In the past few years I’ve noticed how Black Friday Sales have had an increasing resemblance to horror films and/or dystopian sci-fi. Apparently I’m not the only one, having recently found this satirical Black Friday trailer from the folks at Nacho Punch. It could potentially be a great horror/comedy if done by a director with a proven eye for satire (eg. John Carpenter, Stuart Gordon, Joe Dante, Wes Craven, Paul Verhoeven, etc).
Show notes by ConspiracyScope
The Men Who Killed Kennedy is a 9-part video documentary series about the John F. Kennedy assassination by Nigel Turner that began with two 50 minutes segments originally aired on 25 October 1988 in the United Kingdom, titled simply Part One and Part Two. The programmes were produced by Central Television for the ITV network, and were immediately followed by a studio discussion on the issues titled The Story Continues, chaired by broadcaster Peter Sissons. The United States corporation, Arts & Entertainment Company, purchased the rights to the original two segments. In 1989, the series was nominated for a Flaherty Documentary Award. The series was re-edited with additional material into three 50 minute programmes in 1991, which were again shown by ITV. A sixth episode appeared in 1995. The series typically aired in November every year, but also from time to time during the year as repeats. But in November, 2003, when three additional segments (“The Final Chapter”) were added by the History Channel, the consequences were so immense that the entire series is no longer aired, though the History Channel still sells DVD copies of the first six documentaries.
Fair Use:
“Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.”
This is the mindblowing 6-part,10 hour, video documentary series Evidence of Revision whose purpose is to present the publicly unavailable and even suppressed historical audio, video and film recordings largely unseen by the American and world public relating to the assassination of the Kennedy brothers, the little known classified “Black Ops” actually used to intentionally create the massive war in Viet Nam, the CIA “mind control” programs and their involvement in the RFK assassination and the Jonestown massacre and other important truths of our post-modern time.
Playlist:
http://www.youtube.com/playlist?p=PL6…
http://conspiracyscope.blogspot.com/
By Cory Doctorow
Source: BoingBoing.net
Paolo Bacigalupi is one of science fiction’s most versatile writers. From his justly lauded dystopian debut novel The Windup Girl to his environmental YA thriller Ship Breaker to his ha-ha-only-serious zombies-apocalypse-as-allegory-for-race-in-America Zombie Baseball Beatdown, he’s never been shy about switching modes and moods. All his books have a two things in common: technical brilliance and nuanced, important treatments of social issues. It’s a killer combination.
His latest novel, a YA thriller called The Doubt Factory, is right in the Bacigalupi pocket in that its storytelling is utterly different from anything else he’s published, deals with a vital social issue, and is a technical marvel of the form. Specifically, it’s a thriller about corporate distortion of communications whose third act is so tense, so taut, and so fantastically turned that I didn’t move a muscle except to turn the page for an hour while I read straight through about 150 pages’ worth of buildup and climax.
The Doubt Factory‘s protagonist is a girl called Alix who attends an elite prep school that is paid for through her father’s high-flying PR clients. As the book opens, Alix is bored in class, watching out the window, when she spies a young black man who exudes calmness and mastery. When the school’s authoritarian principal comes out to chase the intruder off the school lawn, the guy lays the principal out with one punch, eases him to the ground, and makes his way calmly off campus before the slow-moving rent-a-cops even know what’s going on.
This is Alix’s first encounter with “2.0,” a guerrilla protest group about which almost nothing is known, except that they appear to be attacking her dad’s clients. But as 2.0 grows more audacious in its actions at Alix’s school, it quickly becomes apparent that their real target is Alix’s family — and possibly Alix herself. Alix’s life becomes a benign jail of private bodyguards who shadow her every step, punctuated by ninja-like visits from the young black man, who has the ability to alter his appearance and slip right through even the tightest security cordons. And now, Alix is asking questions about her dad’s line of work — questions she’s never asked before.
In The Doubt Factory, Bacigalupi expertly tells the tale of how FUD-generating “communications consultants” have distorted our public discourse on behalf of their fantastically profitable clients, for whom a little delay in regulatory action is worth billions, and for whom the occasional class-action payout is just part of the cost of doing business, expertly calibrated and factored into the bottom line.
Bacigalupi also explores modern protest tactics, dramatizing an incisive critique of hacktivism and leaking and pointing to ways of stirring up trouble that might have a deeper and longer impact than what has gone before.
