Ebook Read Filmish by Edward Ross – latinboyz4play.com
E of thought is a uote from Steve Neil Where a woman is regarded a man is tested Sure Okay However the spin Ross puts on this uote in my understanding is that men shouldn t be tested The demonstration of a man s body doesn t interrupt the narrative Well it bloody well shouldn t otherwise we d either be here all day A man s body is always shown in action with an emphasis on physical power and dexterityWhat exactly do ou want 120 minutes of uninterrupted tea sipping and chitchat between five obese geriatricsMore importantly what do ou think the general audience wants Because I m willing to bet that heroic displays of physical prowess get a lot of people excited From Westerns to Superhero films the male body takes a hit so that others do not sufferThis is heroism Stories are about heroism Joseph Campbell s ever spinning corpse shall be the foundation for a perpetual motion machine that shall power the male objectification power plants of the world But I persevered god did I persevere in the vain hope that there would be light at the end of the tunnel that this was all just some mad fever dream and we d soon skip over the author s radical political views and get onto something substantive But in the words of Smash Mouth s All Star They just keep coming And they just keep coming Ross addresses his views on women people of color and all other genetically inferior individuals that clearly can t stand up for themselves Clearly these sub humans need to be protected and victimized by the double standards of a white dude It is without an iota of doubt that these poor disabled people that constitute about 80% of the world s population need a strong and deceitful voice to protect them from the harms of the White Devil I m being sarcastic don t lynch me please In my opinion the problem with Ross political correctness is that it doesn t inhabit one chapter but permeates the whole book It leaks into every theme derailing whatever was being discussed into neo Marxist post modernist ideas that I strongly disagree with Ross pushes forward ideas that ride the self righteousness of hardcore liberalism all the way to the top of the horseshoe where it meets the fascism the book itself reviles He s so drunk on the notion of open mindedness and the superiority that it supposed guarantees that he s practically given himself papal infallibilityIt s like Ross simultaneously wants a police state directed against the majority of the USA and a communist utopia for the minority Ross s ethos goes against treating people differently and segregationist ideology but he goes against his own words and treats Hollywood with a great deal criticism than he does NollywoodRoss briefly heaps praise on the Nigerian film industry although I m willing to bet that there s plenty of muscly men objectified women and conservative idealsTimes like these I foster suspicions that radically left spokespeople are racist than any centrist or conservative Underlying Ross s treatment of women people of colour etc as fragile glass objects that should only be praised is perhaps the assumption that these groups of people are somehow inferior and are of such low status intellect and capabilities that they cannot defend themselves or make their own case that Nigerian film makers are so infantile and vulnerable that even one word of criticism would be sacrilege Conversely by blasting so much flak at Hollywood the subtext is that Western Culture is strong enough to take itI may be reading too far into this but the implications of this twisted worldview are chilling Admittedly there are moments of respite when the author mentions some interesting themes worth considering But any actual theory of deconstruction or what makes a film good is well beyond the scope of this bookThough there are myriad examples of what constitutes a bad filmAt its best this is a glorified 100 movies ou should see list Except half of them are brought up as examples of patriarchal Hollywood white man evil With all this said I will begrudgingly admit that Ross makes some good points The facts behind the Pentagon s subsidizing Hollywood are thought provoking But these aren t the kind of things I expected to read about in a book placed on the same pedestal as Scott McCloud s Understanding Comics I forced myself to see this book to the end because I thought it beneficial to expose myself to a worldview radically different from mine I gave this book a fair chance several fair chances and it never failed to disappoint The book s saving grace is that the art is nice and clean This does little to save the content Final rating 1 star Avoid Addendum I apologise to Edward Ross if my review seems antagonistic or hateful I bear the author no ill will It s my understanding that a lot of work went into this as with any work of literature Ross has a right to his opinion and likewise I have a right to mine The crux of the problem is that I spent 19 dollars and several hours on this book and the end result was strongly unenjoyableI see that a lot of other readers really enjoyed this book and power to them Explained above is my experience with this book my opinion of it and the reasons for which it is largely negative If Bad Pets you re short on time and my reasoning seems fair avoid this book If it seems that I ve made a poor case of my opinion who am I to stopouEdit later today I ve just started reading Jordan Peterson s 12 Rules in which I found this uote that perfectly encapsulates my experience with Filmish And so we arrive at the second teaching that millennials have been bombarded with They sign up for a humanities course to study greatest books ever written But they re not assigned the books instead they are given ideological attacks on them based on some appalling simplification Where the relativist is filled with uncertainty the ideologue is the very opposite He or she is hyper judgmental and censorious always knows what s wrong about others and what to do about it Sometimes it seems the only people willing to give advice in a relativistic society are those with the least to offer. On fiction graphic novels like Scott McClouds Understanding Comics and the Introducingseries Filmish tackles serious issues sexuality race censorship propaganda with authority and wit throwing new light on some of the greatest films ever mad.
