By MCN Editor editor@moviecitynews.com

Camille Paglia

“It is an absolute outrage how so many pampered, affluent, upper-middle-class professional women chronically spout snide anti-male feminist rhetoric, while they remain completely blind to the constant labor and sacrifices going on all around them as working-class men create and maintain the fabulous infrastructure that makes modern life possible in the Western world. Only a tiny number of women want to enter the trades where most of the nitty-gritty physical work is actually going on—plumbing, electricity, construction. Women have played virtually no role in the erection of those magnificent towers in every major city in the world. It’s men who operate the cranes or set the foundations or wash windows on the 85th floor. It’s men who troop out at 2:00 AM during an ice storm to restore power to neighborhoods where falling trees have brought down live wires. It’s men who mix the stinking, toxic cauldrons to spread steaming hot tar on city roofs. Last year in a nearby town, I drove by a huge, chaotic scene where emergency workers in hazmat suits were struggling with a giant pipe break, as raw sewage was pouring into the street. Of course all those workers up to their knees in a torrent of thick brown water were men! I’ve seen figures indicating that 92 per cent of people killed on the job are men—and it’s precisely because men are heroically doing most of the dangerous jobs in modern society. The bourgeois blindness of feminist leaders to low-status working-class labor by men is morally corrupt! Gay men, on the other hand, have always shown their awed admiration of working-class masculinity and fortitude. It’s no coincidence that a buff construction worker in a hard hat was one of the iconic personae of the gay disco group, the Village People, during the Studio 54 era!”
~ Camille Paglia Has A New Book To Sell

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Dear Irene Cho, I will miss your energy and passion; your optimism and joy; your kindness towards friends, colleagues, strangers, struggling filmmakers, or anyone who randomly crossed your path and needed a hand. My brothers and I have long considered you another sibling in our family. Our holiday photos – both western and eastern – have you among all the cousins, in-laws, and kids… in the snow, sun, opening presents, at large dinner gatherings, playing Monopoly, breaking out pomegranate seeds and teaching us all how to dance Gangnam style. Your friendship and loyalty meant a great deal to me: you were the loudest cheerleader when I experienced victories and you were always ready with sushi when I had disappointments. You had endless crazy ideas which always seemed impossible but you would will them into existence. (Like that time you called me and suggested that we host a brunch for newly elected mayor of LA, Eric Garcetti because “he is going to president one day.” We didn’t have enough time or funding, of course, only your desire to do it. So you did, and I followed.) You created The Daily Buzz from nothing and it survived on your steam in spite of many setbacks because you believed in a platform for emerging filmmakers from all nations. Most of all, you were a wonderful mother to your son, Ethan, a devoted wife to your husband, and a wonderful sibling and daughter to your family. We will all miss how your wonderful smile and energy lit up the room and our lives. Rest in peace, Irene.
~ Rose Kuo Remembers Irene Cho on Facebook

“You know, I was never a critic. I never considered myself as a film critic. I started doing short films, writing screenplays and then for awhile, for a few years I wrote some film theory, including some film criticism because I had to, but I was never… I never had the desire to be a film critic. I never envisioned myself as a film critic, but I did that at a period of my life when I thought I kind of needed to understand things about cinema, understand things about film theory, understand the world map of cinema, and writing about movies gave me that, and also the opportunity to meet filmmakers I admired.

“To me, it was the best possible film school. The way it changed my perspective I suppose is that I believe in this connection between theory and practice. I think that you also make movies with ideas and you need to have ideas about filmmaking to achieve whatever you’re trying to achieve through your movies, but then I started making features in 1986 — a while ago — and I left all that behind.

“For the last three decades I’ve been making movies, I’ve been living, I’ve been observing the world. You become a different person, so basically my perspective on the world in general is very different and I hope that with every movie I make a step forward. I kind of hope I’m a better person, and hopefully a better filmmaker and hopefully try to… It’s very hard for me to go back to a different time when I would have different values in my relationship to filmmaking. I had a stiffer notion of cinema.”
~ Olivier Assayas