Run Lola, Run!

Run, Lola Run is a 1998 film by German screenwriter and director Tom Tykwer, starring Franka Potente as Lola. The film is a unconventional non-linear film that covers a time frame of 20 minutes as Lola attempts to change her and her boyfriends fate each time. The spiraling script uses the "multiple lives" concept to pull in the audience in as we watch very small details drastically change the outcome of a situation. The camera movement in Run, Lola Run serves as a method of imitating and examining human behavior, and evoking an emotional response from the audience.

There is a beginning scene where the camera sweeps through the entire town and into Lola's apartment defying human speed. No human being would be able to move like that (not even modern day human action heroes). One can connect another scene where Lola is running during one of her "cycles" for her father's bank, and it's a long shot. The camera is still ahead of Lola, as if it is taunting her (and the audience) because she can't keep up. It adds to the suspense, and Alfred Hitchcock (as everyone knows as the master of suspense) has a rule of thumb for this technique of dealing with women in film, "If all else fails while trying to make a scary movie, torture the women!". That idea can be applied to Lola and the camera's taunting. The audience is secretly rooting for her because we know that Lola is vulnerable. She has feelings, she cries, she falls, and she's afraid just like the average Joe, again, unlike the average action hero. Her not being able to keep up with the camera adds to

this vulnerability, evoking more sympathy from us. Tykwer states in Tom Mes and Joep Vermaat's interview with him,


"Sometimes a movie doesn't offer you this opportunity, you can't change opinions about characters several times in a film like Lola Rennt [Run, Lola Run], you know. You have to be clear about the characters in the beginning and then you just go for it...." .

With this in mind, the film utilizes the character development aspect to draw multiple emotions from the audience, including compassion and anxiety. The sweeping motion is performed in a matter of seconds, taking the whole town and arriving at Lola's apartment. Defying these elements is something that would be extremely useful to Lola as she runs, and yet these are things she can not achieve because is human.

One of my favorite scenes in Lola is when, during the first "time cycle", Lola is thinking of all the people in her life to ask for money. Tykwer shows her thought process through a series of jump cuts. This has two effects: it heightens the suspense of the movie and it shows how the camera and editing can imitate human behavior. Because fast cuts can be used to excite the viewer's visual senses, they can influence the audience to become more engaged as the plot begins to thicken. We now have a defined problem (she needs money) and a shot of her springing into action in an attempt to solve it (she has to think of where to get it from). In the scene of Lola thinking of all the people that could lend money, the jump cuts are representational of what goes on in someone's head that's under pressure and has to think on their feet. Her mind is quickly scanning and accessing each person, thinking of background information that would help her make the decision and then relaying that to the problem. It is interesting to think about how although a human body is no match for a camera's movement, the human mind can create scenarios, special effects, etc. that the camera will never be able to duplicate. Just thinking about the mechanics behind a camera, and the limits a camera lens has compared to the human eye is a great example of brain superiority.

Thus, Run, Lola Run goes far beyond the modern day action flick that is designed to merely give you a sensory overload. This film takes a chance on character development through editing, and examining human behavior through imitation through camera movement (instead of explosions and car fights) to evoke human emotion.




In photo:Tom Tykwer

Creating Art from Art: Web Excursions and other things

What happens when you take a handful of naked Barbie dolls, figurines from a pop-culture movie, and an artistic French guy that has a computer and a dream? You get popular Evan Mather's "Les Pantless Menance", a graphic 3-D mash-up that spoofs George Lucas's Star Wars: Phantom Menace. In today's society, what makes art...art? Certainly there is a debate over the originality factor of the new wave of web artists, who often "borrow" main ideas (and even characters) from other already popular works to push their way to Internet fame. According to Wikipedia (what better way to define art and understand Internet art than to look it up via an electronic encyclopedia?), art is as follows:

"...is made with the intention of stimulating the human senses as well as the human mind and/or spirit. There is no general agreed-upon definition of art, since defining the boundaries of "art" is subjective, but the impetus for art is often called human creativity."


Wikipedia goes on to say that art often creates similar characteristics, including but not limited to skill, judgment of value, communicating emotion, creative impulse, and symbols. If one were to take this into account, then yes, web movies like "Les Pantless Menance" definitely belong in the art category. I suppose the old school artists ( you know, the ones who created masterpieces and etched their name in history forever) will have to move over to make space on the wall as a HD television plays modern day art displaying naked children toys and their heads exploding for thrills.

