Weird Studies - Episodes Tagged with “Film”

Episode 162: The Incarnation of Meaning: Greenwich Village After the War

Phil Ford and J. F. Martel — Wed, 07 Feb 2024 10:30:00 -0500

In this second of two episodes on "scenes," Phil and JF set their sights on Greenwich Village in the wake of the Second World War. Focusing on two works on the era – Anatole Broyard's Kafka Was the Rage and John Cassavetes' Shadows – the conversation further develops the mystique of urban scenes and explores the weirdness of cities. The city, long considered the human artifact par excellence, comes to seem like something that comes from outside the ambit of humanity.

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REFERENCES
Anatole Broyard, Kafka Was the Rage
John Cassavetes, Shadows
Kazuo Ishiguro, An Artist of the Floating World
Phil Ford, Dig
Weird Studies, Episode 90 on “Owl in Daylight”
Kult, role-playing game
Tom Delong and Peter Lavenda, Secret Machines: Gods, Men, and War
Chandler Brossard, Who Walk in Darkness
Yukio Mishima, Japanese artist
Anatole Broyard, “Portrait of the Hipster”

Episode 105: Fire Walk with Tamler Sommers

Phil Ford and J. F. Martel — Wed, 18 Aug 2021 10:30:00 -0400

The Twin Peaks mythos has been with Weird Studies from the very beginning, and it is only fitting that it should have a return. In this episode, Phil and JF are joined by Tamler Sommers, co-host of the podcast Very Bad Wizards to discuss Fire Walk with Me, the prequel film to the original Twin Peaks series. Paradoxically, David Lynch’s work both necessitates and resists interpretation, and the pull of detailed interpretation is unusually strong in this episode. The three discuss how Fire Walk with Me, and the series as a whole, depicts two separate worlds that sometimes begin to intermingle, disrupting the perceived stability of time and space. Often this happens in moments of extreme fear or love. Through their love for Laura Palmer and for the film under consideration, JF, Phil, and Tamler enact their own interpretation, entering a rift where the world of Twin Peaks and the “real” world seem to merge, demonstrating how Twin Peaks just won’t leave this world alone, and can become a way for disenchanted moderns once again to live inside of myth.

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References

David Lynch, Twin Peaks: Fire Walk With Me
The Sons of Sam: A Descent into Darkness, Netflix documentary
David Hume, A Treatise of Human Nature
Antonin Artaud, The Theater and Its Double
Mark Frost, The Secret History of Twin Peaks
Mark Frost, Twin Peaks: The Final Dossier
Jason Louv, occultist
Duncan Barford, Occult Experiments in the Home podcast
Weird Studies, Episode 67 on “Hellier”
Weird Studies, Episode 78 on “The Mothman Prophesies”
Sound mass, musical technique
Michael Hanake (dir.), Caché
Courtenay Stallings, Laura’s Ghost
Special Guest: Tamler Sommers.

Episode 85: On 'The Wicker Man'

Phil Ford and J. F. Martel — Wed, 28 Oct 2020 10:30:00 -0400

Since its release in 1973, Robin Hardy's The Wicker Man has exerted a profound influence on the development of horror cinema, a rich vein of folk music, and the modern pagan revival more generally. Anthony Shaffer's ingenious screenplay gives us a thrilling yarn that is also a meditation on the nature of religious belief and practice. Just in time for Halloween, Phil and JF discuss the philosophical ideas that undergird this folk horror classic, focusing on the perennial role of sacrifice in religious thought.

REFERENCES

Robin Hardy (director), The Wicker Man

Stanley Kubrick (director), The Shining
Terence Fisher (director), The Devil Rides Out
Piers Haggard (director), Blood on Satan’s Claw
John Boorman (director), Deliverance
Rob Young, Electric Eden
Gerald Gardner, English wiccan
Margaret Murray, English anthropologist
Cecil Sharp, English ethnomusicologist
Phil Ford, "Taboo: Time and Belief in Exotica"
Friedrich Nietzsche, Untimely Meditations

Episode 83: On David Lynch's 'Lost Highway'

