Shrinky Dinks

Smurfs_Shrinky_Dinks_SupersmurfShrinky Dinks came up in conversation last night and I just couldn’t resist posting this 1985 commercial. With a tagline like “Your shrinky dinks shrink right down to size” you know they’re gonna be small and hard! And for the record, I had the Smurf Shrinky Dinks pictured here, and I was well above age when I got them 🙂

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Reclaim Hosting needs your money!

A dapper Charles Ponzi 🙂

Ok, here’s the situation, my parents went away on a week’s vacation Reclaim Hosting is pretty much rocking and rolling. We have an insane amount of interest, conservative estimates put us at about 3000 faculty and students already. What’s more, the infrastructure has been tested with some early lab rats, and it’s good to go. But there’s one small problem, we need money to front the cost of as many as 3000 domains.

What about the Shuttleworth Foundation grant, you ask? A portion of that grant was used to setup the server, buy  WHMCS and Installatron, and provide a year’s worth of free hosting to participants in Reclaim Hosting. The remaining grant money won’t even begin to cover what we need for domains. Additionally, the plan was to use that money to develop the ds106 assignment bank as a WordPress plugin as well as to frame out the architecture of the Reclaim Your Domain project. As of now, if 3000 people were to sign-up on, or soon after, August 15th (which is when we open sign-ups) we’d have to immediately front upwards of $30,000 in domain costs before that money could be reimbursed to us.

Fact is, Tim and I might be smart, attractive, and bad ass instructional technologists, but we’re far from rich. So, that’s why we are asking you. We are trying to borrow (this is a short-term loan, not a hand-out—though we aren’t against that either 🙂 ) up to $30,000 so we can cover the demand we’re expecting in the first month. We have set up a campaign site for anyone interested in helping us get started, and we’ll track our progress there.

I’ve gone to the community well with this kind of thing before, so I wouldn’t be surprised if folks can’t or won’t do it again—no hard feelings. That said, this is a short-term loan for Reclaim Hosting so it can get up on its feet, and we have no interest pursuing funding that might compromise this project’s community focus. What’s more, you’ll get your money back no later than October 31st, 2013. If you interested, go here and give us a loan, hippies!

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Reclaim Open, as in Open Experience

Along with Martha Burtis and Alan Levine as co-conspirators, I just submitted ds106 as a contestant in the Reclaim Open Learning Innovation contest. I think there’s a lot that is compelling about ds106, particularly if the folks at the Digital Media and Learning Research Hub are looking for alternatives to the corporate juggernauts MOOCs. I’m not sure I did it justice, but let this post stand as a testament to the fact I tried. Below I have reproduced the questions along with my answers to them. Wish us luck, and all proceeds from this award will go towards procuring ds106 the original 1978 Kiss dolls.

*Q1 Name of Project: ds106: An Open, Online Digital Storytelling Course

Q2 The contest focuses mostly at the postsecondary level (though this doesn’t rule out those who work with people under 20). Please explain in 250 words or less how your project:

  • Aligns with connected learning principles.
  • Makes use of open-access and open-license technologies and business models.
  • Involves students as leaders and partners in innovative learning: learner-created courses, majors, and special projects.
  • Incorporates digital resources and practices in novel ways.
  • Presents an example to inspire others.
  • Places a special emphasis on people underserved in some way by traditional higher education.
  • Is a work-in-progress, adapting to the emergent practices of learners as they go.

ds106 was imagined as a way to make students sysadmins of their own education. The course/community encourages them take control of the the online spaces they inhabit, and the experience is designed to guide them through that process both technically and culturally. It’s not only important to understand web servers, subdomains, and databases, but it’s equally essential to interrogate third party services like Facebook, Twitter, Flickr, Youtube, etc., through which we narrate our digital selves on a daily basis. Much of what we do on the web is storytelling, and we need to have a deeper understanding of the platforms we are using to tell those stories.

