zhang Richard

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on the atlas · 16

highlights · 22

Biden would hold the party together by virtue of his age, his whiteness, and his fundamentally reactive orientation;
Hollow Man | Issue 48 | n+1 | The Editors
o look back to the good old times", or "to be years ahead". However, this association of "behind ⇔ past" and "ahead ⇔ future" is culturally determined
Arrow of time
This makes me think, too, of Martin Amis’s Time’s Arrow. In most other novels that use reverse chronology the novel is told backwards while events unfold in a normal causal way. You are hungry, you eat, you are full. In Amis’s world everything is reversed—every grain of life. You are full, you eat, you are hungry. In this way, the protagonist’s life unspools from old age to birth, everyday events made strange by the reversal of cause and effect.
When a Story is Best Told Backwards ‹ Literary Hub
On one level, the essay was terrifying—Chinese can be imprisoned for such crimes. But the calm tone created a strange sense of normalcy.
How Chinese Students Experience America | The New Yorker
used and abused powerful substances - love, sex, power, drugs - with abandon
Germany's Demon Moviemaker - The New York Times
Haynes makes us see and feel how we’re doomed to multiple perspectives, mirrors of mirrors, rationalizations woven into memory itself.
Mirror, Mirror
The genius of a moment like this lies in the way it conjures, beneath the figuration of something like a dream, the “velvet livingness” (the poem’s own phrase) of an unwitnessed and therefore speculative past. Its reality may exist “in death,” “in Scotland,” or “in Oregon,” but it is buried beneath layers of sleep, and excavated only within the space of the poem.
Megan Fernandes’s “I Do Everything I’m Told,” Reviewed | The New Yorker
The country music business is lucrative, generating $5.5 billion to Nashville’s economy alone, according to RIAA
T.J. Osborne Is Ready to Tell His Story: Exclusive | TIME
haunt real people and real histories of betrayal, violence, survival, resuscitation, and revenge
Filming Around the Wound: A Conversation with Christian Petzold on Notebook | MUBI
There are no "whys" in Phoenix—"why, after so much effort and intimacy, would Johnny not recognize his wife?"—only "ifs": what if a husband was a collaborator; what if those who returned couldn't be recognized for their experiences, for their identities; what if their war experiences could be erased; what if you were made to tell your war story to one who secretly knew it, knew your lies; what if atrocities rose up as fictions, what if, what if, what if.
Filming Around the Wound: A Conversation with Christian Petzold on Notebook | MUBI
principles (li) may extend to forces and factors beyond ordinary observations of natural processes such that death is not terminal but a process involving transformation and continuity that open up possibilities for post-death conditions. This is the kind of speculation Kongzi seems determined to prevent.
THE ANALECTS ON DEATH - BLAKELEY - 2010 - Journal of Chinese Philosophy - Wiley Online Library
Because death is (ordinarily) contingent on powers beyond an individual's control, that is, from social-political to more general Earthly and Heavenly circumstances, an emphasis on the fact that life's end is unforeseeable and always an immanent possibility could play an important role in enhancing serious-minded virtue-enhancing behavior.
THE ANALECTS ON DEATH - BLAKELEY - 2010 - Journal of Chinese Philosophy - Wiley Online Library
the Jeanne Moreau of our times
Letter to a Young Filmmaker on Notebook | MUBI
I tell myself to shoot the room, not the actor.
Letter to a Young Filmmaker on Notebook | MUBI
your work seems to disappear and the actors listening and responding to each other make the images happen.
Letter to a Young Filmmaker on Notebook | MUBI
Sidney Lumet as an example of someone who did exactly the opposite of what I do—he would rehearse everything in advance with his cast and block it precisely, often taping out a stage version of the sets on the floor of a gymnasium—and he managed to get some of the most vivid realism in cinema. So, there's no right way.
Letter to a Young Filmmaker on Notebook | MUBI
Once you've made explicit those things between you and an actor, then the actor then tries to achieve what's been described, "playing" subtext, instead of revealing it.
Letter to a Young Filmmaker on Notebook | MUBI
one of your biggest jobs is to protect the actors from the chaos
Letter to a Young Filmmaker on Notebook | MUBI
Is the script disappearing or are we hearing and watching dialogue (remove words, delay entrances and exits, notice if the actors don't quite know their lines).
Letter to a Young Filmmaker on Notebook | MUBI
You keep making adjustments until, hopefully, something comes alive.
Letter to a Young Filmmaker on Notebook | MUBI
I usually have about 50% done before the shooting begins and then spend a few hours every weekend, again with the DoP and a storyboard artist, prepping for the week ahead. I don't necessarily follow the storyboard, but I can't imagine arriving at the set without having done that extensive work in advance.
Letter to a Young Filmmaker on Notebook | MUBI
Regarding the visual language of the film, I never block to obscure. What happens instead is that I find camera positions that I stick with for extended moments, and If they are not always what's traditionally considered the optimal privileged position (face to camera) that's ok by me. In fact, sometimes the audience being excluded from that position brings them closer to the characters and the intimacy. The camera is in the room but not intruding on the actors, preserving the intimacy they have between them. This is particularly true in the sex scenes in the film.
Letter to a Young Filmmaker on Notebook | MUBI