1. What has been the ongoing relationship between so-called mumblecore filmmakers and the South By Southwest (SXSW) Festival in Austin, TX. Hint: Here are two shorts that appeared before 2007 features at SXSW:
FRIENDS! they're all good friends who's films are very connected because of content, style, cast and crew. it seems like they were all in Austin for SXSW and a couple of them had features screening so they filmed all these little bumpers to play before films. Looks like fun. looks like a cool group of friends.
2. Broadly speaking, what characteristics define mumblecore?
no jerks. 20somethings, plots about communication, love interests, technology filled, everyday events as plot, long takes, handheld, improvised acting.
3. What have been the most common charges against mumblecore?
Trite subject for plot. Too real characters. too personal.
4. How has the internet affected the DIY distribution of mumblecore films?
It has been very beneficial for them. it has created a way for a specific audience to find the films, a way for them to advertise through podcasts and other forms, and a way to order a DVD. Myspace is noted as being a key element in the distribution process of these films. I remember when 4-eyedmonsters was in production and going to their myspace to watch video podcasts.
6. IFC Films picked up Hannah Takes the Stairs for “day-and-date” distribution. What does this mean? It opens the IFC Center's series today and then can be downloaded from IFC.
Monday, December 1, 2008
Thursday, November 20, 2008
Week Fifteen
1. Despite its use of improvisation, how is Gummo different from “execution dependent” screenplays such as Stranger than Paradise?
Korine's descriptions of the characters, choice of dialogue and action make the screenplay a cohesive and authentic piece. He expresses his knowledge about teens through the dialogue and in the screen play he had very specific images of the characters written out in words.
2. According to Murphy, what function does the “nonsense” included in the dialogue serve in the film as a whole?
Murphy says that the "nonsense" is what makes Korine's screenplay so poetic and mysterious.
3. What specific connections does Murphy make between Gummo and New American Cinema (including Beat films)? How did Korine respond to associations made between his work and underground film?
Murphy assumes influence of the improvesational aspects in Gummo to John Casavetes films. he connects the lack of plot to avant guarde films by Maya Deren (Meshes of the afternoon) and Christopher Mclaine (the End) and Jonas Mekas.
Korins stated that he is all commercial film maker and doesnt want to be associated with other cinema. he denay that underground cinema exists.
4. Besides as a filmmaker, how has Korine participated in alternative urban youth culture?
He wrote the screenplay for Larry Clark's Kids and is considered an expert in the youth culture.
5. If Gummo uses “collage techniques” instead of a traditional plot, what techniques are used on the image and soundtrack to make connections and associations across the course of the film? How are these techniques similar or different than the “narrational tactics” described by Bordwell? (Look at your Week Nine response, TWHTI, “Tightening the Plot,” starting on p. 43.)
The connections and associations that can be made from the Gummo soundtrack are loose. and becasue the film doesnt really have a plot and each scene is somwhat self contained, they allusionment in the soundtrack doesnt nessecary move the narritive forward but act as filler.
Korine's descriptions of the characters, choice of dialogue and action make the screenplay a cohesive and authentic piece. He expresses his knowledge about teens through the dialogue and in the screen play he had very specific images of the characters written out in words.
2. According to Murphy, what function does the “nonsense” included in the dialogue serve in the film as a whole?
Murphy says that the "nonsense" is what makes Korine's screenplay so poetic and mysterious.
3. What specific connections does Murphy make between Gummo and New American Cinema (including Beat films)? How did Korine respond to associations made between his work and underground film?
Murphy assumes influence of the improvesational aspects in Gummo to John Casavetes films. he connects the lack of plot to avant guarde films by Maya Deren (Meshes of the afternoon) and Christopher Mclaine (the End) and Jonas Mekas.
Korins stated that he is all commercial film maker and doesnt want to be associated with other cinema. he denay that underground cinema exists.
4. Besides as a filmmaker, how has Korine participated in alternative urban youth culture?
He wrote the screenplay for Larry Clark's Kids and is considered an expert in the youth culture.
5. If Gummo uses “collage techniques” instead of a traditional plot, what techniques are used on the image and soundtrack to make connections and associations across the course of the film? How are these techniques similar or different than the “narrational tactics” described by Bordwell? (Look at your Week Nine response, TWHTI, “Tightening the Plot,” starting on p. 43.)