ds106 not only asks students to take control of their digital work, but also asks them to use their spaces to contribute to the course at large. Each student sets up their own course blog with their own domain using their own web host. Once they do, it’s syndicated back into the course site at ds106.us. That site effectively becomes a distributed hub for the community registered students and open, online participants. Rather than an all encompassing system, ds106 provides a distributed, decentralized community of individuals, much like the web. For example the assignment repository (assignments.ds106.us) features assignments from a range of media-inspired categories, i.e., visual, design, audio, visual, mashup, etc. that people who have been part of the class contributed. The students are charged with choosing a certain amount of assignments from each category over the course of the semester. What’s more, they’re also expected to contribute their own assignments to this repository, which allows them to contribute to the design and development of the course.

Please enter a 300-word description of project or a link to a 2-minute video that answers the following questions:

  • How does your project exemplify open learning?
  • How do you involve students as peer leaders and partners in open innovative learning?
  • How do you incorporate digital resources and practices?
  • Who is your audience?
  • What have you learned so far from this project?
  • What questions remain? What will you do next?

I opted for the talking head video on this one:

Q3 Please provide links to supporting materials, including blogs, websites, Tweets, photographs, and videos, in the text field below.

You can see the ds106 course site at ds106.us. You can also follow the ds106 hashtag at #ds106. What’s more, there are ds106 communities on Flickr, Vimeo, YouTube, Soundcloud, and a wide range of individual blogs. Like the best elements of the web, this course is a distributed network of creative people that have come together to form an engaged, supportive community.

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An Innovation Incubator Grows in Virginia?

THE OG Incubator from Ridley Scott’s Alien

What might Virginia’s higher ed institutions do in terms of experimenting with distributed, virtual learning? How can the Commonwealth encourage technology-mediated exploration, collaboration, and implementation amongst a wide range of faculty, technologists, and students from its 39 public institutions of higher ed? These are two of the questions I’ve been thinking a lot about recently. In fact, I talk about them to just about anyone who’ll listen. A couple of months ago I asked Joe DeFillipo and Beverly Covington of the State Council of Higher Education for Virginia (SCHEV), whom I’ve been working closely with on OpenVa for the last 18 months, what Virginia is doing at the statewide level in terms of fostering collaboration amongst its public universities and colleges. The question seemed worth pursuing, so we organized a discussion about that very idea a few weeks later.

Preparing for that discussion I was batting around  ideas with Brian Lamb and Grant Potter when I was up in Nova Scotia in June. I asked how they wpuld approach such a statewide initiative. And as luck would have it, both Brian and Grant have worked in higher ed in British Columbia since the late 90s early 00s and had a lot to share about the experiments along these line happening within the province over the past fifteen years. Brian Worked at TechBC during its short life (what a fascinating experiment it was), and both Brian and Grant were familiar with BCcampus given they’ve been working at universities within the province for years. After talking with them for a while about these province-level experiments, we agreed it made sense to talk at greater length with Paul Stacey, who was on the ground floor of both as they got up and running.

And given it seems that SCHEV remains interested in continuing such a discussion—which remains a very pleasant surprise for me—early last week Paul Stacey and Brian Lamb were gracious enough to join a call with folks from SCHEV to give us a better sense of what TechBC and BCcampus were/are, and how an experiment in the Commonwealth might benefit from understanding their separate and related histories. I can’t thank Paul enough for patiently taking us through both the history of these entities, including their different and similar missions, all the while providing a very thorough framework for Virginia to model itself on.

I took some notes during the meeting as a way to quickly outline TechBC and BCcampus, but also as a way to understand what elements the Commonwealth might pick and choose from to create its own, unique and relevant version for our particular needs.

TechBC

The Technical University of British Columbia was a pretty fascinating experiment wherein the province created a specialized university that was focused on creating students that met the needs of a growing tech industry in BC. What’s more, those companies were looking for more than just programmers, they were looking for thinkers who had a broad understanding of the technology, as well as the media/design and the business elements of the field. To meet this need they came up with a shared first year curriculum called Tech1 that all students had to take which exposed them to each of these three areas.

