Light Industry launched a campaign to raise funds to program their fall lineup. Donate at least $10 and receive passes for you and a guest to one of their upcoming events. So far, the Tuesday night events look promising. Already announced are the following events:
The weather in New York right now is very hot— the temperature has reached the mid-90°s on Tuesday and will continue through Thursday. And although it seems like I should be packing for the beach, the fall semester is upon us. This semester, I am teaching two classes: one at Queens College and one at Pratt Institute.
This class acts like a sequel for Media Technologies, where we survey various media forms. However, this class sets aside the mechanics and the history and instead focuses on the how contemporary media industries function. One theme that I hope to address throughout the term and across all the modules is digitalization and how that changes what we mean by “media.” It’s not like the record industry sells records, that people read newspapers on newsprint, and that television programs are necessarily watched on televisions.
This is the first time I’ve taught this class. When I was a cinema studies graduate student at NYU, I always wanted to teach a documentary film survey. Most of the classes that graduate students did were very narrowly focused—often closely related to his/her dissertation. I felt that this was a disservice to both undergraduates taking these class and the graduate students teaching them. It was unfair to undergraduates because they didn’t get a good foundation in cinema studies. And it was bad for us budding teachers because we didn’t get to develop classes that might be useful to teach after we graduated, especially if we didn’t get hired by a big film program.
Like a decade-and-a-half later, I finally get to do a survey of documentary film. However, as I’ve been working on this class, I can see why it’s tempting to avoid surveys. There is so much material to exclude. I literally have to prune my list of ninety-plus films to about twenty. I would feel a lot less guilty teaching a class like “Binging Truth: Documentary Films in the Netflix Age,” “Beyond the Interrotron: The Films of Errol Morris,” “WPA, FDR, and NYFPL: Interwar American Documentary and the New Deal.”
I remember an NYU professor teaching a whole semester’s seminar on the Hitchcock film Vertigo. Can you imagine how deep you could get with a topic like that? My class however is breadth over depth.
Last month, Zachary Pincus-Roth, writing for The Washington Post, reported on how The West Wing had become a way for liberals to escape the Trump era. He profiles a couple who, in 2018, produce a podcast about the series that wrapped back in 2006:
The Attrydes, both in their 40s, are apolitical, but still — these days, rewatching a show about idealistic wonks working for a Nobel Prize-winning economist president is “a little slice of heaven,” said Paul, wearing a gray “West Wing Weekly” sweatshirt. “It’s the president we all want but don’t have.”
The funny thing is that I seem to remember when the series launched in the late 1990s that the series was marketed as being about a presidency “we all want,” implying that it wasn’t one we had. And this was during the waning days of the Clinton administration, which admittedly was hardly a paragon of liberalism.
When the Trump presidency began to crystallize last year, I was watching the fifth season of House of Cards. As I was watching the calculating and diabolical machinations of the Underwoods, I often thought about how the Trump presidency made House of Cards look like The West Wing.
What I would give for Frank and Claire Underwood today?!?
In the first episodes of the Looming Tower, the Hulu original series based on a book by the same name, there’s a reference to the public being distracted by the Bill Clinton–Monica Lewinski sex scandal in 1998. This was despite Al Qaeda having attacked two overseas American sites that same year. The series uses the coverage of the scandal as a metaphor for the turf wars between three parties: the CIA, and between the Washington and the New York field offices of the FBI. The three units’ failure to cooperate in the aftermath of these attacks outside the US in 1998 were contributing factors in the authorities’ failure to prevent the attacks within the US on September 11, 2001.
Just as the public was distracted, breathlessly following the presidential sex scandal, all of us Americans took our eyes off the proverbial ball. Instead of paying attention to a terrorist attack against the United States, largely because it was on foreign soil, we were obsessing over the details of, as one character in The Looming Tower quips, “a cum stain on a dress.”
American broadcast historian Susan Douglas made a similar point about the American public aftermath of the September 11th attacks. In 2006, she wrote in “The Turn Within: The Irony of Technology in a Globalized World” that while American isolationism is nothing new…it is striking that during this particular period, when technological capabilities and geopolitical exigencies should have interacted to expand America’s global vision, just the opposite occurred.” She terms this the “turn within.”
One can make the same argument today. The only time most Americans see a foreign place represented is, perhaps, in the Instagram posts of our friends, who shared some stylized snaps and stories of their trips to whatever place they went to, what remote terrain they encountered, and what exotics snacks they ingested.
