wishful thinker with the worst intentions

Sugar and Spice

Sun, 20 Jan 2008 06:58:30 GMT

This night has been equal parts fun and disastrous.
...details to come...
I am under the influence of half a half gallon and too many cosmos...
...ridiculous....

Massive Nights

Sat, 19 Jan 2008 06:29:10 GMT

The guys are feeling good about their liquor run
the girls are kinda flirting with the setting sun
we all kind of fumbled through the jitter bug
we were all powered up on some new upper drug
and everything was partying
everyone was pretty
and everyone was coming towards the center of the city
the dancefloor was crowded, the bathrooms were worse
we kissed in your car and we drank from your purse
i had my mouth on her nose when the chaperon said we were dancing too close

we had some massive nights
we got the songs just right
and all i want is time
yea your friends are pretty cool and my friends were acting cool

there weren't any fights
there's usually one or two
some guys they get a little bit uptight
some girls they got something to prove
we had some massive highs
we had some crushing lows
we had some lusty little crushes
we had those all-ages hardcore matinée shows
and i was down on my knees when the chaperon said that it was time for me to leave

we had some massive nights
every song was right
and all i wanted was time
yea your friends are pretty cool and my friends were acting cool
there weren't any fights
there's usually one or two
some guys they get a little bit uptight
some girls they got something to prove

we had some massive nights
there were some massive nights
we had some massive nights
every song was right
and all i wanted was time
yea your friends are pretty cool and my friends were acting cool

she had a gun in her mouth
and she was shootin' up at her dreams
when the chaperon said that we'd been crowned
the king and the queen

To Keep With Tradition

Thu, 03 Jan 2008 06:06:55 GMT

In a feeble attempt at self-improvement here are some vague resolutions:
Be less critical of myself and others.
Try harder to save my warm fuzzies for the people that care.
Go on facebook less.
Finish the hundred most important books/movies.
Keep up a health regimen.
Keep in touch with my friends better. {Not just through facebook}
Speak my mind.
Be more pro-active.
Live in the moment. {Not for it}
...Let's have a fabulous year!

How Far Have We Come?

Tue, 01 Jan 2008 09:07:39 GMT

Hi 2008.

The Case for Melancholy

Wed, 19 Dec 2007 05:45:05 GMT

If human beings had been made to be inherently happy: all sunshine and starlight, all smiles and laughter.
Life would be boring.

I'm No Open Book

Wed, 19 Dec 2007 01:56:18 GMT

You think she's an open book, but you don't know which page to turn to, Do you? -Cake

Argyle

Sat, 15 Dec 2007 23:56:33 GMT

Just a Ghost on a Screen

Sat, 15 Dec 2007 00:32:01 GMT

New Comfort

Fri, 14 Dec 2007 21:49:58 GMT

Spiritual Discourse

Thu, 13 Dec 2007 12:46:08 GMT

Ashley: "Well, where do you think you go when you die, like what happens?"
Lucas, Kelly and I in near unison: "Nowhere. Nothing"
Me: "And I'm fine with that."
Kelly: "Remember when we had that philosophical discussion that one night?"
Me: "Yes! We realized that God is more of an idea. Each person has a different idea of what God is to them, so why can't God be a manifestation of that idea within that person? The idea of God is your soul."
I don't see God as this all-knowing, all-judging ephemeral being sitting on a cloud somewhere looking like a cross between Santa Claus, Albus Dumbledore, and Father Time.
Essentially 'God' is just a word. Just another notch in our universal lexicon, but it's the vastness behind it, the power that makes it truly God.
I see God as more of a scientific rather than a spiritual concept. God to me, is a powerful force of energy. The most powerful.
Maybe it's love.
God is everything and everywhere. God is you and God is me.

The Ever Reluctant Film Student: The Anti-Prequel

Mon, 10 Dec 2007 04:33:00 GMT

My Online Film Journals for CFV 123:
purely for posterity *in reverse order*

Discussion: Digital Cinema - edithistorydelete
Created on Thursday, 12/06/2007 2:38 PM by Abby Hartig(hartiga)

As digital cinema, video blogging and interactive video is becoming more prevalent and popular within our society, it's very interesting to realize how digital cinema is changing and in some cases redefining filmmaking and the nature of cinema itself. Previous to this class I had only been exposed to traditional video blogs that acted as nothing more than a purgative digital diary in video form rather than the written word. It was fascinating to see a wider range of really unique and creative video blogs; it opened my eyes to the possibility that video blogging could be so much more. The interactive video such as The Tom Green Show and The Mimi and Flo Show, (the latter which I tested out after class) are great examples of media has become more malleable to the public, as well as, the Youtube phenomenon of allowing virtually anyone to publish their work online. I always wonder if perhaps the next great director will emerge from Youtube. With this new media, along with easy and affordable editing software available to the public, it opens the arena of filmmaking to a much wider public than ever before. (P) Lev Manovich's article on "What is Digital Cinema," also opened my eyes to how digital cinema has come about and why it is so important. I liked his description of cinema: "And yet behind even the most stylized cinematic images we can discern the bluntness, the sterility, the banality of early nineteenth-century photographs. No matter how complex its stylistic innovations, the cinema has found its base in these deposits of reality, these samples obtained by a methodical and prosaic process. (...) Cinema is the art of the index; it is an attempt to make art out of a footprint." I thought that this was a very well-written way to explain how cinema at its most basic a collection of photographs, trying to capture a conceived reality. I had never looked at film in such technical terms, that it is what happened when, "A mechanical eye became coupled with a mechanical heart; photography met the motor." The article also explores the fact that digital cinema is a sort of revisiting of the old manually operated precinematic devices such as The Thaumatrope, (a loop in its simplest form,) and a Zootrope. "Manual construction and animation of images gave birth to cinema and slipped into the margins ... only to reappear as the foundation of digital cinema. (...) In digital filmmaking, shot footage is no longer the final point but just raw material to be manipulated in a computer, where the real construction of a scene will take place." From this standpoint it seems that digital cinema has many different possibilities open to it, that are otherwise limited in the traditional mode of filmmaking. (P) I think that as a viewer when not trying to analyze a film you tend to forget that film is a construction of images, farther from a direct depiction of reality: "It pretends to be a simple recording of an already existing reality -- both to a viewer and to itself." Perhaps the best films are the ones that make you totally forget that what you're watching is a construction.

