Politics of Cinema
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As we celebrate 3 years of the show, we decided to take a look at one of our favorite eras of American film - the 1970's. We're specifically looking at the Vietnam Anti-War Movement as captured by a fictional film and a documentary; (1975) and (1972). On this episode we discuss Francine Parker's documenatry, (1972). Once again, we're also joined by special guest Jim Miller. As we celebrate Parker's film as well as Jane Fonda's career, Jim helps us to tie together alot of threads: __ __ In Parker's camera follows the 1971 anti-war, vaudville-style show as the performers entertain over 64,000 troops stationed in Okinawa, Japan, the Philippines, and Hawaii. Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
As we celebrate 3 years of the show, we decided to take a look at one of our favorite eras of American film - the 1970's. We're specifically looking at the Vietnam Anti-War Movement as captured by a fictional film and a documentary; (1975) and (1972). On this episode we discuss Robert Kramer's experimental opus, , and are joined by special guest Jim Miller. Jim was an organizer during this period and provides key insights into just what was going on in that space at the same time is being made. Spoiler - the film is pretty accurate. Robert Kramer has said that his films would one day add up to a whole. That all his films portray a "consciousness moving through time and place, trying to survive, trying to understand. The continuous process of becoming”. In we travel around American with 6 storylines and over 50 characters to survey the landscape of post-Vietnam anti-war activists.
Luis Buñuel was a master at creating lasting images that stay in the viewers brain long after the film is over. He had a career that spanned multiple decades and working in multiple countries, yet he consistantly took aim at political and social elites. In his 1962 masterpiece, The Exterminating Angel, the acclaimed filmmaker crafts an allegorical comedy that confronts the socio-political realities of Franco's Spain. Infused with a surrealistic touch and a substantial dose of satire, the film allows for a multi-layered interpretation. Plus, it's just plain funny to watch the rich fall apart and destroy themselves. Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
On this episode, we're looking at two cinematic exampoles of the Palestinian expereince. One documentary and one fictionalized portrayal. The documentary, (1985), captures exactly what the title implies. We get the lived experiences from grandmother down to grandchildren as they recount their experiences ranging from the 1948 exile to the 1967 war to the 1971 “pacification campaign”. The fiction film is the very poorly titled, (1973). It's an adaptation of Ghassan Kanafani's acclaimed book, Men in the Sun (1963). In this portrayal, three Palestinian men of different generations and and backgounds employ a fourth man to drive them past Iraqi checkpoints in hopes of getting to Kuwait and (hopefully) jobs. It's a fantastic example of realist cinema from Tawfiq Saleh, one of Egypts best filmmakers. Links to things mentioned on the show: The Accented Cinema book that Aaron discussed. Solidarity Cinema https://www.solidaritycinema.com/ Palestine Film Institute https://www.palestinefilminstitute.org/. Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
The fallout 2008 financial crisis has been portrayed on film in a number of ways; from documentary's like (2010) and (2009) to ficiton films "inspired" by the events like (2015) and (2011). Andrew Dominik's (2012) takes a different approach. It starts with George V. Higgins' 1974 crime novel, itself the third in a series, that centers on a lower level crime syndicate in Boston. Then Dominik places that story in a 2008 New Orleans during the final weeks of the Obama/McCain presidential election. We get into the obvious metaphors that occur when organized crime is compared to financial institutions. But, we also end up discussing the various ways that Nationalism can manifest itself in America; from George W. Bush, to Obama, to Trump and Biden. We'll be dipping our toes back into this Systemic Risk topic, the intersection of the 2008 crisis and it's portrayal on film. So if you have any particularly intereseting examples to suggest (documentary or fiction), send them to politicsofcinema@gmail.com Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
This Halloween season we take a look at a recent film we hope gets to cult status soon, (2015). Anton Yelchin and his bandmates are forced to battle against Patrick Stewart and his group of Neo-Nazis. We get into the pros and cons of non-political punk bands, why the Pacific Northwest is such a haven for white ethnonationalists and when it's okay to swap out character arcs for a pure survival narrative. Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
One of the topics that first inspired us to start this podcast, Resource Frontiers. Back in 2016, when was released, Isaac and I were still working at our beloved art house theatre and our discussion of the film kept coming back to its multi-layered resource frontier setting. Settler colonial zones and the effects on indigenous populations were regular topics of conversations and, of course, (1953) kept coming up too. Since it took us so long to finally cover this topic, we have a newer film in the mix. (2021) rounds out our coverage on this episode. Between these three films we've got a stone cold French classic, a neo-western heist film and a sci-fi Afrofuturism visual feast...in other words, an Isaac triple feature special. Here is the paper by Jason W. Moore that Isaac referenced. Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
On this Double Feature episode, we take a look at films about strikes. As the WGA and SAG continue to strike, we thought it would be a good time to examine how Hollywood has protrayed strikes throughout the years. We discuss; Norma Rae (1979), The Pajama Game (1957), Sorry to Bother You (2018), Harlan County, USA (1976), The Organizer (1963) and Chi-Raq (2015) and then put together a double feature (actually two) recommendation. Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
