Elephant
This film's relevance to society is all in the title, Elephant. The violence is the elephant in the room. Through out the film the camera plays the part of a fly on the wall in a high school and in the homes of a select number of the students. To watch the film is a violent act itself. There is not any true dialogue, there is not a story that is set up, and the characters do not intertwine like the other films we have watched this semester. However, there is violence! The film is a direct replication of the Columbine High School shooting.
What this film displays is the dynamics of a young American's life. The first student we see is a kid taking care of his drunken father. With in the following half hour the camera follows select students around in their "day-to-day" lives. The importance of the reality style filming is to create an environment for the viewer to be part of the film. By the end of the film, as a viewer, I felt like I was walking side by side with the shooters. I wanted to reach out and yell "Stop this, stop!" But this is part of the social violence, it is that elephant in the room that needs to be acknowledged and not just a spit wad target.
Tuesday, May 5, 2009
Monday, April 20, 2009
A history of Mistaken Identity
Have you ever waved eagerly at someone suspecting them to be an old friend? How about planning a viscous revenge on someone and taking it out on someone you suspected to be an old friend?
A history of violence does just that. It mimics the awkward connection people have with mistaken identity. However, the consequences are displayed as being more sever than a bashful "Whoops, wrong guy". This film also exemplifies the humanistic need to feel justified with revenge.
In a corresponding social matter, nations feel it as a necessity to "pay back" exterior border intruders. For example- the United States going after Iraq for blowing up the Trade centers, when the country that committed the crime was Afghanistan. Mistaken identity. This can also be interpreted as unnecessary aggression. As seen in the film "A History of Violence", man hood was at stake.
Tom was never in the spot light with his ordinary (plane) family, so the chance to be a hero gave him the manly jolt he needed. It was the violence of the media that misconstrued his purpose. The media made him raw- and out there for revenge seekers to beat him blue until they felt better about them selves.
The transcending of aggression is what got Tom mixed up with angry men from "his" past.
A history of violence does just that. It mimics the awkward connection people have with mistaken identity. However, the consequences are displayed as being more sever than a bashful "Whoops, wrong guy". This film also exemplifies the humanistic need to feel justified with revenge.
In a corresponding social matter, nations feel it as a necessity to "pay back" exterior border intruders. For example- the United States going after Iraq for blowing up the Trade centers, when the country that committed the crime was Afghanistan. Mistaken identity. This can also be interpreted as unnecessary aggression. As seen in the film "A History of Violence", man hood was at stake.
Tom was never in the spot light with his ordinary (plane) family, so the chance to be a hero gave him the manly jolt he needed. It was the violence of the media that misconstrued his purpose. The media made him raw- and out there for revenge seekers to beat him blue until they felt better about them selves.
The transcending of aggression is what got Tom mixed up with angry men from "his" past.
Monday, April 13, 2009
A little something for the season
I found this in some old writings I kept. It makes me giggle with honesty.
8 April 2007
Easter mass lasted 2.5149875316954876 hours last night. Half of which was done in the dark to represent the humanistic psyche of not understanding the greater power of his highness our faith. As this was happening readings were done on an elevated podium where one light was used to laminate the scriptures on the rebirthed ancient stories passed from generations. The reader’s shadow cast upon the wall, and tracing over the crucifix like a dark smoke dancing in the night. As Moses parted the red sea one small infant uneasy in the restricted hands of the mother began to whimper then cry. Just not long ago the entirety of the church 342 people stood outside listening to the translated teachings lighting small candles. We sang holy vows in the harsh winter wind dead in spring faithfully. As any good fellow of religion would. We were cult like. Back inside and once Jesus preformed his legendary disappearing act to reappear as his own ghost the lights came on. And god said let there be light. Creation of mankind in the same likeness of a phoenix however the phoenix is but a mythological creature. Messiah is not a myth but a faith. 1.9864314 hours in to the mass my ankles spoke loud and clear as I effortlessly fought the sleep in my eyes and attention. New members welcomed aboard by plunger. Sugar coated by the name baptism and drenched no drowned under faith. Cleansing from the dark water represents washing away the smoke shadow that came with birth into a world created in purity. A flaw occurred in creation the being that molded each and everyone messed up it did not see that sin would be lurking to destroy faith. The perfect creator slacked on that dimension. That is the point in time where the candle is extinguished from its own wax choking helplessly in the night only to produce a faithful black smoke.
