Category Archives: 80s SFF

Driftless Area Review Metapost

A Thank You, CCLaP, and NYJB

First off, thank you to all the followers of the Driftless Area Review. Those following via email updates, on Twitter, or on Facebook. Thank you, all 222+ of you.

I’m writing this post as a general update on all things Driftless Area Review. Besides writing reviews and essays for the Driftless Area Review, I also write reviews and essays for the Chicago Center for Literature and Photography. This year my themed essays focus on critically re-appraising works of erotica and pornography (The Satyricon, The Story of O, etc.). In addition, my reviewing duties have been increased. Last year, I alternated between writing a review and writing a themed essay every two weeks. CCLaP’s founder Jason Pettus has upped the ante, giving me the opportunity to write one review per week. This means getting a book read enough time in advance to formulate a cogent and interesting book review. Additional reviews means additional material for the monthly CCLaP Journal.

In addition to my reviewing at CCLaP, I also write reviews for the New York Journal of Books (NYJB). Unlike CCLaP, the NYJB has a different system of deadlines. Ideally, I work to get a book finished and the review written 24-hours before the book debuts.

If you have not seen a plethora of original posts on this blog, reviewing at two other websites is a major factor. It’s a process of getting used to rhythm of the new scheduling.

CCLaP Editing Apprenticeship

Jason has also given me the opportunity to participate in the CCLaP Editing Apprenticeship. What does that mean? In addition to reading and reviewing (see above), I’m going through slush pile submissions, giving my input. I’m also one of the many proofreaders who goes over every CCLaP title coming out this year. Finally, I am shadow editing two books (MountainFit and Sad Robot Stories).

“What is shadow editing?”

Shadow editing means I’m observing CCLaP’s editing process. Reading the correspondence between Jason, the specific senior editor assigned to the specific title, and the author. I’m also looking at the several drafts going between all parties and the comprehensive, multi-part editing process.

No Premium Theme

Last year in a similar metapost, I promised a revamp in the look for the Driftless Area Review. That never happened. At present, I don’t see the pay-off, especially as it relates to a theme I’d have to purchase. With notifications being sent out to Twitter, Facebook, and LinkedIn, and new followers appearing daily, the cost-benefits equation isn’t there.

Back from Hiatus

Essays on Capital, the Art of Reviewing and The Best Sci Fi and Fantasy Movies of the 80s will be back from hiatus. I think I made a similar claim last year and, alas, it didn’t pan out. (I also had a wedding to plan, so my plate was full.) There will be some revisions. I won’t be covering The Dark Crystal for the Best Sci Fi and Fantasy Movies of the 80s. (More on why below.) I’m working on setting up individual pages for each of these themed essay series. I also have to play catch-up with the Book Review Master List. I will also modify the CCLaP page. (Again, more details below.) I will consolidate Essays on Capital, since I’m now reading Capital: Volume 3.

General call for reviewers and essayists

The Driftless Area Review still has an open call for book reviewers and essayists. Interested? Send me an email at driftlessareareview @ hotmail.com

On Being Human book

My book of themed essays, On Being Human, will be published by the Chicago Center for Literature and Photography. Things are still a little nebulous right now, but more details will follow. It will be available for purchase on Amazon.com and as a free download for CCLaP.

Driftless Area Review book of reviews?

A Driftless Area Review book? I’ve thought about it and I’m going to dive in with the project. It will be a compilation of book reviews and essays from 2009 to 2012. More details will follow.

What I’m Reading 2012 and Other Business

What I’m Reading 2012

Overview: I’m currently reading five books.  Each poses certain challenges (in some cases, self-imposed challenges) to me as a reader, reviewer, critic, historian, and aesthete.  While New Year’s Resolutions get broken seconds after they’re uttered, these challenges will form an informal backbone to my reading schedule.  As it stands, I want to increase the frequency of my blog posts from bimonthly to weekly.  (The same goes for my other blog, Coffee is for Closers.)  The positive responses from readers has really inspired me to do more.

