China Town involves a high culture director (Roman Polanski) making a popular culture movie (crime-P.I. genre). The result is 'a disappearance of the great split' (Easthope) between established high and low culture preoccupations, issues and values.
Whether or not Roman Polanski is a high culture director does not necessarily determine the film Chinatown as high culture, and therefore as a disappearance of the great split. However, by observing the distinctions between the two discourses, and their origins in any of the three theories of the great split, as outlined by Easthope in his article "High Cutlure/Popular Culture: Heart of Darkness and Tarzan of the Apes", I hope to identify in the film elements to suggest such a unification. According to Easthope a great split between popular culture and high culture occurred some time over the course of the 19th and twentieth centuries. The development of capitalist societies, and the 'weakening of distinctions rooted in birth' which accompanied the fall of the feudal system and aristocracies, meant that ruling elite should dominate the lower classes through ideology. Although this suggests that primarily the split was engineered to suit some purpose of the elite members of society, the process appears to have been a multi-faceted one. By 1830, Easthope suggests, popular culture came to, rather than dominate the 'working class', actually reflect the very values of that class. In this sense both popular and high cutlures define themselves through a rejection of the other.(Easthope pg 77). It is important to consider that the very condition of the great split owes to the polarity of the two discourses, in other words a refusal of the opposite culture. Therefore, one possible signifier of a disappearance in the split would be nothing other than a observable willingness of a cultural product within one discourse to embrace or even strive for the realm of the other. China Town does this but I will explain how in a moment. Easthope suggests that the split occurred on both sides of the atlantic, in most developed nations, and was increasingly developed by emerging mass media from the 1900s onwards. Those forms such as TV, fim, radio and newspapers, 'whose condition of existence was modern technology, particularly in visual reproduction', became largely incorporated with popular culture. It is probably right to
attribute capitalism and its byproduct, consumerism, and the rise of mass media and its technologies, as the catalysts for the split to have developed. Capitalism encourages profit and drives manufacturers to
gain as large a market possible. Producers of culture are no exception and are motivated by the same forces to make products as accessible as possible to as many people as possible. So it is right to assume that popular culture includes that which is; liked by many people, and imposed on people by commercial interests. This means that most culture produced for these new mass media mediums is considered popular culture, and in truth much of it is, if not simply because it is well liked but because its production is motivated by profit and the consequence that it is well liked.Chinatown, if one were to take Easthope's word for it, is popular culture simply because of its condition as a film, and perhaps by the synonymous rise between both the medium and the great split. Regardless of this, it represents popular culture on a number of levels. The tradition of noir films and novels is a popular cultural one. Chinatown is a noir film despite its peculiarities, and so exists as popular culture. However, it is these peculiarities, this striving for the realm of high culture, through irony and the subversion of these noir trends, as well as the complex narrative structure and other textual devices, which suggest such a disappearance of the great split. Other films can also be observed as striving for the realms of high culture in similar ways. I will get to this in a moment. I think that it is important that, if we consider the split as lying at the feet of the advance of mass media technologies, particularly visual mediums such as film, it must be on this terrain that a bridge is established between high and popular cultural discourses. It is ideal for purposes of the discussion of the unification of popular and high culture that we have a film that similarly to Chinatown has elements of both. It is also ideal that in 'Apocalypse Now', I have a film which is based directly on 'Heart of Darkness', a novel which Easthope demonstrates to be of a distinctly high cultural nature through its contrast to Tarzan, a text of similar themes but of popular fiction. Therefore I will be referring to this film repeatedly to draw attention to the high cultural elements that are similarly used in Chinatown.
