In a crucial passage from a series of lectures he gave that would be published as Society Must Be Defended, Michel Foucault expounded on the concept of the imperial boomerang. Though the term was used and advanced by many political theorists and philosophers, most notably Theodor Adorno and Hannah Arendt, it was Foucault’s conception of the term that has stuck in the public consciousness. “[W]hile colonization, with its techniques and its political and juridical weapons, obviously transported European models to other continents,” he argued, “it also had a considerable boomerang effect on the mechanisms of power in the West, and on the apparatuses, institutions, and techniques of power…the result was that the West could practice something resembling colonization, or an internal colonialism, on itself.”
Yance Ford’s documentary Power acts as a piece of supporting evidence for what’s become known as Foucault’s boomerang. The film lays out in clear,...
Yance Ford’s documentary Power acts as a piece of supporting evidence for what’s become known as Foucault’s boomerang. The film lays out in clear,...
- 5/5/2024
- by Greg Nussen
- Slant Magazine
The Fu Manchu Cycle—1965-1969
Blu ray
Powerhouse Indicator
1965 – 1969 / 96, 93, 91, 94, 92 min. / 2:33:1, 1:85, 1:66
Starring Christoper Lee, Tsai Chin
Cinematography by Ernest Steward, John Von Kotze, Manuel Merino
Directed by Don Sharp, Jeremy Summers, Jesús Franco
Arthur Henry Ward was born in Birmingham in 1883—at the age of 20 he adopted the pen name of Sax Rohmer, specializing in standard issue crime fiction and otherworldly tales of terror. In 1912 he folded both genres into one sinister figure from the East, a so-called “devil doctor” named Fu Manchu. The book covers alone were xenophobic horror shows and if there was any doubt the stories themselves were wildly racist, the author confirmed it in the description of his star villain: “the Yellow Peril incarnate in one man.”
An authority on philosophy, medicine, and idiosyncratic torture devices, Manchu made his debut in The Insidious Dr. Fu-Manchu which was quickly followed by The Return of Dr.
Blu ray
Powerhouse Indicator
1965 – 1969 / 96, 93, 91, 94, 92 min. / 2:33:1, 1:85, 1:66
Starring Christoper Lee, Tsai Chin
Cinematography by Ernest Steward, John Von Kotze, Manuel Merino
Directed by Don Sharp, Jeremy Summers, Jesús Franco
Arthur Henry Ward was born in Birmingham in 1883—at the age of 20 he adopted the pen name of Sax Rohmer, specializing in standard issue crime fiction and otherworldly tales of terror. In 1912 he folded both genres into one sinister figure from the East, a so-called “devil doctor” named Fu Manchu. The book covers alone were xenophobic horror shows and if there was any doubt the stories themselves were wildly racist, the author confirmed it in the description of his star villain: “the Yellow Peril incarnate in one man.”
An authority on philosophy, medicine, and idiosyncratic torture devices, Manchu made his debut in The Insidious Dr. Fu-Manchu which was quickly followed by The Return of Dr.
- 10/31/2020
- by Charlie Largent
- Trailers from Hell
By 1934 Boris Karloff was certainly no stranger to great movie entrances. In 1931, under the direction of James Whale, he seared his image, and that of the monstrous creation of Dr. Henry Frankenstein, into the collective consciousness by shuffling on screen and staring down his creator, and of course the terrified audience, embodying and fulfilling unspeakable nightmares. Frankenstein, an instant phenomenon, was one of 16 pictures Karloff made that were released in 1931.
And in the following year, 1932, in addition of Howard Hawks’ Scarface, Whale’s The Old Dark House and Charles Brabin’s The Mask of Fu Manchu, Karloff had another terrifying entrance in cinematographer-turned-director Karl Freund’s horror landmark The Mummy. As the title fiend, Imhotep, Karloff is first glimpsed in full bandage, sarcophagus laid open behind an unfortunate archaeologist who, engrossed in the parchments he’s discovered, doesn’t notice the mummy’s arm slide down from its bound position.
And in the following year, 1932, in addition of Howard Hawks’ Scarface, Whale’s The Old Dark House and Charles Brabin’s The Mask of Fu Manchu, Karloff had another terrifying entrance in cinematographer-turned-director Karl Freund’s horror landmark The Mummy. As the title fiend, Imhotep, Karloff is first glimpsed in full bandage, sarcophagus laid open behind an unfortunate archaeologist who, engrossed in the parchments he’s discovered, doesn’t notice the mummy’s arm slide down from its bound position.
- 3/27/2016
- by Dennis Cozzalio
- Trailers from Hell
Ramon Novarro: 'Ben-Hur' 1925 star. 'Ben-Hur' on TCM: Ramon Novarro in most satisfying version of the semi-biblical epic Christmas 2015 is just around the corner. That's surely the reason Turner Classic Movies presented Fred Niblo's Ben-Hur: A Tale of the Christ last night, Dec. 20, '15, featuring Carl Davis' magnificent score. Starring Ramon Novarro, the 1925 version of Ben-Hur became not only the most expensive movie production,[1] but also the biggest worldwide box office hit up to that time.[2] Equally important, that was probably the first instance when the international market came to the rescue of a Hollywood mega-production,[3] saving not only Ben-Hur from a fate worse than getting trampled by a runaway chariot, but also the newly formed Metro-Goldwyn-Mayer, which could have been financially strangled at birth had the epic based on Gen. Lew Wallace's bestseller been a commercial bomb. The convoluted making of 'Ben-Hur,' as described...