Fighting for Survival
Fight Club (1999)
The inner violence of our wallets is burning a hole in our pockets- or heads. Tyler's inner trouble came from his lack of motivation at his cubicle, miserable job.
It seems too often after college young adults are faced with nothing other than a job that pays too little for for the work load and stress. Than, paying for the necessities gets put on a credit card. In the in-debting quest to find happiness, Americans get stuck in a hole that they can not get out of.
Just like the fight club it is our own selves that allow for the credit card companies to beat us to a bloody pulp. Then the only thing left to do, or what it would seem, would be to blow our own heads off. In this metaphoric example the meaning is to destroy the part of our lives that becomes indebted.
The violent act of using a credit card is like taking a blow to the jaw, until the beautiful joy of spending money comes to painful end.
Now, it seems the trend is to conserve and go green. However, I feel like this may just be another corporate stunt to get people to spend money... Even if it means selling earth friendly products more expensively (which defeats the conservation theory-thus creating another fight club).
I am left with one question though. Can you really fertilize your lawn with old motor oil?
The inner violence of our wallets is burning a hole in our pockets- or heads. Tyler's inner trouble came from his lack of motivation at his cubicle, miserable job.
It seems too often after college young adults are faced with nothing other than a job that pays too little for for the work load and stress. Than, paying for the necessities gets put on a credit card. In the in-debting quest to find happiness, Americans get stuck in a hole that they can not get out of.
Just like the fight club it is our own selves that allow for the credit card companies to beat us to a bloody pulp. Then the only thing left to do, or what it would seem, would be to blow our own heads off. In this metaphoric example the meaning is to destroy the part of our lives that becomes indebted.
The violent act of using a credit card is like taking a blow to the jaw, until the beautiful joy of spending money comes to painful end.
Now, it seems the trend is to conserve and go green. However, I feel like this may just be another corporate stunt to get people to spend money... Even if it means selling earth friendly products more expensively (which defeats the conservation theory-thus creating another fight club).
I am left with one question though. Can you really fertilize your lawn with old motor oil?
Sunday, April 5, 2009
2 for 1 sale on Bateman
PSYCHO 2000
" Bateman and his Wall Street set are unmitigated consumers and speak in appropriately informed language
about specific products, ranging from herb mint facial masks to Valentino Couture suits. Bateman is
particularly capable of parroting the language of marketing. ("Courtney, you're gonna have the peanut
butter soup with smoked duck and mashed squash. New York Matinee called it 'a playful but mysterious
little dish.'") Consumer narratives draw on the preexisting aesthetic pleasure of specific imagery,
oftentimes cinematic, such as the Marlboro Man's link to the beautiful planes and blazing sunsets of the
American Western."- David Robinson
I agree with this statement from Robinson's article. I think that Bateman's compulsions to torture and kill victim after victim, is a reflection of how commercial life kills the American. The film is directly speaking about society for the times of the 80s. All of the business men were late 20s and early 30s, and living a lux, plushy lifestyle. A person of that same age group now would probably be searching or still working toward that level of "success". However, the main point of my observation is the use of tangents through the dialogue.
As Robinson mentioned earlier the the dialogue between the colligues from the office often talk about material societal structure. This is idealized by the importance of an image. For example when Bateman pealed his face everyday, and did over a thousand crunches, he was keeping his image for his commercial gain- the kill- or as I argue the product. Bateman is his own product and the final sale is the kill.
Bateman's break down: Characterized by a phone call and a face to face. On the phone there is panic, chaos, and need for another human for the first time- in a consumer term this would be the product recall. The next is the face to face. The lawyer does a re-recall. The product is fine- just not the sales, the product is no longer marketed, that sale dies. Bateman- or who ever he might be- is another lost product on the shelf.
