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.
Thursday, November 20, 2008
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.
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