And that brings me to the just-aired 60 Minutes interview with Stephanie Clifford, more widely known “Stormy Daniels.” I agree that this scandal is more about the salacious details over an extramarital affair between a then-TV celebrity and a porn actress—it is also about abuse of power in trying to silence her during the 2016 presidential campaign. It further begs the question whether did this patten of behavior continued against others after Trump assumed the presidency.
News coverage such as this comes at the expense of reporting on other things, such as what the Trump Administration is doing with regards to foreign policy. In the last month, the Trump Administration’s top diplomat and its national security advisor were replaced by two hawkish ideologues—Tea Party nationalist Mike Pompello and right-wing warmonger John Bolton. As tensions are high between the US and several other nuclear states—Russia, China, North Korea—it would be great if we could learn more about what elevating these two men to such high positions might mean. It would also be great if we had a clue about where else we might face a potential conflict in the future.
Then again, we Americans might just satisfy ourselves with surveiling and harrassing our friends on social media.
As I get older, I forget about some of the things I’ve done that not many others have. Case in point: I took two pornographic film classes as part of the my film studies curriculum.
The first was as an undergraduate at UCSB that was taught by Constance Penley, who Rolling Stone called a notorious professor in 1998. By the time I took the class, it had been taught several times and was not the hot-topic around campus as much as it was when it was first offered. Nonetheless, Penley ran the class as an historical survey of pornographic film, no different than any other professor would teach a survey of animation, documentary, or French cinema.
The second class was as graduate student at NYU, although our instructors were a bit sly about the subject matter of the class. They called it Explicitly Independent, insisting that we were studying experimental, independent film that pushed the boundaries of representing sexuality. This class was not meant as a broad survey of explicit film, as my undergraduate class was, but instead was meant to address a number of topics that our instructors were studying.
Both classes made clear a couple of facts about pornographic film:
it has been around a long time: about as long as motion pictures themselves have been around.
more people consume pornography than you think: it’s pretty much close to 100% of film viewers.
a stylistic history of pornography tracks closely to the stylistic history of cinema at large: the golden age of pornographic film is in the 1970s, which is the same decade as the golden age of New Hollywood.
Light Industry is presenting nine short films on Tuesday, February 20, beginning at 7:30 PM: a program they call The Smoker: A Brief History of the Stag Film. The term “smoker” refers to the smoke-filled rooms where men—and only men—would watch sex on film as part of some weird homosocial ritual to prove that each guy wasn’t “a homo.” If you ever wondered what your grandfather did with his buddies at an Elks Lodge meeting on a Saturday night, it was probably watching these films.
As someone who watched a lot of these kinds of films with an audience that isn’t there for sexual gratification, I will tell you will initially feel a bit awkward when you recognize the situation of watching porn while sitting next to strangers.
Light Industry seems to recognize this. They will screen the films silent in the spirit of historically accuracy. It was common for men to hoot-and-holler while these films played, and indeed, Light Industry’s website notes “in the spirit of smokers past, we encourage attendees to provide their own soundtracks.”
I would go a step further and encourage you to provide your own beverage, too. But, remember that this is the twenty-first century: there no smoking during these smokers.
Longtime readers of this site know that I am almost universally appreciative of everything that Apple does. But over the last few years, there was one thing about Apple that has bugged me: their taste in music—and now TV shows—is pretty lame. I think this casts a shadow over their otherwise nifty products, which reflect a refined sense of taste in their hardware and software design that is unmatched. And now that they’re getting involved in TV and movie production, I worry about what they’ll produce.
iTunes Podcast Directory
Back in the summer of 2005, Apple first entered the podcasting game by integrating it into iTunes. Up until that point, listening to podcasts was an exclusive domain for nerds. It required third-party software: I used iPodder. It required some understanding of RSS and how it worked, and it required expertise in knowing where to find podcasts in the first place. I vaguely remember listening to a subscribing to a few podcasts back then. Some related to “budget rock” music, some to news and politics, and a bunch other nerdy fare. Suffice to say, these reflected my own personal tastes.
Apple's Podcast Directory, July 2005
Apple sought to introduce podcasts to the masses when it integrated podcasts into iTunes 4.9, making it easier to add podcasts to your IPod. They also added Podcasts Directory to the iTunes Store, a feature that remains to this day. However, I disliked the store because it highlighted the podcasts of the big media companies, especially Disney, a media conglomerate that Apple has had a close relationship by virtue of Steve Jobs and Pixar. I wrote as much on the old, Moveable Type version of this site:
But what is most significantly different from all the various podcasting directories and the new iTunes is that its podcast directory spotlights the podcasts from large content producers. When you first open the directory, you’ll note the presence of the big media companies. When I opened the directory this afternoon, I got a podcast for ABC News and one for ESPN. Clearly, there’s an arrangement with Disney. But the other partnerships seem a bit more tailored for the iPod crowd’s tastes, according to Madison Avenue. There’s NPR affiliates (KCRW, WGBH), CBC, and Bravo’s Queer Eye. If you dig a little deeper, you can find a large number of independent podcasts, but it’s like finding that rare imported beer at your supermarket. You’re going to have to dig past all the Bud, Miller, and Coors to find it.