Documentary: Discussion on Film and Readings - edithistorydelete
Created on Wednesday, 11/14/2007 7:53 PM by Abby Hartig(hartiga)

Documentary is personally my favorite type of film, and if I were to create films one day, documentary is the medium in which I would chose to do it. The powerful messages that often evoked during a documentary is so appealing to me, the idea that through film, through "showing it how it is," that filmmakers can change things. Michael Moore, a personal idol of mine, whom I have met a few times either casually or during panels for aspiring filmmakers, (in conjunction with the Traverse City Film Festival) is probably the most prolific example of this sort of auteur filmmaker. His films such as Roger and Me, Bowling for Columbine, and Fahreheit 911 have stirred up the public discourse, pushing issues into the policy limelight. (P) The Thin Blue Line, (Errol Morris, 1988) was a big disappointment to me. I found it to be overly repetitive, and just downright boring. Although, in general the interviews with people helped progress the story, I felt as if some of them were unnecessary and were not crucial to develop the story. I suppose the repition of the re-enactments were necessary, but they just seemed to drag on, and I felt like I was watching a program on the Discovery channel rather than an actual documentary film. The story for the film overall, was also a point of contention for me. I kept waiting for the twist in the story that would make it interesting and/or unique: but it never came. The story seemed to lack a certain zest for the screen, and I didn't feel that it was pertinent or interesting enough to make a whole film about it. There was no real definitive tone that made the audience sympathize with either of the potentially guilty. The parts that I enjoyed the most were the found footage parts that showed the old Boston Blackie films, and the murder of Dillinger, etc. (P) What I found most confusing in the readings were its description of the reflexive mode of documentary filmmaking. Observational and interactive are the two prevailing modes that I have experienced the most in my documentary film-viewing-days. However, with the readings description of the reflexive mode as emphasizing, "...epistemological doubt,: as well as, "... a consciousness of cinematic form rather than of the historical world on the other side of the realist window." I feel as though I need to see a definitive example of this type of documentary since I cannot quite grasp it from the reading's description. The only grasp I have on that mode is that it is more about showing the technique of how it's made than other modes. It surprised me when the reading categorized the network news under the heading of the expository mode. From my understanding, the expository mode seems to act omniscient while the interactive mode is more about being about getting in the actual action, influencing and affecting the action of the film which is in total opposition to the observatory mode that takes a more standoffish stance. (P)

Comments (1)
An interesting response - hopefully the examples shown in class helped clarify some of the modes of documentary filmmaking, especially reflexive.

Grade: A-
Saturday, 11/24/2007 5:14 PM by Jennifer Proctor(proctoje)

Animation: Discussion on Films and Readings - edithistorydelete
Created on Thursday, 11/08/2007 2:47 PM by Abby Hartig(hartiga)

I am definitely guilty of not giving much thought to the art of animation or its varied forms prior to this screening. In my immediate defense, this screening was the first time that I was exposed to a lot of different types of animation. When asked to picture animation, I automatically would think of the typical Disney animation, and perhaps now also the CG animation that I associate with Pixar. According to the readings, this is not unusual since Disney animation is the dominant American form of animation. It was interesting to learn that there is so much more to this art form. Little did I know that animation can also be the actual manipulation of film, "cameraless animation" as cited in the readings, with burning, scratching, and sometimes even placing drawings or objects on the actual film, such as with Mothlight, (Brakhage, 1963). I used to think of animation as the cel animation, assembly-line works of Disney, and not really as much of an art form. However, now with the readings and the vivid examples of the films in the screening, I realize that animation is one of the most versatile, free-form, creative aspects of film, not to mention of art itself. The amount of work put into some of the films, I remember reading about one that took five years, is amazing and a testament to the care that is put into the artful execution of these films. This seems a total reversal from the more mainstream, commercial, profit-driven animation that has been created in order to make it easier to have it created in an assembly-line manner. It's interesting that this also diminishes the role of the director as auteur, "...reduction of artwork was of concern within the industry, a point that complicates our understanding of the director as a freely creative auteur," (Art in Motion: Animation Aesthetics). (P) It's amazing to see how animation has progressed from the Chaplin-like Felix which felt more like a comic book than an actual cartoon, to the modern day Pixar productions that look extremely realistic. The Brothers Quay film, "Rehearsals for Extinct Anatomies," was my least favorite film, because although it was innovative and at times very intriguing to watch I felt that it dragged on for far too long, and was too abstract for me to enjoy it completely, (sometimes I really feel the need for some sort of narrative.) I also found the "Tango," film (Zbig Rybczynski, 1980) to be far too repetitive to keep my interest for long. (P) One of my favorites was "The Owl Who Married a Goose," (Caroline Leaf, 1974,) because it was so beautiful that it was done with sand, and it baffled me how it was actually done. I also really enjoyed Don Hertzfeldt's, (one of my favorites of all-time is his Rejected film) "Billy's Balloon," (1998) simply because it was hilarious. It is quite impressive the subtle range of emotion that he gleaned from those seemingly simplistic characters.

Comments (1)
Nice integration of readings and your own reactions to the films.