As you’ll see with these challenges, I want to “raise the bar” with the Driftless Area Review’s content.

The Book: The Brethren: Inside the Supreme Court, by Bob Woodward and Scott Armstrong

The Challenge: Woodward and Armstrong’s book chronicles the Burger Supreme Court from 1969 to 1975.  The Supreme Court decided on many significant cases, including the Pentagon Papers, Roe v Wade, and others.  Reading The Brethren has inspired me to write a multibook, deep-reading-style review, focusing on the Supreme Court.  For this review, I will also read The Nine: Inside the Secret World of the Supreme Court, by Jeffrey Toobin, and Scorpions: The Battles and Triumphs of FDR’s Great Supreme Court Justices, by Noah Feldman.

As a historian, the review will pose a great challenge.  The nice thing about the three titles is how each reflects off each other.  The Brethren follows the decisions of Hugo Black and William O. Douglas, two long-lasting Justices and FDR appointments.  Black died in 1971, paving the way for President Nixon to nominate and appoint William Rehnquist.  The Nine examines the Court during the Dubya Years, including the consequences of Rehnquist’s death, Rehnquist having then been elevated from Justice to Chief Justice.  The three books reveal the slow movement from a liberal to a conservative agenda.  The differing genres will be interesting to evaluate, since Brethren and Nine are works of investigative journalism and Scorpions is popular history.  It should prove to be an interesting project.

The Book: Capital: A Critique of Political Economy, Volume 2, by Karl Marx

The Challenge: Currently back-burnered for more compelling books.  Unfortunately, some sequels are worse than the originals.  Unlike Marx’s first volume, Volume 2 is a slow, tedious, bone-dry work, more akin to an economics textbook.  In addition, Friedrich Engels edited the present volume following Marx’s death.  The work exists as an amalgamation of several of Marx’s notebooks.  While the work presents relevant material on the operations of political economy, it is almost too dull to read.  The challenge will involve trying to read it without falling asleep.

A further challenge involves me writing more essays in my series Essays on Capital.  I want to continue this series, since the first volume presented a rich seam to mine.

The Book: Shadows Walking, by Douglas R. Skopp

The Challenge: Douglas Skopp’s self-published novel is a revelation, a well-written exploration of two doctor’s lives in Nazi Germany.  I will review the novel on its own, but it will become part of a larger project.  This project involves reading three massive, controversial novels about the Third Reich.  Two specifically focus on the Eastern Front: Europe Central, by William Vollmann, and The Kindly Ones, by Jonathan Littell.  The third novel – The Tunnel, by William Gass – is technically a “university novel,” but the subject matter associated with the protagonist feeds into the works of Vollmann, Littell, and Skopp.

The final challenge will be psychological, since these four novels survey the darkest aspects of modern history.

The Book: Citizens: A Chronicle of the French Revolution, by Simon Schama

The Challenge: This is the second history by Simon Schama that I’ve read.  I previously read Rembrandt’s Eyes, his magisterial double biography of Peter Paul Rubens and Rembrandt von Rijk.  As with Rembrandt’s Eyes, Citizens is an epic account, mixing biography, pop culture history, visual culture, politics, foreign policy, and tax law into a compelling page-turner.

French history is a particular enthusiasm of mine.  The challenge will be tempering this enthusiasm with the disinterested eye of a historian and bringing to bear my previous knowledge in French literature, historiography, and pop culture.

Blog Feature Revival

This year will see the revival of blog features on long hiatus.  The first will be the return of The Art of Reviewing.  French theorist Roland Barthes and prolific Gnostic Bardolator Harold Bloom are the first two on the docket.

