As per usual, Blogger is being a rat bastard, so I'm going to attempt to post my screening notes here.
The intro to Midnight in Paris strikes a remarkable resemblance to Allen's earlier work, Manhattan. Manhattan's introduction features the many popular sights of the Big Apple while Gershwinn's Rhapsody in Blue plays in the background; Midnight in Paris mimics this with a sequence of still shots which embody all the history and grandeur of paris. What stands out about both these introductions is they resonate with our recent readings, specifically when film started as a sort of advanced photography. Like early cinema, the camera does not move, it simply observes, and like a regular photographing camera, the viewer sees the shot through a single, unchanging frame. Midnight in Paris' introduction embodies historic and basic filming techniques, helping to center the viewer's attention on the monuments and sights depicted by the camera.
Also, a quick narrative note: Owen Wilson's character is obsessed with the 1920's, and idolizes the great artists (Fitzgerald, Hemingway, Picasso, Dali, etc.) of its time. All different types of art and intellectualism, from Literature and Painting to Surrealism and Naturalism, are shown as incredible and profound fields of study. Owen Wilson's character is a reputed script writer for films, but he says it's "too easy" and longs to write like his literary gods. Keeping in mind that Owen Wilson never meets any budding filmmakers in his adventures (except to make a quick joke), it can be said that Midnight in Paris is saying that Film cannot stand as an artform next to literature or painting. This also resonates with our reading, since the early history of film involves various theorists trying to classify the utility of film compared to other artforms.
Grapes of Wrath is a fairly easy film to critique. From the beginning, the viewer is made to sympathize with the dust bowl farmers. The rampant injustice they are made to deal with illustrates a very clear line between the good guys and the bad guys. To accent this, the film creates a dreary atmosphere of hopelessness which is broken only by slight rays of hope. For instance, although Tom repeatedly informs everyone he was released on parole, everyone likes to imagine that he broke out; that he stood up for himself and beat those oppressing him. This makes him to be a hero figure, which helps the film's message later on as he identifies more and more with red ideology.
In my opinion, this film is more effective than Masculine, Feminine in delivering it's propaganda type message. Masculine Feminine is so jolting with its editing and story, making it difficult to discern just what the movie is saying. Here, the interactions and plot are streamlined and easy to comprehend. Even a viewer who watched this movie "to escape", not intending to make any criticism or intelligent observation, still walked away identifying with the plight of the masses. The movie closes with "we'll go on forever pa, cuz we're the people", perfectly summarizing the idea of the film in one line.
The shot I have chosen from Viaggio in Italy concerns when the two women enter the tomb. There is a passing shot of a corpse behind a small fence, where it appears to be toiled in pain.
1. Denotation In this brief shot the camerawork tells us a multitude about the corpse. First off, the movement of the camera is following Mrs. Joyce's eyes, making us see what she is supposedly seeing. The distance from the spectacle is about at a mid shot, and appears to be quite voyeuristic in nature. The lighting over the corpse creates a heavy shadow, giving the shot a sinister nature. Finally, the biggest selling point of this shot is the music; without it, we might not know the intent of this shot. The music is undeniably eeire, giving a tone of wrongness about invading the space of the dead. which the light and the pain exhibitied by the corpse reinforce.
2. Connotation We see death in plenty of movies, and it is often paired with tomb like music and given eerie lighting. Like in Indiana Jones, when a snake crawls out form a corpse's skull; the lighting and music here are purposefully designed to scare the viewer.
3. Myths/Ideaologies Judging from the voyeuristic shot (meaning we shouldn't be there), the lighting and the music, I believe the film is playing off the sacredness of death; we shouldn't be disturbed in our final resting place, as these people are making an exhibit out of what were once human beings. It's almost cultish
1. LT COL's Death The recipient of Eldridge's combat counseling, the half bird colonel felt obligated as a leader to go out on patrol with his men. When the IED took his life, Eldridge felt solely responsible, which isn't necessarily false considering a restricted line officer would never see combat otherwise. It is terrible to kill someone, but perhaps it is even worse to feel responsible for a freind's death. In the leadership especially, whose job is to care for all those under him/her, losing someone can make the officer feel totally responsible, which will dull his/her edge and reflect right back into unit cohesion.
2. Beckham's disappearance In this case, which is especially prevalent in today's wars, a civilian's death shows the effect it has on the soldiers. Despite those who profess those in the military to be nothing but baby killers and barbarians, most soldiers really do believe in protecting innocents and executing those who would harm them. Even more disturbing in today's wars: we face an enemy who has no problem mutilating their own people to harm us. Going back to my first point, it makes us feel ultimately responsible. Were it not for our presence, kids like Beckham could be free, or as free as you can be under the rule of totalitarian radicals.
3. James' night on the town This part of the movie I want to specifically point out as being unrealistic. Despite this movie's claim to fame for being very realistic, James' maverick attitude is completely untolerated in today's engagement scenarios. In a combat zone, everyone needs to be mentally locked down, for they hold the responsibility of people's lives in their trigger finger. I have the misfortune of the recent killing spree to support my point; had a solider went AWOL from a compound in real life, there would be grave consequences. We need to be there in a positive presence, winning hearts and minds, not lurking in the shadows with an M9. Even though James had good intent, it's fighting past that guilt and sticking it to the enemy which demonstrates true character strength and dedication to the mission.
As per usual, Blogger is being a rat bastard, so I'm going to attempt to post my screening notes here.
