THE PREPOSTEROUS BOLLOX OF THE SITUATION

A collection of stuff, things, nonsense, rants, raves, pretties, sillies, and gee-gaws from Rev. Hugo Nebula, Ordained Minister of the Church of the SubGenius. (And boobs. Sometimes there are boobs. Just like in real life.) Thank you for reading.
 

 

 

 

 
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Posts tagged "david cronenberg"

"From 22 June through 14 September, EYE presents a major exhibition focusing on director David Cronenberg, who acquired cult status with his idiosyncratic films about the relationship between body, mind, technology and mass media. The exhibition explores Cronenberg’s world through the main themes of his films: the physical and psychological transformation of his protagonists.

"Highlights of this exhibition include the weird and wonderful special effects items from Cronenberg’s films, together with bizarre props, set photos and original costumes…"

“Money does not exist outside of what we have invented. Darwin’s evolution is a kind of accounting, there are species that live and species that die, all depending upon how they manage the resources that are available to them. For example, if you’re an insect, you give up something to have flight. You become lighter, allowing flight, but then you don’t have the protective armor that an earth-bound insect would have. This cost analysis is not done by a human, its also not done by a god (for me), it’s done by the pressure of the environment, where over time a species makes trade offs. Birds can fly, but their wings are hollow, and that puts them at other disadvantages.”

Mortensen thinks – rightly – that The Fellowship of the Ring turned out the best of the three, perhaps largely because it was shot in one go. “It was very confusing, we were going at such a pace, and they had so many units shooting, it was really insane. But it’s true that the first script was better organised,” he says. “Also, Peter was always a geek in terms of technology but, once he had the means to do it, and the evolution of the technology really took off, he never looked back. In the first movie, yes, there’s Rivendell, and Mordor, but there’s sort of an organic quality to it, actors acting with each other, and real landscapes; it’s grittier. The second movie already started ballooning, for my taste, and then by the third one, there were a lot of special effects. It was grandiose, and all that, but whatever was subtle, in the first movie, gradually got lost in the second and third. Now with The Hobbit, one and two, it’s like that to the power of 10…”

getoutofmyhouse:

Scanners (1981, d. David Cronenberg)


"Too much pressure."

(via swampthingy)

Television is reality, and reality is less than television.”

(via horrorking)

"David Cronenberg: Consumed. The exhilarating debut novel by iconic filmmaker David Cronenberg: the story of two journalists whose entanglement in a French philosopher’s death becomes a surreal journey into global conspiracy…

"These parallel narratives become entwined in a gripping, dreamlike plot that involves geopolitics, 3-D printing, North Korea, the Cannes Film Festival, cancer, and, in an incredible number of varieties, sex. Consumed is an exuberant, provocative debut novel from one of the world’s leading film directors…"

(by Cronenberg Consumed)

foreignmovieposters:

Videodrome (1982). Japanese poster.

foreignmovieposters:

Videodrome (1982). Japanese poster.

(via horrorking)


"Somebody said I’m ‘the king of venereal horror,’ to which I always say: Well, it’s a very small kingdom, but it’s mine.” — David Cronenberg

"Somebody said I’m ‘the king of venereal horror,’ to which I always say: Well, it’s a very small kingdom, but it’s mine.” — David Cronenberg

(via horrorking)

aleskot:

"Crash is peculiarly resistant to attempts to summarise it with a single image. Its synthetic literary method depends on the conjunction within a verbal image of phenomena that are usually discrete. Ballard insistently establishes geometrical relationships between the body parts and postures of his characters and the technology that surrounds them: ‘By entering her vagina among the metal cabinets and white cables of the X-ray department I would somehow conjure back her husband from the dead, from the conjunction of her left armpit and the chromium camera stand, from the marriage of our genitalia and the elegantly tooled lens shroud.’ In the late 1980s, collage and montage became increasingly prevalent means of expressing thematic complexity on book covers. If ever a novel called out for a mode of evocation based on fragments and juxtaposition, it was Crash, but it was 1994 before an American design team explored this possibility."

"Collapsing Bulkheads: The Covers of Crash"

aleskot:

"Crash is peculiarly resistant to attempts to summarise it with a single image. Its synthetic literary method depends on the conjunction within a verbal image of phenomena that are usually discrete. Ballard insistently establishes geometrical relationships between the body parts and postures of his characters and the technology that surrounds them: ‘By entering her vagina among the metal cabinets and white cables of the X-ray department I would somehow conjure back her husband from the dead, from the conjunction of her left armpit and the chromium camera stand, from the marriage of our genitalia and the elegantly tooled lens shroud.’ In the late 1980s, collage and montage became increasingly prevalent means of expressing thematic complexity on book covers. If ever a novel called out for a mode of evocation based on fragments and juxtaposition, it was Crash, but it was 1994 before an American design team explored this possibility."

"Collapsing Bulkheads: The Covers of Crash"

The battle for the mind of North America will be fought in the video arena: the Videodrome. The television screen is the retina of the mind’s eye. Therefore, the television screen is part of the physical structure of the brain. Therefore, whatever appears on the television screen emerges as raw experience for those who watch it. Therefore, television is reality, and reality is less than television.

(via horrorking)

ronaldcmerchant:

RABID (1977)

(via swampthingy)