人类学出版物: 化石的冲击 考虑旧石器时代的辐形艺术样式 Bilzingsleben史前图表和几何  早旧石器时代的金黄比率
出版物、影片工作和艺术性的节目 在上古的时期 更新世的联合

出版物、影片工作和艺术性的节目

由约翰 John Feliks (回到英语版本 Return to English)




A Lot of Gold in the Mix: Review of Fragment from a Nonfiction Reader
4/9/2009


As a person more interested in what inspires or fascinates on a deep level than in what simply entertains,
tn_fragment_poster_warren08x.jpgI can safely say that Warren Fahy’s debut science thriller, Fragment, offers a lot of gold in its undeniably dynamic mix. Make no mistake, Fragment is an unpredictable and wild ride for sure;tn_hi_comps01.jpg yet, somehow, out of all of this, comes not only many delightful moments that will stick with you long after reading the book, but also one of the most elusive and subtle emotions one can experience...

CLICK HERE FOR THE FULL REVIEW.





WORKS IN PROGRESS


PRIOR WORK


Below are a few samples of my research papers, films, artistic programs, etc., that, for the most part,
have
either been published or presented in public performance venue at least once.




ANTHROPOLOGY AND RELATED PUBLICATIONS
        Additional note: My interest in Fragment has little to do with the popular action sequences but rather with intriguing aspects that other reviewers do not mention. For instance, apart from well-thought-out and innovative scientific ideas (such as the origins of sexual reproduction), Fragment, like some of my own work, was inspired by invertebrate fossils.




MOTION PICTURE FILMSTOCK RESEARCH AND PUBLICATIONS
tn_life-beyond-kodachrome40p1.feliks1987.jpgtn_life-beyond-kodachrome40p2-3.feliks1987.jpg
        This was the final issue of Starlog Cinemagic, the
sci-fi/fantasy special effects magazine. Cinemagic inspired many amateur filmmakers who later went on to produce television programs and Hollywood films, e.g., J. J. Abrams:
Star Trek (2009), Lost, Mission Impossible III. I had the privilege of sharing the pages of this issue with a childhood inspiration, renowned special effects wizard, Ray Harryhausen (Jason and the Argonauts, Earth vs. the Flying Saucers, Clash of the Titans, etc.). Because I have been a long-time Harryhausen fan (in addition to Star Trek fan), I would like to add a couple of things about Harryhausen's work for those who may not recognize his name. Harryhausen is one of the great special effects artists in sci-fi/fantasy having not only created some of the most memorable sci-fi/fantasy films and animated characters but also having influenced the likes of tn_life-is-more-than-k40-feliks1985.gifSteven Spielberg, George Lucas, Tim Burton, Sam Raimi, James Cameron, and many others. I love these quotes from Wikipedia regarding Harryhausen's, Jason and the Argonauts:

"When presenting Harryhausen with a special Academy Award, actor Tom Hanks told Harryhausen 'Lots of people say Casablanca or Citizen Kane is the greatest film of all time... no way, it's Jason and the Argonauts!'" -Wikipedia

"In April 2004, Empire magazine ranked Talos [the 100-foot tall bronze titan in Jason and the Argonauts] as the second best movie monster of all time, after King Kong." -Wikipedia

        DISCLAIMER: In the above two articles, I was thinking more in philosophical terms rather than only about filmstocks and was encouraging filmmakers to be open to new things rather than always following a standard routine. As far as the filmstocks themselves, I was promoting the use of lesser-known Super 8 filmstocks most of which had to be special-ordered such as b&w stocks and those that featured either noticeable grain or subdued pastel-like colors. The idea was that awareness of the filmstock itself would effect the writing, composition and editing choices of a film early on. I was especially encouraging the use of a color stock called SM7244 because of its ethereal or dreamlike quality, as well as high-grain b&w stocks. These were influences from my studies of experimental film and impressionism in music and painting. Unfortunately, one compromise that the Starlog editor made to fit Life Beyond Kodachrome 40 into three pages was to remove my philosophical Introduction in which I compared filmstock choice to equivalent choices in paint mediums (e.g., water color, oil, acrylic, pastels, etc.) explaining why I felt filmmakers should experiment with filmstocks they may have never used, and replace it with a quick paragraph that actually made the opposite statement (i.e. the equivalent of, "wait till the last minute to choose a filmstock"). But since the article was already on its way to press wonderfully laid out and formatted by the editor, I could see how all the extra philosophy wouldn't fit, and had to accept the opening paragraph as it was published.




UNPUBLISHED RESEARCH PAPERS

        A couple of the most influential and inspirational persons to me as an author were two college professors. They inspired me in many ways, but especially for their open-mindedness and thoughtful comments on my first four papers that challenged academic paradigms. Had these professors instead put up a brick wall or gone about hen-pecking (like my experience with the politically-motivated anonymous reviewers in anthropology), then it is likely that I would have taken my creative efforts far away from academia. It is professors like these who are open-minded that help to promote new ideas and new ways of seeing the world. I have included a few of their comments below.

"John, Won't you consider this paper for publication? ...An extremely interesting and coherent work! Fascinating to read - supported by much excellent research. My belief is that no other document exists in this comprehensive form. Wonderfully illustrated and formatted - Seems to be a course in itself. I applaud your...industry and integrity. So what! Now what? This matching Doctoral Dissertations."




LIVE-PERFORMANCE MULTIMEDIA PRODUCTIONS


EXPERIMENTAL AND POETRY FILMS



TRADITIONAL FILM WORK & VARIETY STAGE PROGRAMS


RADIO WORK



tn_tower-of-babel-feliks1991.gif
EARLY SONGS & INSTRUMENTALS
1. Discovery in the Minimal Zone (2:15) ©2001 piano 4-hands instrumental
2. The Cycles of Siluria (2:48) ©2001 piano & synthesizer instrumental
3. Autumn Exodus (3:20) ©1992 piano instrumental
4. Tower of Babel (4:12) ©1991 3 classical guitars, 2 voices environmental song
5. Marble Palace (4:17) ©1989 classical guitar, bass, vocals love song
6. Men Dream (2:06) ©1984 guitar, synthesizers, voice life change song
7. Spirit Island (2:13) ©1981, 1982 classical guitar & poetry environmental theme
8. Caress of Change (3:02) ©1981, 1982 classical guitar & poetry environmental theme
9. Dawn of Purity (1:48) ©1981, 1982 steel-string guitar & poetry environmental theme
10. I Know Ya From Someplace (3:17) ©1979, 1982 classical guitar & 2 voices love song
11. The Storm (4:07) ©1978, 1980 live classical guitar & voice storm theme song
12. Pretty Lente (2:53) ©1969, 1973 steel-string guitar, 2 voices love song


ARTISTIC ENVIRONMENTAL WORK




ABOUT THIS WEBPAGE

       In lieu of my homepage and another primary page, which have been in process on-and-off for a couple of years but not yet posted, I have simply been adding interlinked pages in whatever way they can somehow fit together, beginning with those related to anthropology. Like the other pages in this interlinked series, this one is new and in the process of tweaking, so please be patient as it goes through changes in content, wording and layout.

        I am hoping to get the main site up and running soon. It will offer many things that are not science or even fine art-related such as mp3's of original songs and instrumentals, lots of surprising and, hopefully, entertaining things, as well as current projects and future plans.



E-mail: feliks (at) umich.edu
最近更新2009年12月6日。 © John Feliks 2009