The popularity and variety of podcasts has exploded since 2005, although its rise has been uneven. While there have been podcasting stars, such as Adam Carolla and Serial and now Bill Simmons and The Daily, podcasting remains a relatively open platform with an wide variety of choices for every possible taste. Podcasting in 2018 is not wholly determined by the Podcast Directory of 2005.
Keep Music Personal
Another example of my distaste for Apple’s taste is the live musical performances integrated into many keynotes.1 I relish each and every keynote address and product launch Apple does. These are not just well-produced media events; they’re often studies in great theater. But I cringed, for example, when John Mayer came on at the end of the iPhone’s introduction at the 2007 Macworld Expo.
John Mayer playing at the Macworld 2007 keynote where the iPhone was announced / Photo by Derrick Story
It’s understandable if no one remembers Mayer playing this keynote. After all, he followed the introduction of what would become the most influential computing device in a generation, and no one can really tell you what else Apple also announced that day. I don’t have anything against John Mayer. I hear he’s a fine musician, and I feel bad that he had to follow the iPhone in the same way I feel bad that the Rolling Stones followed James Brown in The T.A.M.I. Show. But having these performances felt like Apple was trying to shove some middle-of-the-road rock music into our iPods and, later, our iPhones. Apple has continued this tradition with having Coldplay’s Chris Martin perform in 2010 and Sia take the stage in 2016. Neither is music that I would ever listen to on my own. And when these performances start, I always stop watching the keynote.
The public seemed most upset about Apple’s middle-of-the-road tastes in 2014 when they “bought” U2’s new album, Songs of Experience, and added it to everyone’s iTunes account. Undoubtedly there must have been some U2 fans who appreciated getting this album on their iPhones, but I think Apple overestimated the breadth of U2’s appeal. A lot of people were angry about this unwanted gift. Even if U2 was the most popular living rock band in the world, which they arguably were, I understand the backlash because, for years, Apple has marketed their devices as personal and adding U2 to everyone’s device seemed invasive.
I initially feared that Apple Music would turn out to be a disaster because they focused so heavily on the Beats Music aspect of it. I watched the June 2015 WWDC keynote with great interest, and the Apple Music introduction was by far the least impressive of all their announcements that day. Not only that, the Beats Radio stations and programs reminded me a lot of what we saw featured in the iTunes Podcasts Directory: a bunch of middle-of-the-road offerings that betrayed why I liked podcasts and streaming music versus terrestrial and satellite radio, and why I liked buying CDs online instead of the limited selection at the local music store.
If you watch the video of the Apple Music introduction, there’s something off-putting about watching Eddy Cue make playlists. His personal, eclectic taste isn’t mine. Did you just tell me to listen to Loren Kramar? Kramar, by the way, hasn’t released anything since the 2015 single that Cue demos.
There’s no way for me to prove this, but I think that Apple Music is succeeding despite Beats Radio not because of it. Apple Music is doing well because it lets users stream music in much the same way Spotify does, although I suspect Spotify’s recommendation algorithm is better than Apple Music because Apple kinda sucks at AI.
All Apple Music had to do to succeed was flawlessly allow subscribers to find and play whatever music they want, reflecting each user’s personal taste, not the middle-of-the-road taste that Apple seems to espouse.
Of course, nobody except Fuller really knows the exact “creative differences” that led him to leave the series, and Snell and Hurley indicate as much. But their reasonable speculative explanation shows that Apple has established a specific taste for content, and it’s not necessarily as groundbreaking as they might think it is.
There’s also the comedic bits at the beginning of recent keynotes. While I normally like James Corden, I’d much rather listen to Craig Federighi tell some dad jokes about macOS than watch Carpool Karaoke with Tim Cook and Pharrell. ↩
Venerable repertory film theater Film Forum has been operating in New York since 1970. That’s no small feat when you consider the various challenges such an institution faces, including new technologies—from VHS to streaming—that compete for cinephiles’ attention and the commercial real estate market in New York, where the life of a business is largely determined by the length of its lease. As an example of the latter, two movie theaters closed last month in Manhattan because the landlords did not renew their leases: the Landmark Sunshine will be demolished and converted to office space, and the Lincoln Plaza Cinemas will undergo some kind of structural renovation to the building—and may again house a movie theater.
