1. “Tony Award Nominations.” Lucy Liu and Jonathan Groff announced this year’s contenders for Broadway’s top honors at the Paramount Hotel in New York City.
“Nominations for the 68th annual Tony Awards were announced on Tuesday morning. Lucy Liu and Jonathan Groff co-hosted the announcement, broadcasted live from the Diamond Horseshoe, the newly reopened nightclub venue at New York’s Paramount Hotel. The awards ceremony, to be hosted by Hugh Jackman for the fourth time, will air live on Sunday, June 8 on CBS from Radio City Music Hall. The announcement included a surprise appearance by Jackman, who popped up to lightheartedly remind everyone of the awards show date.”
2. “Art of the Real.” A timeline of hybrid cinema by Dan Sullivan.
“The moving image was inextricably bound up in the goal of documentation from the get-go. The desire to capture and reproduce reality is apparent from Muybridge’s zoopraxiscope experiments to Edison’s Serpentine Dances to the Lumière brothers’ actualities (most famously, Workers Leaving the Lumière Factory). The very presence of the camera and its operator alters the reality they behold, to say nothing of the particular technical conditions Edison worked with (the subjects of his silent films were brought into his Black Maria studio, where some amount of direction inevitably took place, if only ’alright, now kiss him!’ or ’do that dance again!’). This tendency toward enhancing the real with a dash of artifice reached its early apotheosis with Méliès, who steered what was essentially a documentary medium in its infancy toward full-blown, sleight-of-hand fantasy without doing away with its foundation as photography-in-motion.”
3. “The Oldest Story: Toward a Theory of a Dead Girl Show.” Alice Bolin ton how “Who killed Laura Palmer?” spawned a genre.
“Inasmuch as Pretty Little Liars is a Dead Girl Show taken to its logical extreme, the trespasses, sexual and otherwise, of its male authorities are too numerous to name: there are untrustworthy fathers, teachers, doctors, and police officers. It is also notable among other Dead Girl Shows in its absence of a strong protagonist or pair of protagonists, heroes on a quest. All Dead Girl Shows betray an Oedipal distrust in male authority figures, but in Twin Peaks and True Detective, the central characters are male authority figures. These shows glide to a single, comprehensive solution, reflecting the Freudian model of existence that, according to [Maggie] Nelson, ’turns our lives into detective stories; our innermost selves, into culprits.’ At every moment, Pretty Little Liars refuses the unified answer—with its four protagonists, with its many villains and many victims, the way it multiplies with mysteries, with its Dead Girl who refuses to stay dead.”
4. “The Orson Welles File—Part 1.” Peter Bogdanovich on the Welles movies he saw from 1952-1970.
“This file covers the Welles movies I saw 1952-1970, in the order they were seen, with ratings and comments from the movie card-file I kept during those nineteen years. My first professional association with Orson was through curating the first U.S. retrospective of his work at the Museum of Modern Art in 1961, and writing the accompanying monograph. I didn’t actually meet the great man until 1968, after I had published several other books and directed my first feature. He asked me to do an interview book with him at our initial meeting, and that took about five years but wasn’t published until seven years after his death in 1985 at age 70. To put it mildly, Orson was a complicated cat. The book we did together in the ’70s is still in print by Da Capo Press, titled This is Orson Welles, and intended by Welles ’to set the record straight.’ Because his life and career had numerous notorious aspects and controversies, far too numerous to deal with right now. (If you are interested in the book, click here). So, here’s the first ten films I saw with which Orson Welles had something to do, in front of or behind the camera.”
5. “Ebertfest Embodies Civilizing Power of Cinema.” Brian Tallerico on the value of Ebertfest.
“The program often reflected the ability of the human spirit to overcome and look to the future. [Steve] James’ film, while emotional, is far from a dirge, producing as much laughter as any that played at the Virginia Theatre this year. In so many ways, James’ films echoes the title of the last piece Roger wrote, ’A Leave of Presence.’ As filmmakers and fans told stories that were so moving they could have been in a cut of James’ film at ’Remembering Roger Ebert,’ the mood was emotional but also so filled with the joy of sharing even just a moment with a life so well-lived.”
Video of the Day: The Asian trailer for Godzilla gives us our closest look yet of the monster:
Links for the Day: A collection of links to items that we hope will spark discussion. We encourage our readers to submit candidates for consideration to email@example.com and to converse in the comments section.