiß auch nicht. Wichig erschienen sind mir andere Songs auf jeden Fall mehr, dieses Jahr.
Drittens: Die Goldenen Zitronen - Die Entstehung der Nacht. Auf dem Album "Die Entstehung der Nacht".
Zum Beispiel welche von dieser Platte. Ein Textkörper, an den ich mich nicht herantraue (praktischerweise hier ganz ohne Text).
Kante arbeiten derweil am Theater.
Monday, October 19, 2009
The Monday List - Not a real US President
1. Ben Franklin
2. Alexander Hamilton
3. probably because of Aaron Burr
4. Josiah Bartlet
5. Mackenzie Allen
6. Jefferson Davis
7. Mitch Buchannon
8. Arnold Schwarzenegger
9. Wayne Palmer
10. Samuel Tilden
11. Al Gore
12. Sarah Palin
2. Alexander Hamilton
3. probably because of Aaron Burr
4. Josiah Bartlet
5. Mackenzie Allen
6. Jefferson Davis
7. Mitch Buchannon
8. Arnold Schwarzenegger
9. Wayne Palmer
10. Samuel Tilden
11. Al Gore
12. Sarah Palin
Wednesday, October 14, 2009
The lonesome Senator
“Is this bill all that I would want?” Ms. Snowe said. “Far from it. Is it all that it can be? No. But when history calls, history calls. And I happen to think that the consequences of inaction dictate the urgency of Congress to take every opportunity to demonstrate its capacity to solve the monumental issues of our time.”Und so lernt Europa den Namen einer republikanischen Senatorin aus Maine. Die Version des finance committees bietet keine public option an (und trotzdem gibt es nur eine einzige republikanische Stimme) - in den kommenden Monaten wird dann über eine Zusammenstellung aus den verschiedenen Versionen der vielen committees abgestimmt, dann gehts im Repräsentantenhaus weiter.
Ms. Snowe’s remarks silenced the packed committee room, riveted colleagues and thrilled the White House. President Obama had sought her vote, hoping that she would break with Republican leaders and provide at least a veneer of bipartisanship to the bill, which he has declared his top domestic priority."
NY Times: Republican’s Vote Lifts a Health Bill, but Hurdles Remain, October 13, 2009
DerStandard: Finanzausschuss im Senat stimmt zu, 14. Oktober 2009
Die Presse: USA: "Meilenstein" für Obamas Gesundheitsreform, 14. Oktober 2009
Guardian: Senate finance committee votes to pass healthcare reform bill, October 13, 2009
Slate: Health Reform Clears Finance, October 13, 2009 (Real-time reporting)
Tuesday, October 13, 2009
Linkliste unbehandelter Themen - Purely Pop Edition
No seriously. It's not like anything happened, right?
Let's start on a happy note: Fox has committed to airing all 13 episodes of the second season of "Dollhouse". I have to admit that I've been surprised by every single episode so far (and reviewed them quite excessively over at cellar door), even though I never got what I expected. The ratings are bad (even including DVR-numbers), so a third season is unlikely, but we might get a comic.
The NY Mag has an interview with Ari Graynor, who is in the incredible cast of "Whip It!" (which has gotten pretty good ratings so far, but was unsuccessful at the box office). I wonder if she ever gets over the "the best part of "Nick & Norah" title.
A weird, short sketch from Ellen Page, Justin Long, Kathryn Aagesen and Har Mar Superstar about Canadian Thanksgiving (as in "So what are you having for Thanksgiving this year?). Also, news about a comedy show written by Ellen Page and another "Whip It!" co-star, "Arrested Development's" Alia Shawkat (and no, I do not read Teen Vogue, but isn't the picture awesome?).
And talking about hipsters, Stuff Hipsters Hate is a Blog with a self-explanatory title. Turns out, I share many dislikes with hipsters, but if you knew me (heh, like, knew me) you'd laugh at the idea that I fall into that category (also, I like Ellen Page, so). See, it's a nice circle now.
I'm just going to file any interviews and articles on migration- and asylum-policy under pop culture, at least as long as there is not one single discernable intelligent talking point in the debate. What, I don't know why the conversation turned to crime? I didn't do it! Why are you looking at me like that?
The Raincoats are back.
This article advises you to "youtube" one particular video, which I have included above.