- 12/21/2015
- by Andre Soares
- Alt Film Guide
Above: three-sheet poster for The She-Devil (1918).Theda Bara, cinema’s first bona fide sex symbol, was born 130 years ago this week. Barely remembered today, she was once one of the great stars of the silent era (only Chaplin and Pickford were bigger). She made over 40 films, most of them, astonishingly, in the space of five years—between 1915 and 1919—but, thanks to a fire at Fox Studios in 1937, only a handful can be seen today. She never made a talkie, though she lived long into the sound era. But in her heyday she was a media sensation, a Kardashian avant la lettre.Born Theodosia Burr Goodman in Cincinnati, Ohio, on July 29, 1885, Bara was a New York theater actress who wasn’t discovered by the movies until she was 30. The film that, quite literally, made her name—and that name was “The Vamp”—was A Fool There Was in 1915.Adapted from a...
- 8/1/2015
- by Adrian Curry
- MUBI
'To Each His Own' movie with Olivia de Havilland and John Lund 'To Each His Own' movie review: Best Actress Oscar winner Olivia de Havilland stars in Mother Love tearjerker Olivia de Havilland, who had starred in the 1941 melodrama Hold Back the Dawn, returns to the wartime milieu in To Each His Own (1946), once again under the direction of Mitchell Leisen, who guides the proceedings with his characteristic sincerity while cleverly skirting the Production Code's restrictive guidelines. In To Each His Own, de Havilland plays Jody Norris, a small-town woman who falls quickly in love – much like her character in Hold Back the Dawn – but this time during World War I, when Jody's brief liaison with daredevil flying ace Captain Cosgrove (John Lund) results in an out-of-wedlock child. When Cosgrove is killed in battle, the young mother anonymously gives up her baby to a childless couple in her hometown, remaining...
- 5/7/2015
- by Doug Johnson
- Alt Film Guide
Veterans Day movies on TCM: From 'The Sullivans' to 'Patton' (photo: George C. Scott in 'Patton') This evening, Turner Classic Movies is presenting five war or war-related films in celebration of Veterans Day. For those outside the United States, Veterans Day is not to be confused with Memorial Day, which takes place in late May. (Scroll down to check out TCM's Veterans Day movie schedule.) It's good to be aware that in the last century alone, the U.S. has been involved in more than a dozen armed conflicts, from World War I to the invasion of Iraq, not including direct or indirect military interventions in countries as disparate as Iran, Guatemala, and Chile. As to be expected in a society that reveres people in uniform, American war movies have almost invariably glorified American soldiers even in those rare instances when they have dared to criticize the military establishment.
- 11/12/2014
- by Andre Soares
- Alt Film Guide
FilmOn Horror Network is available for free. FilmOn Horror Network gives its users the best in bizarre and horrifying films, documentaries and specials. One of the films you can see on the FilmOn Horror Network is the 1915 film, “The Raven.” The film is directed by Charles Brabin, with the screenplay written by Brabin, based on the George C. Hazelton novel “The Raven–The Love Story of Edgar Allan Poe” and “The Raven” by Edgar Allen Poe. The film stars Henry B. Walthall, Ernest Maupain, Eleanor Thompson and W.C. Robinson. Here’s the synopsis of “The Raven”: “Walthall stars as Edgar Allan Poe in this rare 1915 film produced by The Essanay [ Read More ]
The post Watch FilmOn Horror Network for Free appeared first on Shockya.com.
The post Watch FilmOn Horror Network for Free appeared first on Shockya.com.
- 1/31/2014
- by monique
- ShockYa
Ramon Novarro is Ben-Hur: The Naked and Famous in first big-budget Hollywood movie saved by the international market (See previous post: "Ramon Novarro: Silent Movie Star.") Turner Classic Movies’ Ramon Novarro Day continues with The Son-Daughter (1933), on TCM right now. Both Novarro and Helen Hayes play Chinese characters in San Francisco’s Chinatown — in the sort of story that had worked back in 1919, when D.W. Griffith made Broken Blossoms with Lillian Gish and Richard Barthelmess. By 1933, however, the drab-looking, slow-moving The Son-Daughter felt all wrong. (Photo: Naked Ramon Novarro in Ben-Hur.) Directed by the renowned Clarence Brown (who guided Greta Garbo in some of her biggest hits), The Son-Daughter turned out to be a well-intentioned mess, eventually bombing at the box office. And that goes to show that Louis B. Mayer and/or Irving G. Thalberg didn’t always know what the hell they were doing with their stars and properties.