" Bateman and his Wall Street set are unmitigated consumers and speak in appropriately informed language
about specific products, ranging from herb mint facial masks to Valentino Couture suits. Bateman is
particularly capable of parroting the language of marketing. ("Courtney, you're gonna have the peanut
butter soup with smoked duck and mashed squash. New York Matinee called it 'a playful but mysterious
little dish.'") Consumer narratives draw on the preexisting aesthetic pleasure of specific imagery,
oftentimes cinematic, such as the Marlboro Man's link to the beautiful planes and blazing sunsets of the
American Western."- David Robinson
I agree with this statement from Robinson's article. I think that Bateman's compulsions to torture and kill victim after victim, is a reflection of how commercial life kills the American. The film is directly speaking about society for the times of the 80s. All of the business men were late 20s and early 30s, and living a lux, plushy lifestyle. A person of that same age group now would probably be searching or still working toward that level of "success". However, the main point of my observation is the use of tangents through the dialogue.
As Robinson mentioned earlier the the dialogue between the colligues from the office often talk about material societal structure. This is idealized by the importance of an image. For example when Bateman pealed his face everyday, and did over a thousand crunches, he was keeping his image for his commercial gain- the kill- or as I argue the product. Bateman is his own product and the final sale is the kill.
Bateman's break down: Characterized by a phone call and a face to face. On the phone there is panic, chaos, and need for another human for the first time- in a consumer term this would be the product recall. The next is the face to face. The lawyer does a re-recall. The product is fine- just not the sales, the product is no longer marketed, that sale dies. Bateman- or who ever he might be- is another lost product on the shelf.
Monday, March 30, 2009
space junk
Natural Born Killers (1996)
There is a series out now called "Dexter'. The whole idea behind Dexter is that he is a true 'Natural Born Killer'. He was involved in a bloody gory event as a small child and developed a "Dark Passenger" that needed to kill to satisfy his blood thirst. Unlike Mikey and Mallory- Dexter was trained to only kill people who deserved do die i.e other killers, rapers, societal drains. Dexter is doing his civic duty, Mickey and Mallory are taking everything they can out of anyone they can.
There is one specific scene of which is most memorable to me. This is the scene where Mickey is being interviewed. He says that he is a killer not because he is a rotten societal reject, but because he is being true to himself. I thing that the reason this film caused so many copy cat crimes is because people are always looking for reasons do rediscover themselves. Unlike Dexter doing a civic duty, people are more inclined to be a self serving individual.
The total chaos happening on and off script seemed not to embellish the plot but take away. A true acid trip of space junk.
There is a series out now called "Dexter'. The whole idea behind Dexter is that he is a true 'Natural Born Killer'. He was involved in a bloody gory event as a small child and developed a "Dark Passenger" that needed to kill to satisfy his blood thirst. Unlike Mikey and Mallory- Dexter was trained to only kill people who deserved do die i.e other killers, rapers, societal drains. Dexter is doing his civic duty, Mickey and Mallory are taking everything they can out of anyone they can.
There is one specific scene of which is most memorable to me. This is the scene where Mickey is being interviewed. He says that he is a killer not because he is a rotten societal reject, but because he is being true to himself. I thing that the reason this film caused so many copy cat crimes is because people are always looking for reasons do rediscover themselves. Unlike Dexter doing a civic duty, people are more inclined to be a self serving individual.
The total chaos happening on and off script seemed not to embellish the plot but take away. A true acid trip of space junk.
Saturday, February 28, 2009
Skewed from being off.
Taxi Driver (1976)
Just as we saw in Straw Dogs a natural thrist for the kill is exhibited in Taxi Driver. As a viewer sitting down to watch a violent film there is an expectance to see some blood fly. However, for Taxi Driver I do not feel that that was the case in the delivery. Travis' osbervations of the world he lived in was at an extreme decline. As he said "the streets were/are overflowing with trash and filth."
There should be a sort of honor to be paid to characters that can develop fully with a concern larger than their own literal life. Travis- to the violent seeking viewer would be peged as the cult icon. However, to more deeply uderstand his role in society Travis needed to explode. The personal build up of being another Vietnam vet tossed back into society, expected to file back in line and essentially be another face in the crowd. What can be said for those individuals who pulled it off? A: They should be the cult icon, because they are rarer and less defined.