But as good as The Doubt Factory is as polemic, it’s even better as a novel. There is just so much nail-biting tension, so many unexpected turns and twists in the caper plots that run throughout the book, and it’s so well done, that it’s certain to find a large and appreciative audience. The combination of a book with a conscience and a set of serious adrenal glands is unlikely and extremely effective.
By Marshall Sandoval
Source: PopMatters
Cyberpunk has seen a recent resurgence in video games. Seemingly every game developer working today has a William Gibson book tucked under their arm or follows @swiftonsecurity (a satirical Twitter account that imagines a Taylor Swift consumed with cyber security). Cyberpunk video games are pervasive, including cyberpunk game jam projects on itch.io, Twine games, indie titles, and major AAA releases. All of these projects embrace cyberpunk themes and aesthetics. Observers credit the current trend to a number of cyclical and cultural factors. After talking to the indie developers behind a number of exciting cyberpunk titles at the center of this resurgence, I believe that the creators of these games are overwhelmingly inspired by the headlines in today’s newspapers.
It seems like no coincidence that these games have all appeared in a short time period following the economic recession. On the most basic level of analysis, it seems that these games may be providing a sense of escape from recent economic events. Last Life developer Sam Farmer notes, “I’m gonna go back to my film school class on Sci-Fi and Fantasy and say that it’s escapism. Horror, in general, and escapism, in particular, is often more popular in times of economic downturn, when you want to be somewhere else.”
Garrett Cooper’s Black Ice is an action game which casts the player as a hacker taking down corporate servers. Promoting the game, he’s found that cyberpunk narratives may be popular for reflecting reality as much as for providing an escape. He says, “I’ve talked to people about my game. I say, ‘All the corporations are evil.’ So they’re like, ‘Oh. So you’re talking about real life?’ I’m like, ‘No. Not exactly.’ That’s what people feel. The fantasy of being the one guy that can take something technological and turn it against the corporation.”
Games writer Austin Walker is an academic and cyberpunk superfan who sees the same throughline in these games and the literary roots of the genre. Walker says, “A key to traditional cyberpunk again and again is that there is economic inequality. We are positioning ourselves somewhere on that scale of how we feel about this stuff. Cyberpunk stories do that too. Usually they position the hero at the bottom of that; they’re usually in or near poverty.” In a time of extreme real-world inequality, cyberpunk stories locate players in a fantasy of rising up to subvert the system and taking down greedy corporations.
David Pittman’s indie project Neon Struct deals with a fictional near-future surveillance state. The game was heavily influenced by the recent leaks about actual domestic surveillance in the present day in the United States. Pittman says, “Edward Snowden’s release of NSA documents in 2013 was an essential part of the inception of Neon Struct (formerly Die Augen der Welt, or ‘The Eyes of the World’). I have strong feelings about the abuse of surveillance by the U.S. government, and I’ve known for close to a year that I wanted to make a game about it.” He’s quick to add, “Despite my own interest and leaning in the real world debate over mass surveillance, I am developing a way to introduce the story, which does not require the player character to actually leak any classified information. I don’t want to assume that the player shares my biases.” Nonetheless, it’s clear that the forthcoming project was informed by recent events.
Other examples of indie games providing commentary on and gaining inspiration from world events abound. Brigador is an isometric cyberpunk shooter with an extremely stylish trailer, and developer Jack Monahan lists a surprising influence. Monahan says, “While I’m not sure if the author would agree with the genre classification {of cyberpunk}, my brother and I both read and enjoyed (and were worried by) a book called Cities Under Siege: The New Military Urbanism by Stephen Graham. Like William Gibson said, the future caught up to all of his writing, more or less. We basically are living in a dystopic future”. Notably, Monahan made these statements before the recent military-style urban clashes in Ferguson, Missouri. The aforementioned Last Life is shaped by real world advances in medicine and philosophical debates about transhumanism. Matt Conn is seeking to expand LGBT representation in the games space with the cyberpunk RPG R.O.M. He says, “Because I did GaymerX and prior to that I did a startup that was very successful and then crashed. Seeing how all that happened, I feel like I have an interesting perspective of the tech scene and the LGBT rights scene.” These varied examples show the differing events influencing today’s cyberpunk boom.
