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"

“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)

"WE’RE PLEASED TO ANNOUNCE POD (PERSONAL ON-DEMAND), THE FIRST RELEASE IN OUR BODY MIND CHANGE™ SERIES. THIS NEXT GENERATION RECOMMENDATION ENGINE KNOWS WHAT YOU WANT BEFORE YOU DO. FORGED FROM AN INNOVATIVE PARTNERSHIP WITH CREATIVE VISIONARY DAVID CRONENBERG, BMC LABS HAS SECURED AN EXCLUSIVE LICENSE TO ALL THE BIOLOGY AND TECHNOLOGY IP FOUND WITHIN CRONENBERG’S FILMS. IN THE PROCESS, BMC IS TURNING SCIENCE FICTION INTO SCIENCE FACT.

"POD REINVENTS THE RECOMMENDATION ENGINE TO MAKE DISCOVERING THE THINGS YOU NEED, LOVE OR DESIRE EFFORTLESS. THIS STATE OF THE ART BIOTECH IMPLANT WILL GUARANTEE YOU PERSONALIZED RECOMMENDATIONS THAT ARE 99.999% RELEVANT ALL THE TIME. POD GROWS WITH YOU TO BECOME AN INTUITIVE COMPANION, ENHANCING YOUR LIFE AND STORING THE BEST THAT THE WORLD HAS TO OFFER FOR IMMEDIATE RECALL AT ANY TIME. AFTER A LIGHT TRAINING PERIOD, POD WILL BE ABLE TO PREDICT YOUR DEEPEST UNFULFILLED DESIRES – EVEN THE ONES YOU DIDN’T KNOW YOU HAD."

(via About / BMC Labs)

"Body/Mind/Change (BMC), a digital extension of TIFF’s exhibition David Cronenberg: Evolution, immerses audiences in a "Cronenbergian" world inspired by the film Videodrome, re-imagined for the 21st century and brought to life across three platforms— online, mobile, and real-world. Co-produced by the Canadian Film Centre’s Media Lab (CFC Media Lab) with creative direction by Lance Weiler, Body/Mind/Change features plot lines and game mechanics involving biotechnology start-ups, body enhancements, emotional learning systems, and presents the plausible science fiction found in Cronenberg’s work as scientific fact…"

BODY/MIND/CHANGE: David Cronenberg leads us into the future of human bio implants with BMC Labs. (by BodyMindChange)

hellooblivion:

Videodrome- David Cronenberg, 1983"After all, there is nothing real outside our perception of reality, is there?"

hellooblivion:

Videodrome- David Cronenberg, 1983
"After all, there is nothing real outside our perception of reality, is there?"

(via horrorking)