Archive for the ‘Uncategorized’ Category

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The music of Muriel

May 13, 2010

Muriel ou Le Temps d’un retour

Hans Werner Henze (the composer used in this film) was influenced by serialism, and so was Werner –

Schoenberg is often credited with inventing serialism.

Serialism wiki article: http://en.wikipedia.org/wiki/Serialism

also relevant: moment form http://en.wikipedia.org/wiki/Moment_form

The music contributes to the structural form of the film –  a forced linear progress.  There are no flashbacks, yet the past and memory are ever present and influential. The jump cuts create a language of memory space.

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People in Pour La Suite du Monde

May 5, 2010

I thought these screenshots would be useful to the film community:

Leopold Tremblay

Leopold Tremblay, main instigator of the whale-hunt.

Alexis Tremblay (Father)

Alexis Tremblay, Leopold’s father.

Abel Harvey

Abel Harvey

Louis Harvey

Louis Harvey

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Dossier Sample – The Spiral Jetty

May 2, 2010

Before I go into my sample for the midterm, I’d like to rant about my personal feelings regarding the Spiral Jetty and Robert Smithson.  If you have seen the complete film, you’ll know what I’m talking about (the complete film is impossible to find on the internet, and it apparently rents for $400.  Check the school library).  IMHO Smithson is a machismo-worshiping sadist.  He subjects his viewers to about 30 minutes of torture with red lights, monotone cryptic musings about rocks, and earsplitting tractor noises.  He’s brilliant.  I hate him.  I have mixed feelings about his work, and land art in general.

Land art offends me.  It proclaims man’s domination over nature.  It lacks feminine subtlety.

Land art resonates with me.  It un-apologetically confronts man’s twisted relationship with nature.  It abandons the treacle appeal to beauty that is so suffocating in some art.

and now, my dossier sample

(This is a rough draft.  I need to write another paragraph and do some diction refinement, among other things.)

Smithson’s Spiral Jetty refers to man’s relationship with, and conquering of, water space. The open seas and large bodies of water of this earth are not humankind’s natural terrain (yet monopolize the planet’s surface). To access, or trespass, these spaces requires feats of building – snorkels, rafts, ships. And in Pour la Suite du Monde, such a feat of building allows the small community to outwit a beluga, to take from the sea for their own profit. This nostalgic act recalls a sustenance relationship with the sea – when it was ‘take or die.’  Yet, that the canadian community no longer relies on whale-trapping for sustenance calms the tension of need and produces a reflexive mood much like the spiral jetty.

Both the film and the work of land art ask what it means to redirect and remap the water’s terrain on an artistic level, on a level beyond surface understanding. Long and short shots track the line of stakes in the canadian waters, long and short shots trace the lines of Smithson’s spiral. Mud, salt crystals, rocks, water. Mud, salt crystals, rocks, water. Smithson names his materials, but does not name the pages of hand-drawn plans, the phone calls, the tractor. Once built, these structures seem their own natural entities, yet the builders look on with a sense of completion and ownership. The structures morph between the realm of the natural and the realm of the human-made. Michel Brault juxtaposes the tracking shot of stakes with the stems in a field of flowers. To take from the sea is not to own it, but to swallow it as a new part of self.

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Fra Angelico’s Angels

April 1, 2010

Apparently Pier Paolo Pasolini made a reference to these renaissance angels in Hawks and Sparrows:





Also, these pictures only seem to show up on the school’s server… so here is a handy link to Frangelico pictures for viewers at home.

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What’s the Reel Deal?

April 1, 2010

I created this blog for my Film in Social Context class.  I’m a 2nd year college student studying under the Interdisciplinary Computing and the Arts Major (ICAM) and consider myself a visual artist.  I work with “traditional” 2D medias such as acrylic, canvas, paper, collage, plastic wrap….  I also make “art robots” and do some circuit bending, and I program way too much.   My current goal is to be a VJ for my favorite DJ and dubstep musician, Willy Wompa.   This quarter I’m learning video production with giant fucking cameras and Final Cut Pro.