read Filmish by Edward Ross
E voice and language power and ideology and technology and technophobia His examples of the uses of each of these areas are useful but it seems as if his writing style is similar to that of a college student who over annotates and at the same time relies too strongly on a few sources This is particularly visible in the first two chapters which repetitively use a book by Laura Mulvey cited on pp 17 19 20 22 28 33 42 and 54 as well as another by Francesco Casetti cited on pp 9 132 Edward Ross takes readers on an affectionate intelligent tour of film history with uite a bit of analysis and cultural theory He makes his ideological stances clear offers up context and rhetorical uestioning also makes clear his great and nerdy love of film While I wouldn t mind seeing a similarly themed book written by a number of people through than one man s eyes and though at times it struck me as a bit dry or the atmosphere a little too controlled somehow I enjoyed Filmish and learned a lot from it I ve read a bit about film history and theory and am familiar with many of the ideas in here but I loved seeing it all unfold in comic form Ross Ross narrates in a way that reminds many readers of McCloud s book about comics I suppose it s McCloud than Pekar but Ross uses the comic medium to keep the tone conversational even when it could have a lectury feel to it and he uses comics to clarify his analyses and to bring iconic film moments and introspective characters to life Well sort of He has the characters speaking on his behalf really which is a little annoying and gimmicky but still sometimes entertaining The book is broken up into parts The Eye The Body Set and Architecture Time Voice and Language Power and Ideology and Technology and Technophobia In this way he is able to organize his exploration thematically without being confined to chronology though the still does a fine job of contextualizing some of film s transitional moments shifting identities and influencesThis would be a great book to go along with a film or mediacultural studies course Would also be fun to make a list of films mentioned in the book and start watching them as a way to be in conversation with Filmish speaking the language is half the battle Maybe this will open the door for conversational theoretical books on film whose scopes are smaller and whose conversations go deeper I thought this was going to be a Film HistoryArt for Beginners in the way that Scott McCloud s non fiction graphica explores the vocabulary of comics Wrong It s like Advanced Film Theory for Beginners in a McCloud style Each chapter is a graphic essay on a particular aspect of film that permeates the whole history of film eually distributed between arthouse cinema and blockbuster Hollywood product It seems at times that presenting this material as graphica is a labor intensive way of avoiding seeking permission from the studios for reproducing images and the work it takes to reproduce those images in graphica excuses the author from deeply exploring the issues addressed in each chapter Perhaps but the claims are legit and the films cited are good exemplars for each phenomenon explored The endnotes provide ample references for the layperson to encounter deeper discourse Disclaimer I read this book in its Russian translation So perhaps some of my discontentment stems from the fact that the Russian title translates as How films work Theory and History of Cinematography For this reason my uotations from the book may not be exact However I strongly believe that this book could ve been called anything and my general impression would be the same If I had to guess the title of this book based on its contents these would be my guesses White Hetero Men and Why They are to Blame Transphobia and the Patriarchy The USA is bad Ban muscular men from the big screen MY Political Views down YOUR gullet Also maybe something concerning somemotion pictures I once saw This is not a book by a film director writer or even critic In fact I suspect as to whether it s even written by someone who loves movies All that I can say about Edward Ross judging by this book is that he s seen a lot of films As to whether or not he s ualified to talk about these movies is a matter of opinionRoss believes that Aladdin promotes hate against Arabs when all the main protagonists Abu excluded are of Arab descentRoss claims that Back to the Future s view on time travel is fatalistic as opposed to Terminator s Running Your Best you are the master ofour own destiny viewpoint Back to the Future Part 3 end of the film I uote Jennifer Parker Dr Brown I brought this note back from the future and now it s erasedDoc Of course it s erasedJennifer Parker But what does that meanDoc It means The Fall Of White City (Victorian Chicago Mystery Series Book 1) your future hasn t been writtenet No one s has Your future is whatever Please Dont Tickle The Tiger you make it So make it a good one both ofouMarty McFly Marty wraps his arm around Jennifer We will Doc So much for research In the chapter Ideology and Power Ross first examines how transphobia sexism homophobia racism etc inhabit the most innocuous of films In the same chapter Ross talks about how violent films shouldn t be banned because the modern audience doesn t interpret everything they see at face value He cites facts about how children who ve witnessed on screen violence show no signs of an increased tendency for violence The crescendo of this double think comes at the end of the chapter Ross states that we still can t deny the power of film and although films can t incite violence discrimination islamophobia and genocide they play their role in forming our worldview and strengthening the status uo So which is it I was expecting information that would help me better understand the art of motion pictures some sort of theory that would help me understand the art of cinematography on a deeper levelInstead this book is brimming with heavy handed self contradictory and closed minded political correctness that made me want to throw away the book on than one occasion Ross goes so far as to explore the topic of Male Objectification The opening uote to this lin. Ating concepts at work in the movies Each chapter focuses on a particular theme the body architecture language and explores an eclectic mix of cinematic triumphs from A Trip to the Moon to Aliens Sitting within the tradition of bestselling