Phil Ford and J. F. Martel — Wed, 30 Sep 2020 10:15:00 -0400

David Lynch's Lost Highway was released in 1997, five years after Twin Peaks: Fire Walk With Me elicited a fusillade of boos and hisses at Cannes. The Twin Peaks prequel's poor reception allegedly sent its American auteur spiralling into something of an existential crisis, and Lost Highway has often been interpreted as a response to -- or result of -- that crisis. Certainly, the film is among Lynch's darkest, boldest, and most enigmatic. But of course, we do the film an injustice by reducing it to the psychological state of its director. Indeed, one of the contentions of this episode is that all artistic interpretation constitutes a kind of injustice. But as you will hear, that doesn't stop Phil and JF from interpreting the hell out of the film. Just or unjust, fair or unfair, interpretation may well be necessary in aesthetic matters. It may be the means by which we grow through the experience of art, the way by which art makes us something new, strange, and other. Perhaps the trick is to remember that no mode of interpretation is, to borrow Freud's phrase, the one and only via regia, but that every one is just another highway at night...

REFERENCES

David Lynch (dir.), Lost Highway

Alfred Hitchcock (dir.), Vertigo
Arnold Schoenberg, Three Keyboard Pieces, op. 11
James Joyce, Finnegan’s Wake
Weird Studies, Episode 81 on The Course of the Heart
Jacques Lacan, French psychoanalyst
Slavoj Žižek, Slovenian philosopher
Arnold Schoenberg, Pierrot Lunaire
Cabinet of Dr. Caligari
David Foster Wallace, "David Lynch Keeps his Head" in A Supposedly Fun Thing I'll Never do Again
Leonard Bernstein, West Side Story
Patreon audio extra on Penderecki's "Threnody"
Trent Reznor, American musician
David Bowie, "Deranged"
Brian Eno and Peter Schmidt, "Oblique Strategies"
Tim Powers, Last Call
Manuel DeLanda, Mexican-American philosopher

Episode 75: Our Old Friend the Monolith: On Stanley Kubrick's '2001: A Space Odyssey'

Phil Ford and J. F. Martel — Wed, 10 Jun 2020 13:30:00 -0400

"You don't find reality only in your own backyard, you know," Stanley Kubrick once told an interviewer. "In fact, sometimes that's the last place you'll find it." Oddly, this episode of Weird Studies begins with Phil Ford hatching the idea of putting a replica of the monolith from 2001 in his backyard. As the ensuing discussion suggests, this would amount to putting reality -- or the Real, as we like to call it -- in the place where it may be least apparent. Perhaps that is what Kubrick did when he planted his monolithic film in thousands of movie theatres back in 1968. Moviegoers went in expecting a Kubrickian twist on Buck Rogers; they came out changed by the experience, much like the hominids of great veld in the "Dawn of Man" sequence that opens the film. This is what all great art does, and if you look closely, maybe 2001 can tell you something about how it does it. Because in the end, the film is the monolith, and the monolith is all art.

REFERENCES

Stanley Kubrick (dir.), 2001: A Space Odyssey
Arthur C. Clarke, "The Sentinel"
Arthur C. Clarke, 2001: A Space Odyssey (novel)
Clement Greenberg, American art critic
Stanley Kubrick (dir.), The Shining
Sergei Eisenstein, Film Form: Essays in Film Theory
Weird Studies episode 62: It's Like "The Shining," But With Nuns: On "Black Narcissus"
Ligeti, Atmosphères
Gerard Loughlin, Alien Sex: The Body and Desire in Cinema and Theology
Jay Weidner, Kubrick's Odyssey: Secrets Hidden in the Films of Stanley Kubrick
Rob Ager's analysis of 2001 (Ager was criticized for not citing Loughlin above)
Eric Norton's Playboy interview with Stanley Kubrick
J. F. Martel, "The Kubrick Gaze" in Daniel Pinchbeck & Ken Jordan (eds.), Toward 2012: Perspectives on the Next Age
J. F. Martel, "The Future is Immanent: Speculations on a Possible World"
Henri Bergson, The Two Sources of Morality and Religion
Sid Meier's Civilization V
Stanley Kubrick (dir.), Dr Strangelove or How I Learned to Stop Worrying and Love the Bomb
Stanley Kubrick (dir.), A Clockwork Orange
Dziga Vertov, Kino-Eye: The Writings of Dziga Vertov
Marshall McLuhan, Understanding Media
Martin Heidegger, "The Question Concerning Technology"
Gilbert Ryle, "Improvisation"