My only guess for the new turn of art would be the society we live in. With older art, artists chose their to use their paintbrush to tell a story about the times they lived in, which happened to be social issues (politics, crime, gender issues, etc.). Today, we do the same thing, but our interests have undoubtedly took a change from what filmmaker Scott Stark suggested in his letter to Jane Fonda, "...a certain kind of selfless idealism, replacing it with a more self-centered view".

Perhaps we are running away from the problems of today's society, with crime, lack of morals, and a sense of helplessness to change anything. Instead of turning to art to remind us of our problems, maybe we're turning to art to help us forget, and submerge us into a roller coaster ride of images and sound juxtaposed together to create a "film" that will satiate our senses. Is this necessarily wrong? It certainly is interesting. Now, instead of art being held by an elite group of society, the average-Joe can become an Internet Michelangelo with the help of technology and an imagination.

Sharon Lockhart's Goshogaoka

Goshogaoka is a 20 minute film made by Sharon Lockhart that chronicles a day of a young girl's basketball team in a junior high school near Tokyo and their routine. The film was shot on 16mm. Throughout viewing the film, the audience falls into the hypnotic choreographed movements of the young girl and the drone of their voices as they harmoniously chant along with their exercises. Lockhart strives to link art and the human body through her film while taking a non-conventional approach to choreography in film.
In my film class, Concepts Production, we discussed Maya Deren's Ritual in Transfigured Time and non-dancing elements. Ritual is a 15 minute film made in 1946 on silent, black and white film. Main character Rita Christiani begins the film when she encounters Maya Deren herself and is startled when Deren disappears. This begins a dream-like sequence of where Christiani is transported to a dinner party and then onward to dance with dancer Frank Westbrook. Goshogaoka shares the non-dancing element factor. Both films have dance like gestures, with Goshogaoka's girls robotic back and forth movements, that are curiously graceful and Ritual's famous dinner party scene, where Christiani is interacting with others at a dinner party and one could swear that the guests were dancing as they gracefully sought out someone and then another and so forth.


In Deren's article, "Ritual in Transfigured Time", she states,

"...if one were to omit from an actual party all the long conversational pauses, there would be left mainly that constant moving pattern of smiling, social anxiety; each person seeking to reach someone at the other end of the room, or moving, tentatively, to meet someone new, or embracing an old friend, or edging away from someone dull towards someone interesting."

The same idea can be applied with Lockhart. If one were to take away the chanting of the girls and the actual basketball that is being used, there would only being the rhythmic movements of each individual who strives to fall in the same place the person before the was. Goshogaoka focuses on the art of the human body, and the way our body becomes (in a way) a machine whose main purpose is to carry out a task, smoothly and efficiently. Isn't this what dancing is, as well? To piece together an amount of movements that serve to tell a story, one bit at a time?

The difference between Deren and Lockhart and their films respectively is the individual aspect of each film. While Deren's film incorporates two dancers, the rest of her cast are not. Christiani and Westbrook have a dance sequence, true, but the rest of the time the characters movements are mimicking the fluidness of life itself. Although the same could be said about Lockhart, her team of girls work as one unit. Their bodies are part of one big machine (think the kid's television show, "Transformers" if you will). Ritual is about an individual's experience as she moves through a surreal world, while Goshogaoka is about a mutual experience amongst many individuals. Despite these differences, however, both Ritual In Transfigured Time and Goshogaoka use non-dancing elements explore the art behind human motions and interactions.

Compare and Contrast: Montgomery vs. Porterfield

Matthew Porterfield's film "Hamilton" is about an interracial family and a young single mother's quest to find her daughter's delinquent father and let him know that she is leaving for the summer. Jennifer Montgomery's "Notes on the Death of Kodachrome" , according to Montgomery, "...purports to be about the discontinuation of the much-loved format, Kodachrome, and with it the further endangerment of super-8 film. It begins with a short, experimental s-8 film made in 1986, which makes prophetic assertions about the future of artistic expression and the dangers of bodily intimacy. From there, the film jumps to 2005, and to digital video. The filmmaker tracks down three old friends who borrowed, and never returned, pieces of super-8 equipment."


