Monday, September 28, 2009
work of today.
Well...Today I went shopping for gels and filters. Got a nice sheet of diffuser and 6 saturated color gels for mixing for lighting. Then I went to the crown theatre to talk to the staff about using the facilities for this Sundays shooting of work in preproduction. Fund out that there are three theatres there to look at. Got some phone numbers to call tomorrow in securing a space. Hopefully all works out in procuring one. Then I came home and watched the shit out of some movies on the suggested list from a critique on color theory. So I watched Cabaret last night and today Tokyo!, Roshomone, Days of Heaven so far. Some good times. I think I am about all filmed out for the moment. Still got 4 more to watch. Grr. Now going on line to look at Plays that I can use for this upcoming production. yay.
Sunday, September 27, 2009
Color theory
Just finished reading the pdf on color theory. Going to go to Blockbuster here shortly to rent the list so I can watch a few of them and study the different implementations of color in theory practices on film.
Movies
Watched Cabaret last night. Brilliant movie. Boing to finish watching coffee and cigarettes in a few minutes.
Tuesday, September 22, 2009
Assignment 二
A woman goes to a play house to do a read for a spot in the show. It is her first time trying out outside of college. She as never applied to the "big leagues." She enters in applying for a small roll in the play to find that she is not cast as a lowly timed roll. but is given the lead.
I wish to push my workings with non direct verbal communication and the tension that can build and the story that can be read through props and character physical interactions and lighting. I want the main stage to be dark lit portraying a sense of aloofness using spots if I can to pull from techniques implied by Fellini in Juliette of the Spirits. Possibly pulling some of his visual ailments of the character as well. still mulling that part around.
Priority one is to build a project using hand held and tripod shots in constant movement with the characters direction possibly to guide the viewers eye. Total optical control while still maintaining subtly. Also work beyond my obsession of direct character vocal interaction as a mode to propel a story.
I wish to push my workings with non direct verbal communication and the tension that can build and the story that can be read through props and character physical interactions and lighting. I want the main stage to be dark lit portraying a sense of aloofness using spots if I can to pull from techniques implied by Fellini in Juliette of the Spirits. Possibly pulling some of his visual ailments of the character as well. still mulling that part around.
Priority one is to build a project using hand held and tripod shots in constant movement with the characters direction possibly to guide the viewers eye. Total optical control while still maintaining subtly. Also work beyond my obsession of direct character vocal interaction as a mode to propel a story.
5 sets of 6 photographs telling different stories.
-Series 01: focuses on character development. Choose character from
one of your scripts. Avoid drama. This is where you will develop the
character through lighting, setting, expression, gesture, habit, etc.
A woman sits in her car surrounded by society. She feels pressured about contemporary life. She leaves her car and walks out of the city laughed and pointed at. She moves forward head held high. She comes along some railroad tracks and listens to the sound of the herds of people moving. She moves on away to nature and sheds her city clothes for those of her heritage of the native culture. She crosses paths barefoot rejoining with the earth.
Follow the journey of a doll and its love by its owner.
-Series 02: Create a simple narrative. (Read "Building the Story Line"
I will send soon) Set-up, Confrontation, Resolution. Once again
choose topic from one of your likely scripts. Remember you are
conveying the story through every element within the frame.
News cast room of this just in special report. Zombies are on the rise and he world is coming to an end. Reports roll in to the anchor and the subtext next to him counter minds what he is saying. Man sits panicking as the sounds of people dying rise around him, and then zombies over take him at his booth.
-Series 03: Produce a series of stills that convey a powerful sense of
time. A man waiting on death row, an accident. Focus on either
expanded or compressed moment.
An old man sits fishing on a long day. They catch nothing through the morning. They break for lunch and sit under a lone tree to eat. The old man stairs at his sandwich and talks of the first time he saw the birth of autumn only to see the child is listening to ear phones.
-Series 04: Produce a series of stills that convey a powerful sense of
place.
A homeless person sleeping on the streets. Cleans up others refuge taking care of the city. He is shunned, objects thrown at him. Still he moves on stoically.
-Series 05: Produce a series of stills that convey a powerful sense of
tone/mood/emotion.
