By J. G. Ballard, Simon Sellars, Dan O'Hara
A startling and from time to time unsettlingly prescient selection of J.G. Ballard's maximum interviews. J.G. Ballard used to be a literary immense. His novels have been particular and impressive. To the reporters and admirers who sought him out, Ballard used to be the 'seer of Shepperton'; his domestic the vantage from which he saw the emerging suburban tide, a part of a altering society captured and second-guessed so plausibly in his fiction. Such acuity used to be now not particular to his novels and, as this e-book reminds us, Ballard's restive intelligence sharpened itself in discussion. He entertained many with insights into the area as he observed it, and speculated, frequently thoroughly, approximately its destiny. a few of these observations earned Ballard an oracular recognition, and proceed to yield an uncannily actual remark at the present time. Now, for the 1st time, 'Extreme Metaphors' collects the best interviews of his occupation. Conversations with cultural figureheads reminiscent of Will Self, Jon Savage, Iain Sinclair and John grey, and collaborators like David Cronenberg, are a reminder of his wit and humanity, testomony to Ballard's profound worldliness up to his otherworldly mind's eye. This assortment is an crucial tribute to 1 of contemporary history's so much incisive and unique thinkers.
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Additional resources for Extreme Metaphors: Interviews with J.G. Ballard (1967-2008)
Scenes of the training of army reservists, a boating mishap at an outdoor festival, and the flight of Tomás Braniff in 1910 complement shots of traditional indigenous dances recorded in different locations, a pilgrimage to the Virgin of Guadalupe sanctuary, and allegorical carts pulled by oxen at a parade in Mexico City in 1904 to offer a view of a society and culture where, according to the narrator, tranquillity and prosperity prevail. This alignment of the cinematic image with the slogan “Order, Peace and Progress” of the Porfirio Díaz presidency is disrupted by the narrator’s account of the political disagreements between his (fictional) father and uncle.
The glamour of the bourgeoisie is but a pretense, as Carlos Monsiváis comments on their photographs in the Casasola Archive: “Perfect clothes, Parisian education, these are the badges of their otherness: we are less Mexican than the rest, and could pass for Europeans” (1984, 40; original emphasis). The scope of the monthlong celebrations in Mexico City in September 1910 is also illustrated in this ten-minute segment. The obsession with appearance over substance characteristic of the period is rendered cinematically through compositions and framing to reveal how ornate monuments and avenues were turned into a stage for the performance of a narrative 30 Constructing the Image of the Mexican Revolution of modernity.
In the first, filmed by Abitía, the focus is the figure of Carranza on horseback. As in the postcards published at the time, he appears generally in the foreground, his body somewhat angled, with Obregón at his side. With shots taken above street level, or slightly over the heads of the predominantly male crowd, he seems to be swallowed up by the admiring masses. A singular high-angle shot, presumably taken by a cameraman riding on a horse and from behind Ca rranza’s head, shows him interacting with those who have come to greet him.