The Cultural Gutter

unashamed geekery

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

The Dark Knight and the ACME Bomb: Batman and realism part I

The ending to The Dark Knight Rises left my wife doubled over laughing in the parking lot of the theatre. I tried to take a picture for posterity, but it was too dark. Given that no one else in the audience seemed affected in the same way, I expect I’ll need to explain why: simply […]

RIP, Kaneto Shindo

Director and screenwriter Kaneto Shindo has died. He lived past 100 and made masterpieces including Onibaba, Kuroneko, Children of Hiroshima, Lucky Dragon No. 5 and The Naked Island. He also wrote the screenplays for Seijun Suzuki’s Fighting Elegy, Yasuzo Masumura Irezumi, Kinji Fukasaku’s Under the Flag of the Rising Sun, Seijiro Koyama’s Hachi / Hachiko […]

Red Skies: Soviet Science Fiction

A thorough and well-illustrated look at Soviet science fiction, from the 1920s through the 1980s. (via SF Signal)

A Cinematic History of the Future

SFSignal has Handshake Magazine’s cinematic history of the future. The timecode in the upper right hand corner.

Stick Man vs. Liquid Man

Maybe an homage to the Japanese Atomic Age movie, The H-Man. Maybe not. “Stick Man vs. Liquid Man.”

Wrangling Watchmen

Read everything you wanted to about the Watchmen movie? Let us wrangle you a little more. Marc Hirsch argues for the comic as its own form and Andrew O’Hehir is shocked to be writing that it “way out-darks The Dark Knight and immediately leaps near the top of the list of apocalyptic pop-culture operas.” Meanwhile, […]

Would You Let Your Daughter Marry Godzilla?

Serious as radiation poisoning

When Godzilla first waded out of the ocean to trample Odo Island in 1954, he was a monster for the times, serious as radiation poisoning. Japan was still rebuilding in the wake of WWII. Wartime traumas were still fresh. The bombings of Hiroshima and Nagasaki were only nine years past, and there was a new […]

Godzilla vs MechaRealism

Yes, it

A while ago I watched some Godzilla movies with some people who don’t exactly appreciate the aesthetics of suitmation / kigurumi, or, in less technical language, a guy in a rubber suit. One of the things I like best about Godzilla movies is that as soon as I glimpse Godzilla rising from the depths or […]

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  • Of Note Elsewhere

    Tin House has published an edition of Joseph Conrad’s Heart Of Darkness illustrated by Matt Kish, an interesting follow-up to Kish’s project, Moby-Dick In Pictures; One Drawing For Every Page. See more of Kish’s work here.

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    At Salon, Matt Ashby and Brendan Carroll write about irony and cynicism, sincerity and honesty in art: “At one time, irony served to challenge the establishment; now it is the establishment. The art of irony has turned into ironic art. Irony for irony’s sake. A smart aleck making bomb noises in front of a city in ruins. But irony without a purpose enables cynicism. It stops at disavowal and destruction, fearing strong conviction is a mark of simplicity and delusion.

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    Eastern Kicks has an interview–and a gallery of photos of–director Park Joon-hung.

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    Get ready for a new season of Mad Men with this collection of Absurdist Mad Men promotions, which the Cultural Gutter participates in and even encourages. Duck Phillips rules an undersea advertizing empire and “Pete feels slighted.”

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    Some interesting thoughts on South Korean cinema with “A Dish Best Served Bloody: Revenge In South Korean Cinema” and this Cannes program piece on Arirang (1926) and the history of Korean film.

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    Al-Jazeera America profiles John Pirozzi’s Don’t Think I’ve Forgotten, a documentary about Cambodian rock’n’roll and musicians who survived the Khmer Rouge. “Until 1975, music thrived in Phnom Penh, with clubs full night after night, crowds gathering in the streets around transistor radios to hear the latest releases, and the biggest stars being feted by the king. Enter the Khmer Rouge, communism and the war on intellectuals. Between 1975 and 1979, about 2 million Cambodians, roughly a third of the population, were rounded up and either were killed or died of starvation. Artists were particularly disliked by the Khmer Rouge, which saw creativity as decadence: Almost all of the biggest names perished during that era.”

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