re: the form (and meaning) of the landscape film(s)

But how precisely does this experience of viewing the filmed surfaces of landscapes create meaning? And why has this form been sustained across time, geography, and medium format? To the extent to which these works rely upon, even demand, patience and curiosity from the viewer, and generally eschew overt narrational devices (such as voice-over) to direct the viewer’s attention or interpretation of the images, what knowledge do they propose to offer the viewer via the lens-based capture of landscape?…If images of landscapes are always surfaces to be penetrated in pursuit of extractable knowledge, then landscape film—and perhaps documentary cinema as a whole—might be conceived as part of the same alignment of optics and power that Macarena Gómez-Barris calls ‘the extractive view.‘…Above, this essay posed a question: what do landscapes tell us? In fact, perhaps the more relevant question would be: must landscapes tell us anything? In a historical epoch in which physical space is increasingly privatized, enclosed, and excavated—rendered unlivable, immaterial, or monetizable—what are the ethics of representing landscape, and does this activity necessitate a further exploitation of space as image, data, or form?

via ‘Theories of the Earth: Surface and Extraction in the Landscape Film‘ by Leo Goldsmith, World Records – Vol. II

The Specials – ‘Gangsters’ performed 1980 Saturday Night Live

Discovered listening to Fred Armisen on WTF with Maron, wherein Armisen is quoted “best musical performance ever, of everything, definitely on SNL“.

He also relates how such musical performances on SNL immediately resonated with him (at age 15) and wired/influenced his comedic brain.