* Today on Robot 6: Ivan Brunetti covers Strange Tales II (look, it’s Ivan Brunetti’s Nova!!!!);
* Becky Cloonan draws Grant Morrison;
* and Brian Michael Bendis hates the comics blogosphere.
* In case it wasn’t clear from yesterday’s link, that David Bordwell piece on the formulation of the idea of “classical Hollywood cinema” as (essentially) a school of moviemaking wasn’t just a blog post, but an introduction to this massive, delightful essay by Bordwell, Janet Staiger, and Kristin Thompson on the 25th anniversary of their book The Classical Hollywood Cinema. Tons of stuff that put a smile on my ex-film-student face in there, and not just the shoutout to my old professor Charlie Musser. Here’s Bordwell:
…literary academics often argue about terminology, insisting that the choice of a single word reveals deep things about an author’s conceptual commitments and biases. Perhaps this is one reason the literary humanities make so little progress in producing reliable knowledge.
Here’s Staiger:
I find symptomatic criticism (finding subtexts of race, sex, sexual, and class ideologies within films) a valuable critical project because I believe that many people see such ideologies while watching films. However, I also believe that Neoformalism has the greatest critical scope for describing and analyzing works of art.
Dig in!
* And now it’s Tim Hodler’s turn to weigh in on Douglas Wolk.
* Here, let me post that Anders Nilsen poster for the Brooklyn Comics and Graphics Fest at a less tiny size.
* Y’know, reading Ron Rege Jr.’s Yeast Hoist #4 on What Things Do makes Frank Santoro’s argument that they just ain’t makin’ minicomics like they used to a lot more persuasuive.
* Scott Campbell gets that Barton Fink feeling. (Via Nate Patrin.)
* I liked my friend Kennyb’s take on Underworld’s music in general and their new album’s standout track “Scribble” in particular a great deal.
* Mallory’s Clothes, a tumblr dedicated to nothing but posting pictures of every single outfit worn by Mallory on Family Ties? Sure, I’ll eat it. It’s a fine document of the days when tens of thousands of Vampire Weekend cover models roamed the American plains in huge hordes. (Via Matthew Perpetua.)