To effectively recognise a cultural product as unifying a divide between cutlural produce it is necessary to identify the reasons for such distinctions, and how such distinctions are applied today. There are three theories explored by Easthope on the nature of this great split. The first theory is the Liberal, and is argued by F.R. and Q.D. Leavis. The Liberal theory suggests that distinction between popular culture and high culture products lies with the individual consumer. According to this theory artists make art, which is determined as popular or not by the response of the consumers. As Easthope points out, this theory does not excuse the commerical pressures on the consumer but suggests that popular culture is in contrast to high culture because of the relationship that the product has with its consumers. Popular culture provides wish fulfilment and is pleasurable whereas high culture is apllicable to real life. This distinction is not then a matter of the motivation of the producer to inflict ideology or not. Instead it is a matter of whether or not the individual can resist self deception and apply a modernist reading to a text, or as Easthope calls it "adhere sternly to the reality principle", or not, and "flaccidly submit to the pleasure principle"(Easthope pg 78). The two other theories of the great split are both Marxist. Both suggest a dominant ideology which is imposed on the working class in the from of and through the production of popular culture. The first school of thought is called Frankfurt. In contrast to the liberal school, the Frankfurt suugests that it is the mode of production which determines cultural responses. That capitalism no doubt played a role in the split but that the very nature of capitalism encourages culture to become transformed increasingly into commodity. Because consumption is the dominant trend. High culture on the other hand is merely a "transcendent alternative to this commodification", and is largely devoid of imposed ideology. Althusserian is the same as Frankfurt but insists on the autonomy of domiant ideology.Easthope's analysis and contrast of the popular culture novel 'Tarzan', and the high cultural novel 'Heart of Darkness' is very useful for observing the distinctions established by the great split between the two discourses. Easthope also attempts to identify how these distinctions developed and are applied by relating them to the three theories of the great split. The results of this study would in theory provide grounds on which to suggest a disappearance of the great split and a reunification of the two discourses. The ideologies of Tarzan and Heart of Darkness different to some extent, but they are also similar. Both can be seen as influenced by H. Rider Haggard's African novels and so deal with issues relating to a narrative figure of a white European gone native. Identity as defined by culture, education, sexuality, ethnicity, and morality are dealt with by both texts. However, Easthope highlights imperialism as the most identifiable of common ideologies present in both texts, despite the difference in their presentation. Imperialism is attacked and redeemed in both texts, begging the question, are we not as colonisers no better nor worse than those we colonise. This concept is dealt with differently by the two texts, in terms of culture and morality in HOD, and by ethnicity and sexuality in Tarzan. In HOD imperialism is condemed but equally as much justified, suggesting "Western Civilization is at base as barbarous as African, a viewpoint which disturbs imperialist assumptions to the precise degree that it justifies and redeems them",(Easthope pg 83). Apocalypse Now, in the context of Vietnam, takes an even more cynical approach, portraying the US form of imperialism as not only being barbarous but also dishonest. Heart of Darkness, like Apocalypse Now, does however offer a plurality of meanings and interpretations. Some of those which are ascertainable include; the journey of Marlow (and Willard in Apocalypse now) up the river as reflecting the path into the subconscious; The path/river/boat as a Huckleberry Finn-like symbol of a safe haven of ignorance and innocence from the world and it's oppressive values; Kurtz as the castrating father; and other similar interpretations. Marxist arguement would suggest that theideological 'polymorphousness' ,or complexity of meaning, of the novel and the film is aimed at obscuring the basic theme of imperialism. However, as Easthope points out, it would be impossible to get as much meanings from Tarzan. Therefore the plethura of meanings available in HOD, and even in its film adaptation Apocalypse Now, defy consideration within the Marxist theories of the great split, which would attempt to account for a single dominant ideology, that cannot in these cases be found. Furthermore, The apparent perception suggested by Althusserianism, of the dominant ideology from which the construction of a text is born is also missing. Differences in textuality or method, however, might explain the the abundance of ideologies as existing layered beneath one another.
Easthope correctly points out that as verbal reenactments, both Tarzan and Heat of Darkness show only "an arbitrary relation between the signifier and the signified", and are therefore mostly symbolic in their representation as opposed to iconic. However the simple narrative of Tarzan is constructed around a series of action and events. Tarzan's concentration on physical action, and visual melodrama as opposed to Heart of Darkness's on the verbal, means the signifiers are more closely related. Visual representation then withdraws from criticism and allides contradictions, allowing audiences an escape from the plot's parallels to reality and a space for intellectual contemplation. The result of this is that meaning is closed and becomes immediately attainable in Tarzan.