Editor’s Note: Projecting features a selection of great film and television focused writing from around the internet.
Jana Monji looks at domestic violence in film and the troubling violence on both sides, for RogerEbert.com:
I don’t know Ray Rice. I don’t Janay Rice. None of us do. I can’t tell you if that was unusual behavior for either Ray or Janay. The TMZ video inspired Beverly Gooden to start a hashtag conversation #WhyIStayed. While hashtags serve a social purpose, every domestic violence case is different, and not all of them are exciting enough to inspire Internet outrage or feature films. My experiences with domestic violence wouldn’t fit the narrative of cinematic representations nor would they have ignited the same international controversy of the Rice surveillance video.
Joshunda Sanders comments on the recent New York Times Shonda Rhimes profile and its ignored racist undercurrent, for Bitch Media:
But the main problem with this angle is that, in reality, Rhimes doesn’t seem to be very angry. I’m not sure what Rhimes would be angry about, seeing as her shows Scandal and Grey’s Anatomy together pull in $300 million—or five percent of ABC’s revenue—a season. Rhimes recently signed her first book deal to release a yet-untitled memoir in 2015. She confirmed that she is so-not-angry when she tweeted that her reaction to Stanley’s article was that she was going to go do some yoga. Because that’s how Angry Black Women roll.
Eric Hynes covers the importance and complexities of film website design, for Sundance Institute:
First comes the set-up, when you develop an audience by encouraging visitors to sign up for email updates, follow posts on social media, or back the project via funding sites like Kickstarter. Next comes the confrontation, i.e. the “mobilizing of the audience,” via opportunities to buy tickets and spread the word. The third act brings resolution, when you deepen audience interaction beyond the experience of the film itself by selling DVDs and merchandize, or, in the case of documentaries, directing people to resources where they can learn or do more.
Neil Miller describes the experience that was the first ever MondoCon, for Film School Rejects:
Arriving at MondoCon, which was held about 15 minutes away from Fantastic Fest at The Marchesa Hall and Theater in North Central Austin, it was impossible to ignore the immediate and massive appeal. The parking lot was packed several hours after the show opened on the first day. Rumors around social media were that people had been waiting in line since the wee hours of the morning to get in when the event first opened. As anyone who has tried to buy something from Mondo would tell you, there are some rabid collectors out there.
