Now, Party Girl feels less like a harbinger of a virtually real future, and more like a series of after-images that linger, a nostalgia that shimmers.
JoinedMay 26, 2017
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Brian Doan is a freelance writer living and working in Oberlin, Ohio, where he binge-watches Murdoch Mysteries with his wife, and dreams of a Midwestern grocery store that will carry good boudin (he is also an Affiliate Scholar in Oberlin College's Cinema Studies program). He received his Ph.D. in English from the University of Florida in 2010, where he wrote a dissertation on "The Anecdote and Classic Hollywood" that he is currently revising as a manuscript. He's a contributor at RogerEbert.com and has also written essays on movies, comics, and popular culture for various academic collections. If you're so inclined, you can read his musings on pretty much everything at his blog, Bubblegum Aesthetics.
Spielberg’s adaptation of J.G. Ballard’s autobiographical novel, about his time in a Japanese-run internment camp in China, comes at us less as an argument than as a series of cinematic intensities.
Richard Lester's The Bed-Sitting Room (1969) and the Dream of London at the End of the World