(Easthope pg 92-93) The pleasure principle is fulfilled. Heart of Darkness on the other hand is slightly more complex. Representation is symbolic meaning there is only a distant resemblance between signifiers of meaning and the the signified meaning or ideology itself. The result of this is that Gratification is deferred by the narrative, allowing for an abundance of interpretations so that certainty is not reached easily "but only by testing alternatives through irony so that the certainty must be earned",(Easthope pg 91). One such form of textual difference is that of narrative, and specifically the psychology and motivation of the central characters who drive the narrative. The narrative of Heart of Darkness is psychologically complex, mysterious, and problematic. One reason for this is the questions that arise in regards to Kurtz's motivations for example, and what action will Marlow take when confronted with such a figure. There are also a number of parallels that emerge between Kurtz's alleged insanity, and the inner journey of the central character Marlowe which forms the narrative. Jeremy Hawthorn agrees, "Think of the subtle ways in which parallels are drawn between Kurtz and Marlow in the novel, so that doubts cast on Kurtz's veracity fall too on Marlow's narrative"(Easthope pg 86).In contrast, the narrative of Tarzan, as pointed out by Easthope, is simple and linear, and lacks psychological complexity, being driven by the sole enigma of when and how will the central character discover his true hereditary identity.The impression given by Easthope's final analysis is that the Marxist theories of the great split, being the Frankfurt and Althusserian, do not provide an adequate understanding of the great split or a framework for a reunification. Though they do account for the role of capitalism and consumerism in the mode of production of popular cultural products, they lack any explanation for the distinctions which have come to define both popular and high cultural discourses. He goes on to point out some fundamental flaws in these Marxist/dominant ideology theories. The first is that even if there was a dominant ideology, it would be impossible to identify what it actually is. Furthermore "empirical evidence does not confirm that people are dominated by it"(Easthope pg 79). Secondly, it seems much more likely that, as Easthope suggests, "it is the dull compulsion of economic necessity rather than ideology" from which classes are stabilized and people controlled,(Easthope pg 79). Easthope argues quite convincingly that there is little difference between the ideological content of high culture and popular culture, and that it isn't so much ideology as textuality that differentiates, for example, Heart of Darkness and Tarzan. So in consideration of the Liberal theory of the great split, a disappearance of the split would offer both wish fullfilment, but at the same time be applicable to real life. It would exist as a popular cultural medium, or be of a popular cultural genre, but
would strive for the realm of the high. It would promise pleasure but demand that its ultimate gratification of meaning and conclusion, if any, be earned by its audience by process of intellectual contemplation. It would not matter so much what the ideology or ideologies available to the audience are but how they are communicated. For example, are textualities such as narrative used in a way that is more like those of popular culture, or more like those of high culture.
Chinatown is popular culture as I have previously mentioned. This is the case not only by its condition as a film but because it falls into the vast category of crime fiction.. Crime fiction is a popular genre and encompasses all subgenres of thriller, mystery, detective fiction, and the styles or traditions of hard-boiled and film noir. these styles or sub genres are all connected by a crime, or '"the appearance of a crime"(Breen, Sally, Pop Fiction & Mass Culture, 3/3/2009). Chinatown contains numerous elements that are conducive to noir. As I have mentioned it contains these traditions but at the same time subverts them.Detection and the four different methods by which it is conducted are features of noir and crime fiction in general. The four methods are police, Private eye, amateur, and a lack of detection. Chinatown contains all these in various guises. Gittes the central protagonist is a private eye and he acts accordingly, treading the fine line between interfering and assisting in the course of justice. But he is also an amateur, and this becomes more apparent to the audience as he undermines himself at every opportunity. The police are present at all times and come in and out of Jake Gittes's investigation, sometimes to apparently assist in his investigation, but largely they are an obstacle to it. At the film's conclusion the audience finds that the police are in fact entirely corrupt and that the course of justice we are led to believe is occurring is nothing but an illusion. This leads us to the final method, which is, in reality, a complete lack of investigation or justice.Crime fiction and noir are genres" with an origin in the development of urban society". Chinatown not only adopts the city as the geographic setting but also features the development of that city as the corrupting influence and motivation of the criminals. The use of offices as setting for a number of scenes is also reminiscent of noir film. For example, Chinatown opens with a scene in which Gittes interrogates potential and existing clients which is very similar to the opening scene of 'The Maltese Falcon' in which Sam Spade becomes familiar with that film's Femme Fatale. The Femme Fatale is a concept particular to the noir film tradition. Like in The Maltese Falcon and other noir ppredecessors, this refers to a female character who is both seductive and destructive to our central protagonist. The femme fatale in Chinatown is Evelyn Mullray, a character who, like others before her, appears mysterious, untrustworthy, manipulative, sensual, desperate and damaged. Our perception of her is transformed by the revelations of her assault, and her motherhood, and by the film's conclusion, and she becomes loving, dutiful, honest, and victimised.