Grade: A
Sunday, 11/18/2007 1:02 PM by Jennifer Proctor(proctoje)

Experimental Films: Discussion on Films and Readings - edithistorydelete
Created on Wednesday, 10/31/2007 10:45 PM by Abby Hartig(hartiga)
Updated on Thursday, 11/01/2007 12:46 AM by Abby Hartig(hartiga)

I have to say that this was the hardest screening to sit through, but it was also one of the most enlightening. Some films: Mothlight, Stores, Alone: Life Wastes Andy Hardy, Flow, A Sense of Place threw out all my expectations of what film is, can be, and can aspire to be. I had never thought that far outside of the box, that the film, itself, could be manipulated and made into a piece of art, such as the direct placement of moth wings and plant matter featured in Mothlight and the actual art of Flow. I had never seen the type of film manipulation in Stores, and Alone. A Sense of Place was an altogether unique experience, that surprisingly opened up my imagination in a way that seeing the film would not have accomplished. The repetition in some of the films got tiring and I had a really hard to time focusing, such as with the repetitive art elements in Color Cry and Early Abstractions, and the repetitive nature of Stores, and The Back Steps. I enjoyed the overall concept of Alone, but sometimes the repetition in it was grating to my nerves, and I felt it was perhaps a tad bit overdone. During this set of screenings was the first time that I found my mind wandering during watching a film, because usually I take it for granted that I can focus all my energy and attention on the action on the screen because in normal narrative films they usually don't try to challenge you, and its simply easy to sit and absorb. That's also what makes "avant-garde" film so intriguing, because it does challenge you, makes you think; it's more of an interactive experience. It gives you its art and in exchange sometimes you have to put some of yourself and your imagination into interpreting and enjoying the film. I compare it to the experience of going to an art museum, (my friends and I recently visited the recently opened art museum in Grand Rapids, I recommend going if you haven't yet) and looking at works of art: you don't just look, you usually analyze and we would sometimes stop and discuss what we thought the abstractions, or even obvious cariactures were supposed to be or represent. I think that a big aspect of this type of film is that it is much more symbolic and representational than mainstream film, and also that it can be more of about the creation, the initial experimenting that is put into the art than the final product. Just as Evan mentioned in our discussion, it seems to be produced for much more personal reasons and motivations than other film art-forms. It's interesting but usually when I'm watching traditional mainstream film, I tend to forget that film is an art-form but seeing these wildly innovative films that push boundaries, and even seem to protest the very notion of boundaries, make me think that they are the true version of film as art-form. These films really tend to send a message, no matter how irrelevant that they may seem at first sight. My favorite was the found film, "A Movie" by Bruce Conner. I loved the old footage, and I thought that overall it was one of the most clever even though it wasn't explicitly his own original footage.

Comments (1)
An honest but reasonable entry - though I don't see mention of the readings.

Grade: B
Saturday, 11/03/2007 1:03 PM by Jennifer Proctor(proctoje)

Discussion on Film and Readings: Ten - edithistorydelete
Created on Thursday, 10/25/2007 8:23 PM by Abby Hartig(hartiga)
Updated on Thursday, 10/25/2007 8:27 PM by Abby Hartig(hartiga)

I think that 10, (Abbas Kiarostami) is one of the most innovative films I've ever seen. Some may call it boring or hard to watch with its lack of a variety of shots, but I think that its very different way of executing a narrative is what makes it so special. The confines of the car that may seem claustrophobic to some, was necessary to portray the intense episodes of conversation. I agree with the reading's claim that people are more open in cars. Something about being able to gaze out the window rather than directly into your companion's face, allows us to say things we may not have otherwise. I have had some of the best and deepest conversations of my life in cars. I also think that the use of people who were truly related and/or close to the main actor was brilliant, and the film would have had a total different dynamic if it had not been so. It is unmistakable the fire and chemistry, between the son and mother, which I believe would have been lacking if they were strangers. There is something so true about their conversation that made me uncomfortable, and made, (especially the first excrutiatingly long 16 minute long episdoe) it very hard to watch at times. However, this film is not one that is supposed to make you comfortable, as it addresses some very serious issues about the state of women and Iran. I thought it was especially the poignancy of the contrast between the devout woman and the prostitute, because they were both 'free' in their own separate ways. The devout woman was free of possessions and seemed to give all she had to prayer and God. The prostitute also seemed to exude a certain sense of freedom; she was free from the confines of being to dependent on any one particular man, and she had given herself to a hedonistic lifestyle of getting what she wants: sex and money. One part of the film's execution that bothered me was how the main woman would sometimes wear sunglasses. I didn't like how it concealed her eyes and therefore some of her emotions. I can't imagine having to drive in the crazy Tehran traffic, and act at the same time, (I can/could barely manage the tasks separately). I think the main theme of this film is that you need to have a strong sense of self, and belong to yourself and no one else before you can truly love yourself. The readings did a good job giving background information not only on Kiarostami's illustrious career but that of Iran's history, which definitely added to the cinematic experience. *I tried to be more brief in this entry! I'm just always scared I won't have enough info to qualify for an 'A'*

Comments (1)
Grade: A

This length is great - you offer some pithy observations about the films and readings, but don't try to cover everything. Well done!
Friday, 10/26/2007 2:44 PM by Jennifer Proctor(proctoje)

Do the Right Thing: Discussion of Film and Readings - edithistorydelete
Created on Thursday, 10/11/2007 3:16 PM by Abby Hartig(hartiga)