Girl works hard at making a lovely diner for two. She toils and puts hr heart into the process. She sets the table throwing down rose petals for her other. She lights candles and adjusts the lights in the room to set the mood. She looks at her watch and realizes the time and checks her messages. Her parents are not going to be able to make it for dinner that night. Bridge club came up so they wouldn’t be able to make it for her birthday.
one of your scripts. Avoid drama. This is where you will develop the
character through lighting, setting, expression, gesture, habit, etc.
A woman sits in her car surrounded by society. She feels pressured about contemporary life. She leaves her car and walks out of the city laughed and pointed at. She moves forward head held high. She comes along some railroad tracks and listens to the sound of the herds of people moving. She moves on away to nature and sheds her city clothes for those of her heritage of the native culture. She crosses paths barefoot rejoining with the earth.
Follow the journey of a doll and its love by its owner.
-Series 02: Create a simple narrative. (Read "Building the Story Line"
I will send soon) Set-up, Confrontation, Resolution. Once again
choose topic from one of your likely scripts. Remember you are
conveying the story through every element within the frame.
News cast room of this just in special report. Zombies are on the rise and he world is coming to an end. Reports roll in to the anchor and the subtext next to him counter minds what he is saying. Man sits panicking as the sounds of people dying rise around him, and then zombies over take him at his booth.
-Series 03: Produce a series of stills that convey a powerful sense of
time. A man waiting on death row, an accident. Focus on either
expanded or compressed moment.
An old man sits fishing on a long day. They catch nothing through the morning. They break for lunch and sit under a lone tree to eat. The old man stairs at his sandwich and talks of the first time he saw the birth of autumn only to see the child is listening to ear phones.
-Series 04: Produce a series of stills that convey a powerful sense of
place.
A homeless person sleeping on the streets. Cleans up others refuge taking care of the city. He is shunned, objects thrown at him. Still he moves on stoically.
-Series 05: Produce a series of stills that convey a powerful sense of
tone/mood/emotion.
Girl works hard at making a lovely diner for two. She toils and puts hr heart into the process. She sets the table throwing down rose petals for her other. She lights candles and adjusts the lights in the room to set the mood. She looks at her watch and realizes the time and checks her messages. Her parents are not going to be able to make it for dinner that night. Bridge club came up so they wouldn’t be able to make it for her birthday.
Monday, September 14, 2009
Immersion and Excess responce
It is wonderful seeing the different dimensions in which video installation is growing, there are still some aspects that I find hard to grasp from reading them alone. I think that articles can not do justice the exposure of being on site where the installation is. But still I find it fascinating to see how far people are trying to stretch from traditional film to what I would classify as existential. The problem for me is seeing things being limited to traditional narrative structure. I think it is a great avenue to explore, hell, I have tried doing installations regarding narrative. But I really like where the artists are breaking boundaries by dropping the narrative aspect and focusing on the levels that can go beyond the fourth wall per say. The redesign of the apparatus I feel is the greatest movement in video installation. Form has shifted and become so interactive now as well as moving past the standard traditional image to light theory and progression of sound. The web has played a part in the interactive media that has taken off. It is nice to see people using their environments of the every day person and incorporating them. Form can be formless, I love how people are working with lights and the sky removing the need for a screen. I feel that the screen is a limitation that needs to moved beyond. 3D art that scans and maps objects using sound and light to manipulate forms is just mind boggling to me. Making screens out of concrete, taking form that is permanent with an idealized image that is generally referred to as being a momentary response is phenomenal. I think that installation has moved far beyond the need for traditional forms like in Batman using shadow box method in projecting form on the clouds, using the environment as a screen. It is just great! Sculpture in the form of images to projections with physical interpretations are just interesting and take a level of ability with working in space that makes me wish that I can obtain such levels of formlessness. The artists presented in the article are great, but I feel that the article could be much better suited with direct imagery corresponding to what is being read. Thank god for Google! For it is a great tool in researching what we are reading.