One particular element of the narrative of Chinatown which is immitative of noir crime fiction, but is also subverted, is the central character of Jake Gittes in the role of the hard-boiled detective. The hard-boiled role, as defined by Chandler, is quick-witted, frankly honest, a combination of everyman and loner, is enigmatic, masculine, and appears to always be a few steps ahead of the reader. Gittes fullfills all of these qualities, or at least appears to. Those that he does possess actually work to undermine him, and lead to his ultimate failure. For example, Gittes is quick-witted and demonstrates this on numerous occasions, especially when dealing with police. However it is on these occassions that we can see Gittes' emotions getting the better of him, and therefore in which he loses his objectivity. Gittes also often appears to be one step ahead of the viewer, and he does achieve some surprisingly positive results in his investigation. However, in reality he is always a step behind the collective forces which are acting against him. Gittes is enigmatic, but it is this vanity, and want to make appearances while not losing face, that keep him in the dark and unable to see. His masculinity and pessimistic judement are also hard-boiled type traits which conspire against him. His lack of trust and his pessimism keep him from every truly
trusting in Evelyn, even when she is obviously on the verge of confiding in him. Because Gittes is hesitant to trust, and cynical, we too judge the characters in the same way because we trust his judgement. His masculinity is a something to that Gittes attempts to salvage at every oppportunity. This is because his masculinity is compromised on several occasions. The most significant occasion is when he has his nose cut, and the viewer is reminded by this constantly because Gittes is forced to wear its mark. We can see that Gittes character traits are largely satirical of noir, and rather than give him strength, actually undermine his investigation, and our own. Therefore in this subversion of the genre the lead character is a distraction to the clues which are always present.Stylisation is a features which sets the narrative style of noir apart from other fiction. There is a lack of internal reflection or dialogue, which is replaced instead by the use of visual motifs, a focus on character dialogue and body language, the entry and exits of characters, to give an impression of character's nature. There is a focus on detail but there is no access granted to the thoughts and feeling of characters below the surface. There is also an engagement with the senses. These are all iconic modes of representation, which are identified by Easthope as typically belonging to the realm of popular culture. It is the narrative elements of psychology and motivation within Chinatown however, and irony which is easily observable in the subversion of the noir tradition, that reflect the textuality of Heart of Darkness and high culture discourse. Ross Macleay suggests that the visual motifs in Chinatown relate to four recurring image systems. These image systems act to manipulate the narrative to allow for multiple interpretations of meaning in the absence of refection. According to Macleay these are seeing and not seeing, systemic
corruption, water and drought, and sexual love vs cruelty. Though there are hints at each of these there are also others. Mirrors and reflections are one of these. What this particular one does is create a sense of observing things not directly but through a secondary source, an unreliable copy or enactment of actual events. This reflects the mental state of Gittes as he is observing things that we know he has seen before. Everything is reminiscent of events we know to have occurred in Chinatown. However Gittes repeatsd the same mistakes, and because we know this we know that everything he tries to save is doomed. Ross Macleay agres with this. "As Jake investigates and observes, each image of the present conceals or reveals events of the past", (Macleay, Double Chinatown, Rouge, 2007). The conclusion, which gives licence to numerous interpretation is undeniably tragic and cynical. Jake;s repeating of the line "as little as possible", not only reflects on the fatalistic interpretation the film that good intentions, and any action, against unconquerable evil is futile. The same line suggests a genuine reflection of Gittes on his failings, and hints at the possiblity of a new sense of deterination. He might not necessarily give up all attempts at achieving justice, he may in fact recognise that he is still doing as little as possible, and keep making the same mistakes until he gets it right.
When applied to a modernist reading, Chinatown can be seen as providing all the necessary signals of its ultimate conclusion within the narrative. The failure of justice and the triumph of evil is inevitable. It is only the narrative provided by Gittes stylised in the tradition of noir, that allows us to decieve ourselves to this fact. Chinatown gives the viewer the necessary tools to resist self-deception but at the same time delays their revelation and the ultimate revelation of meaning. Therefore Chinatown can be seen as possessing elements of high culture and popular culture and can be considered, at least in terms of the liberal theory of the great spit, as representing a disappearance of the split.
Bibliography
Articles
- High Culture/Populr Culture: Heart of Darkness and Tarzan of the Apes, Antony Easthope, Literary Inot Cultural Studies, 1991
- High Culture and/versus Popular Culture, University of Salzburg, 22-24 November, 2007, 18th British Cultural Studies
Internet
- Double Chinatown, Rouge, Ross Macleay, 2007
http://www.rouge.com.au/11/chinatown.html
Wednesday, October 28, 2009
Sunday, September 6, 2009
The Blurring Line
The crime genre has always been concerned with the quest for justice in a corrupted world. In Spade and Marlowe's times, the corruption was caused by the criminal and the distinctions between the forces of 'good and evil' were much more clearly defined; more recently the case is different.