And finally, music. The best way to remember who died about a year ago is to go into a record store of your choice and purchase the new "Die Goldenen Zitronen"-record. Ironic that it takes a German band to take the temperature of such a local phenomenon, isn't it ["Die Stadt, die die Klage schon im Namen trägt" etc.]? (the band website has "Zehn Thesen zur Entstehung der Nacht")
Let's start on a happy note: Fox has committed to airing all 13 episodes of the second season of "Dollhouse". I have to admit that I've been surprised by every single episode so far (and reviewed them quite excessively over at cellar door), even though I never got what I expected. The ratings are bad (even including DVR-numbers), so a third season is unlikely, but we might get a comic.
The NY Mag has an interview with Ari Graynor, who is in the incredible cast of "Whip It!" (which has gotten pretty good ratings so far, but was unsuccessful at the box office). I wonder if she ever gets over the "the best part of "Nick & Norah" title.
A weird, short sketch from Ellen Page, Justin Long, Kathryn Aagesen and Har Mar Superstar about Canadian Thanksgiving (as in "So what are you having for Thanksgiving this year?). Also, news about a comedy show written by Ellen Page and another "Whip It!" co-star, "Arrested Development's" Alia Shawkat (and no, I do not read Teen Vogue, but isn't the picture awesome?).
And talking about hipsters, Stuff Hipsters Hate is a Blog with a self-explanatory title. Turns out, I share many dislikes with hipsters, but if you knew me (heh, like, knew me) you'd laugh at the idea that I fall into that category (also, I like Ellen Page, so). See, it's a nice circle now.
I'm just going to file any interviews and articles on migration- and asylum-policy under pop culture, at least as long as there is not one single discernable intelligent talking point in the debate. What, I don't know why the conversation turned to crime? I didn't do it! Why are you looking at me like that?
The Raincoats are back.
This article advises you to "youtube" one particular video, which I have included above.
And finally, music. The best way to remember who died about a year ago is to go into a record store of your choice and purchase the new "Die Goldenen Zitronen"-record. Ironic that it takes a German band to take the temperature of such a local phenomenon, isn't it ["Die Stadt, die die Klage schon im Namen trägt" etc.]? (the band website has "Zehn Thesen zur Entstehung der Nacht")
Monday, October 12, 2009
The Monday List - Lost in Translation
1. Girlfriend / Boyfriend --- Freund/In
2. Pathetic --- Pathetisch
3. Resourceful --- Einfallsreich
4. Awesome --- Ehrfurchtgebietend
5. Homeland --- Heimat
6. Federal --- Föderal
7. Engagement --- Engagement
8. Therefore --- Dafür
9. Awkward --- Unbeholfen
10. Noncommittal - Unverbindlichkeit
2. Pathetic --- Pathetisch
3. Resourceful --- Einfallsreich
4. Awesome --- Ehrfurchtgebietend
5. Homeland --- Heimat
6. Federal --- Föderal
7. Engagement --- Engagement
8. Therefore --- Dafür
9. Awkward --- Unbeholfen
10. Noncommittal - Unverbindlichkeit
Saturday, October 10, 2009
Retracing Foreign Policy
So, the Nobel Peace Prize (by the way: the museum, Nobels Fredssenter, you can visit in Oslo is pretty interesting), huh? Talk about big words. In the discussion of whether this is appropriate only ten months into the Obama administration, it would probably help to remember what exactly the administration did prior to getting into this maze of health care, the tunnel without the light, or whatever you wanna call this mess.
The most important stop on the way (as the content was mentioned in the reasoning of the Committee) is the speech Obama gave in the Czech Republic only a few weeks into his presidency [and the video]:
First of, Guantanamo. Obama vowed to close the prison, and then encountered resistence not only from the Republican party, but also from his own party members in Congress who picked up on some of that "then a terrorist will move into your neighbourhood"-wackness. He issued an executive order to end the Guantanamo military commission that got quietly, but still, revoked. Then, instead of following a course where potential terrorists would be tried in the court system, he talked about some kind of tribunal system. Detainees of Guantanamo who have meanwhile been found not to be guilty are currently seeking a new home. Austria, among others, doesn't really like the idea.
In other news, waterboarding is among the techniques now no longer used under the shield of nice words (enhanced interrogation techniques). But should an American President really be considered for the Nobel Peace Prize for standing up against torture? Shouldn't that be, like, taken for granted (I know, and there are unicorns and rivers of honey where I come from, but still).
Then, there is Afghanistan. Now that US troops are slowly leaving Iraq, there is a potential for a troop surge in Afghanistan to help the strategy of counter-insurgency- but on the other hand, in its ninth year and with pictures of dead soldiers arriving on US soil, the war is as unpopular as ever. Would it be more consistent with the ideas of the Nobel Peace Prize to end the war by removing all troops and leave Afghanistan to itself, or to remain there and continue to establish an unlikely lasting peace? And what about Pakistan?