Do the Right Thing, (Spike Lee, 1989,) is not only one of the first of the now-established independent cinema, but I view it as being the quintessential ‘race’ message film. Lee may be painted as the prototypical ‘angry black man,’ but in a way that classification just serves to put him down, where he should be seen as one of the most innovative and important filmmakers of our generation. His commitment to making films that actually have a message and an agenda is very commendable. I hope to make films that impact people and catalyze the public discourse the way that Lee’s films, especially as Do the Right Thing has done. (P) This film definitely made me feel uncomfortable, which I think was one of its goals. Truly moving cinema is not safe or comfortable. If I want to feel sedated, and mildly entertained I’ll see a mind-numbing chick flick. Films like Do the Right Thing and many others in the genre of independent cinema serve somewhat of a higher purpose, affecting public opinion and inciting social change through art rather than serving to entertain the general public. (P) I noticed right away that in the mise-en-scene, the overtone of colors are red, orange and yellow which attribute to the hotness of the scenes and day. The background seems to be very important in this film, such as the “Dump Koch” and “Twaina Told the Truth” graffiti message backgrounds. I thought the use of the shot of the small girl’s chalk drawing that Mookie walks over was very interesting because it is a representation of the antithesis of their neighborhood: the typical suburban home, completely with smoke curling from the chimney. (P) Throughout the film, I couldn’t help viewing the story as being play-like. The small number of differing sets, and the ensemble cast gave me a distinctive feeling that this could be manifested in play form. (P) There were a lot of shots that were off-center or skewed slightly to one side or the other. I think that this gave those scenes a special attitude, a sort of confrontational orientation, that not everything is just right. The shots that were extreme close-ups or the ones where the characters directly address the camera definitely contribute to the overall uncomfortable tone of the film. We as an audience are not used to this sort of confrontational viewpoint. (P) It is important to note that Radio Raheem is usually shot from below to give him the air of power and intimidation. It’s interesting that when Radio dies and his body falls limply to the pavement, it is the ‘love’ ring that is showing. (P) There is definitely a few foreshadowing moments such as when Sal offhandedly comments, “I’m going to kill somebody today,” which doesn’t exactly come true but his actions can be seen as indirectly causing Radio Raheem’s death. Sal also says “I’ve never had any trouble with these people,” which will later be seen as sad irony. In regards to costuming, the black youth were all dressed in bright vibrant colors. The exceptions to this are Sal, his sons and the older people, (Da Mayor, Mother Sister, and the corner men,) who wore more dark or neutral clothing. Da Mayor and Mother Sister are also put apart from the younger cast members because the music that usually accompanies their scenes is more traditional than the contemporary music of the youths. Mookie was also costumed somewhat differently since he wore white shirts and then often had bright colors just on his legs. Buggin’ Out, and Radio Raheem, both had strange necklaces that looked to be home-made that represented Jamaican colors. I noticed that the saying on Radio Raheem’s shirt, “Bed-stuy, do or die,” was repeated on a mural seen in the background of a few scenes later on. (P) The teenagers that were pestering and being respectful to Da Mayor don’t exactly seem to be any better than him. All they seem to do is loiter, and argue. They don’t contribute anything to their immediate society and in a way are, themselves, self-fulfilling prophecies, just waiting to become the older version of themselves: the ‘bum’ archetype of Da Mayor. (P) It would be intriguing to analyze the supporting characters of Smiley and Senor Love Daddy to see what they are supposed to represent in the larger context. According to the book, Senor Love Daddy is included along with Malcolm X and Martin Luther King Jr. as the three most reliant characters in the film. I think that he can be seen as the overall narrator, the conscious of the film, the greek chorus, if you will. (P) The part of the movie that bothered me the most was the fact that Mookie was the one to continue the violence with throwing the trash can into Sal’s. I know that it was probably meant to bother, and in a way Mookie had to be one the to do it since he seemed to be a sort of leader in the community, (everyone seemed to know and respect him, and he was one of the few that actually seemed to have an occupation.) At that point I was sympathizing with both Sal and Mookie, and I thought I understood that they had a fairly balanced relationship. Maybe Mookie did it not out of a personal problem with Sal but out of a greater vendetta against Sal’s act of destroying Radio Raheem’s voice, ala the ‘Fight the Power’ boombox. It bothers me mostly because I truly felt that Sal was a good guy, that he truly believed it when he said that Mookie was like one of his sons, and for Mookie to initiate the devastation of Sal’s business really bothered me. In that respect, the ‘stabbing in the back’ that Pino predicts about Mookie really does come true. It seems Mookie takes the more violent Malcolm X stance, which seems the more negative of the two. However, looking at it from a film point of view, I suppose the film had all this build-up and needed to end in a dramatic almost cathartic moment of outright action. (P) A much smaller issue but something that bothered me none the less is the fact that Buggin’ Out was so bothered by the ‘Wall of Fame’ and that he was wasting is energy on changing it. I think it serves to represent how people focus on small somewhat unsubstantial problems when there are so much bigger ‘fishes to fry.’ I believe that social change happens when people stop griping about small concerns and begin acting upon the bigger issues, which will in turn make those small concerns eventually obsolete. (P) The readings were very conducive to giving me a larger view of the film by reviewing all of the political, and racial tensions occurring at the time of the film’s release. A lot of the film’s message and poignancy might have been lost on me if I hadn’t read the book beforehand with how it explains about all the racial crimes such as the rape of Twaina that was grasping the collective consciousness of the nation at the time. It was also interesting to learn about Spike Lee’s struggle with the critics who felt that the film was the final match being lit to blow up a wide-spread racial riot. A measure of a film’s power is certainly indicated by how much fear it instills in the current institutions, and this film seemed to scare the proverbial s*** out of the nation’s white hegemony.

Comments (1)
Grade: A

Excellent response - you notice a number of small details, but key details, and you're definitely right that discomfort in watching this film can be a spur to action. And, just to reiterate - don't feel like you have to write quite this much in the journals, unless you want to. Two to three paragraphs is sufficient, although if you want to write more, I'll certainly read it. Just don't want you overburdening yourself.
Sunday, 10/14/2007 10:05 PM by Jennifer Proctor(proctoje)

The Seventh Seal: Discussion of Film and Readings - edithistorydelete
Created on Wednesday, 09/26/2007 3:51 PM by Abby Hartig(hartiga)

