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Monthly Archives: November 2010
The Social Network (David Fincher, 2010)
Early in David Fincher’s Facebook origin story The Social Network, nerdy and socially inept Mark Zuckerberg (Jesse Eisenberg) is chatting to the Winklevoss twins (both played by Armie Hammer). Zuckerberg has proven himself a programming whiz with a campus-blitzing piece of computer hacking; they’re a pair of old-money golden boys looking to recruit him to work on their start-up web business. Despite the modern trappings, the exchange is filtered through more traditional power dynamics, with the tall, good-looking, WASP Winklevosses deigning to let the thin, geeky, Jewish Zuckerberg into the entry hall of their exclusive campus fraternity. It’s at that moment that the analogy between David Fincher’s prestigious Oscar-favourite drama and a campus fraternity comedy such as Animal House snaps into focus.
Just a quick heads-up for Australian writers on film that AFCA’s film writing awards are on again. Submissions are invited until 31 December. Click the graphic below or here for more detail.
As I argued in more detail last year (here), when these were in their first year, I think this is a really important initiative in encouraging better writing on film.
Dreams Come True (ACMI, 18 November 2010 - Tuesday 26 April 2011)
When putting together a museum exhibition I guess one of the key questions is: “who is the audience here?” When reviewing an exhibition, that question might even be more critical.
I have written a previous grumpy review of an exhibition at ACMI (about their Setting the Scene exhibition) and at the time raised the issue that maybe part of the problem was that I wasn’t the intended audience. In that case, I was actually too interested in the subject matter: if an exhibition is pitched at a general audience, someone very caught up in the subject is perhaps inevitably going to judge the material harshly. ACMI’s latest, the Dreams Come True exhibition of fairy-tale themed Disney material, also covers material I’m particularly interested in. So, once again, I have to flag that perhaps I’m a little too close to this to give the exhibition a completely fair go.