Post wrap
So I have learned over night and after a good afternoons sleep, that envisioning something and then destroying it visually is quite detrimental to the psyche surrounding future projects. The Blind turned out looking like a bag of ass shot by someone that has withdrawals, audio done by a person with hard hearing, color balance that just all around sucked, and acting/dialogue that reminds me of what I envision happened with the actors trying out for the first dungeons and dragons movie that actually got turned down for the job. But all is not lost in this experience. Communication was gained and knowledge about the way what works best for me can be harnessed and still stick to what can be fun. The Fig rig is a beast of burden that I got stuck in my head would work best for trying on this project. Should have done test footage first with it to see where I stood with the equipment. I think I may address this necessity in the future with all projects. There are a million and one reasons going through my head as to why this turned into such a calamity, but the fact remains that I have ideas as to why it failed and then I have understandings as to why it was not a successful visual excursion. Critique was interesting regarding it, don't really remember much regarding how it was discussed. But it feels to me that it was more to the point of what was obviously done wrong apposed to how it could have been avoided or moved around in the future. I could be wrong on this notion, but that is just how it feels. For the most part I got some good feedback from Clair on how to work with my stories in the future, and a list of movies to watch to "help" visually. Alas I did learn a lot on set of what to do and what not to do, and when crunch time comes, well, thats a lesson still being learned with juggling the whole show. Not very used to being pushed down to the wire. For the most part I like working way ahead of schedule so that I don't rush myself. Then again, who doesn't enjoy doing that? Lack of stress? What? But like Cyan pointed out this factor is not likely in the field. There are ALWAYS going to be set backs of some sort. So now is as good of time as any to learn how to manage it. For that I am grateful for the experience. My phone isn't though. Ha ha ha. Over 600 texts sent out this week. Next a response paper and then some brain storming.
Sunday, September 13, 2009
Proposal for The Blind
Working Paper Title:
The Blind
Proposed Topic(s):
Family emotionally separated by their inability to open up and see each other past their shields.
Purpose of proposed research (what is the significance of your investigation?):
This will be used as a tool in handling camera movements and angles to accentuate the mood tension and atmosphere within the story while being backed by audio emphasizing and aiding the story.
What is the relationship of the proposed research to your current work?
Start to build a dialogue between the camera and the actors/actresses. First step towards trying to build a three dimensional dialogue.
How does this research fit into the larger context of theoretical, historical, and conceptual and cultural issues?
Addresses Post war families and their dealings with short comings and fears that a couple may face, as well as post war trauma.
The Blind
Proposed Topic(s):
Family emotionally separated by their inability to open up and see each other past their shields.
Purpose of proposed research (what is the significance of your investigation?):
This will be used as a tool in handling camera movements and angles to accentuate the mood tension and atmosphere within the story while being backed by audio emphasizing and aiding the story.
What is the relationship of the proposed research to your current work?
Start to build a dialogue between the camera and the actors/actresses. First step towards trying to build a three dimensional dialogue.
How does this research fit into the larger context of theoretical, historical, and conceptual and cultural issues?
Addresses Post war families and their dealings with short comings and fears that a couple may face, as well as post war trauma.
The Blind Sort fi\lm in Post Production now
The Blind
M.S. Dirnberger
05-11-09
FADE IN INTERIOR HOUSE.
Early evening
Camera pans through house, details of textures of grain on wood, texture of the walls, and other surfaces that have their own visual interpretations. As well as descriptive items detailing the household’s comfort and happiness.
INTERIOR BEDROOM
MAN sits on his bed in rumpled clothing with a frumpy look about him. There is a knock at the front door and the man turns to regard its direction.
INTERIOR DININGROOM
A WOMAN sits at her dinning room table with tea sets placed and stirs from examining her cup looking up at the sound. She gets up and we are left looking at the table with cups sitting vacant at place settings.
Woman
(V.O.)
Oh, Bertie, how are you?
Bertie
(V.O.)
I’m just fine, thank you Isabel (woman). How are you and Maurice?
Isabel
(V.O.)
That's the reason why I called you over here. Please, please, come in and join me for a cup of tea. I was just setting the evening table.