In this regard, the university itself was experimental, encouraging a wide variety of online delivery mechanisms based on the particular subject matter. Course content was framed in one credit modules that allowed students (and faculty and instructional designers) to experiment more widely across the three focus areas, and even remix between the areas giving students more options and possibilities. It was also a new university that provided no tenure and required its faculty to experiment with their teaching methods. Often promoting a creative, applied method that pushed the curriculum to have realtime applications in the business/tech world. And from what I understood, the interaction between the Media/Arts, Business, and IT focus areas were pretty fluid, and the entire school started to reflect a more dynamic, interactive environment where experimentation, exploration, and collaboration were part of the culture.

 BCcampus

Due to financial and political pressures TechBC was merged with Simon Fraser University, and the absorption of an experimental university within an established one squelched much of its experimental energy. That said, around the time of TechBC’s closure another provincial post-secondary education agency in British Columbia was established: BCcampus. What is it? Well I’ll let their about page answer that:

BCcampus is a publicly funded organization that uses information technology to connect the expertise, programs, and resources of all B.C. post-secondary institutions under a collaborative service delivery framework. We provide valued services to institutions, ensuring B.C. learners, educators, and administrators get the best, most effective technologies and services for their learning and teaching needs.  We provide an ICT infrastructure for student data exchange, shared services, online learning and distance education, communities of practice and online resources for educators.

This approach is interesting in that it tries to pool resources to enable seamless sharing of student data (i.e., a federated application process, transferring credits, transcripts, etc.), curriculum services (i.e., much of BC’s groundbreaking open education work with Open Education Resources), and shared services (i.e. province-wide contracts with vendor services as well as access to open source applications). What is compelling about BCcampus is how a model like this enables the province to scale resources to all its secondary institutions. What’s more, the laborious work of establishing credit agreements between schools in the region had been worked out well before BCcampus was established so they didn’t have to get muddled down in the negotiations between schools over which credit hours will transfer and which won’t. Rather, they could focus on creating open educational resources to make those courses that much more accessible for all.

The only thing in the neighborhood of this in Virginia is the recently established 4-VA project, but it’s hard to get a sense of its broader impact statewide. This project invested millions of dollars on teleconferencing centers at four large, research campuses (UVA, VA Tech, GMU, and JMU), exactly how this helps the other 35 institutions in the Commonwealth is not yet clear? It also has no clear vision along the line of sharing resources that can be created and distributed asynchronously at a statewide level. Virginia needs a project that begins to not only incubate ideas and possibilities, which is what the proposal shared below focuses on, but it also needs to deal with its ability to frame a broader vision for creating and distributing open educational resources statewide. I tend to see the incubator as an initial step is this direction.

Anyway, based on conversations here at DTLT with Andy Rush, Martha Burtis and Tim Owens, as well as ongoing discussions with SCHEV, we came up with some ideas for what an innovation incubator here in the Commonwealth might look like. Also, I’d be remiss if I didn’t mention here that Brian Lamb’s ongoing support and encouragement for taking the work we do statewide over the last eighteen months has remained invaluable to me. In fact, over the last eight years he has quietly been the closest thing I’ve had to a mentor.

Below is a very rough first draft of the idea we submitted to SCHEV a couple of weeks ago. They’re reviewing and reworking it, but in the meantime I figured I would get it out here to give others a sense of what we’re thinking as well as to beg for feedback and ideas from any and all out there who are interested in turning some of what we have been playing with in terms of edtech into statewide experimental policy!

Click below to take the jump….

Continue reading

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Little Golden Books

Image credit “Gaston and Josephine” by National Museum of American History Smithsonian Institution

My family and I, along with DTLT’s latest hire, went to D.C. today to spend a leisurely Sunday browsing museums and generally being harassed by our over-tired, under-restrained children. We had seen that the American History museum was doing an exhibit on the Little Golden Books. It’s a relatively simple exhibit featuring a few of the books like Richard Scarry’s Two Little Miners (1949) and Here Comes the Parade (1951), along with Feodor Rojankovsky‘s Gaston and Jospehine.

