There's something about the way Masha Tupitsyn's mind works when she addresses gender and film. It's different from how pretty much all other contemporary feminist theorists do it. Amid so much detached deconstruction, Tupitsyn's criticism is refreshingly full of life. Laconia, a document of Tupitsyn's public thoughts on film, is a stream of intimate, immediate, and specific reflections on movies, as well as a broad and sustained interrogation of things like whether we can any longer truly see corporatized cities like LA and NY other than in old movies, how to understand David Lynch's women, and whether there is any real possibility for connection in social media, or for that matter, in watching films. (Jessica Hoffman, writer and co editor, Make/Shift Magazine)The 1200 tweets that constitute Masha Tupitsyn's Laconia are, each one, an aphorism in a bottle set adrift into the midst of all the other crisscrossing messages that movies and the media universe have spawned and continually and more or less blindly emit. Everything is happening in real time – not recollected in tranquility but intercepted in passing – even when the messages emanate from the deep past or (perhaps) a future around the next bend. It's a collage of the present moment, a continuous and unyielding dialogue, open-ended and alert to the barrage of signals that has become our home." Geoffrey O'Brien, author of The Fall of the House of Walworth: A Tale of Madness and Murder in Gilded Age America, Hardboiled America: Lurid Paperbacks And The Masters Of Noir, The Phantom Empire: Movies in the Mind of the 20th Century.
About the Author
Masha Tupitsyn is the author of Beauty Talk & Monsters, a collection of film-based stories, and co-editor of Life As We Show It: Writing on Film.