INTERIOR BEDROOM IN HOUSE
As we hear Isabel and Bertie moving towards the dining hall, the man stands and camera follows him as he walks over to his dresser. Atop the dresser we see the camera pan as the man leads his hand over metals and ribbons sitting on top. He moves his hand over a pair of boots that sit dusty, the polish starting to lose its luster. The walls muffle the sound of Isabel and Bertie talking. The man strains his ear to hear the voices as he carries through his actions. Isabel ‘s laughter comes into focus.
INTERIOR DINING ROOM
Isabel laughs heartily at unknown joke and smiles warm heartily. Bertie smiles back with friendly affection watching Isabel’s body move with bubbly mirth.
Isabel
That was wonderful. You really should stop practicing law and become a comedian. I always loved your dry Humor. I wish that Maurice could have heard that one.
Bertie fiddles his thumbs in a self-conscious manner.
Bertie
True, but I don't like standing and talking in front of people.
Isabel suppresses a smile with a quivering lip and then looses her composure.
Isabel
Goodness, you really are too much. Here, two sugars right?
Bertie
Yes please, of course. By the way, where is Maurice?
Isabel clears her throat and starts off in a more serious tone.
Isabel
He’s upstairs taking his afternoon rest. He hasn’t been the same since his last tour.
INTERIOR BEDROOM IN HOUSE
Man Dresses slowly and methodically. He reaches for a brush on the end of a dresser and his hand stops short of the brushes handle, he clenches his hand and lets it fall back to his side limply.
INTERIOR HALL TO BATHROO TO HALL
He leaves the room and walks down the hall to a bathroom and washes his face and hands. He towels off and slowly heads back down the hall towards the stairs, a wraith in the evening night, silent as a whisper.
Isabel
(V.O.)
To tell you the truth I don’t know why he acts so morbidly depressed. We have everything here. He never complains, he never yells, he just…is (she looks off at a window). It’s as if the loss of his vision has taken his heart with it. And I feel that emptiness every time I look at him.
Bertie
(V.O.)
Please, be patient and kind to him. He’s a good person, and has been through a lot.
Isabel
(V.O.)
What about me? What about my suffering? Am I not allowed to be racked with grief?
Bertie
(V.O.)
Now, now, you know I mean no harm. You are right to have grief. I am not trying to make your feelings any less substantial. But try to think about his pain. He lost a child too.
Isabel
(V.O.)
Yes, but he has only lost the baby. I have lost them both.
INTERIOR DINING ROOM
Bertie
Isabel !
Isabel
What? Oh, I didn’t mean he’s dead. It’s just that when he talks to me, his voice just seems, so, dead. As if I am not there, that I am just another obstacle he has to maneuver blindly around.
Bertie
You’re not just an object to him. I can tell you that much on his behalf. You both have suffered a lot, and I’m sure he thinks that you are a great supportive person. Especially with the way you’ve been taking care of him. It’s only natural that you should feel slighted in emotions. He is in the dark in more ways then one now when it comes to how to help you. What is it that you really want from him?
Isabel
What could I want? I want to know my husband (Voice softens). I want him to love me.
Isabel starts to cry and Bertie pulls his chair closer to her. Consoling her.
Bertie
All these years, you two have been my closest friends. Time can only heal the wounds of past. The two of you are both right; there is no wrong side to be had. All I can hope is that you can see the truth of his love in the little things he does.
There is a noise and Isabel and Bertie look towards the door to see what it is. The camera pans to show Maurice (man) standing in the doorway. He rubs the tips of his fingers together on his left hand feeling his existence while his left hand rests on the wall feeling the existence of the rest of the world. Slowly he steps into the room and out of the evening's deepening shadows to stand across the table from the other two. The sounds of the room come into crisp awareness. A tree branch taps at the glass of one of the windows lazily. The Grandmother clocks ticking echoes heavily in the air.
Isabel
(Wiping tears from her eyes)
Oh, it’s you my love. I was wondering when you would wake up. I apologize. Did I wake you?
Marcel shakes his head in a slow fashion taking in the sound the air makes as it passes through his ears.
Maurice
(Softly)
No my love. You did not wake me. I have been up for a time, and thought it right that I should join you for tea and company.
