I find television very educating. Every time somebody turns on the set, I go into the other room and read a book. - Groucho Marx


by Chris Sutton
Dec. 14, 2017
The irony of archaic and oppressive cultures is that sometimes these factors can act like a ideological vice that can squeeze out the most radical of artistic expressions. For example, the great director Federico Fellini constantly used Italy's monotheistic depency and subsequent guilt like a paintbrush in most of his cinematic psychological explorations. Japan is a much deeper animal than Europe however, with a religion, ideology, and caste system that stretches back to the most ancient of times and was virtually unsullied by "free" Western ideas until the early 20th century. What ensued in that country almost immediately after the World Wars was a whiplash of exciting new ideas filtered through a different type of humanity. Japan is an entire culture built on an iron clad respect and honor for its history, even amongst its most radical thinkers, and this freedom from the Jesus guilt complex has produced some of the most progressive music (Merzbow, The Boredoms) extreme art (Manga), and new and exciting ways to make film (Kurosawa, Miike), all regionally unique and equipped with a need to combine its past and it's future instead of vehemently trying to deconstruct both. Pastoral: To Die In The Country, a film by Shuji Terayama from 1975 is a direct reflection of this ideal, albeit a wildly avante one, and should be seen as a bastion in the pantheon of cinema...
Chris Sutton is a musician, writer, and artist who currently lives in Portland OR, and grew up in Olympia, WA. He plays or has played with numerous musical acts including Gossip, The Dirtbombs, Dub Narcotic Sound System, Spider & The Webs, Chain & The Gang, & Hornet Leg. Chris has been so obsessed with records over his life that he writes a vinyl collecting memoir/blog called Record Lections on Instagram and he is often seen Djing his new discoveries in local bars or posting mixes on SoundCloud or Mixcloud. He is also a big fan of visual art with a special passion for African American folk art, Impressionism, European New Wave cinema, and most eras of television. Most of the books he reads, whether fact or fiction, usually have drawings in them. Chris's best friends are his faithful rat terriers Juju and Queenie.

by Tom Winkelspecht
Dec. 14, 2017
While their country still reeled from its devastation in the aftermath of World War Two, Japanese filmmakers of the 1950s explored the changed world through their creative output. Kurosawa released Rashomon, which was and still is considered by many to be an allegory for Japan’s defeat. A few years later, Ishiro Honda directed Gojira and Japan relived the carnage brought about by nuclear war...
Tom Winkelspecht lives in New Jersey. He is currently in a creative writing graduate program.  The rest of his time is spent between watching movies, plotting his return to Chicago, and writing. He can be found in the usual places: Tumblr and Twitter.

by Chrisaphenia Danai Papagrigoriou
Dec. 12, 2017

In order to fully comprehend Christoph Doering’s “3302” as a piece as well as a (oh yeah) narrative movie, we want to get inside this particular cab he drives through Berlin, so let's take a time machine to the early 80’s. 

It’s 1979 in Berlin. The wall is proudly up and the youth proudly scatter in whatever direction they want. If “no future” is actually a point in time, this is it. Not decisively against everyone and everything but rather narcissistically hedonistic...

Chrisaphenia Danai Papagrigoriou

by Thomas Michalski
Dec. 12, 2017
Watching an Otis Redding performance is like witnessing a force of nature, as if he’s channeling directly that very powerful, ineffable thing that gives soul music its name. The voice that pours out of him doesn’t describe an emotion, it is an emotion, a raw transference of yearning loneliness or excited passion, whatever the song calls for. It’s so organic, so unfettered, like a man possessed, that it hides another aspect of Redding’s live show, which is that a lot of thought and preparation and work went into it. It’s not contrived by any means, the feeling in he brought to the stage is 100% real, it’s palpable in every breath and every jerky movement, but it took years of consciously honing his craft to be able translate it to an audience in a way that they could understand...
Thomas Michalski is a writer and radio host from Milwaukee, Wisconsin. You can keep up with his comings and goings over at http://www.voodooinspector.com/

by Josh Klimaszewski
Dec. 11, 2017

In 1961, Adolf Eichmann pled for his life before the Jerusalem District Court in Beit Ha’am and an international television audience. As the world scrutinized a man indicted for crimes against humanity, the former SS lieutenant insisted that he only a “transmitter” of fascism. Nobody believed it. 1 Eichmann pled not guilty by reason of superior orders, claiming that he was innocent because he was a soldier; he was simply following orders. The superior orders plea was the same defense pled at the Nuremburg trials 16 years earlier--it was always the same. As people across the globe watched this trial unfold, the morality of Eichmann became global spectacle and disseminated into the public domain, creating hard questions. If everyone was following orders, then who was responsible for the Holocaust, both legally and morally? Eichmann and the other chief engineers of the Holocaust committed horrible acts against humanity, yet the responsibility for genocide must diffuse beyond its officers and into the populous. How could the German people let this happen?

Josh Klimaszewski is a line cook by day and a scholar by night. He has a completely useless bachelor's degree in art history.  His favorite part of the Internet is how Wikipedia does all the citation work for you. He keeps himself entertained by making comics and playing in a punk band with his scuzzy friends.