Niagara is a 1953 American noir thriller film directed by Henry Hathaway and produced by Charles Brackett. Brackett also wrote the screenplay alongside Walter Reisch and Richard Breen. It stars Marilyn Monroe, Joseph Cotten, Jean Peters, Denis O'Dea, and Max Showalter (credited as Casey Adams). Set in Niagara Falls, the film tells the story of two couples: one, a pair of newlyweds on their honeymoon, and the other, a husband and wife whose turbulent marriage is wracked by jealousy and deceit.
Unlike other films noir of the time, which were typically black-and-white, Niagara was shot in "three-strip" Technicolor (one of the last films to be made at 20th Century Fox in that format, as a few months later the studio began converting to CinemaScope, which had compatibility problems with three-strip but not with Eastmancolor).
Niagara was a box office success and received positive reviews from film critics. It was one of 20th Century Fox's biggest box office hits that year. Monroe was even top billing in Niagara, which elevated her to movie star status. Monroe's next two films, Gentlemen Prefer Blondes and How to Marry a Millionaire (both 1953), were even bigger successes commercially.
This was effectively Marilyn Monroe's breakthrough film, where he look had its beginnings- she effectively became the character that she was later expected to be. The birth of a goddess.
Devi (1960), directed by Satyajit Ray, is a haunting critique of blind faith and patriarchal control. Set in 19th-century Bengal, it tells the story of a young woman who is suddenly declared a goddess by her father-in-law. What follows is a slow, painful unraveling of her identity and autonomy. Through quiet visuals and subtle performances, Ray exposes the dangers of superstition and the suffocating expectations placed on women-making *Devi* one of his most powerful and unsettling works.
Fellini's Casanova (Italian: Il Casanova di Federico Fellini, lit. 'The Casanova by Federico Fellini') is a 1976 Italian film directed by Federico Fellini from a screenplay he co-wrote with Bernardino Zapponi, adapted from the autobiography of 18th-century Venetian adventurer and writer Giacomo Casanova, played by Donald Sutherland. The film depicts Casanova's life as a journey into sexual abandonment, and his relationship with the "love of his life" Henriette (played by Tina Aumont). The narrative presents Casanova's adventures in a detached, methodical fashion, as the respect for which he yearns is constantly undermined by his more basic urges.
Shot entirely at the Cinecittà studios in Rome, the film won an Academy Award for Best Costume Design, with the Oscar going to Danilo Donati. Fellini and his co-writer Bernardino Zapponi were nominated for a Best Adapted Screenplay Oscar. The film also won BAFTA Awards for Best Costume Design and Best Production Design, and a David di Donatello for Best Score.
Teenage Caveman (also known as Out of the Darkness in the United Kingdom) is a 1958 American independent black-and-white science fiction adventure film produced and directed by Roger Corman, and starring Robert Vaughn and Darah Marshall. The film was released by American International Pictures in July 1958 as a double feature with How to Make a Monster.
Originally filmed as Prehistoric World with some 8x10 publicity stills retaining this title, AIP later changed it. Years later, Corman stated in an interview, "I never directed a film called Teenage Caveman." Vaughn stated in an interview that he considered Teenage Caveman to be the worst film ever made. It was later featured on the mocking television series Mystery Science Theater 3000.
In Haiti, a black female plantation owner enacts a voodoo curse, and revives zombies for revenge on a white male neighbour, who has chosen a white woman over her for marriage.
Ouanga, also advertised as The Love Wanga, is a voodoo-themed 1936 American film starring Fredi Washington. George Terwilliger wrote and directed the film. The film's themes include miscegenation and it features various racial stereotypes and portrays the people who practice voodoo as primitive. The movie is considered to be perhaps the second zombie film ever made after White Zombie.
Funeral Parade of Roses (薔薇の葬列, Bara no Sōretsu) is a 1969 Japanese drama art film directed and written by Toshio Matsumoto, loosely adapted from Oedipus Rex and set in the underground gay culture of 1960s Tokyo. It stars Peter as the protagonist, a young transgender woman, and features Osamu Ogasawara, Yoshio Tsuchiya and Emiko Azuma. A product of the Japanese New Wave, the film combines elements of arthouse, documentary and experimental cinema, and is thought to have influenced Stanley Kubrick's 1971 film adaptation of Anthony Burgess' novel A Clockwork Orange (although many of the points of comparison can also be found in earlier movies such as Rainer Werner Fassbinder's Love Is Colder Than Death).
