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Editor’s Note: This is a transcript of a recently released video of Jonathan Bowden speaking about British art. Some passages are repeated because they are repeated in the video. You can watch the video here.
All culture replicates ethnicity and race at another level of mental construction. The whole point of human culture, and why there are so many diverse ones of various artistic and intellectual standards, is because they replicate what human beings are at a higher level. (more…)
You can buy Jonathan Bowden’s Reactionary Modernism here.
You can buy Jonathan Bowden’s Reactionary Modernism here.
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Part 4 of 7 (Full series here.)
Edited by Greg Johnson and Peter Jacobi
In 1995, Jonathan Bowden self-published his Collected Works in six volumes (London: Avant-Garde, 1995), edited by Jürgen Schwartz, one of Bowden’s pen names. These volumes comprise 27 distinct books, 12 of which had been previously published. Altogether, the Collected Works contain more than 2,600 pages of rare early Bowden.
Deliverance is the fifth book in the second volume. It had not been previously published. We will publish it online in seven installments. (more…)
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From Siegfried to Triumph of the Will: Impulses of the Avant-Garde
The most distinctive artistic language of pre-revolutionary German cinema is expressionism. Silent films such as The Cabinet of Dr. Caligari (1920, dir. Robert Wiene), The Tired Death (1921, dir. Fritz Lang) and Nosferatu (1922, dir. Friedrich W. Murnau), and even earlier, The Student of Prague (1913, dir. Paul Wegener) and Homunculus (1916, dir. Otto Rippert), are striking not only for the fantastical nature of their themes and the macabre nature of their plots, which refer to “black romanticism”, but above all for their overall atmosphere. (more…)
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Ladies and Gentlemen, The Fabulous Stains, a film about the quick rise and even quicker fall of the eponymous all-female teenage punk band, is a big guilty pleasure of mine. Indeed, an enjoyer of this movie would have much to feel guilty about. (more…)
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Netflix has released a new adaptation of Il Gattopardo (The Leopard), the 1958 novel by Giuseppe Tomasi di Lampedusa about a noble Sicilian family living through the tumultuous era of Italian unification. The first and most famous depiction of The Leopard was Luchino Visconti’s 1963 film, starring Burt Lancaster and Alain Delon. (more…)
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Francis Ford Coppola’s The Godfather Part II appeared in 1974, two years after the original, with much of the same cast: Al Pacino as Michael Corleone, Robert Duvall as Tom Hagen, Diane Keaton as Michael’s wife Kay, John Cazale as Fredo Corleone, and Talia Shire as Connie Corleone, plus Robert De Niro as the younger Vito Corleone, Lee Strasberg as Hyman Roth, and Michael V. Gazzo as Frank Pentangeli (“Frankie Five Angels”). Also returning were Mario Puzo, who co-wrote the screenplay with Coppola; Nino Rota, who composed the radiant music; and Gordon Willis, the cinematographer. (more…)
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Jew: “And the Romans? Where are they now?”
Tony Soprano: “You’re looking at them, asshole.”
Francis Ford Coppola thought he was out of making Godfather movies in 1974 when he released The Godfather Part II. But Paramount pulled him back in when his 1982 musical One from the Heart bombed, and he needed money. Coppola had a standing offer for another Godfather sequel, so he decided to tell the Michael Corleone story for the third time. (more…)
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There cannot be a more perfect example of mass gaslighting than the 1998 Coen brothers’ film The Big Lebowski. By inverting sloth, fecklessness, penury, and alcoholism into admirable qualities—essentially making it cool to be a loser—this film offers up the Jewish ideal for a gentile in the character of the Dude. (more…)
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Фильм Дэвида Линча “Твин Пикс: Сквозь огонь” 1992 года был приквелом к сериалу “Твин Пикс”, который выходил на канале ABC с 1990 по 1991 годы. Однако фильм не имел такого успеха среди критиков и зрителей, за исключением Японии. Это несправедливо, ведь “Сквозь огонь” – действительно достойное кино. Я не буду утверждать, что это лучшая работа Линча. (more…)
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Where I come from, although it was good, hard-working people trying to raise a family respectably, there was a lot of organized crime, and I saw a lot of violence where I grew up.
-Martin Scorsese
With the recent death of film director David Lynch, there has been much commentary on his place in the pantheon of American film directors. Lynch was a one-off, with a directorial CV including movies which bordered on horror without ever actually being in that genre. But, wherever Lynch comes in any league table of great American directors, there is one name which would be close to the top, if not in first place, in any avid film buff’s list: Martin Scorsese. (more…)
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Francis Ford Coppola’s 1972 classic The Godfather is one of the most commercially successful, critically lionized, and culturally influential films of all time. It is also filled with important political insights that are useful to the Right.
Based on Mario Puzo’s 1969 novel of the same name, The Godfather was filmed on location in New York City and Sicily. It stars Marlon Brando as the godfather Vito Corleone, Al Pacino as Vito’s youngest son Michael, James Caan as his oldest son Santino (“Sonny”), (more…)
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In early June of 1990, the Navidsons flew to Seattle for a wedding. When they returned, something in the house had changed. Though they had only been away for four days, the change was enormous. It was not, however, obvious—like for instance a fire, a robbery, or an act of vandalism. Quite the contrary, the horror was atypical.
-Mark Z. Danielewski, House of Leaves
I would rather not go
Back to the old house.
There’s too many bad memories.
-The Smiths, “Back to the Old House” (more…)
