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.
Wednesday, March 28, 2007
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.
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.
Saturday, March 10, 2007
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! :)
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
The Clouded Moon:
Independent vs. Mainstream, and vice-versa
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.
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.
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.
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