Episode 67: Goblins, Goat-Gods and Gates: On 'Hellier'

Phil Ford and J. F. Martel — Wed, 04 Mar 2020 11:30:00 -0500

On the night before this episode of Weird Studies was released, a bunch of folks on the Internet performed a collective magickal working. Prompted by the paranormal investigator Greg Newkirk, they watched the final episode of the documentary series Hellier at the same time -- 10:48 PM EST -- in order to see what would happen. Listeners who are familiar with this series, of which Newkirk is both a protagonist and a producer, will recall that the last episode features an elaborate attempt at gate opening involving no less than Pan, the Ancient Greek god of nature. If we weren't so cautious (and humble) in our imaginings, we at Weird Studies might consider the possibility that this episode is a retrocausal effect of that operation. In it, we discuss the show that took the weirdosphere by storm last year, touching on topics such as subterranean humanoids, the existence of "Ascended Masters," Aleister Crowley's secret cipher, the Great God Pan, and the potential dangers of opening gates to other worlds ... or of leaving them closed.

REFERENCES

Karl Pfeiffer (director), Hellier
Philip K. Dick, Valis
Weird Studies episode 12 - The Dark Eye: On the Films of Rodney Ascher
John Benson Brooks, American musician
Phil Ford, Dig: Sound and Music in Hip Culture
Thelema
Allen H. Greenfield, The Complete Secret Cipher of the Ufonauts
Secret cipher online tool
Aleister Crowley, The Book of the Law
Gematria
John Keel, The Mothman Prophecies
Eric Wargo, Time Loops: Precognition, Retrocausation, and the Unconscious
Grant Morrison, The Invisibles
Genesis P. Orridge, American artist
Alex Reed, Assimilate: A Critical History of Industrial Music
Helena Blavatsky, Russian theosophist
Annie Besant, British theosophist
Peter J. Carroll, British occultist
Kenneth Grant, British occultist
C. G. Jung, The Red Book
Alan Chapman and Duncan Barford, "Chinese Whispers: The Origin of LAM" in The Blood of the Saints
Richard Sharpe Shaver, American writer and contactee
James Hillman, Pan and the Nightmare
Occultist Paul Weston's blog post on Hellier
John Keel, The Mothman Prophecies
Peter Kingsley, Catafalque
Eric Voegeln, The New Science of Politics: An Introduction and Science, Politics, and Gnosticism
Auguste Comte, French philosopher
Colin Wilson, The Occult: A History

Episode 30: On Stanley Kubrick's 'Eyes Wide Shut'

Phil Ford and J. F. Martel — Sun, 14 Oct 2018 11:00:00 -0400

No dream is ever just a dream. Or so Tom Cruises tells Nicole Kidman at the end of Eyes Wide Shut. In this episode, Phil and JF expound some of the key themes of Kubrick's film, a masterpiece of cinematic chamber music that demonstrates, with painstaking attention to detail, Zen Master Dōgen's utterance that when one side of the world is illuminated, the other side is dark. Treading a winding path between wakefulness and dream, love and sex, life and art, your paranoid hosts make boldly for that secret spot where the rainbow ends, and the masks come off.

REFERENCES

Arthur Schnitzler, Dream Story (Traumnovelle) -- Source of the EWS screenplay, sadly overlooked in the episode but well worth a read.
Frederic Raphael, Eyes Wide Open: A Memoir of Stanley Kubrick
Bathysphere
Frank L. Baum, The Wonderful Wizard of Oz
David Icke's "reptilian" theory of the British Royal Family
Thomas A. Nelson, Kubrick: Inside a Film Artist's Maze
Screenshot of newspaper article from Eyes Wide Shut
Rodney Ascher, Room 237
James Hillman, Pan and the Nightmare
Gustave Moreau, L'Apparition
Mario Praz, The Romantic Agony
William S. Burroughs, “On Coincidence,” in The Adding Machine
J.F. Martel, "The Kubrick Gaze"