In ’60s Japan, Gonda the owner of a gay bar runs a parallel drug business there. He is in a relationship with a transvestite Leda who manages the place for him. But with Leda losing her youth and her geisha-sensibilities ageing, Gonda shifts his attention to the young and pop-cultured Eddie, another transvestite working at the bar.
Funeral Parade of Roses follows a non-linear narrative with throwbacks to Eddie’s childhood without a father who left early and a mother who found his masculinity amusing. It all pieces together in the end while also capturing and satirizing the buzz of the underground drug, film and gay scene of ’60s-’70s Japan.
This was one of Stanley Kubrick's favourite films.
Ladakh, or 'Little Tibet', is a wildly beautiful desert land high in the Western Himalayas. It is a place of few resources and an extreme climate. Yet for more than a thousand years, it has been home to a thriving culture. Traditions of frugality and cooperation, with an intimitate and location-specific knowledge of the environment, enabled the Ladakhis not only to survive but to prosper. Then came 'development'. Now in Leh, the capital, one finds pollution and divisiveness, inflation and unemployment, intolerance and greed. Centuries of ecological balance and social harmony are under threat of modernization.
Ancient Futures is much more than a film about Ladakh. The breakdown of Ladakh's culture and environment forces us to re-examine what we really mean by 'progress' - not only in the 'developing' parts of the world, but in the industrialized world as well. The story of Ladakh teaches us about the root causes of environmental, social and psychological problems, and provides valuable guidelines for our own future.
I travelled in Ladakh in 1996 between September and November, spending time in Leh, the Nubrah Valley, Shey, Thiksey and Hemis monastries and on the road back to Manali, which I hitchhiked along for three days, travelling 500 kms. I worked for Helen Norberg-Hodge's Ladakh Ecological Development Group (LEDeG) while I was in Leh, selling water in the street. It was a life changing experience.
I spent three nights in Diskit Gompa, built by Changzem Tserab Zangpo, a disciple of Tsong-kha-pa, the Diskit Gompa dates back to the 14th century. In this recording there are around 70 monks chanting in the main hall of the monastery. Bowls of butter tea and sampa can be heard occasionally sliding along the benches as some monks take a break and others step forward to take their place. The chanting went late into the night from very early in the morning for three days.
This film accompanied the 1992 techno compilation "Shamanarchy in the UK" (see video below) which was produced by Fraser Clark (1943 -2009). Fraser was one of the leaders of the global technogaian movement. As founder and editor of Encyclopaedia Psychedelica International, he outlined his views on entheogens and nature, and was a key advocate of the outdoor rave movement, hosting regular, small, indoor festivals such as those held at his central London clubs, Megatripolis and The Warp.
Clark believed the 1990s were the 1960s upside-down (9 being an upside-down 6). He advocated a new form of hippie—the "Zippie"—who would balance the "techno right brain" with the "hippy left brain", embracing nature, peace and love, as well as technology. In 1989, he and Marcus Pennell organised the first Zippie Picnic on Hampstead Heath in London. Zippie Picnics continue to this day.
Clark staged many pranks, particularly against the government of Margaret Thatcher and then John Major. He opposed the Poll Tax and later Criminal Justice Bill.
Also in 1989, the EPi team were joined by northern graphic designers the Scooby Doobies who brought with them a love of rave culture. This led to the creation of Evolution magazine in 1990, and regular small underground parties which laid the way for the launch of the Megatripolis nightclub in 1993.
Megatripolis was an innovative, underground London nightclub created by Encyclopaedia Psychedelica editor and founder of the Zippie movement, Fraser Clark, together with a great many others. The club combined New Age ideology with Rave culture to create a vibrant, festival-like atmosphere presenting a wide variety of cross-cultural ideas and experiences. Club nights ran regularly from 1993 until 1996, and from then intermittently until 2001, being the focus of much of the Zippie movement. The club and its related activities also helped to popularize ideas such as cyberculture and the Internet between those years.
History & Venues
The club first started at The Marquee in Charing Cross Road as a collaboration with Tribal Energy in June 1993 with Terrence McKenna's opening lecture and DJs Nik Sequenci and resident DJ and co founder Jez Turner. A disagreement between the Tribal Energy and Megatripolis crews led to the latter being thrown out of the venue eight weeks later. After a practice run at the Stanstead Tree Party in September 1993 they consolidated into a bigger crew with much bigger ideas. In October 1993, the cathedral-like arches and winding passages of the Heaven nightclub under Charing Cross Station became home to Megatripolis. Heaven was London's original gay-only nightclub, but had run non-gay (known as Pyramid) nights for many years.
