[Film: Sunset Boulevard, Billy Wilder, 1950]
Conflated Requiems:

The Revealing, Eery Use of the Protagonist Narrator in Billy Wilder’s Sunset Boulevard

 

Gloria Swanson Sketch by M.R.P.

Caricature Sketch by M.R.P.

Introduction:

Sunset Boulevard represents one of the best uses of a protagonist narrator in the past hundred years of film.

Using the protagonist as a narrator is a tactic that is abundant in the noir genre from which Sunset Boulevard takes many of its stylistic cues. But this technique has varying degrees of success. A reasonably famous example of such a narrator going awry is Harrison Ford’s monotone accompanying the original theatrical cut of Blade Runner (which was entirely removed from the director’s cut and final cut of the film).

Still, when its intrusions are not overbearing, distracting, or obvious, the narrator’s voice can be an inoffensive tool to aid in exposition and to smooth out transitions from scene to scene. But can it be more than that? Sunset Boulevard shows us the answer is, ‘yes!’ What sets the narration here so far ahead is the way that the context and presentation of the voiceover of Joe Gillis (portrayed by William Holden) directly supports both the emotional authenticity and the central themes of the film.

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[Film: Sunset Boulevard, Billy Wilder, 1950]
Conflated Requiems:

The Revealing, Eery Use of the Protagonist Narrator in Billy Wilder’s Sunset Boulevard

was last modified: November 17th, 2022 by Daniel Podgorski

[Game: Transistor, Supergiant Games, 2014]
Red Pen:

On the Interestingly Deep yet Frustratingly Vague Plot of Supergiant Games’ Transistor

 

Introduction:

It would be boring for me to simply say that Supergiant Games’ Transistor is a gorgeous-looking, wonderfully designed, mechanically fun, and brilliantly soundtracked title, even though all of that is true. It would be slightly less boring for me to defend Transistor‘s much-maligned brevity in the same spirit as I have defended other cheap, brief indie campaigns, even though I clearly would be willing to defend it. But the least boring thing for me to do, I feel, is to discuss the one area of the game that I am inclined to critique: Transistor‘s presentation of its plot.

Supergiant Games has an attraction to endings. And not just to the ending of games, but to the ending of worlds. Each of their wildly successful indie titles, Bastion and Transistor, has presented a vividly imagined world right around the moment of its ultimate demise (the world of Pyre had better watch its back). And I’ve loved this aesthetic decision in both cases. But in both cases the series of events leading up to the end of the world (and so leading up to the start of the game) is not easily discerned—which, in the oft-dense RPG genre, is saying something.

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[Game: Transistor, Supergiant Games, 2014]
Red Pen:

On the Interestingly Deep yet Frustratingly Vague Plot of Supergiant Games’ Transistor

was last modified: November 8th, 2022 by Daniel Podgorski

[Work: Poems Concerning the Slave-Trade, Robert Southey, 1797]
Sonneteer, Pamphleteer:

Analyzing Robert Southey’s use of the Sonnet Form to Combat Slavery

 

analysis of sonnet - anti-slavery poems - Robert SoutheyIntroduction:

In the line above each article, you will notice the word ‘work’ before whatever text is being considered for the week. The reason that this is labeled ‘work,’ rather than ‘book’ or ‘novel,’ is that I knew I would eventually want to cover poetry in this series as well. For the series’ first foray into verse (epic poems and early modern plays notwithstanding), I will be taking a close look at Robert Southey’s use of sonnets as a means of opposing slavery in Britain.

By definition, the notion of abolition is antithetical to constriction and conservatism. For this reason, it appears odd that abolitionist poet Robert Southey chose the sonnet, a poetic form both restrictive and traditional, to tell the story which populates roughly half of his 1797 Poems Concerning the Slave-Trade. Yet, this appearance of oddness fades with close attention to Southey’s production, a scathing indictment of both the violent ills of slavery and the apathetic British populace’s tacit support of the system.

What seems initially to be a space for old values becomes a space for reform, as Robert Southey utilizes the abiding self-consciousness of the sonnet form to extol subversion and to underscore the moral perversity of the depicted circumstances. Southey constructs a sequence of sonnets at once in command of the tools presented by the formal structure of prevailing sonnet modes and in rebellion against the expectations held by a reading public toward whom the sonnets’ speaker is outraged.

In these sonnets, Robert Southey achieves a biting synergy of working within the tradition of sonneteering (to subvert accepted virtues) and working outside of that tradition (to establish the necessity of social reform).

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[Work: Poems Concerning the Slave-Trade, Robert Southey, 1797]
Sonneteer, Pamphleteer:

Analyzing Robert Southey’s use of the Sonnet Form to Combat Slavery

was last modified: February 26th, 2021 by Daniel Podgorski

[{Interview}] [Topics: Analytic Philosophy, Discourse, Education]

Interview with Josh Pelton,

The Philosopher and Mechanical Engineer behind the THUNK YouTube Channel

 

THUNK shelves - Josh Pelton - YouTube, philosophy, education

Introduction:

I’m pretty sparing in my YouTube subscriptions, aiming to cultivate a list of content creators with consistently high-quality, analytical, and entertaining videos. One channel that I added to that list late last year is THUNK, a sequence of videos on philosophy, science, and mathematics written and delivered by Josh Pelton. Pelton is an amiable educator and a natural entertainer; what his channel lacks in terms of the huge production costs of the big YouTube education channels is more than made up by his unflagging dedication to thorough research, humble presentation, and sincerity. Whether you’re reading this because of your interest in Josh Pelton’s THUNK, your interest in analytic philosophy, or your interest in making an educational YouTube channel of your own, there is some entertaining insight into Pelton’s persona, process, and personal philosophy below.

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[{Interview}] [Topics: Analytic Philosophy, Discourse, Education]

Interview with Josh Pelton,

The Philosopher and Mechanical Engineer behind the THUNK YouTube Channel

was last modified: March 26th, 2020 by Daniel Podgorski

[Work: The Art of Risk, Kayt Sukel, 2016]
Risk Defended:

On the Focused Insights and Leisurely Presentation of Kayt Sukel’s The Art of Risk

 

Introduction:

Joueurs de Cartes by Theodoor Rombouts - The Art of Risk - Kayt Sukel - method, style, review

Joueurs de Cartes by Theodoor Rombouts

The hours of work I spend on relatively tedious tasks, such as the manual optimization of image dimensions on this site, are often lightened by listening to free online courses on various topics. This past week, I have been retreading the basics of personal finance in this course by Andrew Hingston. How poetic, then, that I should have stumbled across and begun listening to a course which often speaks of risk management and risk minimization, when I was already in the midst of reading a defense of our risky behaviors: The Art of Risk: The New Science of Courage, Caution, and Chance by psychologist Kayt Sukel.

Both individuals are students, to some degree, of behavioral economics—as formulated by, among others, Nobel laureate Daniel Kahneman. But their application and incorporation of such insights into their own worldviews are divergent. Whereas in his course Hingston shifts his perspective toward financial priorities so that one can analytically control one’s emotional experiences, Sukel accepts research on risk-taking as an opportunity to offer a naturalistic—even rational—account of risky decision-making. So now, setting other scholars aside, I would like to evaluate Sukel’s book, first for its method and then for its style.

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[Work: The Art of Risk, Kayt Sukel, 2016]
Risk Defended:

On the Focused Insights and Leisurely Presentation of Kayt Sukel’s The Art of Risk

was last modified: February 26th, 2021 by Daniel Podgorski