By Sarah Hotchkiss / KQED
In case you missed it, here’s a link to a fascinating Guardian story about how perceptions of masculinity differ between American and British men. As a man (and I do use the term advisedly) who’s lived in both countries, I can attest that the story’s conclusion — that American men feel ‘completely masculine’ at a rate considerably higher than do their UK counterparts — is broadly accurate.
The steady drip of films attempting to make sense of our apparently never-ending ‘War on Terror’ continues. Some, of course, are better than others, but almost all tell their stories entirely from the perspective of Western protagonists struggling with questions of morality and personal conscience.
We all know what to expect from a Michael Moore film: snark. Though politically pointed and frequently hilarious, Moore’s bad attitude has been offending viewers ever since his groundbreaking boob tube series ‘TV Nation’ aired for a single season in 1994 (who can ever forget the Serbo-Croatian peace process pizza party?).
Filmmaking has a long, rich history in the East Bay, extending from the World War I-era silent comedies produced at the Essanay-West Studio in Niles (now incorporated in Fremont) to the present-day animated blockbusters created by Emeryville’s Pixar Studios. Despite the best efforts of the Wayans Brothers, however, Oakland has never had its own film studio (though films ranging from Erich von Stroheim’s magisterial silent epic Greed to Will Smith’s The Pursuit of Happyness have been shot there), and Berkeley—well, Berkeley may have a world-class university, great weather, and People’s Park, but it’s never been anyone’s idea of a player in the movie business.
Do filmmakers and studios pay enough attention to the humble preview?
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