Isabel
(Rustling her hands and her napkin.)
Take no worry of what has been said here. I was only Venting frustrations nothing more.
Marcel puts up a hand in a gentle gesture silencing Isabel.
Maurice
No. You have all the right in the world to feel as you do. Thank you Bertie for being such a good friend to us both.
Bertie mumbles to himself and gets up saying something about needing to use the bathroom.
Isabel sits impatient looking up at Maurice waiting for the agonizing time alone with him to pass. The tick of the Grandmother clock seemingly laughs about the passage of each moment.
Maurice
Isabel...
Isabel
Yes my love?
Maurice
I know that I have not always been the best of husbands by any means. I do wish to share my life and all of my love with you.
Isabel begins to cry again.
Maurice
Don't cry...ok, do cry let it all out.
Maurice walks over to sit in the empty chair by her side, gingerly feeling for its top. He then places his hands on Isabel 's shoulders. She looks at his hands and reaches to hold them. When she wraps her fingers around his, she notices his hands trembling.
Maurice
I know how badly you wish for us to be bonded together like we used to be. I miss those times too. I wish for us to get to know each other again.
Isabel
Maurice your hands! Is something wrong? Why are you shaking so badly?
Maurice
Just hear me out love, please. Before I begin to lose my resolve.
Maurice returns Isabel’s hand holding and lightly as a feather begins to take in every smooth plane and contour of her hands through his fingers. He gazes deep into her eyes and closes his lids.
Maurice
Close your eyes my love.
Isabel
What’s this about Maurice?! You’re scaring me.
Maurice
Shh....just close your eyes.
Isabel
(In a feathery voice)
No, what do you mean close my eyes? This is not like you at all. What are you doing?
Maurice
Please Isabel. Just indulge me one more time. I promise that I will not do anything bad. Just, trust me.
Isabel gives him a cross look and bites her lower lip chewing in thought. She looks into his Maurice’s blank waiting face and shrugs her shoulders.
Maurice
Now. Just let your arms relax. Good. Now let me guide your hands.
Maurice takes her hands and guides them up to his face and places her fingertips lightly over his forehead. He then takes his fingers and slides them up over her hands, down her arms, up her neck and onto her face. He begins to trace over her face like he did her hands. Isabel shivers as she moves her hands over his face in a similar pattern. Their breath comes in sharp labored bursts. Carrying the wait of all the words that could and could not be said.
FADE OUT TO BLACK.
M.S. Dirnberger
05-11-09
FADE IN INTERIOR HOUSE.
Early evening
Camera pans through house, details of textures of grain on wood, texture of the walls, and other surfaces that have their own visual interpretations. As well as descriptive items detailing the household’s comfort and happiness.
INTERIOR BEDROOM
MAN sits on his bed in rumpled clothing with a frumpy look about him. There is a knock at the front door and the man turns to regard its direction.
INTERIOR DININGROOM
A WOMAN sits at her dinning room table with tea sets placed and stirs from examining her cup looking up at the sound. She gets up and we are left looking at the table with cups sitting vacant at place settings.
Woman
(V.O.)
Oh, Bertie, how are you?
Bertie
(V.O.)
I’m just fine, thank you Isabel (woman). How are you and Maurice?
Isabel
(V.O.)
That's the reason why I called you over here. Please, please, come in and join me for a cup of tea. I was just setting the evening table.
INTERIOR BEDROOM IN HOUSE
As we hear Isabel and Bertie moving towards the dining hall, the man stands and camera follows him as he walks over to his dresser. Atop the dresser we see the camera pan as the man leads his hand over metals and ribbons sitting on top. He moves his hand over a pair of boots that sit dusty, the polish starting to lose its luster. The walls muffle the sound of Isabel and Bertie talking. The man strains his ear to hear the voices as he carries through his actions. Isabel ‘s laughter comes into focus.
INTERIOR DINING ROOM
Isabel laughs heartily at unknown joke and smiles warm heartily. Bertie smiles back with friendly affection watching Isabel’s body move with bubbly mirth.
Isabel
That was wonderful. You really should stop practicing law and become a comedian. I always loved your dry Humor. I wish that Maurice could have heard that one.