And then, finally, there is an even more complicated question? What about Iran? Only a few days after the news of Obama deciding against the Sci-Fi missile shield which was supposed to help foreign relations with Russia, news media reported that Iran at least has the know-how necessary to build nuclear weapons, if not the technology.
The Middle East Peace Process. Now, getting anywhere there would surely be a justification for the prize, but it hasn't really happened yet.
I like the interpretation of the gesture as a subtle "we are watching you, don't screw this up" - but it seems a bit odd. It seems like everybody wants a piece of the President, so they can get more hits for their website.
The Announcement by the Norwegian Nobel Committee (something along the lines of: dude, we like you so much better than that other guy)
The Short Acceptance Speech (some have reduced to: If I fail, we are all to blame)
The most important stop on the way (as the content was mentioned in the reasoning of the Committee) is the speech Obama gave in the Czech Republic only a few weeks into his presidency [and the video]:
Just as we stood for freedom in the 20th century, we must stand together for the right of people everywhere to live free from fear in the 21st century. And as nuclear power -- as a nuclear power, as the only nuclear power to have used a nuclear weapon, the United States has a moral responsibility to act. We cannot succeed in this endeavor alone, but we can lead it, we can start it.Now the question is: does a stated intent to create a world without nuclear weapons (which can only be an intent, as the process would surely take more than eight years or two terms of one President) suffice to justify a prize with such a fancy name? And what about the stuff that actually did happen?
So today, I state clearly and with conviction America's commitment to seek the peace and security of a world without nuclear weapons. I'm not naive. This goal will not be reached quickly -- perhaps not in my lifetime. It will take patience and persistence. But now we, too, must ignore the voices who tell us that the world cannot change. We have to insist, "Yes, we can."
First of, Guantanamo. Obama vowed to close the prison, and then encountered resistence not only from the Republican party, but also from his own party members in Congress who picked up on some of that "then a terrorist will move into your neighbourhood"-wackness. He issued an executive order to end the Guantanamo military commission that got quietly, but still, revoked. Then, instead of following a course where potential terrorists would be tried in the court system, he talked about some kind of tribunal system. Detainees of Guantanamo who have meanwhile been found not to be guilty are currently seeking a new home. Austria, among others, doesn't really like the idea.
In other news, waterboarding is among the techniques now no longer used under the shield of nice words (enhanced interrogation techniques). But should an American President really be considered for the Nobel Peace Prize for standing up against torture? Shouldn't that be, like, taken for granted (I know, and there are unicorns and rivers of honey where I come from, but still).
Then, there is Afghanistan. Now that US troops are slowly leaving Iraq, there is a potential for a troop surge in Afghanistan to help the strategy of counter-insurgency- but on the other hand, in its ninth year and with pictures of dead soldiers arriving on US soil, the war is as unpopular as ever. Would it be more consistent with the ideas of the Nobel Peace Prize to end the war by removing all troops and leave Afghanistan to itself, or to remain there and continue to establish an unlikely lasting peace? And what about Pakistan?
And then, finally, there is an even more complicated question? What about Iran? Only a few days after the news of Obama deciding against the Sci-Fi missile shield which was supposed to help foreign relations with Russia, news media reported that Iran at least has the know-how necessary to build nuclear weapons, if not the technology.
The Middle East Peace Process. Now, getting anywhere there would surely be a justification for the prize, but it hasn't really happened yet.
I like the interpretation of the gesture as a subtle "we are watching you, don't screw this up" - but it seems a bit odd. It seems like everybody wants a piece of the President, so they can get more hits for their website.
The Announcement by the Norwegian Nobel Committee (something along the lines of: dude, we like you so much better than that other guy)
The Short Acceptance Speech (some have reduced to: If I fail, we are all to blame)
Why so still?
Contains spoilers for the fourth season of "Heroes" (including "Hysterical Blindness"), also a bit of "Dollhouse".
For the past couple of weeks I haven't really blogged much, apart from the regular stuff like the Watchlist and some occasional list of things that I haven't mentioned, but didn't feel like going deeper into. On the other hand, over at cellar door, I have to restrain myself from obsessing over "Dollhouse" and "Heroes", for two completely different reasons which should probably be explained because otherwise naming these two shows in one breath would seem a bit odd.