A central figure in Dashiell Hammet's crime fiction was Sam Spade. The character of Sam Spade was fundamental to the formation of the stereotypical noir detective, particularly through his role in The Maltese Falcon. This character also featured in the classic noir film version of The Maltese Falcon. Sam Spade was a private detective who, directed by a cynical perspective, exacted his own personal form of
justice. He is a flawed and damaged character, arrogant and sceptical, because in the pursuit of justice he has been brought into close contact with corruption while trying to expose it. Third person narration is used in Spade's narratives but he is always the nexus around which all events and conflicts occur. His keen eye exposes corruption and discerns what is good and evil. An example of this is the way in which Spade is appeasing to women while at the same time appearing wise to their apparent deceptions. In this way Sam Spade makes it easy for the audience to distinguish between good and evil because he provokes and exposes it with his assertive personality. It is obvious where the source of corruption is in the world of Spade, in the criminals he investigates.Another character found within classic crime fiction and one which provided the mould for the hard-boiled detective so typical of crime fiction is Marlowe. This is another example where the central protagonist in pursuit of justice in a corrupt world does so as an agent of the law. Marlow, a detective, is an everyman, and therefore reflects and embodies all the collective suspicions and prejudices inherent to the population, particularly the working class. An example of this embodiment of collective ideologies can be
seen in Marlow's understanding and intelligence which he uses to undermine the wealthy and authoritative. He is effective at doing this because he is able to recognise the corrupting influence of the pursuit of both wealth and power.
In more recent times crime fiction has developed so that the source of corruption is more complex. It is not necessarily the criminal, or the criminal alone, who is the source of corruption, but there are numerous forces, both human, institutional, and cultural, which act to corrupt. Likewise, distinctions between the forces of good and evil are much more blurred and more difficult to identify. In some cases difficulties in identifying the source of corruption or knowing what is good and what is evil are due to changes in the reflective values of society. In other cases crime fiction actively challenges popular preconceptions of morality. However there is little doubt that it is a two way process, that both art and life imitate each other in their representations of issues of morality such as corruption, good and evil. MacDonald agrees, suggesting that "It (popular literature) reaffirms our values as they change, and dramatises the conflicts of those values" (MacDonald, Ross, Self Portrait, Capra Press, 1981, Mean Streets, Popular Fiction & Mass
Culture Reader, 3109ART, 2009, pg 138). The 1995 film LA confidential, based on the James Ellroy novel of the same name, is neo noir and therefore imitates, but at the same time manipulates, the conventions of classic crime fiction and noir. The
film differentiates itself from those classic narratives by its use of complex characters who represent very different opposing ideas about how to pursue justice in a corrupt world. By the 1990s systemic corruption had been widely explored a. LA Confidential nd accepted in and outside of popular fiction culminates in a revelation of extreme police corruption but the distinctions between good and evil are more effectively explored through the central characters. All three of the main characters are police officers but have contrasting subjective interpretations of not only what distinguishes good and evil and right from wrong, but also the source of corruption in a corrupt world. However each of these characters come to realise
that their own ideas are just that, their own, and that there is no simple way to define justice in world where the pursuit of justice itself acts to corrupt. Ed Exley is the son of a successful police lieutenant, an ambitious and uncompromising officer whos notions of justice could be seen as old-fashioned. They are certainly strictly adhering to procedures and give a sense that he represents the ideal of what a police officer should be, uncorrupt, and obligated to be 'better' than those on which he enforces justice. Bud White is a tough and direct officer, who uses aggression and violence when protocol is insufficient. He is self-righteous and defends those cannot defend themselves, particularly women. Both of these men
become associated with the same woman and subsequently become enemies when this becomes known to each. Not only is this triangle used by the police/criminals to pit the two men against each other, and therefore undermine their investigations, it is also the catalyst for White's realisation that he too is capable of physically abusing women. So the Femme Fatale in this case does not actively seek to corrupt the men but does so because she is manipulated by the real source of corruption, the police, mafia and politicians who are in cahoots. Exley is also corrupted in a sense but only because he comes to realise that his understanding of the politics of a police department can be used to excuse him of murder. The third
officer crucial to the plot is Jack Vincennes. His vice is that he has been seduced like most other people of the period by the glamour of Hollywood's celebrity community. What he uncovers in his investigation, which diverges with the othre two's, is that beneath the bright exterior of this industry and LA in general is
that corruption has permeated all social constructs. This includes the film industry, the famous LAPD, politicians, and others. The 1971 film by Francis Ford Coppola, The Godfather, represents a shift in crime fiction, or at least noir/crime film, into organised crime. In this context issues of morality are complicated by a number of forces that work both from within, and independent of, the film. These include familial values, cultural values and differences, historical events, and an awareness of institutional and systemic corruption. Raymond Queneau says of this new wave of organised crime fiction that they may not "present a realistic
portrait of American Gangster life; they are works of pure imagination which have their conventions and arbitrary rules just like the old-fashioned detective story". In the first scene of The Godfather, the Don Vito Corleone is shown meeting with various guests during the wedding of his only daughter. These engagements reveal the head of this Corleone crime syndicate as having qualities that allow us to
sympathise with him, even admire him. He displays "a paternal generosity to those who serve him" (http://www.sparknotes.com/film/godfather ), a degree of empathy and understanding, a civilised manner, and a willingness for discussion and compromise. The audience is then shown how distinctions between good and evil are much more complex for a man in the position of Vito Corleone. An Italian acquaintance tells the Don how his daughter was assaulted by American youths and that she had been greatly hurt and shamed by the event. He then reasons that since the course of justice carried out by police was inadequate, surely the Don with his power and influence could offer a better one by murdering the perpetrators. That shows that this is a realm that with very different conceptions of justice, which often
seem no less, and arguably more, just, than that offered to some people by authorities, and one which is based on a greatly different priority of values. To understand the reasons for these differences it is important to consider the differences between Italian and American cultures and also the difficulties
certain Italian and other immigrants experienced while assimilating into American society. Unlike American culture which encourages individual enterprise, Italian cultural values are based around the concept of 'campanilismo', meaning there is a necessary loyalty and consideration not only toward the benefit of immediate family but to the community or township as well, which supersedes individualism.