Bertie fiddles his thumbs in a self-conscious manner.
Bertie
True, but I don't like standing and talking in front of people.
Isabel suppresses a smile with a quivering lip and then looses her composure.
Isabel
Goodness, you really are too much. Here, two sugars right?
Bertie
Yes please, of course. By the way, where is Maurice?
Isabel clears her throat and starts off in a more serious tone.
Isabel
He’s upstairs taking his afternoon rest. He hasn’t been the same since his last tour.
INTERIOR BEDROOM IN HOUSE
Man Dresses slowly and methodically. He reaches for a brush on the end of a dresser and his hand stops short of the brushes handle, he clenches his hand and lets it fall back to his side limply.
INTERIOR HALL TO BATHROO TO HALL
He leaves the room and walks down the hall to a bathroom and washes his face and hands. He towels off and slowly heads back down the hall towards the stairs, a wraith in the evening night, silent as a whisper.
Isabel
(V.O.)
To tell you the truth I don’t know why he acts so morbidly depressed. We have everything here. He never complains, he never yells, he just…is (she looks off at a window). It’s as if the loss of his vision has taken his heart with it. And I feel that emptiness every time I look at him.
Bertie
(V.O.)
Please, be patient and kind to him. He’s a good person, and has been through a lot.
Isabel
(V.O.)
What about me? What about my suffering? Am I not allowed to be racked with grief?
Bertie
(V.O.)
Now, now, you know I mean no harm. You are right to have grief. I am not trying to make your feelings any less substantial. But try to think about his pain. He lost a child too.
Isabel
(V.O.)
Yes, but he has only lost the baby. I have lost them both.
INTERIOR DINING ROOM
Bertie
Isabel !
Isabel
What? Oh, I didn’t mean he’s dead. It’s just that when he talks to me, his voice just seems, so, dead. As if I am not there, that I am just another obstacle he has to maneuver blindly around.
Bertie
You’re not just an object to him. I can tell you that much on his behalf. You both have suffered a lot, and I’m sure he thinks that you are a great supportive person. Especially with the way you’ve been taking care of him. It’s only natural that you should feel slighted in emotions. He is in the dark in more ways then one now when it comes to how to help you. What is it that you really want from him?
Isabel
What could I want? I want to know my husband (Voice softens). I want him to love me.
Isabel starts to cry and Bertie pulls his chair closer to her. Consoling her.
Bertie
All these years, you two have been my closest friends. Time can only heal the wounds of past. The two of you are both right; there is no wrong side to be had. All I can hope is that you can see the truth of his love in the little things he does.
There is a noise and Isabel and Bertie look towards the door to see what it is. The camera pans to show Maurice (man) standing in the doorway. He rubs the tips of his fingers together on his left hand feeling his existence while his left hand rests on the wall feeling the existence of the rest of the world. Slowly he steps into the room and out of the evening's deepening shadows to stand across the table from the other two. The sounds of the room come into crisp awareness. A tree branch taps at the glass of one of the windows lazily. The Grandmother clocks ticking echoes heavily in the air.
Isabel
(Wiping tears from her eyes)
Oh, it’s you my love. I was wondering when you would wake up. I apologize. Did I wake you?
Marcel shakes his head in a slow fashion taking in the sound the air makes as it passes through his ears.
Maurice
(Softly)
No my love. You did not wake me. I have been up for a time, and thought it right that I should join you for tea and company.
Isabel
(Rustling her hands and her napkin.)
Take no worry of what has been said here. I was only Venting frustrations nothing more.
Marcel puts up a hand in a gentle gesture silencing Isabel.
Maurice
No. You have all the right in the world to feel as you do. Thank you Bertie for being such a good friend to us both.
Bertie mumbles to himself and gets up saying something about needing to use the bathroom.
Isabel sits impatient looking up at Maurice waiting for the agonizing time alone with him to pass. The tick of the Grandmother clock seemingly laughs about the passage of each moment.
Maurice
Isabel...
Isabel
Yes my love?
Maurice
I know that I have not always been the best of husbands by any means. I do wish to share my life and all of my love with you.