Through our discussions and the readings I have a new understanding of what art cinema can be defined as. I look at it now as more of a film experience, more abstract than the traditional Hollywood film, yet not exactly less enjoyable. I found "The Seventh Seal" (Ingmar Bergman, 1941) hard to watch in parts because of its heavy content and how it grated against what I've come to expect from the experience of watching film. For example, I was instantly taken aback with the obvious lack of music in the credits, and at other times the lack of music became more noticable than the music itself. In retrospect I realize that the sparse use of sound actually strengthened the film. The scenes that were awash in silence were more powerful than they would have been with the traditional movie soundtrack distracting from the depth of the scene. (P) I wonder if the film is experienced differently by someone who comes from a more religious background. Would it enhance the story or draw from it? From my own lack of religious standpoint, I found the different religious representations as somewhat confusing and overwhelming. At different levels the actor family can be seen as the Holy Family, and yet Antonius Block could also be seen as a Jesus figure for his potentially sacrificial act of saving the family which cost him his life. To me, it almost seemed like a sensory and thematic overload of religious imagery and parallels. It would be interesting to learn about Bergman's personal stance on religion and if that played a heavy hand in this film. Update: According to Wikipedia.org: "Ingmar Bergman was born in Uppsala, Sweden, to Erik Bergman, a Lutheran minister and later chaplain to the King of Sweden, and his wife, Karin (maiden name Åkerblom). He grew up surrounded by religious imagery and discussion. His father was a rather conservative parish minister and strict family father: Ingmar was locked up in dark closets for infractions such as wetting the bed. "While father preached away in the pulpit and the congregation prayed, sang or listened," Ingmar wrote in his biography Laterna Magica,Despite growing up in this devout Lutheran household, Bergman stated that he lost his faith at age eight and only came to terms with this fact while making Winter Light.[2]" (P) It is interesting that Antonius Block who was once so fervent in his faith that he causes bloodshed in the Crusades in the name of religion, and yet inevitably finds himself questioning and demanding that God show him a sign of his existence. When my group discussed the film, we came to the conclusion that the ironic twist on Jesus's teaching of tolerance and kindness that was represented in the brutal campaign of the Crusades, was perhaps what turned the Knight to his loss of faith. (P) The motifs of the 'game' with death and the 'dance' of death at the film's conclusion, seems to support the theme that death is not something to be taken so seriously. The use of those motifs seem to almost trivialize Death, along with his personability and own sense of humor. I found myself actually liking the character of Death, he seemed to almost more realistic than most of the other characters. (P) I found that the other character that surprised me was Jons, who turned out to be a very dominant character despite his hierarchal stance and what the opening may have suggested. At some points it seems that the film focuses on him more that Antonius Block who is a more reserved, less action-motivated character. I thought that it was somewhat ironic that the squire seemed to be doing more saving than the Knight, (the Girl, Jof, etc.) (P) The most important costume imagery was the cross on Antonius's uniform. I noticed that at some pivotal points more to the end of the film, the cross was covered up with his black shawl-type coverup. This may bear some significance in that they were moments when he was without faith, but then again it could be merely an incidental meaningless coincidence. Similarily, perhaps Ravel the 'evil priest's' death can be seen as being punishment for his various sins, and similarily the actor Skat's death comes right after he is found to be acting adulterous with Plog's wife. (P) "The Seventh Seal," to me seems to be more about the quest for answers rather than the outright deliverance of answers. On a larger scale it can be seen that life follows in this vein of thinking. (P) Readings: My understanding after reading Bordwell's article on Art Cinema, is that as a mode it has more emphasis on psychological motivation, how a story is told versus the actually story itself and it takes on a more subjective viewpoint. Art cinema may warrant a participatory less-passive viewing. This is evident in how "The Seventh Seal" makes viewers think and analyze not just the story but how that story is subsequently told through the use of motifs and visual themes. Perhaps this trait of making the audience actually use their grey cells may be why the majority of Americans view art cinema as unapproachable and painfully pretentious. Art films are really not for everyone, but I think that that's what makes them special. This may be especially true with the use of open-ended endings, which is evidence by my earlier example of "The Break Up" in a previous journal. Most audiences need closure, and they just want to be entertained rather than provoked. In this respect it seems that since art cinema is seen by such a limited niche audience that at some point it may seem that they are preaching to the proverbial choir. For a film to have true impact, I feel that it needs to reach a wider audience. That's why I appreciate such beautiful and meaningful yet accessible films such as Paul Haggis's "Crash," which is the epitome of the type of film that I hope to create someday. (P) A weak point for me concerning art cinema is that I think at some points people can over-analyze those films to the point where the are actually deemed meaningless. For me: a little analyzation can go a long way, viewing every single choice on every frame is a litte too much and may be giving more credit than is rightfully due to the directors themselves.

Comments (1)
Grade: A

Excellent!
Sunday, 09/30/2007 3:20 PM by Jennifer Proctor(proctoje)

Jaws: Discussion of Film and Readings - edithistorydelete
Created on Friday, 09/21/2007 3:10 PM by Abby Hartig(hartiga)