Film Forum’s Director of Publicity, Adam Walker, gave a presentation in Utah at Art House Convergence, a gathering of film distributors and exhibitors, about the history of Film Forum. Film Forum posted the presentation on their website The presentation describes several milestones: the various moves that Film Forum undertook that culminated in their current home on West Houston Street, their expansion from one screen to two screen and ultimately to three screens, and the addition of personnel that has shaped their history. The presentation also explains why you often have to sit behind a column when watching a movie there and the origins of their distinct printed calendars.
If you prefer experiencing the presentation in a slideshow format, you can also see it as a slideshow on Indiewire’s website.
Spoiler alert: There was one happy note at the end of the presentation that I am happy to relay. Film Forum recently extended their lease to 2035. This means they’ll likely be around for another generation. And because of this newfound security, they have begun renovating their current space and plan to open a fourth screen.
I’m about two weeks late in posting about Rob Bliss’s attempt to raise awareness about net neutrality. Bliss rode his bike and set up traffic cones to throttle automobile traffic outside the offices of the Federal Communications Commission. Like the Burger King commercial I posted about last month, the metaphor of the bicyclist causing artificial congestion isn’t the best way to explain what is wrong, even if it makes motorists angry because they can’t go as fast as they want without first paying a toll or running-down the pesky cyclist.
Allow me to offer a better metaphor of what driving would be like without a “net neutrality” for roadways. Say, for example, that Ford built all the roads in your town. Ford allows all Ford cars and trucks to drive on these roads as often as they want at no cost. However, if you own a Toyota and want to drive to the grocery store, either Toyota the automaker or Toyota drivers will have to pay a toll of some type. Perhaps, Ford has a deal with Honda, allowing Honda drivers to also use the Ford roads for no cost. But it comes with certain restrictions: anyone driving an Accord can only drive with two passengers and no cargo. Otherwise, those drivers will have to pay an additional toll or subscribe to an expensive unlimited driving and carriage plan. And what about Tesla? Would those cars ever get to even use these roads? Probably not. So everyone in your town will basically own only a Ford because it’s cheaper and simpler to just do that. And because there’s no competition for Fords in your town, everyone will have same set of crappy Ford cars and trucks, and Ford will have no incentive to ever make anything other than those same crappy cars and trucks.
I should note that Ford has actually been making better cars and trucks than it did over the last half-century, but that’s partly because they don’t enjoy the kind of dominance they once had and because they responded to competition from Asian and European automakers.
As is becoming clear, raising awareness of net neutrality is not as crucial as it was just a few years ago. It’s clearly a hot political topic. What we need to do is to act: to do whatever it takes—through legislation or litigation—to ensure the Internet remains an open platform for communication. The Internet belongs to no one, but in the United States, the final mile belongs to one of a few corporations, usually your cable provider or an incumbent telephone company. We must insure that the infrastructure owners do not get to regulate or dictate what content can be carried over that final mile. Otherwise, we’ll all be driving metaphorical Ford Pintos on the Internet.
The “Internet” gets riled up about a few things from time-to-time that, in the great scheme of things, don’t really matter. Earlier this month, the Internet got mad that Netflix was apparently closely examining its customers’ viewing patterns to produce this tweet:
To the 53 people who've watched A Christmas Prince every day for the past 18 days: Who hurt you?
While I appreciate the point that @xor makes by reminding us that our VCRs and record players didn’t make fun of us, allow me to remind all these analog dweebs what it was like to visit a video store or a record store. Part of me dreaded visiting these kinds of stores because of the clerks who worked there, passing judgement on what I movie I was renting or what CD I was buying.
Perhaps, I should have been less self-conscious and been proud of my cultural choices. Or maybe were it not for those clerks, I would not have curated my hipster tastes more carefully.
Nonetheless, when I first got on the Internet and bought a CD through CDNow in 1995, I really liked this experience because…
the selection was much more diverse than what I could find at a local music shop, or what Chris Anderson refers to as the “long tail.”
there was an impersonal anonimity in that I could buy whatever I wanted
I don’t remember what I bought and if it was all that embarrassing, but I seem to recall that I was programming a radio show on KCSB at the time, which likely meant it was something hard-to-find in the Santa Barbara–area.
To be sure, I know that my personal preferences, listening and viewing data, and my shopping habits are all tracked by a multitude of companies. However, I also don’t remember those algorithms making fun of me whenever I brought something to the counter. And, as far as I know, no algorithm ever its friends that I would see around town about what I music or movies I like.
