Tuesday, March 3, 2009

A Few Notes on Formats and Titles

Sorry to lure you all in with the brash sexiness of this post title, but in this economy  dignity is expendable. Speaking of which, there will be extensive coverage of the motherfucking #1 film of the century, The Expendables, in due time. On to the notes!

-Our goal here at Anamorphic Analysis is to provide you with the coherence and insight of in-depth magazine writing while at the same time getting our thoughts to you as quickly as possible and hopefully continuing the conversation with you in the comments section. Our unabashed goal is to be a cross between Cahiers du Cinema, NME and Twitter, but not fucking worthless and a waste of everyone's god damn time like Twitter. Just...frequently updated. 

In order to achieve this we will be outlining each issue of Anamorphic Analysis beforehand and allowing the reader to retroactively piece together the strands of where we are intellectually and aesthetically each month. The internet. Interaction. You get the idea. Issues will be roughly monthly and volumes will be quarterly. This sort of organizational superstructure will hopefully become less cumbersome as time goes by  and you wish to consult prior issues or specific posts. 

This is not to say, however, that spontaneity is excised from the journal or that every entry will be a 12-paragraph eyestrain. Although we set outlines for each issue, there is an open-structure to the whole enterprise and cinematic and/or musical revelations should be shared while still warm. There will also be varied blog posts within and between issues touching on any sort of idea or opinion a writer has and at whatever length he or she has the inspiration to construct. We're also still coming up with ideas for semi-regular features, panels and roundtables which leads directly to:

-Brand new (although not eternally new, so it goes...) features such as: 
"Stray Thoughts, Fringe Opinions" a soon-to-be-staple of the weBLOG which is hopefully self-explanatory

From the Vaults: Radiohead's Greatest Unreleased Songs

The Long and Winding Road to Cultural Literacy: Super Ape by the Upsetters 

A Britpop Primer (with apologies to the A.V. Club)

Review of "The Explosive Cinema of Bruce Conner" event at REDCAT

"Paul McCartney: Hiding in Plain Site" essay

An absolute clusterfuck of all sorts of shit on post-modernism 

"Appetite for Deconstruction" - A possibly-regular panel in which various objects of adoration, disgust and/or (dis)interest are nerdishly picked apart by our contributors 

as well as...

"Underappreciated Appreciations" a twice-an-issue column in which we give the overlooked and undervalued a public salute. Expect to see such diamonds-in-the rough as: Brendan Fraser, Anna Faris, the early films of Abel Ferrara, Oasis in the 21st century, Bowfinger, Minus the Bear, the recent films of Terrence Malick, "Spider-Man: The Animated Series," the Chicago Cubs and much, much more!

- Finally, I'd like to lay out the significance of our title, for plebians and Ph.Ds alike. So in the tradition of all great academics and intellectuals, allow me to turn towards Wikipedia: "With an anamorphic lens the picture is optically squeezed in the horizontal dimension to cover the entire film frame, resulting in better picture quality. When projecting the film, the project must use a complimentary lens of the same anamorphic power to stretch the image horizontally back to its original proportions." So the idea is to grasp the richness of the "big picture" while reformatting it to our own aesethetic idiosyncrasies (or evil schemes). 


  1. In the Biologist's domain, anamorphisis refers to the gradual growth of an organism from one form to another, more developed form. Such as tadpoles to frogs.

    What does that mean for us?

    I don't quite know.


    Also, for your perusal, a conversation between Eric and myself about the album cover at the top of this post:

    DANIEL: Thank god we don't have a circulation like the NY Post.
    ERIC: Do you think it's racist?
    DANIEL: Yes.
    ERIC: Hmm.
    DANIEL: But I also think it's self-aware.
    ERIC: Wait, are you being serious?
    DANIEL: Or that we're self-aware, rather.
    ERIC: It's the cover of the upsetters album I'm talking about, in the post.
    DANIEL: Yes I know. That's why I mean I think it's self-aware--like it's a racist image, but considering the source, etc.
    ERIC: I mean, it's the image a group of black men put on their own album cover.
    DANIEL: I know. But I think they put it on the cover precisely because it's an image rife with racist connotation.
    ERIC: It's possible. But Lee Perry has never been known for having particularly lucid political thoughts. Who's to say, though? Do you think it's alright that I have it up there?
    DANIEL: Definitely. Just because it's a racist image doesn't mean that it doesn't have artistic value or that it can't be appreciated within the context.
    ERIC: Dope.

  2. i guess this is as good a place as any to talk about some topics/features i've been thinking about.

    -In search of a Theory: Poetic Realism. I'm reading this book by Dudley Andrews called 'Mists of Regret' that is making my mind go in all sorts of directions as far as what cinema should be. So maybe i/we could dissect a theory each quarter and see if it has any relevance today? I just want to write about the french as much as possible.

  3. Urban,
    I think that is a tremendous idea. Can you hammer out an introductory essay to it over spring break?