First of, "Dollhouse" surprises me again every week. I watch an episode, my initial reaction (not really in the season premier, but definitely in "Instinct") is being a bit disappointed because I imagined something else, and then slowly realizing how many details I didn't miss, but could only make sense of and interpret after having them lie around in my brain for a while. I realize how subtly the characters develop, how significant small scenes are, the importance of how scenes are built up, what kind of references they envoke, how expectations are sometimes met and sometimes used to say something completely different. While I love "Buffy" dearly, and will probably still be crying over "Angel's" "Hole in the World" even after seeing it for the twenty-fifth time, "Dollhouse" is a completely different story. It is not loveable, it does not feel like family, I don't want to go there and have an adventure. It is sometimes so painful that I can't believe it's on TV (though not here, always important to remember), so shocking and intense that it feels ever more unlikely that this is a regular FOX-show. "Dollhouse" would have been a different show in the late Nineties, when TV shows still had seven seasons and 24 episodes each, but this way, in this ever so precarious format of 13 episodes and after two there are already rumours of cancellation, it kinda feels like the LAST show, like that one huge thing that happens before an entire system ends to make space for something new. It feels, more than anything else, UNLIKELY. And I could fill pages and pages, and I read even more about it and envy others for their perceptiveness and how well they convey complicated ideas.
"Heroes", and once again it feels odd to write about these two shows so closely together (do I ever reference the other when I write about any of them? They seem like their is no common ground between the two), is a different story. This is a show that I initially liked for its quirkiness, for the character of Hiro, for the fact that it was a frakking show about superheroes who saved the world. Then it "jumped the shark" in a major way and I stopped loving the characters, and not in an "these characters are morally ambigious and I can not love them" kinda way, but in an "I just really do not care any more what happens to them" way, which is the most horrible feeling any story teller can invoke in his audience.
And then, Season Four happened, and Claire became a college student, and I obsessed about the idea that a show I watched could attempt to portray this specific time and what it does to an individual well, although the show had wronged me before. I actually cared what would happen to her, although her character had not intrigued me the least before (she dated a boy who could fly! Her best friend went on to become John Connor! She was WHINY!). The other story lines were okay as well - would Tracy Strauss become a vengeful demon and leave all humanity behind? What about Noah, the "man with a plan", who all of a sudden found himself in pretty much the same situation Giles was in after Sunnydale High burnt down (just that he also destroyed his marriage)? How would he deal with "Civilian Life"? What would happen to Matt, who has the power to manipulate people into anything? And Sylar, on the one hand in Matt's head, acting as the "voice of un-reason", on the other hand forced to become Nathan, an ever-so precarious arrangement? In what other show could one find storylines like that, this kind of potential to tell tales about identity and change, and how people deal with having power? "Heroes" disappointed me so much during the second and first part of the third season because it betrayed its own potential, and now it seems as if, maybe, things might get better.
Or they might not. Gretchen, the girl who is in love with Claire / or has an evil agenda / or originally had an evil agenda and is now really in love, might die, or become a villain, whichever lesbian stereotype the show decides to follow (note that characters who say "I am not stalking you" usually don't end up in happy, long-term relationships). Claire might return to her old self, and the show might have no idea where it is going, although it has followed the theme of "orientation" well this season, with all of the characters struggling to re-define themselves as they adapt to new situations.
I had to get this off my chest, and I will probably be over with "Heroes" after the next episode, but it just seemed as if these fictional stories were more important and thought-provoking than anything I read in the newspapers lately, which I hope will change soon, and after this tiny obsession ends.
[By the way, just as a random side note: I LOVE newspapers. Nothing can replace the work of professional journalists, in whatever format they might publish their original research. They are an essential part of political culture, one that can not be replaced. We should all cherish them, and think about ways to make sure that they can continue to do their work AND earn a living. When I link to newsstories, I don't do it to claim any journalistic qualification on my part, I do it because it helps me to keep track of issues that I would otherwise read, but immediately forget later. It helps me to follow how a discourse evolved, how policy is discussed. Writing about what I read in newspapers helps me to make headlines into more than just driftwood that grazes my perception and then goes away without leaving any marks, and I am incredibly grateful that I can read so many newspapers online - but whenever I link to a story now or quote from it, my head will whisper "parasite", and that is not a nice thing to hear from your own head. And now it feels odd to have this added to this post. Out of practice much?]
For the past couple of weeks I haven't really blogged much, apart from the regular stuff like the Watchlist and some occasional list of things that I haven't mentioned, but didn't feel like going deeper into. On the other hand, over at cellar door, I have to restrain myself from obsessing over "Dollhouse" and "Heroes", for two completely different reasons which should probably be explained because otherwise naming these two shows in one breath would seem a bit odd.