Loyalty to the state is only secondary to values such as family, campanilismo, and the church. On this basis law and bureaucracy was something to be manouvered not to conform to. The unification of north and south italy resulted in numerous peasant rebellions by Southern Italians in the late 1800s. Unfair taxes, and poor working and living conditions forced many of these people to immigrate to America and
other countries. Many of those who arrived in America did so with limited education, qualifications, and resources and so had little prospects, particularly when also faced with general racism, and competition with the Afro-American community. They also experienced little or no political representation. All these
things meant their survival depended on a structure based on Italian familial values and an sense of commerce which was based on personal influence and favours. Like in Italy, any act which threatened this social construct of community or damaged another individual within this community, was known as by infame'. Best translated into English as 'snitch', infame’ was the worst label within Italian circles and was severely punished, often by death. It is easy to see how this concept of justice was a necessary for the Italian minority living in America, but also how it resulted in a friction with the American concept of justice. The presence of the forces good vs evil are most clearly distinguishable within Michael's internal struggle, which becomes an ongoing process continuing into The Godfather II and the Godfather III films. With a focus on the original, The Godfather, one can see that Michael is an anomaly within the inherently corrupt
world of organised crime, where the corruption extends beyond the criminals to include police, politicians, and judicial representatives. It must be noted that such implications were not so boldly made prior to the 1970's when the film was made. However events such as the Vietnam War, where Americans found themselves to be perpetrators of unprovoked aggression and brutality, as well as the assassination of JFK, brought awareness in the public sphere of institutional and systemic corruption. In this way the sense of inherent corruption in the film reflects the feelings of society at the time. "Coming on the heels of the turbulent 1960s, while the Vietnam War and the culture wars raged, The Godfather films took part in the New Left critique, exposing the hypocrisy of institutions of power. The Godfather highlights police corruption and the questionable morality of politicians who send their citizens abroad to fight wars" (http://www.sparknotes.com/film/godfather )."Senators don't have men killed...Who is being naive now
Kay?". As well as initially stating his denouncement of his family's criminal activities, Michael, being the youngest of a group of second generation Italians, he is more American than Italian. This is evident in his pursuit of secondary education in America and by his wartime exploits in a conflict that was fought by his adopted nation against Italians, amongst others. As Michael is forced to take control of the family business he is forced to abandon his American values and notions of Justice. This process can be seen to begin with his assault by the corrupt police Sergeant. The black eye that he carries afterward is similar
to Gittes’ nose cut in Chinatown, a symbol of his wounded character. So the force of good, represented by Michael's promise within the family, is in direct opposition to the Italian values he is forced to embrace to ensure his family's survival. That is not to say that the source of corruption is the Italian values of
family, campanilismo, and infame’, it is more a matter of him being able to find a balance between conflicting obligations. In this way Michael is a unique protagonist within crime fiction by his existence in both the world of crime and that of decent law-abiding American citizens. However, like classic crime
fiction Michael's search for justice makes him vulnerable to corruption because he too is a less than perfect character. Ironically, it is Michael's firm confidence and conviction, not his more Italian traits which seal his descent into evil while attempting to apply justice in a corrupt world. It is these traits, along with
his insatiable vengeance, which allow him to murder so many people, including his own brother Freido, in the name of the greater good of the Corleone family.