After watching "Hamilton", the most obvious contrast between his film and "Notes on the Death of Kodachrome" is dialogue. "Hamilton" relies on very little of it, and therefore it hard to fully establish ties between the family members and their true roles in film. However on "Notes" dialouge is abundant, in which most cases Montgomery has her subjects speaking directly in the camera as they tell their stories about her equipment and their personal life. Because of this, the audience isn't given the conventional means of characterization with "Hamilton", but "Notes" shows and tells the personal and professional struggles and conflicts each subject has (such as speaking about a battle of AIDS).


The second contrast between the two films is emotion. "Notes" offers up extreme facial and body expressions, lively characters, laughter, ect. "Hamilton", on the other hand, has no drama of any sorts--there is subtle facial expressions, a sort of robotic boredom to the verbal interaction amongst the characters and very little dramatic body movement. While in "Notes" it is clear that life is an adventure worth living, "Hamilton" proves that for some life is merely routine. A trademark theme amongst Montgomery's films is her provocative, in-your-face, very political scenes that tell tons of the feminist movement and her personal beliefs and quests. And the only controversial thing in "Hamilton" is the older mother isn't married and she has both white and biracial children.

In the end, "Notes" is a work of closure. Montgomery finds her equipment, reunites with old friends, revisits footage from the 70s and gets ready to enter a new field of work. Ironically, "Hamilton" is almost the complete opposite. Although the delinquent young father is found and given the message, we're left with the scene of the father and a random neighborhood boy riding off in the distance, leaving us with new questions and confusion. Both films, however, each explore unconventional ways to tell us a story.

Jennifer Montgomery's Little L Breaks Territorial Ground

Jennifer Montgomery provides an inside look of the territorial minds of young girls in her provocative film "Age 12: Love with a Little L". Montgomery's description of the film is "...depicts early lesbian sexuality, using reenacted scenes from the experience of a 12-year old girl as the platform for a meditation on forbidden desire,transgression, and Lacanian psychoanalytic concepts of identity formation. Raw adolescent memories counterpoint staged scenes, exploring mechanisms of power and submission".


Throughout the film, the audience is exposed to young women "marking" their territory, whether it is the ground or a human being by urination. In one scene, a young girl pulls down her underwear and urinates in front of the camera, and then calmly pulls her underwear back up and walks away. On top of this being a provocative scene, it shows how young women are territorial (sort of like animals marking their territory) and also explores the unspoken question of why it is acceptable in our society for men to make such gestures but for women it is considered disturbing.


Montgomery continually forces her audience to examine how they have been molded by society's way of viewing women with scenes such as a young women acting out animalistic expressions (growling, pointing ears forward, ect.) as they mimic territorial acts. "Age 12: Love with a Little L" will definitely challenge your perspective on sexual roles in modern society.

Scott Stark in "More That Meets The Eye: Remaking of Jane Fonda"

In class we watched "More That Meets The Eye: Remaking of Jane Fonda" by Scott Stark. The purpose of his video is to make fun of Jane Fonda's change from a political activist to a fitness guru. "More That Meets The Eye" is a twenty minute comedy, where Stark workout to Jane Fonda's best-selling Jane Fonda's Workout, made in the 80s. Stark is seen wearing unreasonably tight sweat pants, a baggy red sweatshirt, and a little t.v. In each scene, Stark is in a different place, rather it's a grocery store parking lot, on the balcony in the rain, a patio over-looking a baseball game or his living room. Besides two stills (one at the beginning and one at the end), we never see Fonda and her workout class. Instead, we hear her as we watch Stark, and various images of influential political activists such as Malcolm X. Running vertical is text, quotes from various political statements Jane Fonda has made. On the bottom, running horizontally, are snippets from her book, My Life So Far talking about her personal battle with sexuality, image, and health.

The point is to contrast the two Fondas: the one that was very controversial and outspoken about the Vietnam war and the one that was a leader in the workout business. In a letter to Jane Fonda, Stark wrote:

"The original idea for the video, which I began shooting in the early 1990s, was that your exercise video series, coming as it did at the cusp of the 1980s, was emblematic of a cultural shift from the politicized, activist climate of the late 1960s and early 1970s into the me-decade of the 80s. You, as Jane-Fonda-the-activist morphing into Jane-Fonda-the-exercise-queen, were certainly a symbol of this cultural shift, and even in many ways one of its driving forces. Some have seen this shift as a betrayal of a certain kind of selfless idealism, replacing it with a more self-centered view of changing the world through self-improvement."

