But since there are “honorable mentions” as well, you get more!
Obvious choices (Rosemary’s Baby, The Exorcist), as well as films that present the subject in an exploitative manner (such as those of Dario Argento) have been left out… as have the Harry Potter movies, because that’s just too easy.
The list starts with Häxen: Witchcraft through the Ages (1922), and I have to say that that was one I quit half way through because I was falling asleep. Maybe Twenties audiences were different. But there is a YouTube video linked, and you can see for yourself.
They have Jean Cocteau’s Blood of a Poet, but give hisOrpheus just an honorable mention. I would have reversed them!
¶ This is what a dolmen should look like — “This enormous structure is the Soto dolmen in Trigueros, Spain, which has been returned to its prehistoric glory after a nine-year restoration. The mound is 60 metres across and 3.5 metres high, making it the largest of more than 200 dolmens, or megalithic tombs, that dot the Huelva province.”
My first year as an undergraduate, I lived a in four-person dormitory suit. One day I entered the (rectangular) room of my suite-mate Bill and found that he had placed his bed, desk, etc. at diagonal angles to the walls.
“I got tired of everything being so rectilinear,” he said. It was funny how Bill’s new arrangement felt oddly disquieting.
A circular room, however was not an option.
People in some times and places have favored circular shapes and in other times rectangular shapes. Do these preferences say something about the societies?
These kinds of idea have a long history. In the early 1930s, the Soviet city planner Mikhail Okhitovich claimed that the right angle in architecture originated in private land ownership: curvilinear structures, whether they be round buildings or chairs with curved backs, were therefore communist in principle.
This quotation comes from a review essay in the Times Literary Supplement: “Seeing Straight,” discussing three books that examine questions of shape, perception, and society:
Vision is a form of cognition: the kinds of things we see shape the ways we think. That is why it is so hard to imagine the visual experience of our prehistoric ancestors, or, for that matter, the girls of nineteenth-century Malawi, who lived in a world without right angles. Inhabitants of, say, late Neolithic Orkney would only have seen a handful of perpendicular lines a day: tools, shaped stones, perhaps some simple geometric decoration on a pot. For the most part, their world was curved: circular buildings, round tombs, stone circles, rounded clay vessels . . . . What does a round building mean? Does it mean anything, or is the choice of one shape of house over another simply a matter of practicalities?
Went to town with M. today—it’s our secular Sunday routine of coffeehouse brunch, newspapers (v. trad, that’s us), and then the laundromat and the grocery store.
The coffeehouse is owned by (extremely low-key) Christian ex-missionaries. I had checked the Facebook page to see if they were closing today for Easter — nothing posted there one way or another, so off we went.
When we arrived, however, there was a sign on the door to the effect that they were closing at noon, and the lone barista was totally overwhelmed by a long line of people all ordering cinnamon-ginger-latte-Italian soda-extra large-and-sugary drinks that take five minutes to make. (Really, why don’t they just go down the street and get a milkshake and a cup of coffee, then pour them together?)
All too soon the noon siren at the fire department blew.
With the clothes at the laundromat, we then went to the supermarket. One item on the short shopping list was potting soil, because M. is starting seeds in the greenhouse. But it was closed.
“Let’s try the hardware store,” I said. Nope, closed. Oh, and I needed cash for the week, so I walked to the bank, entered the ATM lobby and — “Temporarily Out of Service.” Now that’s really not fair. I feel marginalized and oppressed.
Back when I was subscribing to Stewart Brand’s CoEvolution Quarterlyin the 1980s, Jaron Lanier made frequent appearances in its pages as techno-prophet extraordinaire.
He was the guy who was helping to invent virtual reality. He was presented as being miles ahead of the rest of us. He was, as this Smithsonian article, “What Turned Jaron Lanier Against the Web” says, a Silicon Valley rock star.
Now he is a Silicon Valley heretic. And having seen the consequences, he has changed his mind about a number of things, including the whole “information wants to be free” mantra, which he helped to promote.
The mistake of our age? That’s a bold statement (as someone put it in Pulp Fiction). “I think it’s the reason why the rise of networking has coincided with the loss of the middle class, instead of an expansion in general wealth, which is what should happen. But if you say we’re creating the information economy, except that we’re making information free, then what we’re saying is we’re destroying the economy.”
The connection Lanier makes between techno-utopianism, the rise of the machines and the Great Recession is an audacious one. Lanier is suggesting we are outsourcing ourselves into insignificant advertising-fodder. Nanobytes of Big Data that diminish our personhood, our dignity. He may be the first Silicon populist.
“To my mind an overleveraged unsecured mortgage is exactly the same thing as a pirated music file. It’s somebody’s value that’s been copied many times to give benefit to some distant party. In the case of the music files, it’s to the benefit of an advertising spy like Google [which monetizes your search history], and in the case of the mortgage, it’s to the benefit of a fund manager somewhere. But in both cases all the risk and the cost is radiated out toward ordinary people and the middle classes—and even worse, the overall economy has shrunk in order to make a few people more.”
In order to understand the meaning of the faire to its devoted participants,both workers and visitors, Rubin has compiled a dazzling array of testimony, from extensive conversations with Faire founder Phyllis Patterson to interviews regarding the contemporary scene with performers, crafters, booth workers and “playtrons.” Well Met pays equal attention what came out of the faire—the transforming gifts bestowed by the faire’s innovations and experiments upon the broader American culture: the underground press of the 1960s and 1970s, experimentation with “ethnic” musical instruments and styles in popular music, the craft revival, and various forms of immersive theater are all connected back to their roots in the faire. Original, intrepid, and richly illustrated, Well Met puts the Renaissance Faire back at the historical center of the American counterculture.
The psychological motivations for tattoo removal (change of lifestyle and relationship status, changes in body and skin over the years, upward mobility in society and employment, etc.) are a constant, and will lead to an even larger market for tattoo removal than currently exists today.
By enlarging ourselves with tattoos, we’re belittling ourselves in the process. It’s a sign of our low expectations that having control over flesh decorations is considered to be the limit of our capacities as an individual.
Based on my limited experience, a strong religious emphasis might hold a communal group together. Otherwise, the people you need are not always the ones who want to live in the commune. The hard workers don’t want to have to carry a bunch of parasites and wannabes who think that “communal living” equals “easy.”