Distinctions between good and evil are much less clearly defined in more recent crime fiction than in the classics featuring Sam Spade and Marlowe. This is demonstrated by crime fiction's move into organised crime, which began with The Godfather. It has also been further explored by neo noir films such as LA
Confidential which reveal a level of corruption that characterises an entire city community. These films represented changing attitudes towards notions of justice, which includes a growing awareness of institutional and systemic corruption. What these sources of corruption are as vast and numerous as one could imagine. Cultural frictions, the emergence of the Hollywood and media industries, money, power,
status, political influence. All things that motivate people's lives in contemporary society.
Ryan Butler
Bibliography
Articles
MacDonald, Ross, Self Portrait, Capra Press, 1981, Mean Streets, Popular Fiction & Mass Culture Reader, 3109ART, 2009, pg 138
Queneau, Raymond, Entry for 15th September 1945 - Batons Chiffres Et Lettres, Mean Streets, Popular Fiction & Mass Culture Reader, 3109ART, 2009, pg 140
Chandler, Raymond, The Simple Art of Murder, 1950, Mean Streets, Popular Fiction & Mass Culture Reader, 3109ART, 2009, pg 142
Internet
http://www.sparknotes.com/film/godfather
A central figure in Dashiell Hammet's crime fiction was Sam Spade. The character of Sam Spade was fundamental to the formation of the stereotypical noir detective, particularly through his role in The Maltese Falcon. This character also featured in the classic noir film version of The Maltese Falcon. Sam Spade was a private detective who, directed by a cynical perspective, exacted his own personal form of
justice. He is a flawed and damaged character, arrogant and sceptical, because in the pursuit of justice he has been brought into close contact with corruption while trying to expose it. Third person narration is used in Spade's narratives but he is always the nexus around which all events and conflicts occur. His keen eye exposes corruption and discerns what is good and evil. An example of this is the way in which Spade is appeasing to women while at the same time appearing wise to their apparent deceptions. In this way Sam Spade makes it easy for the audience to distinguish between good and evil because he provokes and exposes it with his assertive personality. It is obvious where the source of corruption is in the world of Spade, in the criminals he investigates.Another character found within classic crime fiction and one which provided the mould for the hard-boiled detective so typical of crime fiction is Marlowe. This is another example where the central protagonist in pursuit of justice in a corrupt world does so as an agent of the law. Marlow, a detective, is an everyman, and therefore reflects and embodies all the collective suspicions and prejudices inherent to the population, particularly the working class. An example of this embodiment of collective ideologies can be
seen in Marlow's understanding and intelligence which he uses to undermine the wealthy and authoritative. He is effective at doing this because he is able to recognise the corrupting influence of the pursuit of both wealth and power.
In more recent times crime fiction has developed so that the source of corruption is more complex. It is not necessarily the criminal, or the criminal alone, who is the source of corruption, but there are numerous forces, both human, institutional, and cultural, which act to corrupt. Likewise, distinctions between the forces of good and evil are much more blurred and more difficult to identify. In some cases difficulties in identifying the source of corruption or knowing what is good and what is evil are due to changes in the reflective values of society. In other cases crime fiction actively challenges popular preconceptions of morality. However there is little doubt that it is a two way process, that both art and life imitate each other in their representations of issues of morality such as corruption, good and evil. MacDonald agrees, suggesting that "It (popular literature) reaffirms our values as they change, and dramatises the conflicts of those values" (MacDonald, Ross, Self Portrait, Capra Press, 1981, Mean Streets, Popular Fiction & Mass
Culture Reader, 3109ART, 2009, pg 138). The 1995 film LA confidential, based on the James Ellroy novel of the same name, is neo noir and therefore imitates, but at the same time manipulates, the conventions of classic crime fiction and noir. The
film differentiates itself from those classic narratives by its use of complex characters who represent very different opposing ideas about how to pursue justice in a corrupt world. By the 1990s systemic corruption had been widely explored a. LA Confidential nd accepted in and outside of popular fiction culminates in a revelation of extreme police corruption but the distinctions between good and evil are more effectively explored through the central characters. All three of the main characters are police officers but have contrasting subjective interpretations of not only what distinguishes good and evil and right from wrong, but also the source of corruption in a corrupt world. However each of these characters come to realise
that their own ideas are just that, their own, and that there is no simple way to define justice in world where the pursuit of justice itself acts to corrupt. Ed Exley is the son of a successful police lieutenant, an ambitious and uncompromising officer whos notions of justice could be seen as old-fashioned. They are certainly strictly adhering to procedures and give a sense that he represents the ideal of what a police officer should be, uncorrupt, and obligated to be 'better' than those on which he enforces justice. Bud White is a tough and direct officer, who uses aggression and violence when protocol is insufficient. He is self-righteous and defends those cannot defend themselves, particularly women. Both of these men