I am probably biased towards believing that Jaws (Spielberg, '75) is so much more than the instrument of mechanized audience manipulation that some critics claim it to be, because I am a big fan of Spielberg and his work. I've grown up watching and loving so many of his films: E.T. Close Encounters, Jurassic Park, etc. Jaws, to me is a precedent setter, one for the books. It is not only an excellent execution of special effects and an instantly classic score by John Williams, but a film that actually has a strong plot with sympathetic characters that bring a lot of heart to the film's core. We are shown through a fairly restricted type of narrative, learning along with Chief Brody as the story progresses. The audience literally gains more knowledge along with him as we are privy to his research about sharks. (P) One aspect of the film that I really enjoy is the subtle use of humor, even at times of complete horror. For example the iconic scene when Brody gets a quick glimpse of the Great White as he is throwing chum off of the boat and quips, the now famous line, "You're gonna need a bigger boat." There are many moments of humor that seem natural and help move the flow of the story along. (P) I wondered if the name of Quint's boat, "Orca," had any special significance, and according to imdb.com it is named after the orca 'killer' whale which is a known enemy of sharks. (P) I really wonder what the film would have been like if it hadn't been for "Bruce" the mechanical shark malfunctioning so much in the beginning of shooting. I think that the shark point of view shots add so much to the film's overall eerie quality. It is reminescent of John Carpenter's original Halloween when we are placed in Michael Myer's viewpoint. It makes the situation more uncomfortable for the viewer because you know that something horrible is going to happen; the audience is in the driver's seat per se, while the unassuming victims are usually naive of the horrors that they are about to encounter. This film is extremely character driven and that is one of the main reasons that I think that Jaws surpasses the qualification as a cold calculated viewer manipulation. It is great that at the end we see Quint, Hopper, and Brody gang together despite their sometimes painfully obvious differences. One of my favorite scenes is when they all try and compare scars because it is poignant to see the blue-collar Quint and the higher educated upper-middle-class Hopper find a common bond, that perhaps they are alike. They literally have the scars to show for it. This leads into Robert Shaw's intensely powerful monologue that is a way for his character to show his deepest, most brutal scar of all: his emotional scar. That monologue is so engaging that you can't look away from the screen, his words easily make you picture what he went through that horrible night. I think that it is yet another testament to how Jaws is not just a horror flick; its powerful performances carry thier own weight. Ms. Kitner's scolding of Brody is another example of this performance-driven aspect of the blockbuster.(P) I found it interesting how Spielberg used a lot of everyday background noise, such as the baseball game at the beach. This seems to give the scene a sense of normalcy which actually in turn seems to make it all the more eerie since the audience is just waiting for something horrible to happen. (P) The use of the now synonomous with Jaws, "forward tracking zoom shot" used in the beach scene is such an efficient use of that effect. It seems to visually represent the feeling that is overcoming Brody as he realizes that the idyllic beach scene has turned into another blood bath. The zooming motion puts the audience into his perception of complete and utter terror, and I think that it is very effective. I would really recommend looking at the trivia on imdb.com about Jaws, because there are so many interesting little tidbits about the film's construction. For instance they explain how certain sound effects were created and that Spielberg cameos in a few radio voiceovers on the Orca, or that they used his real dog in the film. http://imdb.com/title/tt0073195/trivia (P) As far as story goes, it is the ultimate man versus nature archetype with other underlying struggles such as Brody's New York, 'do the right thing' perspective versus the Mayor's commercial-driven perspective. I have lived all my life in a small resort town that bases virtually all of its income on tourism, so I can see where the motivation for the Mayor's character can come from. As unrealistic as he may seem to most viewers, I can really see that happening in real life: a public leader putting the commercial interests of the town before its own safety. (P) One of the most important themes which we didn't really highlight in class at all is the theme of the outsider. As is mentioned in one of the beach scenes, 'you're not really ever a true islander unless you were born here.' That sentiment seems to arise in the form of prejudice against Hopper, who the Mayor calls out as just trying to get his name in the National Geographic. Brody is the city-slicker outsider who has more experience at dealing with the more predictable human side of antagonism rather than the more ambigous wrath of nature. And of course Quint is the ultimate loner outsider that seems to relish in his somewhat offputting quirky personality. (P) Readings: I have to admit that when I found out what 'high concept' really meant, I was somewhat surprised. I had assumed that it was referring to well-made, critically acclaimed films such as: The Piano, etc. I am under the opinion that the classic films made during the heyday of the studios are better than the big-budget blockbusters of the 'New Hollywood.' I have so much respect for the actors back then who were often so multifaceted, (Debbie Reynolds, Judy Garland, Gene Kelly.) They weren't just actors, they were true performers that could dance and sing as well as give powerful performances. Nowadays, it sometimes that actors seem to be merely 'going through the motions' especially in blockbusters when it seems more action-oriented with little emphasis on true plot, dialogue or character development. (P) It seemed to be perfect timing that the studios were floundering for success during the sixties. The whole atmosphere of the rise in youth and counterculture seemed to be just the right catalyst for the more experimental films to be well-received or even just received at all. I wonder what our films would be like today if the right circumstances hadn't been in place for the influential voices of that era to be heard. Where would the filmmakers of today be, and what would they be like if it hadn't been for their predecessors? (P) It amazes me how much production costs for films have increased over the years. According to the High Concept article, in 1975 the average production cost was $3.1 million and by 1984 it was bloated up to $14.4 million. However, increase in production value doesn't really seem to correlate with overall quality, at least in my opinion. I think that some of the best films of the last twenty years have been the lower-budgeted, less star-driven films: the independent cinema gems, if you will. My main problem with blockbusters is that what James Monaco is quoted as saying, "Increasingly we are all going to see the same ten movies," seems undeniably true.

Comments (1)
Excellent, insightful, thorough journal entry - and definitely, yes, the theme of the outsider is highly significant in this film, as you rightly note. Very well done!

Grade: A
Sunday, 09/23/2007 1:03 PM by Jennifer Proctor(proctoje)

Citizen Kane: Readings and Film - edithistorydelete
Created on Wednesday, 09/12/2007 4:00 PM by Abby Hartig(hartiga)
Updated on Wednesday, 09/12/2007 4:00 PM by Abby Hartig(hartiga)