First of, "Dollhouse" surprises me again every week. I watch an episode, my initial reaction (not really in the season premier, but definitely in "Instinct") is being a bit disappointed because I imagined something else, and then slowly realizing how many details I didn't miss, but could only make sense of and interpret after having them lie around in my brain for a while. I realize how subtly the characters develop, how significant small scenes are, the importance of how scenes are built up, what kind of references they envoke, how expectations are sometimes met and sometimes used to say something completely different. While I love "Buffy" dearly, and will probably still be crying over "Angel's" "Hole in the World" even after seeing it for the twenty-fifth time, "Dollhouse" is a completely different story. It is not loveable, it does not feel like family, I don't want to go there and have an adventure. It is sometimes so painful that I can't believe it's on TV (though not here, always important to remember), so shocking and intense that it feels ever more unlikely that this is a regular FOX-show. "Dollhouse" would have been a different show in the late Nineties, when TV shows still had seven seasons and 24 episodes each, but this way, in this ever so precarious format of 13 episodes and after two there are already rumours of cancellation, it kinda feels like the LAST show, like that one huge thing that happens before an entire system ends to make space for something new. It feels, more than anything else, UNLIKELY. And I could fill pages and pages, and I read even more about it and envy others for their perceptiveness and how well they convey complicated ideas.
"Heroes", and once again it feels odd to write about these two shows so closely together (do I ever reference the other when I write about any of them? They seem like their is no common ground between the two), is a different story. This is a show that I initially liked for its quirkiness, for the character of Hiro, for the fact that it was a frakking show about superheroes who saved the world. Then it "jumped the shark" in a major way and I stopped loving the characters, and not in an "these characters are morally ambigious and I can not love them" kinda way, but in an "I just really do not care any more what happens to them" way, which is the most horrible feeling any story teller can invoke in his audience.
And then, Season Four happened, and Claire became a college student, and I obsessed about the idea that a show I watched could attempt to portray this specific time and what it does to an individual well, although the show had wronged me before. I actually cared what would happen to her, although her character had not intrigued me the least before (she dated a boy who could fly! Her best friend went on to become John Connor! She was WHINY!). The other story lines were okay as well - would Tracy Strauss become a vengeful demon and leave all humanity behind? What about Noah, the "man with a plan", who all of a sudden found himself in pretty much the same situation Giles was in after Sunnydale High burnt down (just that he also destroyed his marriage)? How would he deal with "Civilian Life"? What would happen to Matt, who has the power to manipulate people into anything? And Sylar, on the one hand in Matt's head, acting as the "voice of un-reason", on the other hand forced to become Nathan, an ever-so precarious arrangement? In what other show could one find storylines like that, this kind of potential to tell tales about identity and change, and how people deal with having power? "Heroes" disappointed me so much during the second and first part of the third season because it betrayed its own potential, and now it seems as if, maybe, things might get better.
Or they might not. Gretchen, the girl who is in love with Claire / or has an evil agenda / or originally had an evil agenda and is now really in love, might die, or become a villain, whichever lesbian stereotype the show decides to follow (note that characters who say "I am not stalking you" usually don't end up in happy, long-term relationships). Claire might return to her old self, and the show might have no idea where it is going, although it has followed the theme of "orientation" well this season, with all of the characters struggling to re-define themselves as they adapt to new situations.
I had to get this off my chest, and I will probably be over with "Heroes" after the next episode, but it just seemed as if these fictional stories were more important and thought-provoking than anything I read in the newspapers lately, which I hope will change soon, and after this tiny obsession ends.
[By the way, just as a random side note: I LOVE newspapers. Nothing can replace the work of professional journalists, in whatever format they might publish their original research. They are an essential part of political culture, one that can not be replaced. We should all cherish them, and think about ways to make sure that they can continue to do their work AND earn a living. When I link to newsstories, I don't do it to claim any journalistic qualification on my part, I do it because it helps me to keep track of issues that I would otherwise read, but immediately forget later. It helps me to follow how a discourse evolved, how policy is discussed. Writing about what I read in newspapers helps me to make headlines into more than just driftwood that grazes my perception and then goes away without leaving any marks, and I am incredibly grateful that I can read so many newspapers online - but whenever I link to a story now or quote from it, my head will whisper "parasite", and that is not a nice thing to hear from your own head. And now it feels odd to have this added to this post. Out of practice much?]
