Word: cult
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Dates: during 2000-2009
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Even after the cutting and streamlining, the book is deeply nuanced--a teen novel in the way that Mark Twain wrote teen novels. Or J.D. Salinger. In fact, the punk conceit of King Dork is that the main character rails against "the cult of Catcher in the Rye." The cover of King Dork is a faux red Catcher cover, with the title and Salinger's name erased and replaced by Portman's. "I always felt a lot of people might have been faking the adulation of it, to impress their parents or their teachers," says Portman. Plus, he knew that...
...some, it's a neat new gadget; for others, the return of an old friend. The Lomo has had a cult following since the mid-'90s, after a group of Austrian students came upon the camera made by a Russian military factory, bought the distribution rights and set up[an error occurred while processing this directive] a company, the Lomographic Society, to sell it all over the world. Small, sturdy and cheap, it was perfect for experimental photography. The results were unpredictable, often blurry and psychedelic, but always fresh. Over the past decade, the Lomographic Society has developed all sorts...
...first shot, the plaintive piano melody of Gary Jules’ “Mad World” wafts into the scene. Originally performed by synth-rock legends Tears for Fears, Jules’ version of the song is most famous for its use at the end of cult classic film “Donnie Darko.” Its unabashed sentimentality and total abstention from narration is a breath of fresh air for a format usually characterized by overdriven guitar pyrotechnics and blaring hyper-sell voiceovers.But what does it all mean? And what’s it doing here...
...attendees largely agreed that masculinity is a topic frequently overlooked as a result of a classic view of manhood. “There are these artificial ideas being imposed on women, but we don’t [stop to] think that natural masculinity is in conflict with the cult of masculinity, which is something we wanted to explore,” said Frankie Chen ’07, one of the magazine’s editors in chief. The idea of labels and gender identity—from male-female classification on driver’s licenses to the disparate...
...latter is not a word anyone would want to apply to Fur. Or perhaps to any movie as inherently corrupt as this one is. On the one hand, it wants to bandy a famous name about-although what value a cult figure like Arbus has, for the movie audience, even the one that gathers in the upscale specialty theaters, is problematic. On the other hand, it wants to be free to sensationally reinvent her life, mainly in order to provide the audience with images that are simultaneously revolting and sentimental. We're supposed to draw back aghast from the close...