After watching the video, I was curious to know what was the real story behind Fonda, and sought out the book (I haven't read it yet). In my opinion, this spark of interest on my part makes Stark successful. He seemed to have both awe and disgust for Fonda's different personalities, and through each and every scene we saw that. My favorite scene is him working out in the grocery store parking lot with a picture of Fonda on a car nearby. I would highly recommend this for those who are interested in finding a different perspective of Jane Fonda.

Performance

Unfortunately, I wasn't able to attend the camera obscura from last week or Vladimir's performance Monday. Sorry, but it was either leave for spring break quick or go postal in the film office. Yep, stress had definitely taken a toll. Anywho, this isn't about me or my mental illness. In lieu of my slacking attendance, I figured the least I could was write about was one of the topics that Kerrie gave us today. Let's see....how about my favorite film so far--Lisa Steele's Birthday Suit with Scars and Defects and performance.

One of the reasons I loved Birthday Suit was because it demanded your attention. For the whole 13 minutes it was running. Because you wanted to know what was happening. In my Concepts class, Dr. Barker has us reading On Directing Film by David Mamet. Good stuff. Repetitive, yes. Boring sometimes, definitely. Essential to film making? Probably more than anything I've ever read. Mamet tells us that the audience wants to know WHAT HAPPENS NEXT. It's simplicity that matters, not creating a dramatic story to keep the audience occupied. And that's exactly what Steele does for us. Nothing. Absolutely nothing. She gives us a date, a scar and a few minutes to digest what she just told us. That's it. And that's all I needed! From that I squinted in disgust when she showed us a finger that had been disfigured from a nail. She didn't tell us what happened before the accident, she didn't tell us what happened afterwards. There wasn't a story about how her mother cried as they rushed her to the hospital for stitches. Because it wasn't important or relevant. She told us a date and we automatically asked "What happened next?" And then she told us what. She cut her finger on a nail. The end. And one hell of a performance.

Storm De Hirsch

March 7 Class

Note: So sorry, I wrote this blog and forgot to post it! Ack!

Today we watched a few films that required two projectors in order to view it correctly. I kind of zoned out on most of them, but one kept my attention: Third Eye Butterfly, by Storm De Hirsch. It wasn't because it was an incredibly thought-provoking experience for me...it was simply because it was different. Not too many films are required to have two projectors, and in a way in created an new experience for me. Also, it was visually pleasing. I don't know--there's something about hearing the projector going that adds to the sensuality of the film. Like I said, because I didn't really connect with any of the films, I'm not going to stretch this blog out, but I will compliment De Hirsch on a visually stimulating (and thus pleasing) piece.

D'EST 2/19

D'EST 2/19


After a few scenes in Chantal Akerman's "D'est", I found myself murmuring "wow". The cinematography and composition of most shots were so simplistic and yet so rich in description that it was beautiful. Akerman succesfully had a film "written" without leaving her handprints all over it. She refers to her style as "documentary boardering on fiction". And I agree whole heartedly.


The movement amongst lines or groups of people, the viewing of children playing on ice, the way a woman cuts her sausage and bread all seemed very realistic, and yet so easily portrayed I found myself wondering whether Akerman lied to us all and really did script and plan the scenes. The film forces us to slow down and watch everything as (I imagine) Akerman had. Even though this process has been used in other films (Michael Snow, "So Is This"), watching "D'est" didn't have you at the edge of your seat, wanting to either fall asleep or grab an imaginary remote control and fast forward. You simply went with her flow and at the end of the film, I felt as though I knew the people personally and had become one of them. This is what I would reference to anyone who wants to understand composing shots, framing, and a unique way of telling a story.