Wednesday, October 7, 2009
Linkliste unbehandelter Themen
Der Vorschlag, ein Ministerium oder einen Staatssekretär für Integration einzuführen (gemacht von Wiens Bürgermeister Häupl) wurde sowohl von der ÖVP als auch von Kanzler Faymann abgelehnt, und ist damit im Boden versunken. Dabei war es noch einer der produktiveren Einfälle, der das Thema Integration inhaltlich vom "law and order "-Ministerium und deren kompetenter leadership befreit hätte. Wie schon ein paar Mal erwähnt, ist das zwar nicht vorderrangig, aber doch entscheidend ein Problem des Diskurses und der Vermischung nicht miteinander verbundener Sachverhalte zu einem "Bauchgefühl". (by the way, hat noch jemand außer mir in letzter Zeit vermeht Polizeistreifen in U-Bahnstationen bemerkt, die Menschen kontrollieren, die "nicht österreichisch genug aussehen"?)
Es scheint so, als wäre die Wirtschaftskrise schlecht für amtierende Regierungskoalitionen gewesen, egal ob konservativ oder sozialdemokratisch.
Klingt das noch nach funktionierender Demokratie, wenn das Vorgehen des Höchstgerichts gegen einen amtierenden Premierminister als "mutig" bezeichnet wird?
Weil ich bis jetzt noch nicht darüber geschrieben habe: hier die Petition gegen die Verhaftung Roman Polanskis im Wortlaut, die Unterzeichner sind ein who-is-who internationaler Filmproduktion. Interessant ist die Stelle im Text, wo seine Verhaftung als Zensur seiner Filme uminterpretiert wird, aber an Whoopi Goldbergs Unterscheidung zwischen "rape" und "rape rape" kommt das trotzdem nicht heran.
and now, on to less serious territory:
Meine secret superpowers, Serien die ich mag frühzeitig enden zu lassen, haben ihren Wirkungsradius auf Comics die ich mag ausgebreitet (yay, superpowers). Aber "Runaways" geht angeblich nur auf Hiatus (aber mit einem riesigen gemeinen Cliffhanger).
Und heute in "ich wünschte, jemand anderes würde dieses Interview geben" (und in Anschluss an die Monday List, ach, ich bin ja wirklich so einfach zu beeindrucken) - Hayden Panettiere über die Gretchen-Claire-Storyline in "Heroes" (ca. Minute 5.30). Ich weiß, ich linke sonst nicht zu so was, aber irgendwie hatte ich ein nostalgisches Gefühl im Bauch von wegen "das war immer toll, wie verantwortungsbewusst Amber Benson mit diesen Fragen umgegangen ist". Hach. (Nicht, dass ich den Tunnel am Ende des Lichts nicht die ganze Zeit vor Augen gehabt hätte, schließlich gehts um "Heroes")
Und noch eine Zwischenübersicht über die Fall Premiers:
Behalten: Glee
Nicht behalten: FlashForward, Bored to Death (trotz Olivia Thirlby)
Und schlussendlich noch unter "Dinge, die mich glücklich machen": absolut begeisterte subjektive Kritiken zu Alben von Bands (bzw. Songwritern) die ich mag, statt dieses unproduktive über-allem-stehen ohne deswegen die Materie kompetenter beschreiben zu können (was mir sicherlich auch oft genug passiert, aber hey, ich werde dafür schließlich nicht bezahlt).
Es scheint so, als wäre die Wirtschaftskrise schlecht für amtierende Regierungskoalitionen gewesen, egal ob konservativ oder sozialdemokratisch.
Klingt das noch nach funktionierender Demokratie, wenn das Vorgehen des Höchstgerichts gegen einen amtierenden Premierminister als "mutig" bezeichnet wird?
Weil ich bis jetzt noch nicht darüber geschrieben habe: hier die Petition gegen die Verhaftung Roman Polanskis im Wortlaut, die Unterzeichner sind ein who-is-who internationaler Filmproduktion. Interessant ist die Stelle im Text, wo seine Verhaftung als Zensur seiner Filme uminterpretiert wird, aber an Whoopi Goldbergs Unterscheidung zwischen "rape" und "rape rape" kommt das trotzdem nicht heran.
and now, on to less serious territory:
Meine secret superpowers, Serien die ich mag frühzeitig enden zu lassen, haben ihren Wirkungsradius auf Comics die ich mag ausgebreitet (yay, superpowers). Aber "Runaways" geht angeblich nur auf Hiatus (aber mit einem riesigen gemeinen Cliffhanger).
