Feed for Postsfeature
»
Raphael’s Portrait of Lorenzo de’Medici
The Metabunker summarizes the problems of attribution surrounding the Raphael portrait sold at Christie’s in 2007
»
Interview: El-P & Aesop Rock
Click here to read our 2003 in-depth interview with two of New York’s finest.
»
Continuous Creation — Titian’s Nuova Natura
On Titian’s aesthetic of the unfinished and Renaissance notions of the subjective.
»
Bleed Runner
On Blade Runner: The Final Cut. Also, read producer Charles de Lauzirika’s comments here.
»
Hergé and the Order of Things
Hooded Utilitarian column on Hergé’s vision and the necessity of comics criticism that engages deep form
»
Bruegel, Rembrandt, Crumb and Cartooning
Extended Hooded Utilitarian piece on R. Crumb’s Genesis and the cartoon tradition.
»
New Yorker Cartoons: A Legacy of Mediocrity
A deadening force at the heart of the art form, smothering the field in bourgeois mediocrity
»
Hogarth’s Chicken Fat
An analysis of Hogarth’s rich imagery as both support and counterpoint to his storytelling
(0)
The Author’s Face?
The Tintin movie makes good on the promise of not disgracing its august comics source. Spielberg is a pro and he delivers what he does best — a sense of adventure and possibility and a sufficiently sensitive approach to his film technology that his characters come alive despite the mo-cap plastic feel. The rewrite of the books (mainly The Secret of the Unicorn and The Crab with the Golden Claws) is well thought out and most of the characters are well realized, with good voice performances all round. The personal, slightly brooding and troubled subtext of Hergé’s work pretty much gets lost in the mix, but hey — this is a popcorn movie and a pretty good one.
Spielberg hits a couple of false notes. Continue reading ‘The Author’s Face?’