The connections and associations that can be made from the Gummo soundtrack are loose. and becasue the film doesnt really have a plot and each scene is somwhat self contained, they allusionment in the soundtrack doesnt nessecary move the narritive forward but act as filler.
Week Fourteen
1. What does Flo Liebowitz mean by “dialogue as behavior”?
Much of the dialogue in Stranger than Paradise is there because that is how the character is, doesnt have the underlying intention of moving the plot forward like it does in most hollywood films.
2. What are some of the connections between Stranger than Paradise with the New American Cinema, including Shadows?
The stylistic qualities of Stranger than Paradise are very similar to those of shadows as well as the subject matter of family relations intertwined with friend relations. Both films have several main characters that the story switches between.
3. In what specific ways does Jarmusch’s script deviate from standard scriptwriting structure and format?
Jarmusch's script is like a bunch of self containned mini-scripts where thereisnt much dialogue writen. instead he notes in detail the action taking place, or the story thats happening. Stranger than paradise plot structure also doesnt fit the four part model.
4. What is an "execution dependent" screenplay?
A screen play that NEEDS to be acted out. due to stylistic qualities un able to be clearified through the screenplay text.
5. What are the similarities and differences between Stranger than Paradise and punk films?
similarities: Willie's cynical and aggresive attitude and the film has the punk attitude
But its not obsessed with the iconography of violence. Jarmusch didnt want this film to be a fashion trendy film so he downplayed the punk elements.
Much of the dialogue in Stranger than Paradise is there because that is how the character is, doesnt have the underlying intention of moving the plot forward like it does in most hollywood films.
2. What are some of the connections between Stranger than Paradise with the New American Cinema, including Shadows?
The stylistic qualities of Stranger than Paradise are very similar to those of shadows as well as the subject matter of family relations intertwined with friend relations. Both films have several main characters that the story switches between.
3. In what specific ways does Jarmusch’s script deviate from standard scriptwriting structure and format?
Jarmusch's script is like a bunch of self containned mini-scripts where thereisnt much dialogue writen. instead he notes in detail the action taking place, or the story thats happening. Stranger than paradise plot structure also doesnt fit the four part model.
4. What is an "execution dependent" screenplay?
A screen play that NEEDS to be acted out. due to stylistic qualities un able to be clearified through the screenplay text.
5. What are the similarities and differences between Stranger than Paradise and punk films?
similarities: Willie's cynical and aggresive attitude and the film has the punk attitude
But its not obsessed with the iconography of violence. Jarmusch didnt want this film to be a fashion trendy film so he downplayed the punk elements.
Week Thirteen
4. According to Ed Guerrero, what were the three phases of the black image in Hollywood films?
pre-blaxploitation, submissive portrayal of blacks.
blaxploitation era - black films that challenged the mainstream ideology reguarding the black image.
Current New Black Cinema - where black independents and blaxploiation merged.
5. Why did the filmmakers of the "LA Rebellion / Los Angeles School" (including Charles Burnett) reject traditional Hollywood production values?
they rejected the traditional hollywood projection values because although they mastered the technique, they chose not to utilize it because they were being ignored so the Los Angeles School "politicized the question of technical compitence"
6. What are the two distinct notions of "guerrilla cinema" exemplified by Spike Lee and Bill Gunn?
Bill Gunn worked in Hollywood to earn money to finance films that were against hollywood. He wanted to challege the asthetic principles of the studios from the inside of the system.
Spike Lee made independent films in order to acheive a hollywood recognized career so that he could penatrate hollywood.
7. What are the two divergent readings of Spike Lee's films by Amiri Baraka and Houston Baker?
Baraka groups Lee in with other young film makers who seek economic struggle over political struggle and he states that Lee is just caricaturizing the black revolutionary politics in his films.
Baker says that Lee's focus on economics is not in purposeful disreguard for politics, but just Lee's political Ideology. Baker also notes that Lee shows his devotion to politics through interest in New York City's politics.
However, both Baraka and Baker think that Lee doesnt treat women characters in his film with much respect.
pre-blaxploitation, submissive portrayal of blacks.
blaxploitation era - black films that challenged the mainstream ideology reguarding the black image.
Current New Black Cinema - where black independents and blaxploiation merged.
