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Category: Podcast Episode

SPECIAL GUEST
Author Samm Deighan, “Lost Girls: The Phantasmagorical Cinema of Jean Rollin” and an upcoming book on Fritz Lang’s M; co-host of the Daughters of Darkness Podcast; Associate Editor of Diabolique Magazine; contributor to Senses of Cinema Magazine

This month we are on the hunt for a serial killer in Fritz Lang’s 1931 German thriller “M”.

This podcast is non-profit and has been broadcast for educational purposes. Excerpts from the following material has been included to enhance the listener experience:

FILM
M [English Language Version] (1931) dir. Fritz Lang, Germany

SONGS
“The Main Scene” from Nosferatu, eine Symphonie des Grauens (1922) w: Hans Erdmann
“In the Hall of the Mountain King” (Suite No. 1, Op. 46) from Peer Gynt (1875) w: Edvard Grieg, p: Peter Lorre
“Supersymmetry” (2013) w & p: Arcade Fire
“Silo Attack” from A Quiet Place: OST (2018) w: Marco Beltrami

SHOW NOTES

If you want to follow us on Letterboxd, we’re always logging and rating films we’ve been watching and occasionally Luke will do some pretty in-depth reviews, too.

Luke Kane: http://www.letterboxd.com/overbreakfast/
Damien Heath: http://www.letterboxd.com/jedikaos/

You can find Celluloid Junkies on Facebook, Twitter, Instagram, YouTube and Pinterest. Luke is also on Twitter, as is Damien.

Thanks again for checking out Celluloid Junkies. We’ll see you next time with a close-up, in depth look at Barbara Kopple’s dramatic, tense and inspiring Academy Award-winning documentary “Harlan County, U.S.A.”.

This month we are profiling Lynne Ramsay’s 2011 mesmeric domestic drama “We Need to Talk About Kevin”.

This episode was recorded before the February 14th school shooting at Stoneman Douglas High School in Parkland, Florida. As such, some research and statistics stated during the show do not reflect the severity of this school shooting. Our thoughts are with all of the victims, their families and friends.

See Never Again MSD for information on the #NeverAgain movement, created by students of Stoneman Douglas High School who wish for no students to experience what they went through in the future. The “March For Our Lives” rally is being held on March 24th, 2018 in Washington, D.C.

This podcast is non-profit and has been broadcast for educational purposes. Excerpts from the following material has been included to enhance the listener experience:

FILM
We Need to Talk About Kevin (2011) dir. Lynne Ramsay, USA

SONGS
“I Don’t Like Mondays” (2001) w: Bob Geldof, p: Tori Amos

SHOW NOTES

Poster Design

Design is one of the recurring themes of “We Need to Talk About Kevin”. Eva’s sparse, childless life decisions are by design; her work is big on design in many ways, including the literal; and the movie takes these themes and transfers them to not only the screen, but also the publicity materials used in its promotion. Few recent movies have received quite as many markedly different poster designs as this film, and here are a selection of just a few of the best.

The reviews and awards poster.

The Kevin-centric poster.

This and the next poster use Neue Helvetica 97 Black Condensed, a blockletter variant of the world’s most popular font. Notice the use of colour, and its direct contrast to the next poster. The blue hues are similar to those seen during the film’s climax.

The Eva-centric variant of the same poster.

Notice that the first two quotes are the same as on the last poster, but in this variation the third quote is changed from one about Ezra Miller to one about Tilda Swinton. The colour, obviously, has been altered to the dramatic red tones that run throughout the movie when modern day Eva is on screen.

If you want to follow us on Letterboxd, we’re always logging and rating films we’ve been watching and occasionally Luke will do some pretty in-depth reviews, too.

Luke Kane: http://www.letterboxd.com/overbreakfast/
Damien Heath: http://www.letterboxd.com/jedikaos/

You can find Celluloid Junkies on Facebook, Twitter, Instagram, YouTube and Pinterest. Luke is also on Twitter, as is Damien.

Thanks again for checking out Celluloid Junkies. We’ll see you next time with a close-up, in depth look at Fritz Lang’s 1931 German-language masterpiece “M”.

We’re doing something we haven’t done before as we take a look back at 2017. We’ll review each of the Best Picture nominees for next month’s Academy Awards, each list our five favourite films of 2017, and each give away 10 awards in the inaugural Celluloid Junkies Oscars Preview!

