“Will haunt you after it’s over . . . makes us think about the role that food plays in our lives—both as social beings and creatures of the earth.” –Vox
Watch Feast of the Epiphany and support Museum of the Moving Image! The first film from Reverse Shot is now available online for a special week-long Thanksgiving run.
In the end, Jimmie cannot lay claim to the house as he wants to, cannot stabilize and contain his feelings about his family and himself. But the greater loss is that the city has no place for Mont’s theater, no shared spaces in which we might be other to ourselves.
“Interact with story” encapsulates how the largest media companies see experimentation as PR gloss, which may be residue of early-net transmedia marketing campaigns.
A Few Great Pumpkins
Every Halloween, we present a week’s worth of perfect holiday programming. This year's lineup: Pulse, Host, Brain Damage, Let's Scare Jessica to Death, The Velvet Vampire, Deathdream, and The Devil and Daniel Webster.
The American Gothic, particularly as practiced by literary forebears Nathaniel Hawthorne and Washington Irving, who clearly shaped Eggers’s vision, tends to orbit around concepts of evil, madness, and the supernatural. But ultimately no monster ever compares to humans driven by fear.
The drive-in is inextricable from the history of censorship in big-budget American cinema, and is also inextricable from the history of the automobile in the U.S., which is in turn inextricable from the history of suburbanization, white flight, and other phenomenon.
The drive-in would become, in the postwar period, a national phenomenon, a symbol of untethered, ever-expanding, pedal-to-the-medal America, both a communal living room for Baby Boom parents and a prowling ground for a generation of teenagers.
Both parties are prepared for today’s advertising landscape because of the shifts in party organization and campaign strategy that began almost seventy years ago.
A documentary about the 9to5 women's movement and an unsung Linklater drama paint an urgent portrait.
At the Museum
We’re trying out something new this week, and switching to Wednesdays. Same time: 5:00pm. Now you can use Reverse Shot to help you get over the midweek hump! Next week, we are pleased to welcome The Criterion Collection's Andrew Chan and Metrograph's Aliza Ma.
A 1959 postapocalyptic melodrama with Harry Belafonte and a recent domestic portrait set in 1960 have this week’s pair of writers thinking about displacement in America.