The Cultural Gutter

dangerous because it has a philosophy

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

Raymond Chandler and The High Tower Apartments

The High Tower Apartments and Robert Altman’s The Long Goodbye and Raymond Chandler’s The High Window.

“Raymond Chandler’s Private Dick”

Ta-Nehisi Coates writes an interesting post about Philip Marlowe, masculinity, biology and misogyny at The Atlantic: “I’ve consumed art like this all my life–men claiming invulnerability, against all I know of maleness and human attraction. Misogyny is not merely a moral problem, but a problem of art. It takes half the world and caricatures it. […]

Michael Connelly Interviews Elliott Gould

Elliott Gould and Michael Connelly talk about Robert Altman’s film adaptation of The Long Goodbye. (via @cinebeats)

“I said I liked it; I didn’t say I wanted to kiss it.”

At MovieMorlocks.com, Susan Doll shares her thoughts on film noir dialogue: “The volley of barbed wisecracks is not only an indicator of sexual attraction but also a substitute for sex in the era when the Production Code did not allow direct depictions or expressions of lust and desire.”

One Genre Icon Interviews Another

Ian Fleming interviews Raymond Chandler. Yes, Ian “James Bond” Fleming and Raymond “Philip Marlow” Chandler.

VARIETY PAK

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It’s been just over a year since I became a partner in the Mayfair Theatre, Ottawa’s oldest operating cinema. We’ve shown a lot of films in that time (we average about 40 a month), and I’ve written the synopsis for almost every one.

DO YOU KNOW JACK?

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As you might know, if you’ve read my bio here on the Gutter, I’m a partner in Ottawa’s oldest surviving cinema, The Mayfair Theatre. In August, we showed two films that on the surface have little in common: Robert Altman’s neo-noir The Long Goodbye and Woody Allen’s slapstick political parody Bananas. Obviously, though, they do […]

Sebastian Faulk’s License to Kill

Chandler had his Poodle Springs. Ian Fleming might have his Devil May Care. Sebastian Faulk takes up James Bond on his centenary. Excerpt here.

Catwoman: Silicon-Injected

Who are Catwoman

In 2001, Catwoman was everything I ever wanted in a comic. I admit I was a sucker for her new look. A woman’s stompy black boots are her pride and Catwoman’s boots were stompy, black and flat after years of thigh high Pretty Woman stilettos. Not to mention that zippers with rings, black leather, kitty […]

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  • Of Note Elsewhere

    “I want to tell you about when violent campaigns against harmless bloggers weren’t any halfway decent troll’s idea of a good time—even the then-malicious would’ve found it too easy to be fun. When the punches went up, not down. Before the best players quit or went criminal or were changed by too long a time being angry. When there was cruelty, yes, and palpable strains of sexism and racism and every kind of phobia, sure, but when these things had the character of adolescents pushing the boundaries of cheap shock, disagreeable like that but not criminal. Not because that time was defensible—it wasn’t, not really—but because it was calmer and the rage wasn’t there yet. Because trolling still meant getting a rise for a laugh, not making helpless people fear for their lives because they’re threatening some Redditor’s self-proclaimed monopoly on reason. I want to tell you about it because I want to make sense of how it is now and why it changed.” Emmett Rensin writes more at Vox.

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    At Smart Bitches, Trashy Books, Elyse has some things to say about reading Romance. “In the end, it doesn’t matter what I read. It doesn’t even matter that I do read, quite frankly. What matters is that we live in a world where fiction aimed directly at women is perceived as garbage. That doesn’t say anything at all about me, it says a lot about what needs to change.”

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    Brain Pickings looks at the life and work of Tove Jansson and the wisdom of her character, Too-ticky. “Too-ticky, the sage of Moominvalley who solves even the most existential of problems with equal parts practicality and wisdom, was inspired by the love of Jansson’s life — the great Finnish sculptor and graphic arts pioneer Tuulikki “Tooti” Pietilä, Jansson’s spouse. The two women met in art school during their twenties and remained together until Jansson’s death more than six decades later, collaborating on a lifetime of creative projects — all at a time when queer couples were straddling the impossible line between anguishing invisibility and dangerous visibility.” (via Kate Laity)

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    Photographer Kevin Weir uses vintage photographs to create haunting animation in “The Flux Machine.” The Guardian has an interview with Weir and more on his work.

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    At the New Yorker, Jill Lepore considers the intertwining histories of women’s suffrage, feminism, Amazons and Wonder Woman. “It isn’t only that Wonder Woman’s backstory is taken from feminist utopian fiction. It’s that, in creating Wonder Woman, William Moulton Marston was profoundly influenced by early-twentieth-century suffragists, feminists, and birth-control advocates and that, shockingly, Wonder Woman was inspired by Margaret Sanger, who, hidden from the world, was a member of Marston’s family.”

     

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    Tim Reis shares ten things he learned from producing his first independent feature The Demon’s Rook. “Making an independent feature film is hard. Making an independent feature film with no money is especially hard. Making an independent feature film with no money, no actors, and a first-time director and crew is almost impossible. It is also the greatest, most liberating thing and you can and should totally do it.” (Thanks, Colin!)

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