What struck me most was the social history around the emergence of this book series as a response to Eleanor Roosevelt’s call for the need of cheap, compelling children’s books so that reading was not limited to schools and libraries. And at 25 cents for these truly attractively illustrated books from illustrators and authors around the world (many of whom were exiled in New York given the great war). What’s more, all of these books were anchored in a form of fantastical realism. For while the illustration were often fairy-tale like, the stories were grounded in everyday realities such as civic jobs (cops, firemen, miners, etc.), the building of transnational highways, and the immigration of pigs 🙂

Image credit “Two Miners with coal cars” by National Museum of American History Smithsonian Institution

Like I said, it’s a small, unassuming exhibit (the digital component onsite was pretty uninteresting), but in many ways that’s what I enjoyed about it. In fact, the fact the had a number of the classic books on-hand so that I could sit down and read them to my kids was probably the coolest part of the whole thing. And while the exhibit tried to deal (albeit simply) with the pre-determined gender and racial roles in the books, it spent most of its time framing this series as a revolution for transforming literacy around the country my making attractive and compelling storytelling available to as many children as possible. While I was taking in this ideas, which was the exhibit’s overarching argument, I couldn’t help but think of a similar narrative going on right now in terms of opening up education to as many as possible as cheaply as possible when it comes to massive open online courses and the like. But what that movement could learn from the Little Golden Books experiment is that making learning cheap and accessible actually requires a compelling design, and attractive aesthetic, and some good stories. I would argue the education world more generally, but the MOOCs in particular, are still searching for all three.

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Reclaim Hosting: Battling Digital Somnabulism One Domain at a Time

occupywebA week after launching Reclaim Hosting it seems like the project has hit a broader, international nerve. By a conservative count Tim Owens and I did this morning , it looks like we’re going to need a bigger boat  based on the overwhelming interest that, by a conservative estimate, would result in more than 2000 accounts come August 15ht when we open up sign-ups.  What’s more exciting that the crazy amount of people interested, is the realization that a lot of people want a communal approach to an open source toolkit for their teaching and learning.

As it turns out we can deal with the issue of scale when it comes to servers, just get another one (or three!), right Tim? However, the idea of trying to create a community wherein students and faculty can share what they are doing in this space in order to model different approaches, help one another out, and feedback what they’ve learned is the real nut to crack. Tim and I are working on how we might build an environment that harnesses a community of support (which itself will be evolving depending on the community), and I imagine our work with ds106 will help us in that regard. The fact that we can so easily open up the possibility for something like Domain of One’s Own to students, instructors,  academic departments, and institutions around the world (and this is truly a global project) using a small flash grant from the Shuttleworth Foundation is remarkable.

That said, I have to acknowledge that Tim Owens deserves the lion’s share of the credit. He cloned the work he and Martha Burtis are doing with UMW Domains in no time flat, and it will come as no surprise that Reclaim Hosting  is inspired by the Domain of One’s Own project happening at UMW this Fall. What’s more, it follows in a long line of projects coming out of UMW’s DTLT like the Bluehost Experiment, ds106 and UMW Blogs. DTLT has made it a habit over the last ten years of pointing its initiatives towards the web in order to share the work we’re doing, as well as allow others to piggyback on them if their environment is less than conducive to innovation.

The secret is that we’re not the one’s  “sacrificing” our limited resources for the good of the cause by sharing out work. Rather, the process pays back to UMW 1000 fold. We get access to a wide range of approaches all over the world from different education levels (K12, undergraduate, graduate, etc.) that help us better understand how to approach Domain of One’s Own locally. We also hook into a community of students and instructors that want to experiment, exposing us to some of the most innovative approaches going and forcing us to stay sharp at home. What’s more, it often brings attention to your work. When you open your work up, you’re usually the one that benefits as a result. In fact, I would argue that the community as a whole does.