This plays out like a short introductory college course on film history and film theory with the lecturer and his PowerPoint presentation adapted to graphic novel form and each section of the book coming off as a separate class session There is nothing in depth here but it is a decent overviewI have a uibble that as an artist Ross can barely pull off the likeness of the celebrities and actors around whom the book revolves Fortunately he provides endnotes that include identifications of most of the people portrayed in the artwork On a broader note the book highlights a sort of catch 22 By justly disparaging the dominance of white males in the film industry throughout its history and drawi This was a fantastic journey through film divided into 7 chapters exploring the following aspects of film The Eye The Body Sets Architecture Time Voice Language Power Ideology Technology TechnophobiaI ve always been interested in film history and the art of film making and cinema and this was indeed enlightening and uite educational as well The graphics are beautiful and I loved the different illustrations of films and characters that we ve known and seen our whole lives and are instantly recognizable I loved how he took different films and studied them not only mentioning them once but mentioning them again whenever it applied throughout the different chapters Films like The Shining and 2001 A Space Odyssey and Jurassic Park and A Clockwork Orange and King Kong and Die Hard and The Matrix are just a fraction of the movies mentioned and used as examples to showcase different aspects of film making throughout history It is very interesting and highly entertaining and many films I hadn t MTIV yet watched have been added to my To Watch list with a new outlook on how they re made Excellent book for all lovers of film More books like this need to be made I would love a version of this book made about music for instance This was an interesting book an introduction to film theory in graphic novel form Ross has a pleasant clear line style that serves the material well The book is divided into chapters each dealing with a different theme The Eye The Body Sets and Architecture etc His examples are well chosen and his footnotes at the back of the book add further details and suggest even films for the curious The book is perhaps a touch on the light side think of it as Film Theory 101 but it s definitely an interesting read even ifou think International Organizations you know the subject in detail already More than a comic Filmish is an illustrated essay on cinema Don t read it ifou just like comics read it if Laurus you like reading about cinema regardless ofour opinion on the comic book medium Now if ou like both comics and cinema just as I do then it s a must buy The book is divided in seven chapters the eye the body time architecture and sets voice and language power and ideology technology and technophobia all dealing with how cinema has involved and how it affects human society Although I do not agree with all the opinions expressed by Ross and he has interpreted Loved the idea of exploring film history and concepts in graphic novel format The structure is also something that I appreciated 7 sections dealing with different aspects of cinema through specific examples from films There is also an extensive bibliography at the end and a list of all of the films mentioned here which could make for a very interesting watchlist However I had some major issues with this book First of all most of the text consists of uotes from other works listed in bibliography which makes from very little original written content from the author Also he reuses the same shots throughout the book which seems lazy I m not talking slightly different drawings of the same scene the same exact illustrations And they aren t spaced that far apart either so it s very obviously repetitive Finally and this complaint may just be specific to cinephiles like me none of this is very in depth or presents a new perspective it s a very basic beginner look at the subject This may work well for people looking to get into the art of film but then in order to do so they will end up reading a lot of spoilers for films they haven t seen since they re just getting into the whole thing especially considering how much indie and arthouse examples are present hereBasically what I m saying is that I m not sure who would benefit the most from this book It s too brief and surface for people who have actually seen these movies and want to dig into the artistry and a lot of the examples will be obscure for beginner film fans Maybe the best thing is to get through the filmography at the end first But that would delay reading this for a WHILE In this graphic form Ross introduces film theory and history through seven different lenses or graphic essays The Eye The Body Sets and Architecture Time Voice and Language Power and Ideology and Technology and Technophobia Each graphic essay is full of detail and film references from every genre Special focus on visual storytelling techniues the use of time space visual markers and thematic and comprehensive notes to cue the viewer what is happening in screenIn this age of Peak Television where many of the best serial television and streaming shows have the same writers and budgets as films there is a lot of crossover for the big and small screenThe narration and style reminded me of another graphic history that I really enjoyed a few ears back Out on the Wire Uncovering the Secrets of Radio s New Masters of Story with Ira Glass with the authorillustrator serving as guide through history or the process So glad to see offerings of this type solid enough for a textbook but very readableFor the lit and film crit crowd as well as those that are into graphic storytelling And ou better believe I was LOVING the 20 pages of endnotes and bibliography at the end Imagine taking a film class by graphic novel That would be the perfect conceit for Filmish by Edward Ross Ross builds a de facto history of cinema via the cinematic lexicon of eye body space tim. Edinburgh based cartoonist Edward Ross uses comics to illuminate the ideas behind our favourite films In Filmish Ross's cartoon alter ego guides readers through the annals of cinematic history introducing us to some of the strange and fascin.