Finally, the whole Internet backlash against Netflix might have been overblown. I heard one theory that the @netflix social media team just might have fabricated that fifty-three people had watched A Christmas Prince every day for the past two weeks.
If that’s the case, it’s not creepy, it’s comedy.
However, Swarm/Foursquare did something similar and reported on some extraordinary streaks that its users have made.
Given that Swarm/Foursquare offers almost no benefit other than reporting check-ins, I would avoid annoying its users, lest they feel they’re being judged for liking donuts and sandwiches.
As I’ve mentioned before in a series of posts on this site, this is one of several deregulatory measures that this FCC, led by Chairman Pai, to give broadcasters and Internet service providers more power at the expense of consumer protections and the interest of the public.
Repealing the FCC’s net neutrality rules will make it possible for Internet service providers—your “beloved” cable and telephone company—to turn the Internet to something that could look like what we had with AOL in the 1990s: a closed network with curated content with limited access to the open Internet. The latter is what doomed AOL and its 2000 merger with Time Warner.
If you’ve been paying attention, you’ll know that AT&T is attempting to acquire Time Warner and its vast library of media properties and content. With net neutrality rules out of the way, a provider like AT&T can realize its vision to dominate the Internet. Tim Wu, who coined the term “net neutrality” predicted as much in his 2010 book The Master Switch. Wu writes:
it doesn’t take a genius to realize that if AT&T and the cable companies exercised broad discretion to speed up the business of some firms and slow down that of others, they would gain the power of life and death over the Internet.
The telecommunications companies can do this because repealing net neutrality rules reclassifies broadband Internet service providers from common carriers to information services. The days of Internet-as-we-know-it might be numbered. At worst, it will be something like AOL in the 1990s. Or it will be something like cable TV and its curated 500-channel universe. Both were information services.
Centralize All Broadcast Activities
But it’s not just the Internet that Chairman Pai’s FCC has given over to the major corporate interests; he’s also cleared the way for broadcast station owners to expand their reach through out the United States.
Back in April, Chairman Pai led the FCC to restore the UHF discount rule, allowing owners of all-UHF stations to reach as much as 78% of all US households. As I wrote earlier, the UHF discount rule was developed in an era when US TV households mostly watched VHF channels 2-13 over UHF channels 14-69. The Obama-era FCC eliminated that discount on the grounds that the rule was deprecated. There is no difference in terms of VHF and UHF stations in today’s multichannel TV environment.
Also today, at the same Commissioners meeting to vote down the net neutrality rules, the FCC voted to review eliminating the 39% TV station ownership cap rule. This rule, designed to keep one station owner from reaching too many people through broadcasting, was already a relaxed version of the FCC’s original seven-station rule. But Chairman Pai apparently wants to allow broadcast station owners to reach even more American households and further reduce the diversity of voices using the public airwaves.
Both the UHF discount and the give Sinclair Broadcasting and the “New Fox” the opportunity to grow the number of broadcast TV stations they can own and expand their reach to US households. Not only could this have some competitive implications, it also forebodes some chilling ideological consequences. It’s not unlike what the Nazi’s chief propagandist Joseph Goebbels wrote in 1933:
Above all, it is necessary to centralize all radio activities to place spiritual tasks ahead of technical ones, to introduce the leadership principle, to provide a clear worldview, and to present this worldview in flexible ways.
Both Sinclair’s and Fox’s owners are both staunch conservatives and supporters of Chairman Pat’s boss Donald Trump and their news coverage has consistently supported Trump’s policies.
Take Action on Net Neutrality
Although I realize that the tone of this post is downright dreary, we the public can still take action to restore net neutrality rules. Basically, it comes down to fighting Chairman Pai on two fronts:
We can lobby Congress to pass “net neutrality” legislation. Any action the FCC takes on classifying Internet service providers—as common carriers or information services—can be rendered moot through legislation. It might take until after the 2018 midterm elections to get this done, but legislation is the only way to guarantee an open Internet for the long term.
Take the FCC to court. This is less than ideal because it must protect net neutrality rules within the current legal framework, which is not very specific about net neutrality. Nonetheless, Free Press plans to file a lawsuit against the FCC. I don’t know their legal strategy, but it might be on the grounds that the FCC has unlawfully abdicated its authority over the Internet. A lawsuit would likely lead to an injunction to keep the current net-neutrality rules in place. After that, prevailing in court could keep the Internet open, but as I wrote above, legislation is the best way to do it.
Home | TripMode | Your mobile data savior.2017/03/01 MacSparky suggested this to help you save data transfer when tethering. Looks reasonable for those of us considering switching to an unlimited plan with tethering.
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