Satellite For instance, Alternative I mention all of that by way of introducing Doug Gordon’s terrific new program Gordon is a longtime radio producer<\/FONT><\/B><\/A> who has Always look on the bright side of death Idle does a great little sketch about his dead mother \u00e0 la Joe Orton, and Gordon gets him The hour-long show also includes an exquisite film chat by drive-in movie critic Joe Bob Examples? The first slasher-gore film. “‘Blood Feast’ — definitely not acceptable in 1953,” Speaking about “Crash,” the 1996 flick directed by David <\/P> It’s based on a novel by J.G. Ballard, but what [Cronenberg] has done is he’s filmed it so The movie starts with three sex scenes, one after another. Hardly any dialogue. And when the <\/P>
\nradio<\/FONT><\/B><\/A> has buzz, with Howard Stern, Eminem, Maxim magazine signed to host
\nshows for big bucks, and now moviemeister Robert Evans signing
\nup<\/FONT><\/B><\/A>. But the great radio medium is already here. It’s on the Web, and it’s not
\npart of any commercial hype. <\/P>
\n
\nRadio<\/B><\/STRONG><\/FONT><\/A> lets you to hear Arunditi Roy speaking about
\nEmpire,”<\/FONT><\/B><\/A> or giving an interview entitled
\nfilm<\/B><\/FONT><\/STRONG><\/A>
\nblogger Kyle Gann’s Postclassic Radio”<\/FONT><\/B><\/A> offers the
\nlatest in contemporary serious music that you’d never hear anywhere else.<\/P>
\n
\nis available on the Web. There have only been three broadcasts so far, and the title is not the
\ngreatest. (It sounds like an auto dealership.) But I’m hoping the show becomes a mainstay.<\/P>
\n
\ngreat taste in pop culture. It’s a gas listening to Monty Python’s Eric Idle sing “That’s Death” \u00e0 la
\nSinatra’s “That’s Life” in his interview with Gordon on the first broadcast,
\nhear Idle singing the lyrics of another song: <\/P>
\n
<\/I>Just before you draw your terminal
\nbreath<\/I><\/P>
\n
\ntalking about mockumentaries, a genre he believes he originated, and about his upcoming
\nBroadway musical, “Spamalot.”<\/FONT><\/A><\/B><\/P>
\n
\nBriggs, whose latest book, “Profoundly
\nDisturbing,”<\/FONT><\/B><\/A> features 15 essays on flicks “your momma didn’t want ya to see.”
\nWhat makes them disturbing, Briggs says, is “they’re movies that went farther than movies before
\nthem. Bottom line, they rearrange our view of what constitutes normal or acceptable.”<\/P>
\n
\nBriggs says. He includes “And God Created Woman,” because “Brigitte Bardot was not
\naccceptable in 1956” and the film “changed women.” The gore film “changed punk bands.”
\nProfoundly disturbing films “work on the culture in different ways,” he says. “Some of ’em bubble
\nup from the underground and some of them have a direct effect on the way we talk, dress and
\nact.”<\/P>
\n
\nCronenberg<\/B><\/FONT><\/STRONG><\/A>, Briggs claims it’s the first sex movie that avoids
\ngratuitous sex. In other words, it has a lot of necessary sex. Here’s part of the interview:<\/P>
\n
\n‘Crash’ is very disturbing. It disturbs me. Even people who like it find it really
\nhard to deal with. It’s about a world in which people have been so drained of emotion and ability
\nto feel that the only way they can<\/I> feel is through mutilation carried to the extreme — and
\nin this case, car crashes. Now it sounds like a silly idea when you first hear it. And, in fact, it was
\ntreated like a silly idea by most of the critics who reviewed it.
\n
\n
\npristinely and so coldly and directly that it’s trancelike, It really pulls you in. … What’s interesting
\nto me is that critics forever have been saying, “Well, you can always just take the sex scenes out
\nof a movie and the movie’s still there. Sex is always gratutitous.” … David Cronenberg makes a
\nmovie in which almost every scene is a sex scene, and if you remove any of the sex scenes you
\nlose the whole thread of the movie. Every sex scene is integral to the plot. It’s integral to telling
\nthe story. …<\/P>
\n
\npublic first watched it they were sort of, like, disoriented. What’s going on here? When is the
\nmovie going to start? Well, the movie had started. You were learning a lot about these characters
\nfrom the way they have sex. Now he didn’t get any credit for this. He had made the first sex movie
\nwithout any gratuitous sex in it. In fact, he was vilified for this movie.<\/P><\/BLOCKQUOTE>
\n
\n