Academiology’s editors invited me to contribute a post about my experiences completing my M.A. while writing Darkest Hours.
For the most recent episode of Writer’s Block on CJSW, I answered the Writer’s Block Questionnaire. The episode also features a reading by Clea Roberts and an interview with the great Suzette Mayr. Stream online.
Note: Just to be clear, when I describe Trump as someone who can be “funny,” what I mean to say is that Trump himself is a disgraceful joke worthy of mockery.
The dialogue on Star Wars continues with a discussion over the influence of D.W. Griffith and silent cinema on George Lucas’s films.
My Star Wars dialogue with Neil Bahadur, Isiah Medina, Chelsea Phillips-Carr and Isaac Goes continues on MUBI Notebook.
“As a graduate student, some stories in Darkest Hours hit a little too close to home. The story ‘Sabbatical,’ for example, offers a wonderful look into the agony and anxiety that accompanies the thesis writing process. This particular story shows the brilliant craftmanship behind this collection.”
Huge thanks for this!
“I’ve spent a lot of time thinking and writing about George Lucas’s work, especially his Star Wars films; I hold this six-part series in extremely high regard, especially the prequel trilogy. In my Bright Lights Film Journal article Star Wars Episode III: Revenge of the Sith: George Lucas’s Greatest Artistic Statement?, I discuss the breadth of Lucas’s extratextual reference and his brazenly unique sensibility. In George Lucas’s Wildest Vision: Retrofuturist Auteurism in Star Wars Episode II: Attack of the Clones (2002), I pay serious mind to Lucas’s interest in cinematic form and his avant-garde background, unpacking the ways in which his early experimental projects inform his later work.
For the purpose of this dialogue I wanted to hear input from several of my favorite film critics. I categorize Disney’s spin-off entries separately from Lucas’s work, given the corporation’s decision to disregard his existing outlines, but some of the contributors acknowledged the new films’ relation to (or distance from) the existing saga. I decided to pose broad, open-ended questions about these films, hoping to open up the possibilities for conversation as much as possible.”