The limited series 5000 Pages of Kissinger will conclude with my review of Years of Renewal, Kissinger’s final volume of his memoirs.  I have the skeleton of a review in place that I wrote several months ago.  The Arab Spring of 2011 and the nascent Occupy movement have made it a challenge to contextualize Kissinger’s work without seeming immediately outdated.  Both Arab Spring and Occupy have overturned the Nixon-Kissinger paradigm of supporting US-friendly free market dictatorships and absolutist monarchies in the Middle East.  These movements, along with the Tea Party movement and Ron Paul’s Small Government Neo-Isolationism, present opportunities for the government that acts in our name (if you’re a US reader of this blog) to reassess its global strategy, foreign policy interests, and free market cheerleading.

For decades, the Nixon-Kissinger paradigm had operated as a given within the global foreign policy architecture.  That given is no longer true and no longer equipped to deal with the Middle Eastern calls for freedom and the end of economic inequality.  As of this writing, the Arab Spring has become the symbol for freedom and liberation from oppression.  The end-result of these protests and coups is still unwritten.

“The Best 80s Sci Fi and Fantasy Films” will continue with an installment on Raiders of the Lost Ark.

Other Business

While I would like to this blog a major part of my life, creative projects and personal obligations inevitably get in the way.  These include a random assortment of personal and professional business.

I am getting married in early October and planning a wedding is a time-consuming endeavor.

On the reviewing front, I have a small pile of books from the Permanent Press I want to get around to reading.  I also have a couple novels from Archipelago Books I want to read and review.

My job is second shift and a temporary assignment.  Like many, many others who have been displaced, abandoned, or simply eliminated from the free market economy, I have a very real and very pressing goal of achieving full-time employment.  (The kind of employment associated with health benefits and paid time off.)  Working second shift has made it more challenging to post reviews, but with any challenge, it can be overcome.  On that note, if any blog readers like what they see and want to hire me as a writer, I’m all ears.  My contact information is in the Submitting Materials section.

Finally, I am working on the last round of revisions for a science fiction thriller.  I am planning to resubmit it to a small publisher who showed interest in the work.  In my query letter, I described my story as “The Sopranos meet Dune.”  I’m making this creative project a priority, since I am nearly finished with the revisions.  Overall, I have been pleased, since the revisions have strengthened the novel.

80sSFF: Apocalypse Now (1979) and Apocalypse Now Redux (2001)

The first part in a series dedicated to examining the science fiction and fantasy films from 1979 to 1989.  The series will investigate whether these films possess certain ineffable qualities missing from today’s films of the same genres.

Kurtz: I expected someone like you. What did you expect? Are you an assassin?
Willard: I’m a soldier.
Kurtz: You’re neither. You’re an errand boy, sent by grocery clerks, to collect a bill.

Why are we beginning a series devoted to the science fiction and fantasy films of the 1980s with Apocalypse Now?  Francis Ford Coppola’s epic Vietnam War film holds the key to unlocking what made Eighties science fiction and fantasy films so great.  It’s an unlikely beginning, especially since John Carpenter’s classic horror film Halloween, was released the previous year.

Apocalypse Now, while still a War Movie, has several characteristics that make it closer akin to the Fantasy genre.  There is a Knight on a Quest in search of a Mythical Object guarded by a Monster.  In the film, the Knight is Captain Willard (Martin Sheen), accompanied by the crew of a small patrol boat.  They travel up the Nung River in search of Colonel Walter P. Kurtz, at once the Object and the Monster.  In addition, Apocalypse Now is a visionary film.  To be a visionary, one has to look at the same thing but in an entirely different way.  While the War Movie has a long and storied history, Coppola created a unique cinematic experience, cobbled together from a script by the conservative scriptwriter John Milius and narration written by war journalist Michael Herr.  What resulted was a depiction of the Vietnam War as a hallucinatory carnivalesque nightmare.  The effects of the Vietnam War on the domestic side would not be covered with this extended unflinching hallucinatory nightmare until Terry Gilliam’s Fear and Loathing in Las Vegas (1998).