This podcast is non-profit and has been broadcast for educational purposes. Excerpts from the following material has been included to enhance the listener experience:

FILM
Silent Night, Deadly Night (1984) dir. Charles Sellier Jr., USA
The Silence of the Lambs (1991) dir. Jonathan Demme, USA

SONGS
“American Girl” (1977) w: Tom Petty, p: Tom Petty and the Heartbreakers

SHOW NOTES

If you want to follow us on Letterboxd, we’re always logging and rating films we’ve been watching and occasionally Luke will do some pretty in-depth reviews, too.

Luke Kane: http://www.letterboxd.com/overbreakfast/
Damien Heath: http://www.letterboxd.com/jedikaos/

You can find Celluloid Junkies on Facebook, Twitter, Instagram, YouTube and Pinterest. Luke is also on Twitter, as is Damien.

In the first episode of 2018, returning guest host Cassandra Kane joins us as we look at Frank Pierson’s 1976 romantic musical drama “A Star Is Born”.

This podcast is non-profit and has been broadcast for educational purposes. Excerpts from the following material has been included to enhance the listener experience:

FILM
A Star is Born (1976) dir. Frank Pierson, USA

SONGS
“The Man That Got Away” (1954) w: Harold Arlen & Ira Gershwin, p: Judy Garland
“Everything” (1976) w: Rupert Holmes & Paul Williams, p: Barbra Streisand
“Lost Inside of You” (1976) w: Barbra Streisand & Leon Russell, p: Barbra Streisand
“Evergreen” (1976) w: Barbra Streisand & Paul Williams, p: Barbra Streisand
“Evergreen” (1976) w: Barbra Streisand & Paul Williams, p: Henry Mancini Band
“The Woman in the Moon” (1976) w: Paul Williams & Kenny Ascher, p: Barbra Streisand
“I Believe in Love” (1976) w: Kenny Loggins and Alan & Marilyn Bergman, p: Barbra Streisand
“Finale: With One More Look at You/Watch Closely Now” (1976) w: Paul Williams & Kenny Ascher, p: Barbra Streisand

INTERVIEW
Streisand 1976 https://www.youtube.com/watch?v=ZanBEbho7ro

SHOW NOTES

Read the New West article “My Battles With Barbra and Jon” by director Frank Pierson. A riveting read full of interesting facts with very healthy amounts of rumours and innuendo. Who you believe may come down to where you sit on the Streisand Scale.
http://barbra-archives.com/bjs_library/70s/new_west_battles_barbra_jon.html

Check out Pauline Kael’s full, five-page review of the film. You may disagree, you may agree, but either way you’ll appreciate the way she puts her thoughts into words.
https://celluloidjunkies.com/podfiles/asib-kael.pdf

We’ve spoken a lot recently about gender inequality in Hollywood, and in this episode we specifically discuss changes in the acceptance of gender roles due to Barbra Streisand’s producing, writing and directing. She won an Academy Award for Best Original Song for “Evergreen” from this movie, the first time a female had won that award as a composer. Her role in changing gender stereotypes cannot be understated, but there is still immense work to be done.

Zohar Altman David wrote specifically about Streisand in his research paper for Tel Aviv University, “The star as a Creation and the Star as a creator: The case of Barbra Streisand”.
http://iipc.utu.fi/reconsidered/Ravid.pdf

The Bechdel Test

The Bechdel Test Comic Strip

In 1985 a cartoonist named Alison Bechdel wrote and illustrated a strip from her “Dykes to Watch Out For” series which included a ‘rule’ first posited by her friend Liz Wallace. It became known as the Bechdel Test, and started being used to judge the equality of acting roles for women. There’s three features of the rule, and to pass a film must meet all of them: first, the film must have two named female characters; second, those female characters must talk to each other; third, that conversation must not be about a man.

Does A Star Is Born pass The Bechdel Test? Unfortunately, that’s a big no. There’s only one named female character, and that’s Esther.
https://bechdeltest.com/view/3722/a_star_is_born/

Check out if your favourite films pass The Bechdel Test.
https://bechdeltest.com

If you want to follow us on Letterboxd, we’re always logging and rating films we’ve been watching and occasionally Luke will do some pretty in-depth reviews, too.

Luke Kane: http://www.letterboxd.com/overbreakfast/
Damien Heath: http://www.letterboxd.com/jedikaos/

You can find Celluloid Junkies on Facebook, Twitter, Instagram, YouTube and Pinterest. Luke is also on Twitter, as is Damien.

