Performance and Selfhood in ‘Alita: Battle Angel’

“Whose body is this?” Amnesiac cyborg warrior Alita asks it of her adopted father Ido. Her unfamiliarity and discomfort with it has become to much to bear. Salvaged from a scrapyard as a disembodied head and given a new shell, Alita knows instinctively that this body doesn’t belong to her. It doesn’t feel right. It Continue reading Performance and Selfhood in ‘Alita: Battle Angel’

‘Escape Room,’ ‘Halloween,’ and the Immortality of Trauma

Hollywood franchising doesn’t leave room for healing. Being an individual possessed of an AMC A-List subscription, last weekend I saw the film Escape Room. It’s the sort of film that Moviepass and its ilk are made for. I’d never make time for this kind of cheapo January horror schlock if I didn’t have 3 tickets a Continue reading ‘Escape Room,’ ‘Halloween,’ and the Immortality of Trauma

SHOT MISSING: ‘The Other Side of the Wind’ and the New History of Found Footage

Orson Welles invented a genre, and died before anyone found out. Had it been released, as intended, in the 1970s, Orson Welles’ The Other Side of the Wind would have completely redefined the found footage genre. Well, “redefined” isn’t the right word. After all, found footage cinema didn’t exist during the film’s production. Welles was inventing Continue reading SHOT MISSING: ‘The Other Side of the Wind’ and the New History of Found Footage