As strongly as these games are influenced by the socio-political climate, it is reductionist to say this is the only thing bringing cyberpunk back into prominence. Again, Austin Walker says, “It’s tempting to just say, ‘Oh that’s happening again. We’re getting concerned again about things like privatization and inequality.’ I think that’s part of it. I don’t know if I’d be comfortable saying, ‘This is the one reason why’”. Many developers also noted the power of nostalgia as a reason for the influx of cyberpunk games. Alex Preston a developer behind Hyper Light Drifter says, “I think my generation is coming into its own, creatively, and we have a fondness for these themes and ideas. A lot of us grew up with books, films, and games that touched on these themes, and it bleeds through in our creative work. I think nostalgia is a powerful force.”
Likewise, Brendan Chung, creator of ‘90s-influenced hacker game Quadrilateral Cowboy has noticed the cyclical nature of cyberpunk themes. He says, “My guess is that the people who grew up fiddling with old PC tech are now at an age where they now have the skillset and financial means to make their own games. Now that we can make games, we’re making things that harken back to one of the things that got us interested in games in the first place.” Nostalgia for ‘80s and ‘90s cyberpunk is another likely force bringing these kinds of games back to the games market.
Additionally, I kept hearing indie developers suggest their own outlook about the state of the world today is extremely bleak. Conn says, “On a more philosophical note, this is a way of writing about the future we kind of want to see. Even if it’s dystopian or dark. I think that for a lot of us, it’s very scary going into the future.” A similarly grim outlook is shared by Monahan. He says, “I think the dystopic elements of cyberpunk point to a certain cynicism that things aren’t going to get any better. Human nature might be augmented and highly channeled by technology, but human nature stays the same. And that tech might actually amplify all the worst things about us too.” Monahan also sees this cynicism in the nostalgia that drives the cyberpunk resurgence. He adds, “So much great work from the ‘80s was in a similar vein. I think of Snake Plissken’s deadpan response to news that the president’s plane has gone down: ‘President of what?’. There’s a disillusionment from the classic era of cyberpunk that makes a revival now seem fairly natural, I think.” Natural or not, the revival is in full force, and it’s becoming a strong and subversive undercurrent in the indie games space.
By Amber Frost
Source: Dangerous Minds
Director Todd Haynes is well-known for his arty, fictionalized depictions of music iconography. Velvet Goldmine was a glam rock epic, with characters modeled after Bowie and Iggy, while I’m Not There features seven different actors portraying “fictional” facets of Bob Dylan’s personality or mystique. Both films blur reality with stylized interpretations, but neither takes even a fraction of the liberties Haynes exercised with his 1987 grad school student film, Superstar: The Karen Carpenter Story.
The film opens up on Karen’s death, then flashes back to narrate her rise to fame. It’s a spasmodic format—switching between interviews with peripheral music industry people, random footage and fascinatingly elaborate mise-en-scène reenactments staged with Barbie dolls and melodramatic voice-overs. In reference to Karen’s anorexia, Haynes actually whittled down her Barbie effigy with a knife for later scenes, mimicking the progressive emaciation of her body. It’s a dark portrayal of a slow death, Karen and Barbie, both icons of American perfection, wasting away before our eyes.
Superstar: The Karen Carpenter Story is technically illegal to exhibit, although since the advent of YouTube, it’s a bit of a moot point (the upload embedded below was posted in 2012). Karen’s brother Richard sued Haynes for copyright infringement. MOMA has a copy but even they aren’t allowed to screen it. Even if Haynes hadn’t used Carpenters songs, there’s a good chance Richard Carpenter would’ve found basis for a lawsuit. Haynes portrays Karen as the victim of her narcissistic and tyrannical family, even suggesting Richard was closeted.
It’s difficult not to be sympathetic to Richard Carpenter who probably viewed the film as mere ghoulish, exploitative sensationalism. It’s a strangely invasive and voyeuristic piece of art, and the argument could be made that it’s totally unethical in its ambiguous, semi-biographical fiction. It’s also totally hypnotic, with a compelling narrative and a pioneering experimentalism that makes it one of the great cult classics.
INDIAN COUNTRY NEWS
"It is the duty of every man, as far as his ability extends, to detect and expose delusion and error"..Thomas Paine
Human in Algorithms
From the Roof Top
I See This
blog of the post capitalist transition.. Read or download the novel here + latest relevant posts
अध्ययन-अनुसन्धानको सार
After the Crash 