I put (P) where there is supposed to be a paragraph break... Watching Citizen Kane, (Orson Welles, 1941) for the second time was definitely an interesting experience. Having the key to what Rosebud diminished the magic of the story's mystery, but made for an easier technical viewing. I comprehended a lot of aspects of the film that I had not bothered to the first time around, because I had been too immersed in the elusive search for Rosebud. (P) I think one of the most important components of Kane was the manipulation of lighting. In particular, the scene where Kane is being confronted with Getty's ultimatum, Kane is shown in the background with his face darkened. The audience cannot read his emotions until he literally steps in to the light and announces his decision. This seems to be a tool that Welles uses a lot in the film, where characters are in the dark both figuratively and literally and when they come into some sort of knowledge or realization the lighting on them changes to reflect that transformation. (P) As far as props go, the snowglobe holds as much as importance as the Rosebud sled. This is because it represents the idyllic childhood, (portrayed in the scene where he is home and playing with his sled,) which was wrenched from him at such an early age. His development, maybe in relation to caring, was perhaps stunted at the moment that his mother sold him to a presumably 'better life.' Kane's life ever since that obvious loss of innocence is forever trying to return to that moment preceeding when he began to think that love may have a price tag. (P) I enjoyed reading the David Bordwell article on Citizen Kane because it articulated a lot of aspects of the film that I found interesting and it definitely shed a lot of new light on the aspects of the film that I had overlooked. The "News on the March," scene which I had taken for granted from a technical point of view, was compelling to learn about, such as how Welles used different film stocks and camera techniques to give it a more pieced together look, as if it had been compiled from different eras of Kane's illustrious life. The article also did a good job in explaining the use of contrast, for example: "from crowdedness (the busy Inquirer office) to emptiness (the hollow vaults of Xanadu) ..." And also the repeated music motifs which I had not been very keen on observing. (P) Also, the "Style as Formal System," article gave a lot of technical insight and how Welles used a lot of 'salient techniques' to form such a powerful narrative. It was interesting to learn how the different angles represent certain feelings, either of power or inferiority, and how the pacing and music can have such an obvious emotional effect on the audience, (for instance the frenzied montage between Emily and Kane which builds with the grinding music and the 'whip pan' shots.) (P) I think that Kane boils down to the idea that even though someone may appear to have everything: wealth, power, influence, they may always be searching for the ever allusive intangible of love. The simplest thing, the one you can't really buy, (as demonstrated by Kane's failings at buying Susan's affections,) is always the one thing that you need the most. Leland told Thompson that all Kane really wanted out of life was love, but he didn't have the love to give in return, that he only really ever loved Charles Kane. I wonder if that is somewhat of a chicken or the egg situation. Which came first? Kane's inability to love anyone besides himself and his power or his inability for him to find someone that could love him regardless of his flaws and insecurities. On the outside the story of Kane's life may seem on a grand, one could even say, epic scale, but I think that it is really just a simple story of a lonely man inevitably emotionally crippled from the day that he was put in the care of a banker and which he associates with the loss of not only his childhood and innocence but the true love and care of his family. (P) It would be interesting to further delve into the story of how this film was made, because I can't help but be amazed at how Orson Welles not only did a great job of acting but managed to create such an astounding cinematic masterpiece. I've always been interested in how people manage to pull off the double-duty of being a director and starring in their own film. (P)

Comments (1)
Excellent discussion of film & readings - detailed and thorough.

Grade: A
Sunday, 09/16/2007 2:06 PM by Jennifer Proctor(proctoje)

'Narrative as Formal System' - edithistorydelete
Created on Friday, 09/07/2007 2:29 PM by Abby Hartig(hartiga)

My last entry was formed into separate paragraphs but for some reason when I posted it, it all got combined. Hopefully this time it works better! (It might be because I am using Safari on a Mac?) Here are some subjects that came to mind while I was doing the reading: I think that the article's choice of using North by Northwest as an example was great because, in my opinion, Alfred Hitchcock is the master storyteller and his style has paved the way for many future filmmakers. He is truly an expert at keeping the audience on our toes, revealing just the right amount of information to make for suspense but never confusion. His films are not just empty thrill-rides, as many in the horror/suspense/slasher film genre are today. They are rich with character development and stories that everyone can relate to on some level, no matter how outrageous the situation may seem from the outside. Hitchock's films are fascinating to me because they are usually about ordinary people placed into extraordinary situations, and then the thrill is watching how they react. As far as unique use of flashbacks and/or time, the films that kept coming to mind while I was doing the reading was Memento and The Prestige. Memento is such a compelling film, one that deserves a definite second look. Prestige is a more mainstream example, but I think it utilized flashbacks to weave a very intriguing story that keeps the audience's interest throughout its entire duration. A prime example for use of a narrator is Stand by Me, because the film gains the advantage of hindsight and maturity that the film otherwise would be lacking. Narration, bookmarking the beginning and the end of the film, helps us not only have closure but makes it that much more of a poignant coming of age story. An example of an ending that cheated people's expectations was The Break-Up. People usually make the assumption that if they are going to a see a light, romantic 'comedy' (although I found little to laugh about during this feud-fest,) that they will be rewarded with a happy ending with plenty of closure. The Break-Up, however, left the audience visibly and audibly angry when it ended with the love interests merely walking away from each other, hardly the happily-ever-after that eveyone is so used to. In a way I suppose it was refreshing not having a predictable ending but everyone in the audience was literally so peeved at being cheated of their faux-happiness that I heard many comments along the lines of, "That was a waste of my money and my time!" Since I hadn't even wanted to see the movie in the first place, I didn't really mind, but it was interesting seeing the varied reactions of people who had just experienced a deviation of classic Hollywood cinema.

Comments (1)
Very nice entry - especially your example of The Break-Up. So interesting that a simple story can make people visibly angry!

Grade: A
Sunday, 09/09/2007 2:38 PM by Jennifer Proctor(proctoje)

Wizard of Oz: Post on August 30 2007 - edithistorydelete
Created on Thursday, 08/30/2007 2:48 PM by Abby Hartig(hartiga)