ReplyDeleteThe intro to Midnight in Paris strikes a remarkable resemblance to Allen's earlier work, Manhattan. Manhattan's introduction features the many popular sights of the Big Apple while Gershwinn's Rhapsody in Blue plays in the background; Midnight in Paris mimics this with a sequence of still shots which embody all the history and grandeur of paris. What stands out about both these introductions is they resonate with our recent readings, specifically when film started as a sort of advanced photography. Like early cinema, the camera does not move, it simply observes, and like a regular photographing camera, the viewer sees the shot through a single, unchanging frame. Midnight in Paris' introduction embodies historic and basic filming techniques, helping to center the viewer's attention on the monuments and sights depicted by the camera.
Also, a quick narrative note: Owen Wilson's character is obsessed with the 1920's, and idolizes the great artists (Fitzgerald, Hemingway, Picasso, Dali, etc.) of its time. All different types of art and intellectualism, from Literature and Painting to Surrealism and Naturalism, are shown as incredible and profound fields of study. Owen Wilson's character is a reputed script writer for films, but he says it's "too easy" and longs to write like his literary gods. Keeping in mind that Owen Wilson never meets any budding filmmakers in his adventures (except to make a quick joke), it can be said that Midnight in Paris is saying that Film cannot stand as an artform next to literature or painting. This also resonates with our reading, since the early history of film involves various theorists trying to classify the utility of film compared to other artforms.
Grapes of Wrath is a fairly easy film to critique. From the beginning, the viewer is made to sympathize with the dust bowl farmers. The rampant injustice they are made to deal with illustrates a very clear line between the good guys and the bad guys. To accent this, the film creates a dreary atmosphere of hopelessness which is broken only by slight rays of hope. For instance, although Tom repeatedly informs everyone he was released on parole, everyone likes to imagine that he broke out; that he stood up for himself and beat those oppressing him. This makes him to be a hero figure, which helps the film's message later on as he identifies more and more with red ideology.
ReplyDeleteIn my opinion, this film is more effective than Masculine, Feminine in delivering it's propaganda type message. Masculine Feminine is so jolting with its editing and story, making it difficult to discern just what the movie is saying. Here, the interactions and plot are streamlined and easy to comprehend. Even a viewer who watched this movie "to escape", not intending to make any criticism or intelligent observation, still walked away identifying with the plight of the masses. The movie closes with "we'll go on forever pa, cuz we're the people", perfectly summarizing the idea of the film in one line.
The shot I have chosen from Viaggio in Italy concerns when the two women enter the tomb. There is a passing shot of a corpse behind a small fence, where it appears to be toiled in pain.
ReplyDelete1. Denotation
In this brief shot the camerawork tells us a multitude about the corpse. First off, the movement of the camera is following Mrs. Joyce's eyes, making us see what she is supposedly seeing. The distance from the spectacle is about at a mid shot, and appears to be quite voyeuristic in nature. The lighting over the corpse creates a heavy shadow, giving the shot a sinister nature. Finally, the biggest selling point of this shot is the music; without it, we might not know the intent of this shot. The music is undeniably eeire, giving a tone of wrongness about invading the space of the dead. which the light and the pain exhibitied by the corpse reinforce.
2. Connotation
We see death in plenty of movies, and it is often paired with tomb like music and given eerie lighting. Like in Indiana Jones, when a snake crawls out form a corpse's skull; the lighting and music here are purposefully designed to scare the viewer.
3. Myths/Ideaologies
Judging from the voyeuristic shot (meaning we shouldn't be there), the lighting and the music, I believe the film is playing off the sacredness of death; we shouldn't be disturbed in our final resting place, as these people are making an exhibit out of what were once human beings. It's almost cultish
1. LT COL's Death
ReplyDeleteThe recipient of Eldridge's combat counseling, the half bird colonel felt obligated as a leader to go out on patrol with his men. When the IED took his life, Eldridge felt solely responsible, which isn't necessarily false considering a restricted line officer would never see combat otherwise. It is terrible to kill someone, but perhaps it is even worse to feel responsible for a freind's death. In the leadership especially, whose job is to care for all those under him/her, losing someone can make the officer feel totally responsible, which will dull his/her edge and reflect right back into unit cohesion.
2. Beckham's disappearance
In this case, which is especially prevalent in today's wars, a civilian's death shows the effect it has on the soldiers. Despite those who profess those in the military to be nothing but baby killers and barbarians, most soldiers really do believe in protecting innocents and executing those who would harm them. Even more disturbing in today's wars: we face an enemy who has no problem mutilating their own people to harm us. Going back to my first point, it makes us feel ultimately responsible. Were it not for our presence, kids like Beckham could be free, or as free as you can be under the rule of totalitarian radicals.
3. James' night on the town
This part of the movie I want to specifically point out as being unrealistic. Despite this movie's claim to fame for being very realistic, James' maverick attitude is completely untolerated in today's engagement scenarios. In a combat zone, everyone needs to be mentally locked down, for they hold the responsibility of people's lives in their trigger finger. I have the misfortune of the recent killing spree to support my point; had a solider went AWOL from a compound in real life, there would be grave consequences. We need to be there in a positive presence, winning hearts and minds, not lurking in the shadows with an M9. Even though James had good intent, it's fighting past that guilt and sticking it to the enemy which demonstrates true character strength and dedication to the mission.