Thanks again for checking out Celluloid Junkies. We’ll see you next month with a close-up, in depth look at Lynne Ramsay’s adaptation of Lionel Shriver’s best-selling novel “We Need to Talk About Kevin”.

This month the revised Celluloid Junkies line-up is cloistered in an Ursuline convent, profiling Ken Russell’s disturbing 1971 political horror film The Devils.

This podcast is non-profit and has been broadcast for educational purposes. Excerpts from the following material has been included to enhance the listener experience:

MOVIES
Witchfinder General (1968) dir. Michael Reeves, ENG
The Devils (1971) dir. Ken Russell, ENG

SONGS
“Devil’s Suite” (1971) w & p: Peter Maxwell Davies
“There is a Light That Never Goes Out” (1992) w: Johnny Marr & Morrissey, p: The Smiths

SHOW NOTES

He could have been James Bond, but British cinema’s most notorious hellraiser lost focus and died at the age of 61, leaving Ridley Scott to piece together his final performance as the slave dealer Proximo in Gladiator (2000) using outtakes, body doubles and CGI. Such was the affection for Oliver Reed among BAFTA members, however, that he was posthumously nominated for the best supporting actor award. But the public had come to think of him as a drunk making a boorish spectacle of himself on chat shows and Channel Four forums like After Dark. “Let’s face it”, Reed told critic Roger Ebert around the time he made Women in Love (1969). “There has to be somebody like me around. The press can’t write about fruits in paisley shirts. They like somebody like Richard Harris or myself, somebody who’s a boozer and gets in fights and is colourful as hell.”

The British Film Institute wrote this, and a lot more, in their list of ten essential Oliver Reed films. The Devils features, as do two more collaborations with Ken Russell.
http://www.bfi.org.uk/news-opinion/news-bfi/lists/oliver-reed-10-essential-films

The Quietus, on the other hand, wrote a stellar defence of the actor when they celebrated the BFI’s release of The Devils on special edition DVD.
http://thequietus.com/articles/08283-oliver-reed-the-devils-ken-russell-bfi-dvd

Then there’s the modern-day reassessment of the critically panned film, and here’s some of the best:

Finally, you must watch Hell on Earth: The Desecration and Resurrection of The Devils, a documentary in which critic Mark Kermode goes on the search for the missing footage. Featuring interviews with many of the key players from the film.

If you want to follow us on Letterboxd, we’re always logging and rating films we’ve been watching and occasionally Luke will do some pretty in-depth reviews, too.

Luke Kane: http://www.letterboxd.com/overbreakfast/
Damien Heath: http://www.letterboxd.com/jedikaos/

You can find Celluloid Junkies on Facebook, Twitter, Instagram, YouTube and Pinterest. Luke is also on Twitter, as is Damien.

Thanks again for checking out Celluloid Junkies. We’ll see you next month with a close-up, in depth look at the various film versions of “A Star Is Born”, focusing on Frank Pierson’s 1976 version starring Barbra Streisand and Kris Kristofferson.

SPECIAL GUEST
Dean Treadway, “Movie Geeks United” podcast co-host

Just for kicks, we present a special episode on Darren Aronofsky’s controversial and entirely brilliant new movie. It is simultaneously an unyielding exploration of faith; a harsh criticism of man’s plundering of finite natural resources; a relationship drama; and the most uncomfortable film an introvert could ever experience.

If you haven’t actually seen this film, stop now and see it. We’ll still be here when you get back, and we guarantee there will be a lot to talk about.

This podcast is non-profit and has been broadcast for educational purposes. Excerpts from the following material has been included to enhance the listener experience:

MOVIES
mother! (2017) dir. Darren Aronofsky, USA

SONGS
“mother!” [Score] (2017) w: Johann Johannsson

SHOW NOTES

Check out the work of this month’s special guest Dean Treadway, co-host of the “Movie Geeks United” podcast. Dean has been involved in film criticism, film festival programming, and television performance and programming for more than 25 years.

If you want to follow us on Letterboxd, we’re always logging and rating films we’ve been watching and occasionally Luke will do some pretty in-depth reviews, too.

Luke Kane: http://www.letterboxd.com/overbreakfast/
Damien Heath: http://www.letterboxd.com/jedikaos/

You can find Celluloid Junkies on Facebook, Twitter, Instagram, YouTube and Pinterest. Luke is also on Twitter, as is Damien.

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