Taxi Driver has a lot to say about the quality of society in a quantative setting. The people are a mass and the quality is dinger with every step. Travis' character stepped out of his already disposition of serving his country to serve his city by personally being a Christ figure in saving Iris (the mass followers/ hookers) and literally getting away with contemplated murder (blood shed). Then, rose from his death (because for a moment Travis shot himself 3 times and was really alive after the last empty round)- to make a simple statment that a societal life is not for sale, wether it is a politicial campaigner or a down on luck runaway.
Just as we saw in Straw Dogs a natural thrist for the kill is exhibited in Taxi Driver. As a viewer sitting down to watch a violent film there is an expectance to see some blood fly. However, for Taxi Driver I do not feel that that was the case in the delivery. Travis' osbervations of the world he lived in was at an extreme decline. As he said "the streets were/are overflowing with trash and filth."
There should be a sort of honor to be paid to characters that can develop fully with a concern larger than their own literal life. Travis- to the violent seeking viewer would be peged as the cult icon. However, to more deeply uderstand his role in society Travis needed to explode. The personal build up of being another Vietnam vet tossed back into society, expected to file back in line and essentially be another face in the crowd. What can be said for those individuals who pulled it off? A: They should be the cult icon, because they are rarer and less defined.
Taxi Driver has a lot to say about the quality of society in a quantative setting. The people are a mass and the quality is dinger with every step. Travis' character stepped out of his already disposition of serving his country to serve his city by personally being a Christ figure in saving Iris (the mass followers/ hookers) and literally getting away with contemplated murder (blood shed). Then, rose from his death (because for a moment Travis shot himself 3 times and was really alive after the last empty round)- to make a simple statment that a societal life is not for sale, wether it is a politicial campaigner or a down on luck runaway.
Saturday, February 21, 2009
An Urban Cowboy
Take out the dirt, the horses, and the classic tumble weed blowing across the main drag of a hard town and you have Death Wish. The main character Paul is the lone ranger left to take the law into his own hands because the corruption of city life it more than the judicial system can handle. The best part of it all- he is doing it for free.
One scene I found very compelling in relation to society and culture is the conversation with the police once they find out who the "vigilante" of NYC is. There is a mention that more police are needed- one for every citizen- however, a back comment is made that "No one would be able to pay the taxes". Taxes are what it comes down to when safety is questioned. More money means more protection. No wonder Paul took the hard fight of justice into his hands, and he was man enough to pull the trigger- FOR FREE!!
Death Wish (1974)
It would be an obvious notation to relate this vigilante to any number of comic book "heroes" however, Death Wish goes beyond fighting crime at the beckon for help. Paul did the opposite- he looked for trouble. This is the observation that separates Paul from any hero. Society did not get so bad that people were calling for help, Paul in turn was just as no good as the muggers he shot.
Back in the day of the wild west- if you had a gun and a decent shot, you could very well be a town sheriff. Paul might have gotten in touch with his inner Clint Eastwood while he traveled out west and felt the life sucking heat of the desert and saw a few slithering things- but really he was taking out his anger in a moral less society by capping a few punks.
If there is any lesson to be learned from this so called vigilante it is: If ya ain't wearin a star on your chest, you're gonna be run outta town by the men who are.
One scene I found very compelling in relation to society and culture is the conversation with the police once they find out who the "vigilante" of NYC is. There is a mention that more police are needed- one for every citizen- however, a back comment is made that "No one would be able to pay the taxes". Taxes are what it comes down to when safety is questioned. More money means more protection. No wonder Paul took the hard fight of justice into his hands, and he was man enough to pull the trigger- FOR FREE!!
Death Wish (1974)
It would be an obvious notation to relate this vigilante to any number of comic book "heroes" however, Death Wish goes beyond fighting crime at the beckon for help. Paul did the opposite- he looked for trouble. This is the observation that separates Paul from any hero. Society did not get so bad that people were calling for help, Paul in turn was just as no good as the muggers he shot.
Back in the day of the wild west- if you had a gun and a decent shot, you could very well be a town sheriff. Paul might have gotten in touch with his inner Clint Eastwood while he traveled out west and felt the life sucking heat of the desert and saw a few slithering things- but really he was taking out his anger in a moral less society by capping a few punks.
If there is any lesson to be learned from this so called vigilante it is: If ya ain't wearin a star on your chest, you're gonna be run outta town by the men who are.