5. Why did the filmmakers of the "LA Rebellion / Los Angeles School" (including Charles Burnett) reject traditional Hollywood production values?
they rejected the traditional hollywood projection values because although they mastered the technique, they chose not to utilize it because they were being ignored so the Los Angeles School "politicized the question of technical compitence"
6. What are the two distinct notions of "guerrilla cinema" exemplified by Spike Lee and Bill Gunn?
Bill Gunn worked in Hollywood to earn money to finance films that were against hollywood. He wanted to challege the asthetic principles of the studios from the inside of the system.
Spike Lee made independent films in order to acheive a hollywood recognized career so that he could penatrate hollywood.
7. What are the two divergent readings of Spike Lee's films by Amiri Baraka and Houston Baker?
Baraka groups Lee in with other young film makers who seek economic struggle over political struggle and he states that Lee is just caricaturizing the black revolutionary politics in his films.
Baker says that Lee's focus on economics is not in purposeful disreguard for politics, but just Lee's political Ideology. Baker also notes that Lee shows his devotion to politics through interest in New York City's politics.
However, both Baraka and Baker think that Lee doesnt treat women characters in his film with much respect.
Wednesday, October 29, 2008
NonIndustry Report Annotated Bibliography
YOUTUBE SOURCE
David Gordon Green Speaks at No-Budget Film School about the budgeting and inspiration for Geroge Washington.
JOURNAL SOURCE
Lucia, Cynthia. "A TOUCH OF THE NEOREALIST" Cineaste, v. 26 no4 (Fall 2001) p. 13-17.
http://0-search.ebscohost.com.uncclc.coast.uncwil.edu/login.aspx?direct=true&db=ach&AN=BART01036735&site=ehost-live
This interview with David Gordon Green about Geroge Washington reveals some of his methods for directing acting in the film, as well as budgeting solutions.
JOURNAL SOURCE
Daryl Chin and Larry Qualls. "Open Circuts, Closed Markets: Festivals and Expositions of Film and Video." PAJ: A Journal of Performance and Art, Vol. 23, No. 1 (Jan., 2001), pp. 33-47
http://0-www.jstor.org.uncclc.coast.uncwil.edu/stable/3246488
This article reiterates the difficulties independent films are faced with as far as distribution, and explores the film festivals and the temperal accptance process of Geroge Washington.
ARTICLE SOURCE
David Thomson. "Film & Music: David Thomson's Biographical Dictionary of Film #47: David Gordon Green made stylish, searching films in defiance of Hollywood methods. Then he teamed up with Seth Rogen - and had a hit" GUARDIAN FILM AND MUSIC PAGES; Pg. 14
http://0-www.lexisnexis.com.uncclc.coast.uncwil.edu/us/lnacademic/results/docview/docview.do?docLinkInd=true&risb=21_T4971692135&format=GNBFI&sort=RELEVANCE&startDocNo=1&resultsUrlKey=29_T4971692142&cisb=22_T4971692141&treeMax=true&treeWidth=0&csi=138620&docNo=2
This article reflects on the phenomenal, and unprecedented success of George Washington and how the young director moved into larger projects, and different ones at that.
QUESTION:
What techniques were used to enable this film to be made on such a small budget, and be able to be exhibited on such a large scale.
David Gordon Green Speaks at No-Budget Film School about the budgeting and inspiration for Geroge Washington.
JOURNAL SOURCE
Lucia, Cynthia. "A TOUCH OF THE NEOREALIST" Cineaste, v. 26 no4 (Fall 2001) p. 13-17.
http://0-search.ebscohost.com.uncclc.coast.uncwil.edu/login.aspx?direct=true&db=ach&AN=BART01036735&site=ehost-live
This interview with David Gordon Green about Geroge Washington reveals some of his methods for directing acting in the film, as well as budgeting solutions.
JOURNAL SOURCE
Daryl Chin and Larry Qualls. "Open Circuts, Closed Markets: Festivals and Expositions of Film and Video." PAJ: A Journal of Performance and Art, Vol. 23, No. 1 (Jan., 2001), pp. 33-47
http://0-www.jstor.org.uncclc.coast.uncwil.edu/stable/3246488
This article reiterates the difficulties independent films are faced with as far as distribution, and explores the film festivals and the temperal accptance process of Geroge Washington.
