The Cultural Gutter

beyond good and bad, there is awesome

"We are all in the gutter, but some of us are looking at the stars." -- Oscar Wilde

Monster Island Resort IS Die, Danger, Die, Die, Kill!

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Todd from Die, Danger, Die, Die, Kill! takes over Monster Island Resort to explain the philosophy behind Die, Danger, Die, Die, Kill! as part of the Mysterious Order of the Skeleton Suit’s Swap-A-Thon: “The result is a free form ramble in which I somewhat preposterously touch upon everything from Thunderbirds to the Situationist movement to […]

Retrospective: Vive Le Gutter!

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The Cultural Gutter turned ten in May, 2013 and we didn’t make much of a fuss about it. But ten years ago this week, Jim Munroe posted the manifesto that’s guided The Cultural Gutter, even as each subsequent editor has joined the Gutter and added their take on our mission. We thought this would be […]

The Empire of Crime: Mabuse vs. Wertham vs. Marston

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When humanity, subjugated by the terror of crime, has been driven insane by fear and horror, and when chaos has become supreme law, then the time will have come for the empire of crime.” –The Testament of Dr. Mabuse “[W]hatever factors come into play in the cases that we have studied, the conclusion is inescapable […]

Patricia Rozema’s Manifesto for Canadian Movies

Canadian film-maker Patricia Rozema writes a manifesto describing what the  Canadian film industry needs. Like this:Like Loading…

The Gamer Girl Manifesto

Gamer Girls remind everyone, “Don’t be racist. Don’t be homophobic. Don’t be sexist. Follow that code and everybody will have a good time. And when someone breaks that code, CALL THEM OUT. Don’t just let it ride.” And the comments bear out why it has to be said again and again. Like this:Like Loading…

DANGEROUS BECAUSE IT HAS A PHILOSOPHY

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In Videodrome, shortly before the arrival of the least sexy waiter in the history of cinema (no link for this, you’ll just have to go rent the movie), Max Renn (James Woods, no hyperlink needed) and Masha (Lynne Gorman, IMDb listing not interesting enough to link to) share the following exchange on the nature of […]

Is it possible to have too much fun?

Manny contemplates his low-class destiny.

Is it possible to have a pleasure circuit overload? “Girls are to be kept away from those activities of civilization that over-stimulate the imagination and the senses, such as fashionable novels, paintings, music, balls, theaters… as this can lead to uterine epilepsy, sapphic tastes, and nymphomania.” While this is Victorian-era advice, it’s reflective of how […]

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  • Of Note Elsewhere

    NPR interviews Hank Willis Thomas on his exhibition showcasing images of white women in advertizing. It’s a follow up to his 2008 exhibition, “Unbranded: Reflections in Black by Corporate America.” “I think what happens with ads — when we put text and logos on them, we do all the heavy lifting of making them make sense to us. But when you see the image naked, or unbranded, you start to really ask questions.”

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    Our friends at Pornokitsch share a 1898 Philadelphia Press article on ghosts of the Capitol in Washington, D.C.

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    The Journal of Popular Romance Studies interviewed author Joanna Russ in 2007 about slash fiction: “Her 1985 essay, ‘Pornography By Women For Women, With Love’ helped to set the terms of the discussion for feminist scholars who followed, and it is widely cited in fan studies. Russ argues that fantasy has to be read in more complex ways than simply seeing it as an effort at one-dimensional wish fulfillment. She posits fantasy as something rich and metaphorical. She reads slash as a genre that tells us new things about women’s sexuality and sexual desire, things that—in 1985—weren’t being talked about except in the very divided feminist ‘sex wars,’ where ‘pro-sex’ and ‘anti-porn’ feminists created ever more polarized stances.”

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    At Hyperallergic, Jeremy Polacek writes about the history of Afrofuturism and the Brooklyn Academy of Music’s exhibit, “Space Is The Place: AfroFuturism On Film”:  “Afrofuturism is an empowering rubric, an approach and aesthetic that clarifies and connects history and the hope, creativity, and pain there within. Afrofuturism is wry, wise, and leveling — it believes that a brighter, more equal, funkier future is within the realm of possibility. You can be different; this world can be different — self-invention commingles with worldly reinvention; Africa is both glorious past and technocratic future.

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    Sweet Jane shares a 1967 fashion editorial shoot mixing mod fashion and the work of illustrator Aubrey Beardsley. (via arabellesicardi.com)

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    BBC Radio 4 is presenting an adaptation of Ursula Le Guin’s The Left Hand Of Darkness. You can listen to the first episode here. There are also other features, including an interview with Le Guin. (via Pornokitsch)

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