Martin Pank

redundantní tautologický pleonasmus

17 bodů

Můj deníček

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  • 21.5.2017 v 18:10

    Malá videoesej o popularitě postapokalyptické fikce


  • 26.9.2015 v 16:50

    Prostor a identita v Ghost In The Shell


  • 4.7.2015 v 19:47

    The perils of worldbuilding


  • 25.4.2015 v 10:35

    Paul Valéry o uměleckých vlivech

    No word comes easier or oftener to the critic's pen than the word influence, and no vaguer notion can be found among all the vague notions that compose the phantom armory of aesthetics. Yet there is nothing in the critical field that should be of greater philosophical interest or prove more rewarding to analysis than the progressive modification of one mind by the work of another.


    It often happens that the work acquires a singular value in the other mind, leading to active consequences that are impossible to foresee and in many cases will never be possible to ascertain. What we do know is that this derived activity is essential to intellectual production of all types. Whether in science or in the arts, if we look for the source of an achievement we can observe that what a man does either repeats or refutes what someone else has done—repeats it in other tones, refines or amplifies or simplifies it, loads or overloads it with meaning; or else rebuts, overturns, destroys and denies it, but thereby assumes it and has invisibly used it. Opposites are born from opposites.


    We say that an author is original when we cannot trace the hidden transformations that others underwent in his mind; we mean to say that the dependence of what he does on what others have done is excessively complex and irregular. There are works in the likeness of others, and works that are the reverse of others, but there are also works of which the relation with earlier productions is so intricate that we become confused and attribute them to the direct intervention of the gods.


    Paul Valéry, Letter abou Mallarmé, cit. Gerold Bloom - Kabbalah and Criticism

  • 16.4.2015 v 06:28

    7 filmů, které otevírají existenciální otázky našich životů

    Deník Guardian zveřejnil kompilát sedmi krátkých analýz filmů, jednu redakční a šest dalších od současných filosofů: Christine Korsgaard (Harvard University), Ursula Coope (University of Oxford), Peter Singer (Princeton University, University of Melbourne), Susan Haack (University of Miami), Kenneth Taylor (Stanford University) a Slavoj Žižek (Birkbeck Institute for the Humanities). Analýzy ukazují, jak každý z filmů vede diváka k elementárním filozofickým otázkám, k existenciálním dilematům našich vlastních životů. 



  • 6.4.2015 v 19:53

    Reynold Brown - Movie poster artist extraordinaire.




  • 4.4.2015 v 06:31

    Hal Hartley’s epic oral history: The “Henry Fool” trilogy, Parker Posey and the real sage of ’90s indie film

    Here, Hartley, longtime partners (Donovan, Posey), key "Henry Fool" figures (Thomas Jay Ryan, James Urbaniak) and newcomer Aubrey Plaza discuss the making of a classic American cinema trilogy.

    "You can't put a fence around a man's soul."

    The East Village of Manhattan in the mid 1980s was teeming with rebel artists in bands, performance troupes. Hartley, just out of college (SUNY Purchase, where Burke, Falco, and Posey also went), opted to cede the streets to the likes of Jim Jarmusch and take the LIRR home instead to shoot his first films.

    HAL HARTLEY: I was living in New York City but I went back to Lindenhurst often to see my family and friends. I knew I had a good base there. That was an environment that I could control. It was a practical thing. also remember feeling at that time the American suburbs and people who rub up against the status quo the wrong way there wasn't anybody making movies like that. Stories about outsiders in the suburbs were not really being made. I thought 'Well, perhaps that's something I can bring to this?' I felt very much connected to the Island.

    Hartley put together "The Unbelievable Truth" budget (about $60,000 dollars) and set about casting Burke as an ex con, and discovering via a headshot, the petite, blonde Shelly who would play Audry, Burke's love interest, a high school student obsessed with the bomb ("Why are you two concerned about my college education? The world is going to blow up any day now," she asks her hapless parents).

    HAL HARTLEY: A lot of friends around me were saying 'We don't think this is right. We think you're making a mistake with this girl.' I said, 'I don't think so. I know she's shorter than a model. But I think there's something really special about her look and she's funny in a way that she might not even be aware of yet. She was very young.



  • 29.3.2015 v 10:57

    Schopenhauer o typech umělců

    "Artists may be classified as meteors, planets & fixed stars. A meteor makes a striking effect for a moment. You look up & cry There! & it is gone for ever. Planets & wandering stars last a much longer time. They often outshine the fixed stars & are confounded with them by the inexperienced; but this is only because they are near. It is not long before they must yield their place; nay, the light they give is reflected only, & the sphere of their influence is confined to their own orbit — their contemporaries. Their path is one of change & movement, & with the circuit of a few years their tale is told.

    Fixed stars are the only ones that are constant; their position in the firmament is secure; they shine with a light of their own; their effect to-day is the same as it was yesterday, because, having no parallax, their appearance does not alter with a difference in our standpoint. They belong not to one system, one nation only, but to the universe.."
    ~Arthur Schopenhauer 1851

  • 28.3.2015 v 18:43

    say no

    to dog meat

    say no
  • 20.2.2015 v 10:38


    what the...

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