The Megatripolis 'Festival in a box' on Thursday nights attracted a diverse patronage from a wide age range, many of whom would not otherwise have considered going clubbing. By early 1994 it had also taken over the adjoining Sound Shaft nightclub and turned it into an ambient space with frequent all-night sets by Mixmaster Morris on the club's fourth separate sound stage. Megatripolis also put on several large parties at Bagley's in Kings Cross and escalated its political agenda by renting an armoured car for the Criminal Justice Bill protest rally in July 1994.
The club ran until New Year 1995 when internal pressures split it apart. It continued with a diminished agenda on an underground basis until October 24th 1996. A UK tour and two shows in Athens took place in spring / summer 1996. A 3-CD album representing the club was released in July 1996 featuring mixes by DJ regulars and completely packaged on paper made entirely from hemp. All production materials owned by the club were distributed amongst it's crew members. At a court case in London in June 1998 brought by Clark remaining rights to the name "megatripolis" were given to Clark. A single Megatripolis event organised by Fraser Clark took place at Heaven in May 2000.
Culture & Events
Megatripolis proved popular, although some reporting of it suggested a dichotomy between an avowed downplay of psychedelic substances and perceptions of substance use by some club-goers. In any event, the club provided a meeting place of like-minded people and served as a platform for social awareness and activism as well as more traditional nightclub fare.
Typical evenings combined lectures and workshops with live musical performances and DJing playing mostly progressive house accompanied by video imagery and live theatre. Visits from speakers such as Allen Ginsberg, Terence McKenna, George Monbiot, Howard Marks and Ram Dass were common, as well as from guest DJs including Colin Dale, Alex Paterson, Paul Oakenfold, Andrew Weatherall and Mr C with resident DJs Marco Arnaldi, Darius, Richard Grey and Nik Sequenci. Atmospheric music combined with sound effects was often played along to films in the "chill-out rooms" set apart from the dance floors.
Further to the club's festival theme, the usual security staff were supplemented by fluorescent jacket-clad "minders"; new-age style stalls occupied the central hallway selling non-alcoholic energy drinks, body jewellery, alternative "small press" comics and magazines (such as the short-lived, but influential Head Magazine), as well as T-shirts and other clothing.
Also notable were early demonstrations of the World Wide Web at a time when most patrons were just beginning to be aware of what was then termed cyberculture, something seen as an important, if not defining, part of the Zippie future. Underground bulletin boards such as London's pHreak hosted live "cyber events" from the club. In what was seen as very progressive at the time, a live video interview with Arthur C Clarke was conducted via satellite from his home in Sri Lanka and Timothy Leary was transmitted via isdn for a video interview direct from his home in the Los Angeles hills into the club (he had been banned by the British government from entering the UK in person). A lecture by His Holiness the Dalai Lama was also broadcast at the club from the Barbican centre.
Environmental issues were an important part of the club's make-up with anti-road protests advertised on its noticeboards, hemp fashion shows, environmental debates and pedal-bike sound-systems playing on a regular basis..
Megatripolis West
An offshoot of the club was started by Fraser Clark and others, in San Francisco in late 1994. It ran for five consecutive weeks before closing.
The sixth and final night of the club was a "launch rave" hosted by Ronin Press for Timothy Leary's book Chaos And Cyber Culture. In true "illegal UK rave" tradition, patrons were given the event's location at a nearby burger joint. Leary jammed and performed jazz skat with famous Bay Area musician Maruga. He was later kidnapped by the Zippie Soundsystem and forced to release a statement condemning the UK Prime Minister John Major and the Criminal Justice Bill, which famously banned outdoor parties with music that included an "emission of a succession of repetitive beats".
Leary exerted a powerful influence over the philosophy of the club and the Zippie movement overall. An indication of this can be found in the introduction to his posthumous book The Fugitive Philosopher (Ronin Press, September 2007) written by Fraser Clark. The original title of the piece, published in Clark's online magazine the UP!, was Timothy Leary Was A Saint Who Will Be Remembered & Celebrated Long After Jesus, Mohamed and Elvis Are Forgotten Megatripolis Reunion Benefit for Fraser Clark.
