I have been marking today. Watch this video …. please!
Josh had his story, ‘Stuck inside with only one person to talk to’ published in the ODT today. Here’s a sample:
I often can’t be bothered getting up in the mornings – I never have anything to do.
Why should I bother doing anything any more? I enjoy nothing.
I just lie on my couch and ponder my existence. I never feel happy.
My curtains are hardly open.
I live in darkness because I can’t cope with the light any more.
It reminds me too much of what the old time used to be like.
I just want to be alone.
Read the whole story here.
I enjoyed this article on Open Culture. Go here to read and view.
Who killed Marion Crane? If you’ve watched Psycho, the best-known film by British master of cinematic suspense Alfred Hitchcock, you have the answer. And given that the picture came out in 1960, even if you haven’t seen it, you probably know the answer anyway. But today’s Hitchcock-loving cinéastes and enthusiasts of design have another important question to consider: who directed Marion Crane getting killed?
What is the big deal about Alfred Hitchcock? Why are his films considered to be so significant? In this documentary, Hitchcock scholar Jeffrey Michael Bays explores the camera and editing techniques that recur through Hitchcock’s films. With an emphasis on emotional faces and glances from his actors, he was able to paint his scenes in a way that drew his viewers into the minds of the characters.
This is the film we talked about in class. The trailer is fantastic – almost as good as Hitchcock taking us through the Bates Motel!
Also go here to read ‘My favourite Hitchcock: Vertigo’ by Rhik Sammader. Here’s a little:
The trouble with being the best movie of all time is that Vertigo is now an easy target for criticism. But this strange, frustrating story of a haunted pervert will always evade definition. Hypnotised and hypnotic, mad and maddening, surely no commercial studio film (admittedly, a commercial and critical flop on its release) has ever offered and withheld such intricacy of intent and interpretation as Alfred Hitchcock’s Vertigo. Pored over, parsed for clues, yanked to and fro by academics and psychoanalysts, its spirals of meaning permeate the development of film theory like the ringbound spine of a syllabus folder.
Few mistakes sour good writing like nominalizations, or, as Helen Sword likes to call them, zombie nouns. Zombie nouns transform simple and straightforward prose into verbose and often confusing writing. Keep your nouns away from the elongating nominalizations! A really interesting watch.