At the time of its release, the closest antecedent to Apocalypse Now was Jean-Luc Godard’s Weekend (1967), itself an extended indictment of the ravages and excesses of industrial capitalism.  In terms of science fiction and fantasy film, Apocalypse Now’s title is telling.  Unlike, say, Mad Max Beyond Thunderdome or The Dark Crystal, which are both post-apocalyptic films, the apocalypse is now.  The soldiers in the film seem morally adrift and numbed to the world, only attuned to finding sex or the next drug fix.  Chef reads a newspaper article about the Charles Manson murders, the murders mirroring the actual atrocities of My Lai.  Surrounded by madmen, murderers, and mayhem, the world seems at an end.  The apocalyptic setting and the horrific montages make the film much more than a faithful transcription of a Southeast Asian conflict.

The End is the Beginning is the End

Apocalypse Now came at the end of Francis Ford Coppola’s unrivalled critical and commercial success.  The film also represents the terminus of the American New Wave, Coppola belonging to a membership that included Martin Scorsese, Steven Spielberg, and George Lucas.  Coppola’s success began in 1972 with The Godfather and continued with The Godfather: Part II (1974) and the Conversation (1974).  Marlon Brando gives a landmark performance as Colonel Walter P. Kurtz, his presence a potent admixture of military and intellectual genius, Nietzschean amorality, smoldering sexuality, and tribal godhood.

The release of the film came during a revolution in the world of cinema.  Gone were the days of the freewheeling director and hands-off producers.  Apocalypse Now came two years after Star Wars (1977, George Lucas), a film that redefined the Hollywood blockbuster, and the Empire Strikes Back (1980, Irvin Kershner).  While not a cinematic flop, the film’s cost overruns and numerous other issues would make produces much more reluctant to give a visionary like Coppola massive budgets and little creative oversight.  The Eighties would see the rise of empty spectacle, family-friendly pap, and marketing juggernauts.  Apocalypse Now is a self-contained epic, not a node in a massively orchestrated marketing and merchandising operation.

Apocalypse Now vs. Apocalypse Now Redux: a Defense for Both

In criticism, especially film criticism, an overarching trend exists where “the director’s cut” has more credence than a film released by the studio system.  The phenomenon exists because of the Auteur Theory championed in academic circles and the larger trend of the search for Authenticity™.  When discussing Apocalypse Now, fans, critics, and audience members become divisive regarding which version is better.  Many see the original Apocalypse Now as the better film and Redux as a travesty.  (Thankfully, Coppola’s film was about the Vietnam War and not a Jedi insurgency, thus giving the world a Director’s Cut without CGI dewbacks and Greedo shooting first.)

My opinion splits the difference.  I enjoy both, but both versions are radically different films.  Even at nearly three hours, the original Apocalypse Now possesses an insistent pacing and momentum.  It is the more economical, pared-down film.

I enjoy Redux because it delves deeper into this nightmarish world.  Characters are expanded, entire set pieces are added, and Captain Willard comes across as a different person.

The issue of pacing becomes more pronounced with Redux.  Even the original is lacking in traditional battle scenes.  After Lieutenant Colonel Kilgore’s (Robert Duvall) aerial assault on the Vietnamese village, the only military “action” are isolated skirmishes and the Do Long Bridge stalemate (less a battle than a siege).

The majority of the film is Captain Willard reading the Kurtz’s dossier.  The normal narrative trajectory of a war film is the reverse: skirmishes leading up to a climactic battle.  The film operates under a series of anti-climaxes.  In the end, Willard finally reaches the Kurtz Compound to realize the Colonel is not there.  When he does return, there are several conversations and finally Willard taking down Kurtz at the very end of the film.

Redux includes two extended scenes which were cut from the original: the crew meeting the Bunnies and the French Plantation Scene.  In the latter, Willard tells Roxanne Sarrault (Aurore Clément) that he doesn’t intend to return to the United States following his mission.  It’s a major difference and the film narrative becomes altered, since this throws into question why he should continue his mission?

The longueurs and anti-climaxes heighten the viewer’s sensitivities.  The waiting, the meditation, and the visuals combine to create a cinematic experience both hypnotic and excessive.  The artificiality of Carmine Coppola’s score plays off against the claustrophobic and ruthless nature of the Cambodian rainforests.  The score becomes integrated into a whole by the editing, cinematography, and sound design.

