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From Dangerous Minds.
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In response to this NY Post piece by Emily Nussbuam, Robert Moore makes a persuasive case that Buffy the Vampire Slayer made TV art:
This was the decade in which television became art. So argues Emily Nussbuam in a recent New York Magazine essay, “When TV Became Art”. She certainly makes a strong case that 2000-2009 was a pivotal age for TV and I strongly recommend her essay to anyone interested in the development of television over the past decade. I agree that this was, all in all, the finest decade for great television. Others have argued that TV had arisen as an art form in earlier decades, some (though in dwindling numbers) arguing for the fifties, based on the series that presented staged plays for a television audience, including such original masterpieces as “Twelve Angry Men”, written by Reginald Rose for Studio One, and “Requiem for a Heavyweight”, written by Rod Serling for Playhouse 90. Later, Robert J. Thompson, in his widely cited Television’s Second Golden Age: From Hill Street Blues to ER, argued for the eighties as the crucial period. But Nussbaum has numbers on her side; it is difficult to argue against the sheer quantity of very fine shows that emerged in the past ten years. The number of truly great series from the past ten years is so substantial that it might surpass the number of great shows from all previous decades combined.
Nonetheless, I want to take issue with Nussbaum. I think that chopping the overall picture up into decade-sized blocks obscures the reality. I believe that one can point at a precise point where TV became art, and that point was the debut of Buffy the Vampire Slayer. […]
I understand Nussbaum’s desire to fit the birth of TV as art into a decade framework, but the truth is that art, like life, is messier than that. TV had become art before 2000 and it was largely thanks to Buffy.
Pop Matters: When TV Became Art: What We Owe to Buffy
(Thanks Zenarchery)
I love the The Wire but it certainly wasn’t the most ground breaking series on television (remember, both The Sopranos and Six Feet Under preceded it). I haven’t watched Buffy, but Moore makes a strong case. Either way, the 00s certainly marked a turning point in the history of television. It was, perhaps, the decade in which television eclipsed film.
It’s not much of a stretch to imagine that Ditko sees himself as a real-life “Howard Roark,” Rand’s fictional architect in The Fountainhead, a man who refuses to compromise his vision. Rand’s influence was even more obvious in his right wing vigilante character Mr A, who would throw someone off a building for disagreeing with him. His work became didactic, shrill, hectoring and far-right his influence waned. Mr. A was like Bill O’Reilly as a superhero. What teenager wants to be yelled at by a moralistic superhero? In the opinion of many, his work degenerated into fascistic rhetoric and lunacy from the late 60s onwards.
There have been almost no interviews, ever, with Steve Ditko. While really not a hermit or a recluse, he’s an intensely private person and refuses all interviews, although there are stories of him speaking to a fan ballsy enough to ring his doorbell, but always standing in the doorway, never inviting them in to his studio. In his recent BBC documentary In Search of Steve Ditko, otaku British talkshow host Jonathan Ross tracked Ditko down in New York City and called the artist on the telephone. Ditko politely refused his request for an on camera interview. But when Ross (and Neil Gaiman) showed up on his doorstep, he did in fact entertain them, although not on camera.
Dangerous Minds: Searching for Steve Ditko
See:
Strange and Stranger: The World of Steve Ditko (Buy it on Amazon)
In search of Steve Ditko documentary on YouTube
I first heard about this documentary from Trevor a couple years ago, but I haven’t watched it yet.
DJ Spooky/Paul D. Miller’s next large scale multimedia performance work will be an acoustic portrait of a rapidly changing continent. Sinfonia Antarctica transforms Miller’s first person encounter with the harsh, dynamic landscape into multimedia portraits with music composed from the different geographies that make up the land mass. Miller’s field recordings from a portable studio, set up to capture the acoustic qualities of Antarctic ice forms, reflect a changing and even vanishing environment under duress. Coupled with historic, scientific, and geographical visual material, Terra Nova: Sinfonia Antarctica is a seventy minute performance, creating a unique and powerful moment around man’s relationship with nature.
DJ Spooky – Terra Nova: Sinfonia Antarctica
(Thanks Josh)
The Cyclone of Slack has posted links to some media from the event. If you have more they’d love to know about it.
Cyclone of Slack: we want your pictures (videos, audios, whatever)
Sabbath Assembly reënactment: the Processional. Music by the Sabbath Assembly Band (Imaad Wasif, Jex Thoth, Kevin Rutmanis and David Christian).
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