Friday, February 13, 2009
A Submissive Hidden Bomb
Straw Dogs (1971)
In Straw Dogs the dynamics between the different characters is the main focus for my observation.
Dustin Hoffman's character (David) is portrayed as a submissive male. Through the majority of the film his character does not display the barbaric/ masculine aggression that is often associated with the male gender. Susan George (Amy) portrayed the damsel in distress. Amy longs for a protector through out the entire film.
The film is divided into 2 major parts. Part 1: The set up for the breaking point. Part 2: Instinct ensues. The first half of the film is difficult to watch in a way that it is slow, quiet, and confusing. It is violent to the viewer to sit through an observation of a spineless husband ignore his beautiful wife. However, significance to the build up is hidden with in the boredom. The audience gains knowledge of David and his intellect. The ultimate battle that will take place- would put intellect (as an unnatural tool) against instinct (the natural means of survival). David ignores his instinct to fight for his trophy (wife) to defend his intellect. What gain does intellect have? The answer: 5 angry men.
It would be naive to ignore the role females play in this film. Janice, and Amy are portrayed as sex symbols for men to take. A large importance of the film is Amy's rape. However, the barbaric violation committed upon her ultimately satisfies her. To think of being raped in any sense is violent it's self. However, Amy longed for a protector. David was not able to provide that because he had been 'taught' not to result to violence. On the reverse Janice wanted sexual gratification- even if it was from the village retard. Her role is portrayed as lower than the masculine because of her ultimate helplessness.
The last part of the film, the riddle unravels. Who wins in an ultimate battle of wit between intellect, and instinct? The societal answer would be intellect. Because of civilization, and classification we are taught not to result to a barbaric state. Universities, and organizations hold intellect as a barrier between civilization and the animal kingdom. However, one concept is often forgotten- Humans are the top of the food chain. Instinct wins. The means to analyze, think, and observe separates humans from our furry friends. But when it comes to surviving, we are all in the same pyramid. David's learned values of intelligence were broken when his means to survive were breached. The primal instinct to use cunning survival skills allowed him to break away from his societal learned intellect and become the animal within.
Instinct: 1, Intellect: 0
In Straw Dogs the dynamics between the different characters is the main focus for my observation.
Dustin Hoffman's character (David) is portrayed as a submissive male. Through the majority of the film his character does not display the barbaric/ masculine aggression that is often associated with the male gender. Susan George (Amy) portrayed the damsel in distress. Amy longs for a protector through out the entire film.
The film is divided into 2 major parts. Part 1: The set up for the breaking point. Part 2: Instinct ensues. The first half of the film is difficult to watch in a way that it is slow, quiet, and confusing. It is violent to the viewer to sit through an observation of a spineless husband ignore his beautiful wife. However, significance to the build up is hidden with in the boredom. The audience gains knowledge of David and his intellect. The ultimate battle that will take place- would put intellect (as an unnatural tool) against instinct (the natural means of survival). David ignores his instinct to fight for his trophy (wife) to defend his intellect. What gain does intellect have? The answer: 5 angry men.
It would be naive to ignore the role females play in this film. Janice, and Amy are portrayed as sex symbols for men to take. A large importance of the film is Amy's rape. However, the barbaric violation committed upon her ultimately satisfies her. To think of being raped in any sense is violent it's self. However, Amy longed for a protector. David was not able to provide that because he had been 'taught' not to result to violence. On the reverse Janice wanted sexual gratification- even if it was from the village retard. Her role is portrayed as lower than the masculine because of her ultimate helplessness.
The last part of the film, the riddle unravels. Who wins in an ultimate battle of wit between intellect, and instinct? The societal answer would be intellect. Because of civilization, and classification we are taught not to result to a barbaric state. Universities, and organizations hold intellect as a barrier between civilization and the animal kingdom. However, one concept is often forgotten- Humans are the top of the food chain. Instinct wins. The means to analyze, think, and observe separates humans from our furry friends. But when it comes to surviving, we are all in the same pyramid. David's learned values of intelligence were broken when his means to survive were breached. The primal instinct to use cunning survival skills allowed him to break away from his societal learned intellect and become the animal within.
Instinct: 1, Intellect: 0
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