I wanted to talk to James Cullen on Even Cowgirls Get the Blues because of his untrammelled love for the film, his enthusiasm, and the wide array of references he brings to this very intelligent appreciation of the film. James sees the film as, 'Against all the heteronormative expectations we have from cinema as a medium
None of these A24 Neon filmmakers could make anything like this. There’s an audience for this film, it’s going to come from somewhere, sometime; and I want to be art of that audience' And I want to be in the audience listening to James speak about it.
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I wanted to talk to James Cullen on Even Cowgirls Get the Blues because of his untrammelled love for the film, his enthusiasm, and the wide array of references he brings to this very intelligent appreciation of the film. James sees the film as, 'Against all the heteronormative expectations we have from cinema as a medium
None of these A24 Neon filmmakers could make anything like this. There’s an audience for this film, it’s going to come from somewhere, sometime; and I want to be art of that audience' And I want to be in the audience listening to James speak about it.
JAMES TAYLOR on THE SUPERHERO BLOCKBUSTER: ADAPTATION, STYLE AND MEANING
First Impressions: Thinking Aloud About Film
58 minutes 42 seconds
5 months ago
JAMES TAYLOR on THE SUPERHERO BLOCKBUSTER: ADAPTATION, STYLE AND MEANING
https://notesonfilm1.com/2025/06/06/jose-arroyo-in-conversation-with-james-taylor-on-the-superhero-blockbuster-adaptation-style-and-meaning/
Just as the Superhero film loses centrality in the culture there comes a book that is not only a brilliant accounting of the various strategies of adaptations the mode engages with but also offers a methodology that will be of interest and use to anyone engaged with the analysis of visual media: not only a brilliant book, but an important one. In this podcast we talk about what it is that is being adapted when discussing comic book characters that have so many iterations across different media. We talk about modes of seriality; the translation of the illusion of movement across media; the significance of bodies in spaces and movement in the mode; intertextuality, kaleidoscopic irruptions; how the move to digital affected issues of realism and reflexivity; restorative and reflective nostalgia; how the works compress, hierarchize and create continuities; the dramatization of alternate timelines….and we return over and over again to the hierarchization of gendered, racialised and sexualised bodies in dialogue with past iterations, current politics, contemporary formal strategies and more. I can't imagine future explorations of audiovisual work engaged with adapting any form of Intellectual Property, characters or worlds uninformed by THE SUPERHERO BLOCKBUSTER: ADAPTATION, STYLE AND MEANING.
First Impressions: Thinking Aloud About Film
I wanted to talk to James Cullen on Even Cowgirls Get the Blues because of his untrammelled love for the film, his enthusiasm, and the wide array of references he brings to this very intelligent appreciation of the film. James sees the film as, 'Against all the heteronormative expectations we have from cinema as a medium
None of these A24 Neon filmmakers could make anything like this. There’s an audience for this film, it’s going to come from somewhere, sometime; and I want to be art of that audience' And I want to be in the audience listening to James speak about it.
