Australian Police Raid Bookseller Over Copies Of A Book First Published 24 Years Ago

from the thus-transferring-legitimacy-to-a-single-citizen's-complaint dept

Considering the sort of potentially-offensive content the average Internet holds, it's almost charmingly quaint when this sort of thing happens.

Mr Lake said the police were very gentle when they arrived and asked that the book be removed from the shelf.

Mr. Lake runs Imprints Booksellers in Adelaide, Australia. The book at the center of the "gentle" raid was originally published 24 years ago.

[American Psycho], by American author Bret Easton Ellis, has been classified R18 under national censorship legislation since its release in 1991, requiring it to be sold in plastic and only to those aged over 18.

So, what happened? Two things. First, a new edition was published featuring a foreword by Irvine Welsh -- someone who's no stranger to plumbing the depths of humanity. This edition -- which arrived roughly 24 years after the original classification and sans the sealed plastic covering -- was noticed by a local citizen, who then got her third-party outrage on.

He said the raid occurred because somebody complained to police after reading in a weekend newspaper column that the book was being sold by bookshops without plastic wrapping.

"I had a phone call from a lady on Tuesday who was quite aggressive and questioned why we were selling this classified product out of its wrapper," he said.

As per usual, it's the squeaky busybody that gets the grease, despite the book being a good couple of decades past the point of its original outrage and being surpassed in terms of graphic violence several times over, including in plenty of unwrapped books sold by the same booksellers.

Music (mostly) blog The Quietus has probably the best description of what likely went down in the this "gentle raid" over the most shocking novel of the early '90s.

Imprint Books in Adelaide (AUS) was ‘gently raided’ by – some apparently very polite, possibly even contrite, hopefully totally fucking embarrassed – police officers for displaying unsealed copies of Bret Easton Ellis’ 1991 satirical (adjective: sarcastic, critical, and mocking another's weaknesses) novel American Psycho.

Now, while Australia -- a nation of adults constantly being treated like children (and paying far too much for the "privilege"…) by their government -- has earned a reputation as a busybody in its own right, it's highly doubtful these police officers were very thrilled with this assignment. But ignoring the complaint was likely out of the question. Anyone sufficiently motivated to ring up both the bookshop and the cops because of something they read in the newspaper is the sort of person who won't let the issue go until it's been resolved to their satisfaction. So, rather than just blow off the misplaced concern, they apologetically and gently "raided" the bookseller. No doubt this was followed by a surreptitious reconnaissance mission by the complainer to verify that the complainee had been sufficiently cowed.

As for the bookseller, he made the sort of assumption anyone would make when the latest edition of a 24-year-old novel arrived without the protective R18 shrinkwrap.

"We just assumed the classification has been lifted," he said.

Because that would make sense. But no, the R18 is still in place and people with nothing better to do but read newspapers and make angry phone calls will continue to put local law enforcers in an unenviable position: Do you raid the bookshop and look foolish? Or do you answer call after call from aggrieved locals until you finally decide to raid the bookshop and look foolish? When your choices are this awful, the best course of action is to just get it over with.

Filed Under: american psycho, australia, books, bret easton ellis, free speech, offensive content, raids

Hollywood Talent Turns To Kickstarter To Escape 'Institutional Censorship'

from the exodus dept

In discussions about artists like Amanda Palmer using Kickstarter, plenty of people continue to insist that their success was made possible by their traditional industry backgrounds. We've already gone over lots of reasons why this is silly, most notably the fact that such artists do a lot of work and certainly don't coast on anything. But it also usually ignores the artists themselves, who more often than not clearly say that they are going it alone because traditional structures were holding them back. The fact that creators who have received some amount of benefit from labels/studios/publishers decide to move on anyway, and then see their careers grow, doesn't say less about platforms like Kickstarter, it says even more.

This sentiment is not limited to music, or to independent creators. Kickstarter is getting a lot of attention, and that's bound to attract bigger and bigger names. The latest, sent in by jtomic, is a feature film called The Canyons which involves some pretty serious Hollywood talent. The script is written by Bret Easton Ellis (author of American Psycho) and directed by Paul Schrader (as in, the guy who wrote Taxi Driver and the screenplay for Raging Bull). Ellis, Schrader and the producer are putting up a bunch of the money themselves and turning to Kickstarter for the rest—all because they want to escape the confines of Hollywood:

The film is a collaborative effort stewarded by former Lionsgate producer Braxton Pope as a response to the changing landscape of the film industry. Pope, Ellis and Schrader are partly financing the film themselves through Pope’s new company Sodium Fox in order to maintain complete creative control of the distinct source material. According to Schrader, “We all experienced the frustrations of financing and institutional censorship. But now, with advances in digital photography and distribution, we can tell a story in the manner we choose. Movies are changing and we’re changing with it.”

They expand on this in the video, which includes some excellent comments from all three creators. Pope talks about how the Hollywood process encourages "groupthink" and makes it hard for a film to stay true to the artists' vision. Schrader and Ellis both compare the current revolution in film to that of a hundred years ago when the medium was in its infancy, and are clearly excited about the prospect of making a film without notes from meddlesome studio execs.

There are some pretty cool funding tiers too, many of which are unsurprisingly sold out. The cast itself is being largely crowdsourced through an online audition platform, netting undiscovered talent from around the world, and anyone who pledges at least $10 gets to vote on finalists. For $500, Ellis and Pope offered to watch your short film and share their honest reactions (with links) to their followers on Twitter & Facebook (all 10 slots for that one are already sold out). For $1,500 they'll do the same with a feature-length film. For $5,000, Ellis reviews your novel (again, sold out) or Schrader gives you notes on your script (a few left at time of writing). One lucky backer has already snagged the single $10,000 "De Niro's Money Package", which comes with a money clip autographed by Robert De Niro and given to Schrader on the set of Taxi Driver.

So there can be absolutely no doubt that these guys are using their momentum from the traditional Hollywood system to make this project possible—but I'm at a loss as to how that says anything good about Hollywood. I doubt any of these creators had any real need to finance a film themselves, but they saw a growing opportunity to go directly to their fans and make movies the way they really want to make them, and they jumped on it. That's not coasting on the past—it's embracing the future.

Filed Under: american psycho, braxton pope, bret easton ellis, hollywood, paul schrader, raging bull, taxi driver, the canyons
Companies: lionsgate