Production Class Blog 2/18

Ack. I'm in Basic Elements of Filmmaking I, and I'm now FULLY appreciating digital cameras. :) We're working with Bell & Howell 16mm cameras and they are a pain in the butt every way you think about it. They freeze in cold weather, they're heavy, they need to be cranked, you have to adjust this to film in this type of environment and adjust that to film in those types of environments. You also have to be a very well off film student if you want to practice with these cameras--film is NOT cheap. But, I get it. We're learning outside of our element, and I KNOW that these skills I'm struggling to develop now will save me in the long run.
Unfortunately, you can't tell your grades that. You have a certain amount of time to get your stuff together, make a decent 2-4 minute film and hand it in order to pass and not have to go through the same torment next semester. And possibly life-long therapy. Hopefully, my piece will develop into something semi-intelligent (I can't tell you what it is now...it's still has some rough edges). Wish me luck! :)

Why Aren't There More Black People On YouTube?

In celebration of Black History Month, this special someone decided to be tounge-in-cheek and do a segment called "Why Aren't There More Black People On YouTube?". As a result of making a lot of people upset, there are many responses to this video. This is a prime example of how modern technology has enabled us to communicate fast, no matter what the subject is. Enjoy.

Who Wants To Be An American 2/18

Who Wants to Be An American; Created by Vancouver Film School graduate Aaron Beckum through the VFS Film Production program.

Indie vs. Mainstream 2/18

Hey fellow blog readers, here's an article I thought might be interesting...it's good to know I'm not the only one rambling about the great debate in the film world! Click on the link below to read. Enjoy.

The Clouded Moon:
Independent vs. Mainstream, and vice-versa

Laundry Room Girl 2/7

Here is a cool video.

Video Diaries 2/6

This week in my film class we are exploring the medium of video, and looking at works by Vito Acconci along with other artists. Most of the videos have one thing in common: they address the audience dead on, individually. Which, of course, creates the feeling that you (the viewer) are having an intimate relationship with the character(s) on the screen. After viewing the Screen Dump V-Log festival I realized that Acconci's notes on Video were being applied in videos posted on sites such as YouTube as well. For instance, one video posted is titled "SadEyedAnimeGirl" and the girl addresses the viewer as she talks about everyday things. It's almost as if the character on screen is confiding in a diary, in which case the audience becomes the confidant.

We also viewed Lisa Steele's "Birthday Suit: With Scars and Defects" (video, 13 minutes, 1974). I was thrilled. The video was simple and direct, as Steele stands before the camera literally in her birthday suit and points out each of the scars on her body and the history behind them. There is something that I can not put my finger on, something about the simplicity of the piece that makes you want to watch it over and over again. Perhaps it is the complex nature of modern films and videos that contain plot twists and turns and character changes with every scene that makes Steele so fresh and appealing. I didn't particularly care for Sadie Benning's "If Every Girl Had A Diary". While Both Steele and Benning's pieces were simple, Benning seemed too emotional. Hmmm....ironically enough, I thought the only thing working for the piece was the accurate portrayal of confusion and anger 15-year-old Benning displayed. I think I just didn't relate to it as well as Steele.

Amateur Versus Professional Feb 4

After reading "Amateur versus Professional" by Maya Deren, I wondered one thing: who's the good guy and who's the bad? There seems to have always been animosity from both experimental/independent/amateur filmmakers and the Hollywood filmmakers. But are amateur filmmakers better than the filmmakers in Hollywood? Are we somehow morally correct because our works are free from corporate money? Was there an unanimous decision that once you created a film that raised a huge profit you were considered an evil in the independent filmmaker's eye?

Deren states that "Artistic freedom means that the amateur film-maker is never forced to sacrifice visual drama and beauty to a stream of words...to the relentless activity and explanations of a plot or to the display of a star or a sponsor's product....". So, what we're saying here is that if you have endorsements you aren't creating art anymore; you're creating a paycheck. However, I disagree. Just because you have the money to create what you want doesn't mean that you're a sell-out. It doesn't mean that you're less than those who don't have the funds, and that have to work with what they do have. It just means you have money.
Some of the arguably greatest movies of all time weren't independent-made; do we disregard those as not being true works of art? And that goes for Hollywood as well: just because it's not made with a million dollar budget doesn't mean that it isn't good enough to tell a story. There is a general stereotype for both types (independent and commercial) that is relatively pointless--a film is a film. Whether it was made by Steven Spielberg or Joey Hash from down the street. The more people that learn that the better off we'll be.