Und heute in "ich wünschte, jemand anderes würde dieses Interview geben" (und in Anschluss an die Monday List, ach, ich bin ja wirklich so einfach zu beeindrucken) - Hayden Panettiere über die Gretchen-Claire-Storyline in "Heroes" (ca. Minute 5.30). Ich weiß, ich linke sonst nicht zu so was, aber irgendwie hatte ich ein nostalgisches Gefühl im Bauch von wegen "das war immer toll, wie verantwortungsbewusst Amber Benson mit diesen Fragen umgegangen ist". Hach. (Nicht, dass ich den Tunnel am Ende des Lichts nicht die ganze Zeit vor Augen gehabt hätte, schließlich gehts um "Heroes")
Und noch eine Zwischenübersicht über die Fall Premiers:
Behalten: Glee
Nicht behalten: FlashForward, Bored to Death (trotz Olivia Thirlby)
Und schlussendlich noch unter "Dinge, die mich glücklich machen": absolut begeisterte subjektive Kritiken zu Alben von Bands (bzw. Songwritern) die ich mag, statt dieses unproduktive über-allem-stehen ohne deswegen die Materie kompetenter beschreiben zu können (was mir sicherlich auch oft genug passiert, aber hey, ich werde dafür schließlich nicht bezahlt).
Monday, October 5, 2009
The Monday List: I know they try to lure me in with the odd characters, but I just can't resist
With the exception of Tatort (ok, and Skins), these are all shows I might have otherwise given up on.
1. Heroes. Gretchen, played by Madeline Zima (little Gracie, all grown up).
2. Nurse Jackie. Zoe, played by Merritt Wever.
3. Grey's Anatomy (I know, it's evil). Arizona, played by Jessica Capshaw. But why can all the straight couples go all soft-porny and the happy lesbian couple only gets to sip wine together, lots and lots of wine?
4. Fringe. Walter Bishop, played by John Noble. Not too many people could pull off baking and working on a dead body at the same time. He totally can.
5. Tatort Kiel. Frau Jung, played by Maren Eggert. You knew that before, but it got even weirder last week. Somehow it would have been less creepy if she had continued to be formal around Borowski.
6. The Big Bang Theory. Dr. Sheldon Cooper, played by Jim Parsons. Because in a show that is about odd people, he is the only really cool character.
7. Weeds. Isabell, played by Allie Grant. Because in a show that is about odd people, she is the only one that isn't odd, and that makes her odd.
8. Skins. Pandora, played by Lisa Backwell. OK, there are other reasons to watch the second cast of Skins, but still. "I'm Pandora, I'm useless".
9. Glee. Sue Sylvester, played by Jane Lynch. Filling the shoes left by evil Bobbi Glass in Ryan Murphy's previous "Popular", Sue Sylvester carries a show on her shoulders that is so far only filled with shallow stereotypes (I know, that's what "Popular" started out as too, but it is a bit painful). And she is so awesomely and unapologetically evil.
1. Heroes. Gretchen, played by Madeline Zima (little Gracie, all grown up).
2. Nurse Jackie. Zoe, played by Merritt Wever.
3. Grey's Anatomy (I know, it's evil). Arizona, played by Jessica Capshaw. But why can all the straight couples go all soft-porny and the happy lesbian couple only gets to sip wine together, lots and lots of wine?
4. Fringe. Walter Bishop, played by John Noble. Not too many people could pull off baking and working on a dead body at the same time. He totally can.
5. Tatort Kiel. Frau Jung, played by Maren Eggert. You knew that before, but it got even weirder last week. Somehow it would have been less creepy if she had continued to be formal around Borowski.
6. The Big Bang Theory. Dr. Sheldon Cooper, played by Jim Parsons. Because in a show that is about odd people, he is the only really cool character.
7. Weeds. Isabell, played by Allie Grant. Because in a show that is about odd people, she is the only one that isn't odd, and that makes her odd.
8. Skins. Pandora, played by Lisa Backwell. OK, there are other reasons to watch the second cast of Skins, but still. "I'm Pandora, I'm useless".
9. Glee. Sue Sylvester, played by Jane Lynch. Filling the shoes left by evil Bobbi Glass in Ryan Murphy's previous "Popular", Sue Sylvester carries a show on her shoulders that is so far only filled with shallow stereotypes (I know, that's what "Popular" started out as too, but it is a bit painful). And she is so awesomely and unapologetically evil.
Sunday, October 4, 2009
Das Lied zum Sonntag
The Mountain Goats & Kaki King: Mosquito Repellent
[and the fact that the guitar strap breaks in the middle of the song just makes it that much more great]
All day, all day:
Sweeping out the shards,
Do what I have to do,
Try to start anew.
