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This is the blog of Ian Rosales Casocot. Filipino writer. Sometime academic. Former backpacker. Twink bait. Hamster lover.
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Bibliography
The Great Little Hunter
Pinspired Philippines, 2022
The Boy The Girl
The Rat The Rabbit
and the Last Magic Days
Chapbook, 2018
Republic of Carnage:
Three Horror Stories
For the Way We Live Now
Chapbook, 2018
Bamboo Girls:
Stories and Poems
From a Forgotten Life
Ateneo de Naga University Press, 2018
Don't Tell Anyone:
Literary Smut
With Shakira Andrea Sison
Pride Press / Anvil Publishing, 2017
Cupful of Anger,
Bottle Full of Smoke:
The Stories of
Jose V. Montebon Jr.
Silliman Writers Series, 2017
First Sight of Snow
and Other Stories
Encounters Chapbook Series
Et Al Books, 2014
Celebration: An Anthology to Commemorate the 50th Anniversary of the Silliman University National Writers Workshop
Sands and Coral, 2011-2013
Silliman University, 2013
Handulantaw: Celebrating 50 Years of Culture and the Arts in Silliman
Tao Foundation and Silliman University Cultural Affairs Committee, 2013
Inday Goes About Her Day
Locsin Books, 2012
Beautiful Accidents: Stories
University of the Philippines Press, 2011
Heartbreak & Magic: Stories of Fantasy and Horror
Anvil, 2011
Old Movies and Other Stories
National Commission for Culture
and the Arts, 2006
FutureShock Prose: An Anthology of Young Writers and New Literatures
Sands and Coral, 2003
Nominated for Best Anthology
2004 National Book Awards
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© 2002-2021
IAN ROSALES CASOCOT
Friday, June 12, 2020
10:00 AM |
The Film Meme No. 48
[48th of 100]. Audacity is the word I'd use to consider this landmark 1962 short film from Chris Marker. First, there is the ambitious breadth of his tale, a time-hopping science fiction epic about a prisoner from sometime in a post-World War III future, devastated by nuclear war, who is forced to endure the time-traveling experiments of his captors: he is made to go to the pre-war past, to a time he remembers from childhood because of a distinct memory he has of a woman on an observation platform at Orly Airport, and of a man he sees getting killed; he is also made to go to the future to glean advise from a more technologically advanced people what they could do in his present to survive the ravaged world. Needless to say, there are twists and revelations and complications in this complex story -- all told in a running time of 28 minutes. How audacious! Second, the entire movie defies the one requirement you'd think is a definition of a motion picture: it does not move, or to be more precise, it consists entirely of still photos flashed one after the other, save for one short second when something actually moves. How audacious! It feels almost like a throwback to the beginnings of the movies, right up to the horses of Eadweard Muybridge. The story of the film is interesting enough for a consideration -- in fact, its time-traveling tale has influenced such films as Terry Gilliam's
12 Monkeys. But I am more interested in Marker's choice of telling this story, via unmoving images, which feels almost antithetical to the very idea of the movies. It's a self-conscious conceit, and while we know panels in succession can be used to tell a story [hello, comics], we have been programmed to accept movies by the nature of its very name, that it moves. So it shouldn't work -- and yet, to our surprise, after the initial disorientation, the film exerts some raw power to lure us into its dark adventure, the still images invariably flowing along with the somber voice-over narration. It is not for everyone, but this classic taught me what's possible in thinking out of the box, that you can defy your own definitions and expectations and still be whole. What's the film?
For the introduction to this meme, read
here.
Labels: film
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