The film is a non-traditional candidate for a science fiction or fantasy film, but it excels in its fantastic visuals and the meticulous worldbuilding.  Standing at the crossroads of the American New Wave and Eighties Action Spectacle, Apocalypse Now prepares the way for films set after apocalypses (Mad Max Beyond Thunderdome, the Dark Crystal), those indicting the inhumanity of bureaucracy (Brazil), and the organized madness of modern existence (They Live, Buckaroo Banzai, Bladerunner).

Critic’s Notebook: The Best Science Fiction and Fantasy Movies of the 1980s

Introduction

“Interest in film, pop and television stars and science fiction peaks between the ages of 12 and 13.”

Media Genres and Content Preferences by Carmelo Garitaon and Jose A. Oleaga, Patxi Juaristi (The London School of Economics and Political Science).

One of the most challenging aspects of criticism is Taste.  How is it formed?  What differences are there between Good Taste and Bad Taste?  Can these differences be investigated with an objective concrete analysis, or is it a phenomenon based entirely on subjective experiences?

The creation of Taste occurs when we grow up, sifting through the various cultural products we’ve consumed and deciding which, if any, we can determine as good.  I consider myself a science fiction and fantasy enthusiast.  I also grew up in the Eighties.  The days of Hair Metal, Reaganomics, the Soviet Threat, and Garbage Pail Kids.  I want to keep these two things in mind for the scope of this essay.  I want to examine what I like what I like and why.  The challenge will come from the twin threats of Nostalgia and Fandom, since each can switch off the critical faculties.  It’s easy to bask in the fuzzy light of the Idealized Past.  It’s also easy to consider the science fiction and fantasy genre in degrees of awesomeness.  On the other hand, this examination of film from the Eighties will be a loose free associative ramble.  I also aim to keep the tone celebratory.

Did the science fiction and fantasy films of the Eighties possess something ineffable that contemporary films lack?  Or is this the creeping specter of Nostalgia blurring the reality of the situation?

Commentary on commentary on commentary ad infinitum … with footnotes.

What these essays are not:

  • A detailed exegesis on the various “editions” of the films.  The subject will come up, but it won’t be the focus of the essay.
  • A defense that films from the past are somehow superior to films of the present.  (“Things didn’t get bad until those kids drove their horseless carriages and listened to that damn jazz music.”)
  • An exhaustive explication of plot, character, and setting.  Because I’m looking at several films here, the backgrounding will be minimal.  Furthermore, I’m disregarding all spoiler warnings, since the last film examined was released in 1989.  (I also haven’t seen every different cut of every different film under examination.)
  • While there are many films listed, this is not meant to be a comprehensive or definitive list.  The list reflects my personal tastes and idiosyncrasies.

FILMS PROFILED

Cusp year: Apocalypse Now & Apocalypse Now Redux (Francis Ford Coppola, 1979; Redux, 2001)

Raiders of the Lost Ark (Steven Spielberg, 1981)

Time Bandits (Terry Gilliam, 1981)

Bladerunner (Ridley Scott, 1982; “Director’s Cut”, 1992)

The Dark Crystal (Jim Henson and Frank Oz, 1982)

Dune (David Lynch, 1984; “Extended Edition”, 2006)

Ghostbusters (Ivan Reitman, 1984)

Mad Max Beyond Thunderdome (George Miller and George Ogilvie, 1985)

Brazil (Terry Gilliam, 1985; “Fifth and final cut”, 1996)

The Adventures of Baron Munchausen (Terry Gilliam, 1988)

Willow (Ron Howard, 1988)

Cusp year: Batman (Tim Burton, 1989); Ghostbusters II (Ivan Reitman, 1989)

While one of the greatest space fantasy films of the 80s, I’m not examining it.  With Lucas’s constant meddling and CGI distractions, he has permanently ruined Irvin Kershner’s epic work.  Disqualified.