I think that the main theme of the film is that you have the power to change or to find your own happiness all along; sometimes you just need to learn a little more about yourself and what you really want and/or need. The theme is exemplified by Dorothy having the power to bring herself back to Kansas all along, yet she needed to complete her journey to truly allow for the self-realization necessary to deliver her back to her beloved home. The irony of Dorothy having the power to transport herself back home all along, is also demonstrated as the audience realizes that the scarecrow, tin-man, and lion are actually filled with the characteristics that they seek so desperately. The brain-lacking scarecrow is surprisingly intuitive and insightful, the ‘heartless’ tin-man is in fact a very emotional being, and lastly, the cowardly lion really harbors a true courageous streak. An important aspect of the film is that Dorothy is perpetually ignored while in Kansas but becomes the center of attention in Oz. Throughout the film Dorothy is more than willing to sacrifice herself for Toto. This motivation may stem from Toto being one of the only characters that can be relied on to be with her and be her ‘friend’ in both of the parallel worlds. Observing the characters in relation to their costumes, it seems to be a feat in and of itself to be able to move and dance as well as they do in their seemingly hindering costumes. The scarecrow moves in such a fluid way that it seems that he really is made of straw. There was a lot of foreshadowing, and foreboding throughout the course of the film. At one point, I believe the scarecrow says, “I suppose it’ll get darker before it gets lighter.” This statement is perhaps foreboding that more trouble lies ahead before everything will be resolved. There are also many clues to future events in the beginning of the film. Dorothy calls Mrs. Gush, a ‘wicked old witch,’ and the farmhands begin to show a bit of their future character traits such as the lion’s lack of courage, in relation to the corresponding farmhand’s fear of pigs. Even the wizard, in his Kansas manifestation, is a fraud as the professor with his crystal ball. Colors hold a lot of significance in this film with the important elements of the yellow brick road, ruby slippers, and Emerald City among others. Suspense is aided by the use of shots of an hourglass that calculates Dorothy’s time left to live. Another moment when suspense is very prominent is when there is nothing but eerie silence after the house lands in Oz. Then as soon as Dorothy opens the door and reveals the beautiful colorful world of Oz the suspense is released with lighthearted music. I observed that the atmosphere of Oz is such an idyllic setting that even the weapons are non-threatening. For example, in the Emerald City, the guard’s spear is wrapped with a flower. On the other end of the spectrum is the dark atmosphere that infiltrates the world of the wicked witch. The forest there is more twisted, the geography is rocky and uninviting, as well as, the castle itself being the antithesis of the Emerald City’s glowing, modern, art-deco-esque look. The witch, herself, is comparable to a totalitarian dictator. There are no happy, carefree songs being sung in her castle, unlike the total opposite example of the painfully cheerful Emerald City. This is shown to be especially true when right after she is killed by Dorothy, her supposedly loyal soldiers rejoice. Some aspects of the film’s history would be interesting to study such as, whether or not those were fairly advanced special effects for that time period. Also if it was the first of it’s kind, as in the first full-scale fantasy film. It would also be interesting to compare the original "Wizard of Oz" with the later adaptation of "The Wiz." -Abby Hartig

Comments (1)
A very comprehensive, observant post with strong attention to detail and examples. You make an especially important point about Toto's role as the one true companion Dorothy has throughout the film (a character often ignored himself!). One request: I'd appreciate it if you could split your posts into multiple paragraphs, just for ease of reading! Overall, though, a thoughtful and engaged entry.

Grade: A

Let's Get Carried Away!

Sun, 09 Dec 2007 17:12:17 GMT

Thu, 18 Oct 2007 03:50:25 GMT

Just got back from the drag show. I pretty much had the time of my life. Most of the performances were awesome, and the MC was hilarious! I loved it, and am still sweaty from dancing so much in my seat, plus my hands are pretty chapped from clapping and i almost lost my voice: but it was sure worth it!

Sun, 07 Oct 2007 05:48:31 GMT

In Case I Ever Need to Laugh

Fri, 05 Oct 2007 03:17:41 GMT

Mon, 17 Sep 2007 22:52:43 GMT

Sat, 15 Sep 2007 00:23:49 GMT

Gonna Stay Nineteen Forever.

Sat, 21 Jul 2007 03:11:12 GMT

We're not ready to be old yet.
We're only nineteen but we are already immersed in stress, the workplace and some pretty hefty issues.
We are still technically teenagers.
We are not old yet.
So why does it feel that way?
I'm not ready to give up those moments. Those moments of pure unadulterated happiness. The kind of joy that fills me up from the tips of my toes to the rising hairs on the back of my neck. When I feel most alive. When I am, without a doubt, content to be where I am with who I'm there with.
I have not had one moment like that, this summer.
And that is what makes me so sad.

Just Outside the Frame

Fri, 20 Jul 2007 00:43:42 GMT

It's an odd feeling to know when you have brushed past something. Past doing or being something. When you see a picture and you know that a second's difference meant you would have crossed through the frame. When you are just on the edge between being there and here.
It's an odd feeling. And I can feel it.

And I'm Leaning on this Broken Fence, Between Past and Present Tense.

Sun, 24 Jun 2007 03:43:24 GMT

Not much new here...
Just angry at myself for being angry.
I barely survived work today. I really just wanted to tell that dreaded woman exactly what I thought of her and her damned coffeecake. I can only imagine how truly freeing yet saddening that would be.
I think that the main point of frustration with myself is that I am positively boiling with creativity and dreams and ambitions, yet I never give into them. I don't give myself the chance to fail, because I don't even try.

Mandatory Music at Work=Dreadful

Sat, 23 Jun 2007 03:07:19 GMT

A person could go insane being forced to listen to that much Michael Buble...
it's just not natural.

This made me Happy.

Mon, 11 Jun 2007 18:46:47 GMT

Sun, 10 Jun 2007 04:43:20 GMT

This is me [being a nerdtron] with my newly finished hat.

Watched the original Amityville Horror with mom, and I must say back in the day they sure knew how to make your pulse rise. It's a pity that today's horror genre is flooded with more blood and gore rather than true storytelling and suspense. *sighs mournfully*

If you Want to Sing out, Sing Out.

Fri, 08 Jun 2007 04:30:05 GMT

Made Jess watch Harold and Maude tonight. Glad I did it. She may have been creeped out by the old love iykwim, but overall it is such a powerful movie and I think we both needed a boost. I know I needed to hear some Maude quotes again.

I don't know if I can handle one more rainy day...

Tue, 05 Jun 2007 05:03:39 GMT

I've decided that the first CD I will buy in a looong time will be the new Bright Eyes release.
I just feel good about it. I should support the bands I love.