Isabel begins to cry again.
Maurice
Don't cry...ok, do cry let it all out.
Maurice walks over to sit in the empty chair by her side, gingerly feeling for its top. He then places his hands on Isabel 's shoulders. She looks at his hands and reaches to hold them. When she wraps her fingers around his, she notices his hands trembling.
Maurice
I know how badly you wish for us to be bonded together like we used to be. I miss those times too. I wish for us to get to know each other again.
Isabel
Maurice your hands! Is something wrong? Why are you shaking so badly?
Maurice
Just hear me out love, please. Before I begin to lose my resolve.
Maurice returns Isabel’s hand holding and lightly as a feather begins to take in every smooth plane and contour of her hands through his fingers. He gazes deep into her eyes and closes his lids.
Maurice
Close your eyes my love.
Isabel
What’s this about Maurice?! You’re scaring me.
Maurice
Shh....just close your eyes.
Isabel
(In a feathery voice)
No, what do you mean close my eyes? This is not like you at all. What are you doing?
Maurice
Please Isabel. Just indulge me one more time. I promise that I will not do anything bad. Just, trust me.
Isabel gives him a cross look and bites her lower lip chewing in thought. She looks into his Maurice’s blank waiting face and shrugs her shoulders.
Maurice
Now. Just let your arms relax. Good. Now let me guide your hands.
Maurice takes her hands and guides them up to his face and places her fingertips lightly over his forehead. He then takes his fingers and slides them up over her hands, down her arms, up her neck and onto her face. He begins to trace over her face like he did her hands. Isabel shivers as she moves her hands over his face in a similar pattern. Their breath comes in sharp labored bursts. Carrying the wait of all the words that could and could not be said.
FADE OUT TO BLACK.
Monday, September 7, 2009
Friday, September 4, 2009
Response to articles written by Dennis O’Rourke.
In Cannibal tours, the making of; I believe that his goal was to validate his endeavor in creating works like Cannibal tours through reassurance by names that he holds in esteem for their acclaim of his work. Then in the same breadth build a Dialogue with the reader regarding how and why the film came to pass while minimizing the naysayers. Confusion can be read in the fact that on page 3 discussing reinventing of documentary film as non-fiction entertainment films and then on page 8 saying that they are not documentary because they do not try to falsely state anything….On page 3 he calls his work artifice. Contradictory. The usage and symbolism of the words used in his article seem to be misinterpreted leaving any possible true guiding message ignored.
It is understandable that the creation of a piece is to be true to the events that unfold and that he does not know what is to happen till it is finished, and still the pieces of work he creates are to him separate from who he is because it was a journey of who he was. This is a fact that many can agree on feeling while creating work. I know I have felt this effect on shooting documentaries or doing research for shorts. Invariably though trying to compare himself to one of the “most respected” visual anthropologists of the 20th century I think is more then he should have bitten off. Where she was not right constantly in her works, she still tried to maintain a non-biased perspective of visual interpretations.
His work could be taken as a celebration of human spirit and ability. But the work this is regarding seemed heavily handed visually and verbally in painting the tourists as the cannibals. The people of New Guinea are shown as stressed and angry over the bidding wars shown, but in his article O’Rourke comments on how it is a game set up between the villagers and the tour group leaders to reincorporate the films of the 1940’s. Which is the truism? His statement of being part of the tour leads me to wonder why he did not incorporated himself into the piece since he viewed himself as one of the tourists.
