Some quick annotated links on a (so far) lazy Saturday:
- The Rutgers University page for my book is now online. My Amazon page has been up for a while, but each step in this process makes the reality of the book seem more tangible. The Rutgers page even has a screen shot of the book’s cover for those of you who haven’t seen it.
- It’s a few days old now, but I’ve been meaning to mention Sharon Waxman’s “Hey Hollywood, Welcome to Your Future,” focusing on the possible internet futures of the film industry. Waxman published the article in the newly launched entertainment industry magazine, The Wrap. More recently, Amy Kaufman discussed the declining profits in the print news media and the challenges that journalists face in reporting on the monetary and job losses in their own profession.
- Two of my recent interests recently came together when a couple of documentary filmmakers experimented with the microblogging tool Twitter. Acknowledging its positive uses as a tool of self-promotion and community building, Jarrod Whaley also adds that Twitter offers a “a sustained and hyperfocused glimpse at the inner workings of the average human mind,” referring to the site as a kind of “textual vérité.” Louis Abelman also brings a documentarian’s eye to Twitter, noting the linguistic codes and cultures that Twitter users learn.
- Documentary filmmaker Errol Morris also covers a subject I find fascinating: the role of documentary in representing the Bush administration. In this New York Times blog/column, Morris interviews three photographers and asks them to select a series of photographs that depict Bush’s presidency. Some of them are iconic–Bush in front of the Mission Accomplished banner, Bush with bullhorn soon after 9/11–but others are more eccentric. What makes the column most compelling, however, are the close readings offered in the dialogues between Morris and his subjects.
- I enjoyed revisiting Pamela Cohn’s terrific, far-ranging interview with Examined Life director, Astra Taylor, after watching the film the other night, in which Taylor describes a childhood experience that provided one source of her interest in ethical philosophy, as well as her teenage discovery of Gilles Deleuze and Felix Guattari’s 1000 Plateaus. Also interesting to note that Taylor had originally planned not to appear in the film but that both Avital Ronnell and Judith Butler wanted her to appear onscreen, in part so that their segments would be consistent with their philosophical approaches.