Dick Whittington’s Cat — Ub Iwerks

Gandhi vs Tenenbaum

Surface Tension — Hollis Frampton

Ulysses (1967 Film Adaptation)

Bloomsday

Portrait of James Joyce by Djuna Barnes

How to read Ulysses

Ulysses art by Roman Muradov

Selections from one-star Amazon reviews of Ulysses

joyce_ulysses-p2
Ulysses manuscript page

A list of Irish heroes (from “The Cyclops” episode of Ulysses)

“Words,” a page from one of Joyce’s notebooks for Ulysses

Another page of Joyce’s notes, plus links to more

James Joyce talks dirty

Filming Finnegans

James Joyce’s eye glasses prescription

William Faulkner’s Joyce anxiety

Ezra Pound on James Joyce

Marilyn Monroe reads Molly 

Biblioklept’s lousy review (the review is lousy, not the book) of Dubliners

Joyce’s entry on the 1901 Irish Census

Joyce’s caricature of Leopold Bloom

Biblioklept’s review (not so lousy, the review) of a superior full-cast audio recording of Ulysses

James Joyce explains why Odysseus is the most “complete man’ in literature

James Joyce’s passport

Leopold’s Bloom’s recipe for burnt kidney breakfast

“What in water did Bloom, waterlover, drawer of water, watercarrier, returning to the range, admire?”

James Joyce’s death mask


Harry Nilsson’s Unfinished Documentary, Did Somebody Drop His Mouse?

(About).

Meet the Feebles — Peter Jackson

Behind the Scenes of Wild Strawberries

Japanese Posters of David Lynch Films

Continue reading “Japanese Posters of David Lynch Films”

“The work of a poet never ends” (Borges)

Hitchcock Poster (Stage Fright) — Marek Freudenreich

45a90c24353b12a036d9359a70bfc2e5

Saw this in a book of Hitchcock posters at the bookstore the other day—it was attributed to “Marek Frevdereich” in the book though. Anyway, I found it online in this wonderful collection of movie posters (I love the one for Deconstructing Harry especially).

Read an Excerpt from Cormac McCarthy’s Script for The Counselor

The New Yorker has published an excerpt of Cormac McCarthy’s script for The Counselor, a film directed by Ridley Scott that will come out this fall.

An excerpt of the excerpt:

the kid rakes an object from under the paper into his helmet and puts down the paper and stands and puts the helmet under his arm and crosses the plaza to his bike and puts his foot over the bike and starts it and pulls his gloves from the helmet and lays them on the tank in front of him and pulls on the helmet and fastens the strap and then pulls on the gloves and kicks back the stand and pulls away into the traffic.

night. two-lane blacktop road through the high desert. A car passes and the lights recede down the long straight and fade out. A man walks out from the scrub cedars that line the road and stands in the middle of the road and lights a cigarette. He is carrying a roll of thin braided wire over one shoulder. He continues across the road to the fence. A tall metal pipe is mounted to one of the fence posts and at the top—some twenty feet off the ground—is a floodlight. The man pushes the button on a small plastic sending unit and the light comes on, flooding the road and the man’s face. He turns it off and walks down the fence line a good hundred yards to the corner of the fence and here he drops the coil of wire to the ground and takes a flashlight from his back pocket and puts it in his teeth and takes a pair of leather gloves from his belt and puts them on. Then he loops the wire around the corner post and pulls the end of the wire through the loop and wraps it about six times around the wire itself and tucks the end several times inside the loop and then takes the wire in both hands and hauls it as tight as he can get it. Then he takes the coil of wire and crosses the road, letting out the wire behind him. In the cedars on the far side, a flatbed truck is parked with the bed of the truck facing the road. There is an iron pipe at the right rear of the truck bed mounted vertically in a pair of collars so that it can slide up and down and the man threads the wire through a hole in the pipe and pulls it taut and stops it from sliding back by clamping the wire with a pair of vise grips. Then he walks back out to the road and takes a tape measure from his belt and measures the height of the wire from the road surface. He goes back to the truck and lowers the iron pipe in its collars and clamps it in place again with a threaded lever that he turns by hand against the vertical rod. He goes out to the road and measures the wire again and comes back and wraps the end of the wire through a heavy three-inch iron ring and walks to the front of the truck, where he pulls the wire taut and wraps it around itself to secure the ring at the end of the wire and then pulls the ring over a hook mounted in the side rail of the truck bed. He stands looking at it. He strums the wire with his fingers. It gives off a deep resonant note. He unhooks the ring and walks the wire to the rear of the truck until it lies slack on the ground and in the road. He lays the ring on the truck bed and goes around and takes a walkie-talkie from a work bag in the cab of the truck and stands in the open door of the truck, listening. He checks his watch by the dome light in the cab.

The Company of Wolves (Full Film)

The Draughtsman’s Contract — Peter Greenaway

Brian Wilson All Cuddled Up with His Manipulative Psychologist

Kurosawa: The Last Emperor (Documentary by Alex Cox)

Mike Leigh Offers an Alphabetized List of Themes in His Film Life Is Sweet