Colonialism, Racism, Representation. I gotta get this out of the way now. The man flung around the word modernity like it was the word of the day. Please get off the soapbox and realize that Birth of a Nation was not about Native Americans, but rather the rightful rule of caucasians over slaved African descendents and how Lincoln was “wrong”. It is true that for a time a cultural belief was felt through interpretations of what movies show us. It still holds true today for some. But unlike what O’Rourke says, the place and usage of this as a tool has grown and adapted to hold truth to light where possible. It is no longer about the Director being the hero, or black stereotype to appease cultural need. It is about using tools to communicate to people of interest scoped to taste. Stereotypically speaking, guys watch action; woman watch dramas. This is the part that I do agree with is awry with how the international film system is set in labeling movies for guys who like movies and heart warming for the whole family generalization. Most cases are going to be based on location and social economical situations that very still in our cultural climate from region to region. For example the movie Milk was a hit in California rightly so, and limited theatrical release in fear most likely to populous response. I agree though that the situations revolving around “sensitive” topics are a ticking issue, but if work is being done respectfully of sides of the truth there should be less of a chance of biased reaction. So in turn I agree that we are far from powerless in influencing the cultural dichotomy of film and culture. Film is a representation of what is popular in culture at the time. Yes, a large amount of works created in the past are irreversibly wrong and hold effects that will outlast most of our lifetimes, however we do have to respect these types of works from a strictly anthropological study point as they are interpretations of how our story telling has matured working towards equality and non-biased representation. Form wise I think this article leaves one wondering what they are arguing for or against due to the fact that I know that I have not seen all of these films. Should I? Not by any means per this article because of there undo influence in harming the growth of our culture. So it leaves me thinking that formally explaining bits and pieces of these films that work towards the theory of this article may be misleading in themselves. Its layout was good in setting up arguments for itself. So that was a plus in trying to grasp the sections and meanings through out the article.
It is understandable that the creation of a piece is to be true to the events that unfold and that he does not know what is to happen till it is finished, and still the pieces of work he creates are to him separate from who he is because it was a journey of who he was. This is a fact that many can agree on feeling while creating work. I know I have felt this effect on shooting documentaries or doing research for shorts. Invariably though trying to compare himself to one of the “most respected” visual anthropologists of the 20th century I think is more then he should have bitten off. Where she was not right constantly in her works, she still tried to maintain a non-biased perspective of visual interpretations.
His work could be taken as a celebration of human spirit and ability. But the work this is regarding seemed heavily handed visually and verbally in painting the tourists as the cannibals. The people of New Guinea are shown as stressed and angry over the bidding wars shown, but in his article O’Rourke comments on how it is a game set up between the villagers and the tour group leaders to reincorporate the films of the 1940’s. Which is the truism? His statement of being part of the tour leads me to wonder why he did not incorporated himself into the piece since he viewed himself as one of the tourists.
Colonialism, Racism, Representation. I gotta get this out of the way now. The man flung around the word modernity like it was the word of the day. Please get off the soapbox and realize that Birth of a Nation was not about Native Americans, but rather the rightful rule of caucasians over slaved African descendents and how Lincoln was “wrong”. It is true that for a time a cultural belief was felt through interpretations of what movies show us. It still holds true today for some. But unlike what O’Rourke says, the place and usage of this as a tool has grown and adapted to hold truth to light where possible. It is no longer about the Director being the hero, or black stereotype to appease cultural need. It is about using tools to communicate to people of interest scoped to taste. Stereotypically speaking, guys watch action; woman watch dramas. This is the part that I do agree with is awry with how the international film system is set in labeling movies for guys who like movies and heart warming for the whole family generalization. Most cases are going to be based on location and social economical situations that very still in our cultural climate from region to region. For example the movie Milk was a hit in California rightly so, and limited theatrical release in fear most likely to populous response. I agree though that the situations revolving around “sensitive” topics are a ticking issue, but if work is being done respectfully of sides of the truth there should be less of a chance of biased reaction. So in turn I agree that we are far from powerless in influencing the cultural dichotomy of film and culture. Film is a representation of what is popular in culture at the time. Yes, a large amount of works created in the past are irreversibly wrong and hold effects that will outlast most of our lifetimes, however we do have to respect these types of works from a strictly anthropological study point as they are interpretations of how our story telling has matured working towards equality and non-biased representation. Form wise I think this article leaves one wondering what they are arguing for or against due to the fact that I know that I have not seen all of these films. Should I? Not by any means per this article because of there undo influence in harming the growth of our culture. So it leaves me thinking that formally explaining bits and pieces of these films that work towards the theory of this article may be misleading in themselves. Its layout was good in setting up arguments for itself. So that was a plus in trying to grasp the sections and meanings through out the article.
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