But I thought of you twice -
Couldn't help myself.
I don,t know what I need,
Clutching and fingering the rosary beads
But I try, try, try, but I know (try, try, try, but I know)
I can't let go
Try, try, try, but I know (try, try, try, but I know)
I can't let go
TV upstairs,
Leave it on all night.
Do what I have to do,
Add, subtract, and divide by 2.
But my eyes light up
At cops and robbers time.
I hope the bad guys win.
I hope the good guys get their skulls bashed in.
And I try, try, try, but I know (try, try, try, but I know)
I can't let go
I can't let go.
[auf "Black Pear Tree EP", 2008]
Thursday, October 1, 2009
Linkliste unbehandelter Themen
Interviews! Erstmal mit Juli Zeh und Ilija Trojanow zu "Angriff auf die Freiheit im Literaturcafé, dann mit Ellen Page über das hier bereits mehrmals erwähnte "Whip It!", das morgen Premiere hat. Die New York Times meint dazu:
Ein spannender Artikel bei PopMatters beschäftigt sich mit den Romanen von William Gibson (denen nach der Bridge-Trilogy), vor allem "Spook Country.
Und genau auf dem Schnittpunkt von Pop Culture und Politik: amerikanische Schauspieler campaignen ironisch für die arme, arme health care industry. Unter anderem mit Will Ferrell , Linda Cardellini, Masi Oka und Olivia Wilde ("House"). Vor allem spannend, wie viele der Beteiligten durch Krankenhaus-Serien berühmt geworden sind.
Und noch eine wilde Ansammlung an "nachdem die Sozialdemokraten in Europa verlieren, müssen sie wohl Schuld an der Wirtschaftskrise gewesen sein" Schlagzeilen (OK, nicht direkt, aber...)
Das beste, was man machen kann, ist an parteiinternen Stühlen sägen, oder diese gleich in einen anderen Raum tragen und durch sicherlich viel gemütlichere ersetzen, (weil in Deutschland geht das auch so), und am besten kommende Wahlen verschieben, sonst passiert noch so was (nicht dass die Wiener SPÖ irgendwas mit Gordon Browns Labour-Partei zu tun hätte, aber dem Gefühl nach ist es halt ein Trend).
[Aber der schönste Satz der Woche gehört trotzdem wieder dem Falter: "Sie [Barbara Blaha] war das ernsthafte Mädchen, das ungewollt zur Identifikationsfigur für all jene wurde, die mit ihrer Partei unzufrieden waren." Hach, ja, eh.]
"Whip It'' is funny without trying too hard to be wacky, sweet without being overly sentimental. It has an appealing low-budget, '70s-style kitsch. And after a recent string of female-centric films including ''All About Steve'' and ''The Ugly Truth'' that wallow in the worst kinds of stereotypes, it is such a relief to see women depicted as strong, smart, cool individuals."Auch in der New York Times: eine umfangreiche Reportage über Teenager, die sich in der Middle School (also bevor sie 16 sind) outen.
Ein spannender Artikel bei PopMatters beschäftigt sich mit den Romanen von William Gibson (denen nach der Bridge-Trilogy), vor allem "Spook Country.
Und genau auf dem Schnittpunkt von Pop Culture und Politik: amerikanische Schauspieler campaignen ironisch für die arme, arme health care industry. Unter anderem mit Will Ferrell , Linda Cardellini, Masi Oka und Olivia Wilde ("House"). Vor allem spannend, wie viele der Beteiligten durch Krankenhaus-Serien berühmt geworden sind.
Und noch eine wilde Ansammlung an "nachdem die Sozialdemokraten in Europa verlieren, müssen sie wohl Schuld an der Wirtschaftskrise gewesen sein" Schlagzeilen (OK, nicht direkt, aber...)
Das beste, was man machen kann, ist an parteiinternen Stühlen sägen, oder diese gleich in einen anderen Raum tragen und durch sicherlich viel gemütlichere ersetzen, (weil in Deutschland geht das auch so), und am besten kommende Wahlen verschieben, sonst passiert noch so was (nicht dass die Wiener SPÖ irgendwas mit Gordon Browns Labour-Partei zu tun hätte, aber dem Gefühl nach ist es halt ein Trend).
[Aber der schönste Satz der Woche gehört trotzdem wieder dem Falter: "Sie [Barbara Blaha] war das ernsthafte Mädchen, das ungewollt zur Identifikationsfigur für all jene wurde, die mit ihrer Partei unzufrieden waren." Hach, ja, eh.]
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