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SEXUAL POLITICS

AND SOCIAL

ALIENATION:

DISCOVER

THE UNSEEN

BRITISH CINEMA

OF JANE ARDEN

AND JACK BOND.

contents

Issue Three. July/August

BELOW OPEN ROAD ROOFTOP, MANHATTAN (PHOTO BY SARAH PALMER)

Welcome

The Big Picture is a

magazine in love with

the movies. Each

issue we take you on

a visual tour through

the history of ﬁlm

to reveal universal

themes, recurring

ideas, moments of

signiﬁcant change and

ways in which ﬁlm

inﬂuences a great deal

of our culture beyond

the screen. So whether

you’re a ﬁlm buff or

relative big screen

novice, we hope you

ﬁnd something in the

following pages to both

inspire and entertain.

Gabriel Solomons

AND FOUND

24

Feature

Feature

Regulars

04 / Reel World

Celebration, Florid a

06

06 / Spotlight

When Tomorow

Comes: Future

Visions in Movies

14 / Art & Film

Being There:

Pieter Dirkx

18 / One Sheet

Fritz Lang’s Metrop olis

Feature

30 / 1000 Words

The Cabinet of

Dr. Caligari

34 / On Location

Tokyo, Japan

Feature

24 / Widescreen

Higher Ground

38 / Screengems

The Hoverboard

42 / Parting Shot

Safety Last!

DVD & Blu-ray 13 July

The Big Picture ISSN 1759-0922 © 2009 intellect Ltd. Published by Intellect Ltd. The Mill, Parnall Road. Bristol BS16 3JG / www.intellectbooks.com

Editorial o�ce Tel. 0117 9589910 / E: info@thebigpicturemagazine.com Publisher Masoud Yazdani Editor / Art Direction Gabriel Solomons Contributors Gail Tolley,

Nicholas Page, Scott Jordan Harris, Jez Conolly, Joanna Beard, John Berra, Tony Nourmand, Jelena Stanovnik Special thanks to Gabriel Swartland at City Screen, Zoe Naylor

at the Independent Cinema O�ce and Caroline Haywood at The Picture Desk / info@thebigpicturemagazine.com / www.thebigpicturemagazine.com

intellect books & journals

Also screening at the BFI Southbank, 14 - 17 July and at The Cube Microplex, Bristol, 20 - 22 July

Available at

Published by

To ﬁ nd out more visit

www.bfi.org.uk/ardenbond

july/august 2009 3

LOST

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reel world

L ocated just a few

As an experiment on new urbanism, the Walt Disney

inspired town of Celebration, Florida may not be

everyone’s ﬁrst choice for a relocation. But if the clean,

wholesome lifestyle perpetuated by many of Disney’s

movies sounds appealing, it’s deﬁnitely worth a visit.

Joey Beard takes a look at the town that Walt built. ➜

Park

miles south of the

Magic Kingdom in

Orlando, Florida

lies the town of

Celebration. This town,

like no other, was carefully

constructed by the Disney

Corporation and opened in

1996 – thirty years after the

death of Walt himself. The

project emerged in response to

Walt Disney’s ultimate dream

which he discussed avidly

in his dying years. This was

Epcot − the Experimental

Prototype City of Tomorrow.

Following Walt’s death, The

Walt Disney Company decided

that it did not want to be in

the business of running a

town and, although the model

community of Celebration,

Florida has been mentioned

as a realization of Disney’s

original vision, the town is

based on concepts of new

urbanism which is radically

different from Disney’s

modernist and futurist visions.

The original idea developed

from a yearning for a

sense of community and

neighbourhood friendliness

which (in Walt’s view) was

becoming increasingly hard

to ﬁnd. Celebration has

attempted to recapture this

small town co-existence,

deliberately bringing its

inhabitants closer together

to encourage conversation

and interaction. The hospital

treats illness, but more

importantly, promotes

wellness. Very Disney.

Alongside this socially driven

‘incentive scheme’ is the

carefully laid out architecture

and horticulture, scripted as

if directly from a ﬁlm with no

mistaking who the ﬁlm is by.

The essential conceit though

is that Celebration proposes

residents buy into a past that

has only really existed in the

movies, evidence – if any were

needed – that nostalgia has

a wonderful way of making

you see the past through rose

tinted (or perhaps Mickey

Mouse shaped) glasses.

FIND OUT MORE :

www.celebration.ﬂ.us/

City

OPPOSITE A NICE PLACE TO RAISE YOUR KIDS / BELOW A TYPICALLY AMERICAN VIEW OF UTOPIA

4 www. thebigpicturemagazine .com

july/august 2009 5

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spotlight

When

1936 2036

Scripted by H.G. Wells and based on his own novel,

Things to Come examines the nature of progress

as it spans an entire apocalyptic century and three

generations, ending in 2036 with a rocket to the

moon. In its vast scope and visualizations of a war-

ravaged world saved by science and scientists, it’s

an epic on a Cecil B. DeMille bible movie scale. The

ﬁlm accurately ‘predicts’ television, jet planes, and

evil dictators and – as a visionary work that aims

to honestly tackle the devastating consequences

of international warfare – is one of the few science

ﬁction ﬁlms that’s about something.

Tomorrow

Things To Come (1936)

Dir. William C. Menzies

Comes

Future visions in movies are almost always a

product of their own time which have a habit of

ageing disgracefully. Occasionally though they open

up a window to a future that not only feels somehow

relevant but plausible too. Here we take a look at

some prime examples. Words by Gabriel Solomons

CINEMATIC VISIONS OF THE FUTURE

➜

6 www.thebigpicturemagazine.com

july/august 2009 7

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spotlight Future

Blade Runner

remains the

benchmark

for our most

pessimistic (and

plausible) vision

of the future.

LEFT THE NIGHT SKY IN BLADE RUNNER

1982 2019

Blade Runner (1982)

Dir. Ridley Scott

2004 2027

�e themes of

nationalism

and xenophobia

coarsing

through the

narrative

should act as a

warning...

Children of Men (2004)

Dir. Alfonso Cuaron

Although 2019 is now not

such a distant future as that

imagined 27 years ago, Ridley

Scott’s inﬂuential sci-ﬁ noir

remains the benchmark for

our most pessimistic (and

plausible) vision of the future.

Replicants and ﬂying cars

aside, Blade Runner posits

a future global community

struggling with ecological and

social meltdown that today

doesn’t seem too far fetched.

As a commentary on our

incessant appetite for genetic

‘betterment’, movies don’t

come much better than this.

With ﬁlms like Children

of Men , we’re faced with

yet more gruff cynicism

as our futuristic society

faces extinction when no

children are born and the

human race has lost the

ability to reproduce. There

is a redemptive, hopeful

end in sight (phew!), but

the themes of nationalism

and xenophobia coarsing

through the narrative act as

a warning and go some way

in highlighting a few very

current attitudes adopted by

today’s governments.

A bleak gangster tale in which

suave but ruthless Londoner

Jack Carter sets out to exact

revenge for his brother’s

suspected murder. Caine’s

smug, impassive face remains

emotionless throughout as he

punches, shoots and screws

his way through a complex

trail of lies, deceit, cover-

ups and backhanders among

Newcastle’s underworld.

A lean, efﬁcient slice of 70s

cinema that set a precedent

for retribution ﬁlms to come.

LEFT CLIVE OWEN IN CHILDREN OF MEN

8 www. thebigpicturemagazine .com

july/august 2009 9

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