The Cultural Gutter

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

That Time Ray Bradbury Adapted Moby-Dick as a Screenplay

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Open Culture recounts the time Ray Bradbury wrote the screenplay for John Huston’s film, Moby-Dick (1956). “I got out of bed one morning in London, looked in the mirror, and said, ‘I am Herman Melville!’ I sat down at the typewriter, and in eight hours of passionate, red-hot writing, I finished the screenplay of Moby […]

RIP, Ray Harryhausen

Special effects master, Ray Harryhausen has died. Ray Bradbury pays tribute to Harryhausen.  All of Harryhausen’s creatures in 4 and a half minutes. Harryhausen talks about King Kong, Willis O’Brien, George Pal and his own career in 1991. John Landis interviews Harryhausen for the Bradford Animation Festival 2010. TCM remembers Harryhausen. And Leslie Hardcastle interviews […]

Join The Literary Resistance!

The Gutter’s own Founding Editor, Jim Munroe talks about creating an alternate reality game based on Ray Bradbury’s Fahrenheit 451 for the Toronto Public Library. Like this:Like Loading…

RIP, Ray Bradbury

Author Ray Bradbury has died.  Neil Gaiman writes a lovely memorial to him at The Guardian.  The Kirkus Review has an obituary. Anne Thompson writes about his impact on movies. And at the dawn of the Gutter, our own James Schellenberg wrote a piece on Fahrenheit 451. (Thanks, @SFSignal!) Like this:Like Loading…

ONE TRILLION AND ONE LEANING TOWERS

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1. Overture IslandOn December 4, 2008, the future ended. The event that marked its end was the death of a 92-year old man from the not uncommon cause of heart failure. It would not have been an epoch-ending event save for one detail: the man’s name was Forest J Ackerman. Like this:Like Loading…

Fahrenheit the First

Burning the house, the books, and the people.

Fahrenheit 451 is one of Ray Bradbury’s most famous books, and it reads like a fever dream — intensely cinematic, directed by its own weird dream logic, and full of the quality of images that haunt you for days. The book is a cautionary tale about what happens when books are forgotten or actively suppressed, […]

Even When They’re Wrong, They’re Right

What is science fiction good for? One answer: to speculate on what the future might be like. But I would argue that the game of science fiction is only sometimes about predicting the future. Sure it’s fun to invent flying cars and moonbases, but as even these two examples show, the predictive track record of […]

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  • Of Note Elsewhere

    At Boing Boing, Gita Jackson writes about gaming, art, minority voices, colonialism and Benedict Anderson’s “imagined communities”: “When marginalized voices come to take their seat at the table, there will always be an outcry that they are invaders, colonists, inferior versions of their straight, white male counterparts. But rather than killing artforms, the addition of marginalized voices often helps ensure that they stay alive.”

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    Every Frame A Painting returns to analysis of Akira Kurosawa’s work.

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    At The Nib, Ronald Wimberley tells a story and elucidates the implications of being asked to lighten a character’s skin tone for a Wolverine And the X-Men jam comic.

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    “Commercial cinema has predictably chosen not to bite the hand that feeds it, so it’s simultaneously inspiring and also kind of embarrassing to see a movie like Seijun Suzuki’s Story of Sorrow and Sadness. Rarely has a mainstream commercial release been as rabid in its attack, and as thoughtful in its critique, of our dystopian mediascape. And it should embarrass current commercial filmmakers that one of the few movies to have something intelligent to say about today’s mediascape was made almost 40 years ago. By a 54 year old director. About golf.” More at Kaiju Shakedown.

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    Time Out London shares its list of the 100 best Bollywood films–including selections by friend of the Gutter, Beth Watkins of Beth Loves Bollywood. (See the 10 films she selected and wrote about in the greater list here).

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    At Multiglom, film critic Anne Bilson apologizes to Keanu Reeves: “Keanu Reeves, I must apologise. For years, like other film critics, I cast aspersions on your acting talent, belittled your intellect, and cracked jokes about your name, which means ‘cool breeze over the mountains’ in Hawaiian. Only now do I realise I was foolish and misguided. That YouTube video of you giving up your seat on the New York City metro is only the latest evidence that, onscreen and off, you are awesome.”

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