ARTICLE SOURCE
David Thomson. "Film & Music: David Thomson's Biographical Dictionary of Film #47: David Gordon Green made stylish, searching films in defiance of Hollywood methods. Then he teamed up with Seth Rogen - and had a hit" GUARDIAN FILM AND MUSIC PAGES; Pg. 14
http://0-www.lexisnexis.com.uncclc.coast.uncwil.edu/us/lnacademic/results/docview/docview.do?docLinkInd=true&risb=21_T4971692135&format=GNBFI&sort=RELEVANCE&startDocNo=1&resultsUrlKey=29_T4971692142&cisb=22_T4971692141&treeMax=true&treeWidth=0&csi=138620&docNo=2
This article reflects on the phenomenal, and unprecedented success of George Washington and how the young director moved into larger projects, and different ones at that.
QUESTION:
What techniques were used to enable this film to be made on such a small budget, and be able to be exhibited on such a large scale.
Monday, October 27, 2008
Week ELEVEN
The first and second waves of mergers
the mergers in the 1960's when studios were bought by bigger corporations that had their hands in other, way other, things than film, or film related things. As the article gives an example; Gulf and Western bought Paramount Pictures, but also had investments in a variety of other things.
the first wave of mergers happened by the studios testing the limits of the law, and purchasing and controlling aspects of the films exhibition and distribution. Something that had been outlawed during the Hollywood studio era. The article calls it a vertical integration; like Columbia, buying theaters and making profits off of their films showing.
the second wave involved the companies expanding their involvement,investment,ownership into the TV side of things. purchasing channels, and Pay TV stations.
International Partnerships
for the opening of the European Union to foreign trade of movies and television programs, thehollywood studios began investing in, and forming partnerships with European companies. Time Warner for example invested in things from satellite broadcasting in Scandinavia to Pay-TV in Germany and Hungary.
DOmestic Partnerships.
This consited of the major companies interacting with the smaller companies and investing in them, risking money but also acting as a saftey net for the bigger budget films.
How were production companies such as Carolco, Castle Rock, Morgan’s Creek, and Imagine Entertainment in the 1990s different from the failed “mini-majors” such as Orion, DeLaurentis, and Cannon in the 1980s?
THe main difference was that the minors of the 1990s were involved with the majors.
the article states 5 reasons the minors of the 1990s didnt fail like the 1980s minors.
1- less staff. not a big company, so dont act like one
2 - mainly concentrated on film entertainment
3 - less productions per year
4 - use major's distributors and only domestic
5 - didnt depend on home video deals.
the mergers in the 1960's when studios were bought by bigger corporations that had their hands in other, way other, things than film, or film related things. As the article gives an example; Gulf and Western bought Paramount Pictures, but also had investments in a variety of other things.
the first wave of mergers happened by the studios testing the limits of the law, and purchasing and controlling aspects of the films exhibition and distribution. Something that had been outlawed during the Hollywood studio era. The article calls it a vertical integration; like Columbia, buying theaters and making profits off of their films showing.
the second wave involved the companies expanding their involvement,investment,ownership into the TV side of things. purchasing channels, and Pay TV stations.
International Partnerships
for the opening of the European Union to foreign trade of movies and television programs, thehollywood studios began investing in, and forming partnerships with European companies. Time Warner for example invested in things from satellite broadcasting in Scandinavia to Pay-TV in Germany and Hungary.
DOmestic Partnerships.
This consited of the major companies interacting with the smaller companies and investing in them, risking money but also acting as a saftey net for the bigger budget films.
How were production companies such as Carolco, Castle Rock, Morgan’s Creek, and Imagine Entertainment in the 1990s different from the failed “mini-majors” such as Orion, DeLaurentis, and Cannon in the 1980s?
THe main difference was that the minors of the 1990s were involved with the majors.
the article states 5 reasons the minors of the 1990s didnt fail like the 1980s minors.
1- less staff. not a big company, so dont act like one
2 - mainly concentrated on film entertainment
3 - less productions per year
4 - use major's distributors and only domestic
5 - didnt depend on home video deals.
Monday, October 20, 2008
WEEK TEN
too much to handle.
the reading is located not in my reach or sight, the full post will not be possible tonight.
the reading is located not in my reach or sight, the full post will not be possible tonight.
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