On that note, I was excited to see Chronicle intern reporter Sara Grossman’s article on Reclaim Hosting. She took the time to follow-up on her interview with us several times, and I think her article does justice to the project:

The goal [of Reclaim Hosting] is to provide instructors and administrators with a simple way to give students personal domains and Web hosting they can own and control.

That’s right, and while the pedants will argue how much can you truly own or control a domain or hosting (“it’s leasing!”), the idea behind this project is to move beyond a simple consumer attitude towards the web. In order to truly engage this participatory medium on your own terms, you need to understand how it works. This means experimenting with installing applications, browsing database tables, experimenting with DNS, mapping domains, etc. Whats more, it’s about avoiding our culture’s tendency of “falling into a state of digital somnambulism,” to quote Cathy Derecki’s must read post on the topic titled “Time to Fight the Digital Nanny State.”  In fact, I get excited when I think an entire community college system like VCCS is considering the implications of such an approach.

In the following video Tim and I frame this project in more detail. We work through some of the details of how we are trying to share resources, develop a distributed community site, and create an ongoing video series wherein we explore the possibilities of various open source applications. I imagine it will cover approaches to building distributed course sites, managing your students cPanel accounts, as well as cover a series of various technical details behind web hosting. But all this analyzing is paralyzing, it’s time to play this dang thing!

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WVU’s Super Wi-Fi and the Wireless Future Project

Sara Grossman’s article about super wi-fi at West Virginia University is one of the more hopeful things I’ve read online in a while. The idea of WVU and the Wireless Future Project  (led by Michael Calabrese) teaming up to provide free wireless throughout Morgantown, WV is awesome and long overdue. What’s happening is that WVU is utilizing the unused TV channel frequencies—which I imagine are in greater supply after the recent retirement of analog TV signals—to provide a wider network of free wireless to the WVU community. The Wireless Future Project points out this is a resource municipalities around the country could be using to provide ubiquitous, low-cost (ideally free!) wireless for their residents. What’s more, it has gotten the nickname “super wi-fi” because it is more powerful and can cover larger areas.

Julius Genachowski, a former chairman of the Federal Communications Commission, described the notion of providing Internet service through television channels as “super wi-fi” because such connectivity can be broadcast for great distances and can penetrate large obstacles that standard wi-fi hotspots struggle to overcome.

The Wireless Future Project’s about page is like a manifesto of awesome. Here are a few choice selections:

…the Wireless Future Project’s central goals are to reverse this ongoing privatization of the public airwaves and to expand citizen access to an unlicensed spectrum “commons,” thereby facilitating public access to the airwaves, nonprofit community and municipal wireless networks and ubiquitous wireless Internet access. The project seeks to not only maintain democratic control over the airwaves — as a public resource — but also ultimately make wireless communication over the radio frequency spectrum as free as communications over the acoustic spectrum (speech) and the visible light spectrum (sight and color). While spectrum licensing persists, we advocate that commercial users pay fees for exclusive licenses, with the revenue earmarked to finance unfulfilled public interest obligations.

Groovy, right? Reminds me of Brian Lamb’s green spaces for the web analogy. We need more publicly controlled, internet green spaces! They even get into open architecture, one of my favorite topics:

The Internet’s success and importance to society is predicated on its open architecture. This openness was maintained as the Internet evolved from a network of academics to its current widespread use, allowing consumers to access any legal content, service, or application, developers to innovate without permission, and users to transmit any information desired without interference from an Internet Service Provider (ISP). However in recent years, a number of ISPs have begun to interfere with certain content and applications and increasingly argue for the ability to further shape or manage traffic on their networks.