- 8/9/2013
- by Andre Soares
- Alt Film Guide
Frederica Sagor Maas, a Hollywood screenwriter in the 1920s, died January 5 at the Country Villa nursing facility in La Mesa, in the San Diego metropolitan area. She was 111. The daughter of Jewish Russian immigrants, she was born Frederica Alexandrina Sagor on July 6, 1900, in New York City. According to her autobiography, The Shocking Miss Pilgrim: A Writer in Early Hollywood, she studied journalism at Columbia University, but quit before graduation to work as an assistant story editor at Universal Pictures' New York office. While at Universal, she kept herself busy going to star-studded premieres and parties, and — as found in her book — having the studio buy the rights to Rex Beach's novel The Goose Woman, thus giving a solid boost to the careers of actresses Louise Dresser and Constance Bennett, and of future five-time Oscar-nominated director Clarence Brown. Sagor left Universal when film executive Al Lichtman and future...
- 1/7/2012
- by Andre Soares
- Alt Film Guide
Part of a series by David Cairns on forgotten pre-Code films.
Alice Brady said of her face: "It skids, that's the trouble with it. It needs chains. Just when I'm trying to be serious on the screen the thing skids, and I'm doing a tragic scene with a comic face. Look at it. I've often seen those little blonde babes around here giving me the once over. I'm sure they wonder how a face like that fits into pictures."
Stage Mother (1933) offers Brady, best remembered perhaps as the ditzy mom in My Man Godfrey (with Mischa Auer as her louche live-in lover), one of her rare dramatic roles, and she manages to keep her wonky face on the road throughout. With her unlikely, low voice, wide smile and indescribable cackle, Brady has a repertoire of grotesque traits to dazzle the viewer, but she also has an innate sympathy which she...
Alice Brady said of her face: "It skids, that's the trouble with it. It needs chains. Just when I'm trying to be serious on the screen the thing skids, and I'm doing a tragic scene with a comic face. Look at it. I've often seen those little blonde babes around here giving me the once over. I'm sure they wonder how a face like that fits into pictures."
Stage Mother (1933) offers Brady, best remembered perhaps as the ditzy mom in My Man Godfrey (with Mischa Auer as her louche live-in lover), one of her rare dramatic roles, and she manages to keep her wonky face on the road throughout. With her unlikely, low voice, wide smile and indescribable cackle, Brady has a repertoire of grotesque traits to dazzle the viewer, but she also has an innate sympathy which she...
- 12/1/2011
- MUBI
Movie Star Ramon Novarro Brutally Killed Halloween Eve 1968 Paul Ferguson, in a letter he wrote me at the time I was working on Beyond Paradise, blamed his Catholic background for Ramon Novarro's death: "When [Novarro] kissed me, I reacted like a Catholic, what they call homosexual panic. Some old guy in the desert says, 'Kill homosexuals.' It's inbred. . . . I was too drunk to be civilized. Whatever my most primitive moral standings were, I reacted. It had nothing to do with Novarro, nothing to do with his being homosexual. It all had to do with how I saw myself. And the fact that my brother was there. And that he could see me in that homosexual act. It all had to do with my Catholic upbringing, with my five thousand years of Moses. And that's the only reason why this whole thing happened. Because that's what society teaches you. . . . I think after I hit Mr.
- 10/31/2011
- by Andre Soares
- Alt Film Guide
Rex Ingram directing Scaramouche (top); Henri Matisse, Rex Ingram (middle); Rex Ingram, the actor-director, with off-screen girlfriend Rosita Garcia in Baroud (bottom) Rex Ingram Part I In Beyond Paradise, I wrote that "Ingram's unquestionable talent was matched only by his arrogance, fiery temperament, and lack of respect for authority." Indeed, those qualities were his undoing. A couple of years after his falling out with June Mathis and Rudolph Valentino, Ingram was heartbroken when he was passed over for the job of directing Goldwyn Pictures' monumental Ben-Hur, which was to be shot in Italy under Mathis' supervision. After two more years had gone by, both Mathis and her chosen director, Charles Brabin, were fired from the out-of-control project. But instead of replacing Brabin with Ingram, the top brass at Metro-Goldwyn opted for the more malleable Fred Niblo. (Ironically, Ingram's own discovery, Ramon Novarro, landed the role of Judah Ben-Hur after leading...
- 3/19/2011
- by Andre Soares
- Alt Film Guide
The Raven (1915) Direction: Charles Brabin Screenplay: Charles Brabin; from George Cochran Hazelton’s novel and play The Raven: The Love Story of Edgar Allan Poe Cast: Henry B. Walthall, Warda Howard Starring Henry B. Walthall, The Raven is an Essanay feature depicting the life of Edgar Allan Poe, starting with his childhood and going all the way to his marriage to his cousin (played by the little-known Warda Howard). Charles Brabin’s direction is uneven: At some points it’s stagy and rudimentary; at other points, Brabin creates some remarkably striking and eerie visual effects, including a bravura scene for Walthall in which he descends further and further into madness following the death of his wife. Brabin visualizes this with a barrage [...]...
- 11/2/2009
- by James Bazen
- Alt Film Guide
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