In 2008 Fraser Clark announced that he had inoperable liver cancer and a farewell Megatripolis was held at Heaven on 13 November. He died on 21 January 2009.
The "slow cancellation of the future" is the idea that culture is re-running itself within the larger frame of capitalist consumption. Endless return to "classic sounds" within music, the revival of "retro fashion" or yet another band from the past getting back together to play their hits. There are millions of examples of how we are stuck culturally in a nostalgia extraveganza. Why this is so could be debated, but I believe it is to do with the promise of market capitalism now being exhausted under the weight of economic and ecological failures. Even the presently much flouted Artificial Intelligence is a dominance of technology over content, with much of it being derivative and process oriented.
The result is a need, from economic, social and political perspectives, to maintain the ideology that supports consumption. But at the same time there is a necessity to pacify and direct the population within the possibilities of culture, towards a benign state of passive consumption.
To quote Fisher:
“The slow cancellation of the future has been accompanied by a deflatioat then of expectations. There can be few who believe that in the coming year a record as great as, say, the Stooges’ Funhouse or Sly Stone’s There’s A Riot Goin’ On will be released. Still less do we expect the kind of ruptures brought about by The Beatles or disco. The feeling of belatedness, of living after the gold rush, is as omnipresent as it is disavowed. Compare the fallow terrain of the current moment with the fecundity of previous periods and you will quickly be accused of ‘nostalgia’. But the reliance of current artists on styles that were established long ago suggests that the current moment is in the grip of a formal nostalgia, of which more shortly.
It is not that nothing happened in the period when the slow cancellation of the future set in. On the contrary, those thirty years has been a time of massive, traumatic change. In the UK, the election of Margaret Thatcher had brought to an end the uneasy compromises of the so-called postwar social consensus. Thatcher’s neoliberal programme in politics was reinforced by a transnational restructuring of the capitalist economy. The shift into so-called Post-Fordism – with globalization, ubiquitous computerization and the casualisation of labour – resulted in a complete transformation in the way that work and leisure were organised. In the last ten to fifteen years, meanwhile, the internet and mobile telecommunications technology have altered the texture of everyday experience beyond all recognition. Yet, perhaps because of all this, there’s an increasing sense that culture has lost the ability to grasp and articulate the present. Or it could be that, in one very important sense, there is no present to grasp and articulate anymore.”
― Mark Fisher, Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures (Full PDF)
Taghounja (1980), Moroccan-Italian filmmaker Abdou Achouba’s ode to Sufi poet Abderrahman el Majdoub’s Qasidas starring Larbi Batma and Omar Sayed, two of the members of Nass El Ghiwane, who will also compose the film’s soundtrack. The film charts a quest for identity by two characters: one, a lyricist and musician (Batma), who strives to immerse himself in his country’s rich cultural heritage; the other, a young boy, who looks at the world around him through the eyes of innocence. Bringing to mind Pier Paolo Pasolini’s Uccellacci e Uccellini (1966), to whom the film is dedicated.
At Omar Sayed’s instigation, Larbi Batma desperately wanders through a mystical Morocco tirelessly collecting oral poetry, sounds and rhythms primarily drawn from popular music and the repertoire of the traditional religious brotherhoods (Gnawa, Aissawa, Heddawa, H’madcha, Jilala, etc.) While classified as fiction, Taghounja is, strictly speaking, a docu-fiction. However, its approach is markedly different from that of Transes (Maanouni’s essay film about Nass El Ghiwane). Instead of a biopic, it dramatizes the group’s lyrics, sometimes literally, within the sociopolitical life of the time. The parallel wanderings of the musician and the child mirroring the state of affairs of late 70s Morocco, a country still alienated by colonialism, neo-colonialism and the perversion of certain customs and traditions. The quest comes to nothing and Abdou Achouba refuses to give audiences an answer, preferring instead an open-ended conclusion.<å>
Taghounja was awarded a prize at the Venice Film Festival and the Carthage Film Festival, and was widely acclaimed by French intellectuals and artists. However, the politicised audience of students at the Maison du Maroc in Paris gave Achouba a reserved welcome, reproaching him for not being critical enough of the regime. Moroccan film critic and Abdou’s former philosophy teacher Noureddine Saïl said in his weekly radio program, Écran noir, “You may like or dislike Taghounja, but you have to admit that the film includes certain shots that are on a par with works of art.”
