Of all the remarkable aspects of Twin Peaks: The Return, perhaps the strangest is not something that is present, but something that’s absent: the utter lack of any recognizable psychology. Char...
Although the Netflix series Stranger Things has received more mainstream attention, the Syfy series Channel Zero is arguably more unsettling and less predictable, and executed with a more determi...
The path that finally led to the making of The Removals — a feature-length paranoid lo-fi thriller and love story produced by Two Dollar Radio — was a very, very long and twisty one. As it pr...
This fifth and final installment of Time Frames draws on The Media History Digital Library, a reservoir of information about early cinema that includes the sorts of magazines, journals, and t...
This third installment of Time Frames draws on The Media History Digital Library, a reservoir of information about early cinema that includes the sorts of magazines, journals, and trade publi...
This second installment of Time Frames draws on The Media History Digital Library, a reservoir of information about early cinema that includes the sorts of magazines, journals, and trade publicat...
The Media History Digital Library is a goldmine of information about early cinema, the sorts of magazines, journals, and trade publications that, in the pre-digital era, had only been available t...
The new horror anthology film V/H/S/2–once you’ve shaken the blood from your hair–leaves behind some striking images and moments. Oh the lowly horror genre: the place where there is more ci...
In Jorge Luis Borges’s story “The South” the narrator notes that “every Argentine knows that the South begins at the other side of Rivadavia.” And this is where I found myself last mont...
Second #7144, 119:04 The blue curtain, creating the conditions for its own strange, vertical, blue-noise static. Remainders: 45,000 = total words in project 2 = frames that feature Dorothy, Jeff...
Second #7097, 118:17 (Note: the final post in the project goes up Friday.) A confession, of a different sort, about how a movie saved a young man. Can a scene from a movie detour your life, turn ...
Second #7050, #117:30 It’s as if the movie has gone back in time; Jeffrey and Sandy look so young. “I don’t see how they could do that,” Aunt Barbara (Frances Bay) says, looking at the ro...
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Second #7003, 116:43 The camera pulls back, low like in the beginning when it entered the lawn grass, to reveal Jeffrey, lounging, Sandy just having told him that “lunch is ready.” A concrete...
Second #6909, 115:09 (Note: there are six posts remaining in the project, which will conclude with #154 on August 24.) 1. The seconds preceding this frame show Sandy and Jeffrey in the hallway ou...
Second #6909, 115:09 Detective Williams arrives, too late. Everyone dead is dead. Jeffrey is alive, but not because of the Law. Sandy, behind her father, behind the gun, swoons, electrified and r...
Second #6862, 114:22 In an unnervingly comic touch Frank approaches the closet where Jeffrey hides loaded up with his props, which include Dorothy’s blue velvet gown and his gas mask. He is the...
Confession With just 9 posts to go, I herein and forthwith offer my final confession. As author of The Blue Velvet Project—which owes a moral debt to the Dogme 95 movement, whose practice of co...
Second #6862, 114:22 Jeffrey, taking the gun from the Yellow Man’s jacket pocket, as Frank is in the bedroom, shooting. In addition to Jeffrey and the Yellow Man, there is the camera, or at lea...
Second #6768, 112:48 Fragments: 1. Frank’s back to the camera. 2. Dorothy’s apartment stretched out in horizontal like a widescreen nightmare. 3. The vintage fridge, solid. 4. The black circl...
Second #6721, 112:01 In an essay from 1929, “The Filmic Fourth Dimension,” Sergei Eisenstein wrote about the impossibility of “the single-meaningness” of the film frame, which “can neve...