A while back we linked to Adam Curtis’s post, The Bitch, The Stud and The Prawn, within which he traced all sorts of merry paths through contemporary culture culminating in a strange period of deliberately low-key, almost unwatchable films made purely as a means of dodging tax on investments: ‘There appeared to be a legal loophole, under rules passed in 1997, that offered tax advantages for people willing to invest in British films, which allowed them to defer payments until after the film had been released and turned a profit. The investors believed they could nonetheless claim tax relief on the whole of their pledged investment, including the deferred payment. [Film company] Little Wing claimed they could make up to 140% profit as a result.’ That loophole was closed, but bad films still get made in their hundreds, and there seem to be mechanisms still in place that make funding them attractive. We were reminded of this by a blog post by Phill Barron, explaining why the very lowly takings (£38) for his film Strippers versus Werewolves are very much to be expected. The horror comedy genre seems to be the gilt-edged hedge fund of cinematic investments – a company called Clear Focus Productions is currently seeking investment in its forthcoming spectacular, Sucker Slam, with extensive, complicated, information about incentives to tempt you.
Some other things. A selection of visual essays from In Focus; 75 Years Since The Hindenburg Disaster, Views From the Night Sky: London and the UK (photographs by Jason Hawkes), Star City and the Baikonur Cosmodrome / staying in Russia, the wooden skyscraper of Arkhangelsk (more) burnt down ten days ago.
Experimental episodes of TV shows / extremely helpful computer tips / the demolition and construction of a new building in Paris / all about the Beechcraft Starship / quotes and thoughts at Time Immemorial / on 56 Up and the intersection of technology and memory: Looking Back, Looking Forward, at tmn. See also this recent Guardian story. Related, The baby time-lapse trend.