In a move that will likely become more and more common, The Weinstein Company has inked a deal with Netflix to license some of its latest (and most critically acclaimed) films to Instant Watch instead of traditional cable outlets. Coriolanus, Undefeated, and The Artist will be among the first titles released. Elsewhere, Vanity Fair profiles Netflix’s “bloody but only slightly bowed” CEO, Reed Hastings.
Netflix’s Evolution
Minister of Defense and Propaganda of the New Cinema
Recommended Reading: On the the anticriticism of Jonas Mekas, the "raving maniac of the cinema," courtesy of The Paris Review.
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A Bit Much
First came the reviews. Naturally, reviews of these reviews followed. Then, in furtherance of a pattern that was getting pretty weird at this point, somebody wrote a review of review reviews.
No Getting Without Giving
If Claudia Rankine writes it, it's safe to say I'd recommend it. Here she is in a long, lovely essay on Adrienne Rich and her poetic transformations.
To Translate or Not to Translate
"A good translation, Han’s subconscious seems to suggest, is a living, breathing thing, which must be understood on its own terms, discovered from beneath the great white sheet." The New Yorker explores Han Kang's novels and the complex nature of translation. From our archives: The Millions review of Kang's The Vegetarian and an essay on what gets lost (and transformed) in translation.
Bailouts and Bulgakov: On Russian Publishing
Since 2010, Russian publishing professionals estimate that “as many as 20% of [all] Russian book stores have closed.” Each year, they fear, the number of “dedicated readers in Russia declines by 2%.” To remedy these trends, the Russian government has recently approved a $100 million stimulus package for the nation’s book industry – running the gamut from investment in new bookstores, to tax incentives for small presses, and also to more international book fairs – to be dispersed through 2018. Recently, Emily Parker noted in The New York Times that Russia’s literary problems might be blamed on its lack of “good protest literature.”
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