In this month’s edition we take a look at a magazine that explores cinema and the mind, the ubiquity of millennial pink and the rule breaking documentary photographers. The magazines mentioned here have been published within the past month or so, and each have been read and carefully chosen to bring you a list of stand out features from those issues.
Almost all of the magazines from this article will be available to be chosen in our brand new mix and match magazine subscription service, where you can personally curate your year of monthly deliveries from a roster of 140+ magazines.
why popcorn, perhaps one of the noisiest of all foodstuffs, is the snack of choice in most cinemas boggles the mind
georgina guthrie, beneficial shock!, #2
Misophonia is the topic of Georgina Guthrie’s essay ‘noises off’ in issue 2 of film and illustration magazine, Beneficial Shock! Misophonia, ‘the hatred of sound’, is a condition where sufferers channel in on a specific repeated sound that drives them stir-crazy. As Guthrie rightly points out it’s a particularly apt topic for a film magazine because who hasn’t been driven mad by popcorn crunchers or bag rustlers. With references to A Clockwork Orange, Trainspotting and especially Roman Polanski’s Repulsion, she catalogues the examples and quasi-examples of misophonia on film, diagnosing and showing how debilitating the condition can be.
The essay joins a number of excellent written contributions in this issue which is themed on the ‘mind’. Thomas Puhr’s roundup of the cinematic slugs and mechanical spiders that invade the brain collecting information or destroying is superb and Eleanor Rathbone’s visual review of headgear gadgets in film is similarly original.
The autumn/winter edition of Printed Pages is a feast of graphic goodness, but the illustration that stands out is Cécile Gariépy’s amazing shades of pink spiralling out of control which accompanies the editor of Riposte (which happens to be our magazine of the month), Danielle Pender’s opinion piece on the use of millennial pink and that it “has become the default, it’s so ubiquitous that it’s lost its meaning like the word “empowering”‘. Gariépy’s illustration suggests people drowning in the generic swirling swamp of shallow portrayals of women, their eyes slowly separating from their brains, their rationality numbed from the pink pervasiveness.
it plays into the idea that women are these one-dimensional beings, only interested in a limited amount of topics – and colours
danielle pender, printed pages, autumn/winter 2017
if it’s real, it will stick to your soul. You’ll remember it for life.
omar j dorsey, the great discontent traveler, #1
I’ve chickened out of selecting just one of The Great Discontent Traveler‘s interviews, but perhaps that’s the greatest compliment. Each of the interviews in the issue are of a consistently high quality, and share a gregariousness as if you’re dropping in on two old friends. Designer and Creative Director, Leta Sobierajski and Ruth de Jong in particular are given a lot of license to talk openly about their upbringing and early career. They’re obviously both talkers and they provide rich interviews that will mean something to most people with creative aspects to their careers. And that’s the sensibility in TGD, to distil the creative experience with success stories and inspirational voices.
Elsewhere designer Geoff McFetridge talks about growing out of a Canadian city and into Los Angeles, where he splits his time and his studio between commercial work and artistic pursuits. While actor Omar J Dorsey talks about getting his big break in US TV series, Ray Donovan and on his dream of reconciling masculinity with tenderness, of becoming the “renaissance man” of his generation.
we can break the rules. we can embrace risk. we can be reborn.
huck, documentary photography special v
The latest of Huck‘s documentary photography specials highlights the rule breakers and risk takers with a collection of photographer profiles. The kind of rule breaking featured in this issue implies that it is possible to go beyond the brand exercises and the trend hunting and still get noticed amongst the din of voices.
They say you can’t break rules until you learn them, and that’s what Lewis Bush’s introduction in this issue firstly does: outlines the rules of photography, claiming that photographers “need to be storytellers, activists, advocates and innovators first of all, and guardians of the past last.” The profiles that follow see Africans going to the moon, the post-truth of political events, photographs that map out the systems of control over women’s lives, and what is personally my favourite contribution to this issue: the photographs of South African photographer Zanele Muholi whose self-portraits draws on her experience of homophobia and hate crime. In that documentary photography tradition, this issue is light on the editorial, leaving each photograph to explain itself and the photographers to explain their art in an informal tone. Other photographers include: Guy Martin, Todd Hido, Cristina de Middel, Ryan Staley, Laia Abril and many others.
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