What? An organization besides the EFF calling out corporate ISPs on packet shaping? I love it! I know this all could be a mirage, and as a result of this article I am beginning to learn more about Sascha Meinrath of the Open Technology Institute (OTI) which is the technology arm of the New America Foundation. I guess if one wanted to get involved with policy championing the open web the OTI might be a good place to start. That said, Google’s Eric Schmidt is chairman of the New America Foundation’s board of directors, so it would be hard to imagine there isn’t serious corporate money and lobbying defining much of this work, but isn’t that the way of the world? 😐 Nonetheless, seems to me WVU and the Wireless Future Project are on to something here, and if we can start busting out mesh networks sometime soon we might actually have an open web again one day!

 

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Monster Bash 2014 starring Barbara Steele

Monster Bash 2014

I already posted about how awesome the recent issue of Filmfax is, but I also wanted to share an advertisement from the recent issue extolling the virtues of the 2014 Monster Bash that will be held outside Pittsburgh, PA  next June (the 20th -22nd to be exact). I’ve been  subscribing to Filmfax for a spell now, and I’ve seen the ads for these festivals for some time. I’ve been hankering to go to one of them for a while, but I still haven’t fallen far enough down the geek hole to realize that ambition.

Barbara Steele

But that all might be about to change because it seems Barbara Steele, the queen of 1960s b-movie horror and long-time poster girl of this blog, is on tap for signing autographs and taking pictures. Given the unholy amount of time I’ve spent staring at images of her with spike scars on her face, I think it’s high time to meet the woman behind the “Mask of Death.” I’m imagining meeting up with my bavatuesdays film festival co-conspirator Paul Bond at the Monster Bash in less then a year so that we can get an image with and autograph from this b-movie horror film legend. I’d also love to interview her about her experience on the set of Mario Bava’s Black Sunday (1960).

What’s more, we can also seek out Judith (“They’re coming to get you, Barbara”) O’Dea from Night of the Living Dead and Tom Savini, the gore master behind Dawn of the Dead (1978) amongst  many other films.  The legendary exploitation director Jack Hill (who Quentin Tarantino called “the Howard Hawks of exploitation filmmaking”) best known for the cult classic Spider-Baby (1964) will be on hand. I’m getting excited just writing about it, but the film personalties are only part of the allure. There’s also the memorabilia! All the beautiful 1950s and 60s tangible nostalgia. And compared to all the edtech conferences I’ve attended the last seven  years it’s a bargain at $50 bucks for three days of meeting the legends, watching the films, and browsing ALL the awesome things. Anyway, I embedded the trailer below because while writing this post I have officially become a Monster Bash fanboy, I’m gonna do everything I can to attend my first full blown fan frenzy!

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Black Sabbath: What is Browning to Bava?

Last night Paul Bond and I resurrected our bavatuesdays film festival. We got waylaid for a month or two, but now we are back. This experiment was in service to working out the details of how we will be collaboratively teaching  our True Crime class in a distributed manner, which is set to happen in just over a month and I’ll post more about that soon. Paul has already blogged about our discussion last night, and he notes we used a Google Hangout last night to broadcast and archive our video. It pains me to say it, but it was a lot easier than our custom video kit here at UMW. I’ve not given up on the kit option,  but for the rest of the bavatuesdays festival at least, we’re going to keep experimenting with Google Hangouts. We had a few glitches due to user error, but working through those was the point of this experiment from the beginning.

Last night’s discussion was off-the-cuff and informal, which is how I like it. My theory is that while a discussion might start slow and be searching for a rhythm, when you have two people talking about something they are passionate about (in this case Mario Bava’s films) sooner or later the conversation is gonna catch its stride. And by the end of this episode I think we did just that. We talked about a wide range of topics with this film from it being the inspiration for the more famous association of the English title for the film: the British heavy metal band Black Sabbath (Paul plays with this brilliantly here). Then we got into the dramatic differences between the American version titled Black Sabbath (embedded below)

And the Italian version titled I tre volti della paura, or the Three Faces of Fear (embedded below)

The differences are myriad, from the cut scenes with Boris Karloff to the ordering of the episodes to the music to the exclusion of a lesbian relationship to the bizarre ending scene with Boris Karloff. The final scene in the Italian version (which is not in the American cut) has Karloff riding off on a horse that the camera ultimately pulls back to expose the “magic” of the filmmaking, i.e., a mechanical horse with a bunch of people circling around shaking tree branches. As Paul notes, part of the reason behind this was that the Italian producers felt the film was way too dark and this would help lighten it up. He also notes, according to Tim Lucas, this is a moment wherein Bava exposes his now trademark, barebones approach to the amazing visual effects he creates.

