Here are some of the film and media links I’ve been thinking about this week:
- First, Pamela Cohn discusses SnagFilms’ new YouTube channel, which will provide documentary fans with yet another site for fining some very cool nonfiction films.
- Also, in YouTube news, the video sharing site has reached a deal to make content produced by Lions Gate, Sony, and MGM available, in part in an effort to compete with Hulu (via The Extratextuals). Karina also discusses the YouTube deal and argues that the site needs to work on restructuring its search tools to direct viewers to the legally available content, supporting something I’ve been thinking for a log time: that we need better filters for finding quality films online (hopefully SpeedCine, when it’s ready, will help here).
- Anne Thompson has a link to the trailer and some discussion of one of the summer flicks I’m most looking forward to seeing: Jim Jarmusch’s The Limits of Control.
- Via David at IFC Daily, another film I can’t wait to see: Lynn Hershman Leeson’s Women Art Revolution, which looks at the history of feminist art from the 1960s to the present. Based on the trailer, this looks like a thorough reflection on art, gender, and politics. The film is currently in post-production and I can’t wait to see it.
- Liz Losh has a terrific roundup of spoofs of that notorious anti-gay marriage ad with its bad special effects and paid actors. On a related note, Frank Rich reads the indifference over the Iowa Supreme Court ruling as a sign that we’re finally turning the corner on gay marriage as an issue.
- Virginia Heffernan joins the Twitter-ambivalent crowd, expressing how Twitter has helped contribute to her wariness about social networks. I’ve already discussed why I think Twitter is valuable, so no need to rehash that here, but I do appreciate that Heffernan criticizes it fom the position of someone who uses and knows what Twitter can do. Especially valuable, her reading of Twistori, “a new site that sorts and organizes Twitter posts that use emotionally laden words like ‘wish’ or ‘hate’ or ‘love,’ thereby building an image of the collective Twitter psyche.”
- Patrick Goldstein of the LA Times has an interesting blog post about the ongoing popularity of Paul Haggis’s Crash. I criticized Crash when it first came out an still think the film is flawed, but I think it is worth asking what contributes to the film’s continued high ranking on Netflix as a popular favorite (note: I may expand this question into a longer blog post later). On a related note, Karina also points out that the LA Times has started a regular independent film column. Like her, I think this is a smart way to attract new readers.