While Isaac is immersed in his Arabic language summer camp, we're rebraodcasting our very first episode. In 2027, after 18 years of global human infertility and depression, the world is on the brink of collapse and humanity faces extinction. The United Kingdom, one of the few nations with a functioning government (Stiff upper lip chap!), is deluged by asylum seekers fleeing radiation and plague. In response, the UK has become a police state as the British Army rounds up and executes immigrants. In 2006, Alfonso Cuarón gave the world the film Children of Men. A brilliant adaptation of P.D. James less than brilliant novel of the same name. In this episode we get into the psychology of the long take, Maoist Urban Guerrillas, Nationalism, Xenophobia, graffiti as political world building, the role of children in society, power dynamics within activist organizations and Neoliberal verses Fascist governments. Children of Men has it all! Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
This July 4th, celebrate with a true Leftist film that will have you on the edge of you seat with suspense, a pulsing score and politics that will have you debating the need for a diversity of tactics when fighitng the evils of capitalism. We're discussing the film Daniel Goldhaber's How to Blow Up a Pipeline (2022). Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
This year we celebrated May Day (a little late) by watching a Latvian worker-revenge-horror-film. Aik Karapetian's The Man in the Orage Jacket (2014). Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
Isaac finally make Aaron sit down and enjoy some DTV action, focusing on the John Hyams' last two entries in the Universal Soldier franchise. (2010) and (2012). Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
On this Double Feature episode, we take a look at two of the greats from the best era for cinematic action - 1980's Hong Kong. On this episode we discuss the art of action and (oftentimes) convoluted politics of (1989) & (1986). Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
We conclude our 2023 series on independent African American auteurs that made landmark films with (1974). Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema Sources: White Balance: How Hollywood Shaped Colorblind Ideology and Undermined Civil Rights by Justin Gomer Daniel Amir Jackson article on Claudine
We continue our 2023 series on independent African American auteurs that made landmark films with Jamaa Fanaka's (1975). Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
* * * We kick off our 2023 series on independent African American auteurs that made landmark films with podcast favorite Ivan Dixon's (1973). Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
With the voluntary passing of Jean-Luc Godard in 2022, we decided that it's long overdue to take a look at one of his classics. (1965) is a dystopian science-fiction film shot in black & white on the streets of Paris and is infused with Godard's politics of the moment. But, can Aaron convince Isaac that he actually liked this one? Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
It's masterpiece time here at Politics of Cinema. We're finally discussing Masaki Kobayashi's (1962). Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
Noirvember concludes with one more Yakuza Noir film from Japan. On this episode we're dicussing Takashi Nomura's (1967). Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
This Noirvember, we are taking a look at some Yakuza Noir films from Japan. On this episode we're gushing over Seijun Suzuki's (1966). Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
On this Double Feature episode, we highlight some of the horror films we've been watching this Halloween season as well as our planned double (maybe triple) features for Halloween night. Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
The idea of Humans Hunting Humans has been a story told through film since back in 1932. There is something about this kind of story that lends itself to a variety of social and political metaphors. Here we take a look at two films from two countries that have virtaually the same plot synopsis, but couldn't be farther apart in execution and their politics. (1971) from the United States and (1982) from Australia. Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
LSD has been portayed on film in a number of different ways. From the trippy visuals and gonzo narration in (1998) to the "how-to trip" guidance of (1967) to the POV death trip of (2009). Here we take a look at how two LSD fueled horror films explore the cultural detritus of the 1960's ripples all the way to Ronald Reagan's America in the early 1980's. It ain't pretty, but it makes for some wild films. Here's a link to the Lockheed Martin: LSD Case Study video that Aaron mentions. Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
On this episode, we wrap up our summer series looking at American Urban Landscapes on film with a Double Feature episode. We each bring a few titles that exemplify this theme and then put together a Double Feature (or two...or three) for the listeners. Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
On this episode, we continue our summer series taking a look at American Urban Landscapes on film. For this episode we watch SUMMERTIME (2020). Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
On this episode, we continue our summer series taking a look at American Urban Landscapes on film. For this episode we watch THE PLOT AGAINST HARRY (1971). Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
On this episode, we continue our summer series taking a look at American Urban Landscapes on film. We take a look at John Sayles' CITY OF HOPE (1991). Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
On this episode, we kick off our summer series taking a look at American Urban Landscapes on film. We're starting off with FALLING DOWN (1993). It's a mess, but it's an interesting mess. Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
On this episode, we each bring a few titles that exemplify Communism on Film and then put together a Double Feature for the listeners. Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
This year we celebrated May Day by finally watching Warren Beatty's passion project, Reds (1981). Follow us at: Patreon / Twitter https://twitter.com/politicsofcine1 / Instagram https://www.instagram.com/politicsofcinema/ / Letterboxd https://letterboxd.com/AaronSpears/ / Facebook https://www.facebook.com/politicsofcinema