After watching this scene I immediately thought of the final scene of Tod Browning‘s Mark of the Vampire* (1935) which does something very similar with Bela Lugosi. During our conversation—and this is why loose conversations are awesome—I started to think Bava is not only working with a titan of that era in Karloff while making Black Sabbath, but is obviously a fan of the 1930s U.S. horror films as evidenced by Black Sunday. So if Bava has Karloff riding a mechanical horse to expose the machinations of film at the end of Black Sabbath, it might be possible he was inspired by Browning’s direction of Lugosi at the end of Mark of the Vampire. Rather than truly being a vampire, it turns out Bela Lugosi was simply acting like a vampire in order to catch the real murderer in the film. A change-up that Lugosi thought was absurd, and that has since cast doubt about the value of Mark of the Vampire as a horror film. You can see the ending scene when Lugosi steps out of character behind-the-scenes below:

Interestingly enough, like the American version of Bava’s Black Sabbath, Browning’s Mark of the Vampire was cut drastically from its original 75 minutes to 60. The unsupported theories in the Wikipedia article as to why it was cut are fascinating. One theory states the film was cut to eliminate the incestuous overtones between the count and his daughter. Wow, there was fifteen minutes of that? 🙂 Another suggests that most of the cuts were of comic material  surrounding the maid. I want to do more research around this to see which (if any) of these theories might be true. But of all the connections with filmmakers from the monster era of the 1930s and Bava, I hadn’t really thought of Browning because his career was prematurely derailed as a result of the outcry over Freaks. But now that I think of it, Freaks made Browning one of the earliest U.S. cult directors operating on the margins of the studios. So whether Browning was an influence on Bava is not something I can say without more digging, but I am starting to see a filmic affinity.

Mark of the Vampire is in the public domain and available as a free download on the Internet Archive.

 

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Lord of the Rings and the 1970s Fantasy Aesthetic

The kids and I started watching Peter Jackson’s Lord of the Rings trilogy this week, and they’re having a blast with it. When I saw the shot of the Ring Wraiths filing into the tavern in the Fellowship of the Ring, I knew a GIF was not far behind.
lotr_bar_wraith

But more than that, the thing I personally love about the LOTR trilogy is how brilliantly it brings to life the 1970s fantasy aesthetic defined by artists and animators like Frank Frazetta and Ralph Bakshi. Frazetta actually illustrated a few scenes from Lord of the Rings, and Bakshi directed the 1978 animated film version of Tolkein’s books that I saw in the theatres, and which left an indelible impression on my imagination. I mean check out the shot rom Bakshi’s film of the hobbits hiding from the wraith.

images

And then compare it with Jackson’s shot of the same scene in his film.

hiding-from-ringwraith1-1

Screen shot 2013-07-24 at 10.14.12 AM

And as you look closely at the scene of the hobbits hiding beneath the tree as the ring wraith is trying to “sniff” them out, you also notice the imposing, larger than life narrative scenes of Frank Frazetta’s work, the most famous of which being “The Death Dealer 1” (which was a Molly Hatchet album cover as well as the mascot for a US Army III Corps) .

01-frazetta-hal-hefner

What’s coolest for me is how much this aesthetic is what anchors my love of this trilogy. There’s a lot of filler and downtime, but when it is at its best the trilogy invokes the best of a 1960s and 70s inspired fantasy aesthetic that links one into a whole world of Dungeons and Dragons, Conan the Barbarian, Clash of the Titans, and more. It is definitely a differnet way to experience this than my kids, and I think in the end fresh experience over nostalgia is always preferable, but that’s all I got, unlike them;)

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