“A Sonospheric Corpse, Part I” is available here. The autumn and its contemplative condition of death and decay induce flirtations with the illusory, the uncanny, the weird and the eerie, and of course, the horrific. “A Sonospheric Corpse” derives inspiration from the surrealist technique, “exquisite corpse” in which each participant adds a contribution in aContinue reading “Episode #102 – A Sonospheric Corpse, Part II”
The autumn and its contemplative condition of death and decay induce flirtations with the illusory, the uncanny, the weird and the eerie, and of course, the horrific. “A Sonospheric Corpse” derives inspiration from the surrealist technique, “exquisite corpse” in which each participant adds a contribution in a sequence. What follows is a phantasmagorical soundscape composedContinue reading “Episode #101 – A Sonospheric Corpse, Part I”
“I’ve always felt that music is more expressive than dialogue. I’ve always said that my best dialogue and screenwriter is Ennio Morricone.” – Sergio Leone, Once Upon A Time In America In a career spanning more than sixty years, Italian musician and composer, Ennio Morricone became one of the most prominent and influential film artistsContinue reading “Episode #100 – Ennio Morricone, In Memoriam”
As a result of the enduring Covid-19 pandemic, the ticking of the clock no longer seems actual in any remote sense. We have collectively entered recursive time loops, fractals and spirals where the measurements of time; seconds, minutes, hours, days, weeks, months, etc. are little more than an afterthought. An intersection of present and futureContinue reading “Episode #99 – Tutorials in Self Isolation”
Originally published in November of 2016, Zach Betonte and Simone Barros are joined by Supporting Characters host, Bill Ackerman to discuss John Lee Hancock’s psychological horror film, “Let’s Scare Jessica to Death” originally released in 1971. The trio consider the film’s distinctive rhythms, ambiguous structure and its possible interpretations and the performative range of Zohra Lampert as theContinue reading “Episode #98 – Let’s Scare Jessica to Death”
Originally published in October of 2016, this Hallow’s Eve, the Film Jive tomb is re-opened with another creaking cacophony of murderous disharmony and echoes of the fantastique with the “Soundtrack of Terror Vol. II”. Film Jive contributors Simone Barros, Zach Betonte and Andrew Swope welcome fellow trick or treaters; Bill Ackerman, Regina Barry, Philip Brubaker, Rooney Elmi, VeronicaContinue reading “Film Jive Special – Soundtrack of Terror Vol. II”
Originally published in August of 2016, Zach Betonte and Simone Barros are joined by Jim Laczkowski, host of the Director’s Club and Voices and Visions podcasts to discuss Charlie Kaufman’s “Synecdoche, New York” originally released in 2008. The discussion considers Kaufman’s use of filmic space and architecture, the emotional effect of viewing a character’s ongoing crisis of selfContinue reading “Episode #97 – Synecdoche, New York”
Originally published in June of 2016, Zach Betonte, Andrew Swope and Simone Barros discuss Jean Cocteau’s dreamscape, “La Belle et la Bête” originally released in 1946. The discussion elaborates on how Cocteau’s avant-garde theatre background informs his cinematic practice, how objectification may or may not augment the narrative’s reality and the similarities between the aesthetics of Cocteau andContinue reading “Episode #96 – La Belle et la Bête”
Originally published in June of 2016, Zach Betonte, Andrew Swope and Simone Barros discuss Joseph Losey’s psychodrama, “Accident” originally released in 1967. The trio inquire about the role of subjective memory in relation to the narrative trajectory, the presence of animals throughout and its implications, and question whether the camera objectifies or empowers its female protagonists.
Originally published in June of 2016, Zach Betonte, Andrew Swope and Simone Barros discuss Jesus Franco’s erotic thriller, “Eugenie de Sade” originally released in 1973. The discussion contemplates Franco’s nostalgic re-appropriation of popular culture and how this implies meta-textual elements and question the film’s complicated depiction of feminine sexuality.