become associated with the same woman and subsequently become enemies when this becomes known to each. Not only is this triangle used by the police/criminals to pit the two men against each other, and therefore undermine their investigations, it is also the catalyst for White's realisation that he too is capable of physically abusing women. So the Femme Fatale in this case does not actively seek to corrupt the men but does so because she is manipulated by the real source of corruption, the police, mafia and politicians who are in cahoots. Exley is also corrupted in a sense but only because he comes to realise that his understanding of the politics of a police department can be used to excuse him of murder. The third
officer crucial to the plot is Jack Vincennes. His vice is that he has been seduced like most other people of the period by the glamour of Hollywood's celebrity community. What he uncovers in his investigation, which diverges with the othre two's, is that beneath the bright exterior of this industry and LA in general is
that corruption has permeated all social constructs. This includes the film industry, the famous LAPD, politicians, and others. The 1971 film by Francis Ford Coppola, The Godfather, represents a shift in crime fiction, or at least noir/crime film, into organised crime. In this context issues of morality are complicated by a number of forces that work both from within, and independent of, the film. These include familial values, cultural values and differences, historical events, and an awareness of institutional and systemic corruption. Raymond Queneau says of this new wave of organised crime fiction that they may not "present a realistic
portrait of American Gangster life; they are works of pure imagination which have their conventions and arbitrary rules just like the old-fashioned detective story". In the first scene of The Godfather, the Don Vito Corleone is shown meeting with various guests during the wedding of his only daughter. These engagements reveal the head of this Corleone crime syndicate as having qualities that allow us to
sympathise with him, even admire him. He displays "a paternal generosity to those who serve him" (http://www.sparknotes.com/film/godfather ), a degree of empathy and understanding, a civilised manner, and a willingness for discussion and compromise. The audience is then shown how distinctions between good and evil are much more complex for a man in the position of Vito Corleone. An Italian acquaintance tells the Don how his daughter was assaulted by American youths and that she had been greatly hurt and shamed by the event. He then reasons that since the course of justice carried out by police was inadequate, surely the Don with his power and influence could offer a better one by murdering the perpetrators. That shows that this is a realm that with very different conceptions of justice, which often
seem no less, and arguably more, just, than that offered to some people by authorities, and one which is based on a greatly different priority of values. To understand the reasons for these differences it is important to consider the differences between Italian and American cultures and also the difficulties
certain Italian and other immigrants experienced while assimilating into American society. Unlike American culture which encourages individual enterprise, Italian cultural values are based around the concept of 'campanilismo', meaning there is a necessary loyalty and consideration not only toward the benefit of immediate family but to the community or township as well, which supersedes individualism.
Loyalty to the state is only secondary to values such as family, campanilismo, and the church. On this basis law and bureaucracy was something to be manouvered not to conform to. The unification of north and south italy resulted in numerous peasant rebellions by Southern Italians in the late 1800s. Unfair taxes, and poor working and living conditions forced many of these people to immigrate to America and
other countries. Many of those who arrived in America did so with limited education, qualifications, and resources and so had little prospects, particularly when also faced with general racism, and competition with the Afro-American community. They also experienced little or no political representation. All these
things meant their survival depended on a structure based on Italian familial values and an sense of commerce which was based on personal influence and favours. Like in Italy, any act which threatened this social construct of community or damaged another individual within this community, was known as by infame'. Best translated into English as 'snitch', infame’ was the worst label within Italian circles and was severely punished, often by death. It is easy to see how this concept of justice was a necessary for the Italian minority living in America, but also how it resulted in a friction with the American concept of justice. The presence of the forces good vs evil are most clearly distinguishable within Michael's internal struggle, which becomes an ongoing process continuing into The Godfather II and the Godfather III films. With a focus on the original, The Godfather, one can see that Michael is an anomaly within the inherently corrupt
world of organised crime, where the corruption extends beyond the criminals to include police, politicians, and judicial representatives. It must be noted that such implications were not so boldly made prior to the 1970's when the film was made. However events such as the Vietnam War, where Americans found themselves to be perpetrators of unprovoked aggression and brutality, as well as the assassination of JFK, brought awareness in the public sphere of institutional and systemic corruption. In this way the sense of inherent corruption in the film reflects the feelings of society at the time. "Coming on the heels of the turbulent 1960s, while the Vietnam War and the culture wars raged, The Godfather films took part in the New Left critique, exposing the hypocrisy of institutions of power. The Godfather highlights police corruption and the questionable morality of politicians who send their citizens abroad to fight wars" (http://www.sparknotes.com/film/godfather )."Senators don't have men killed...Who is being naive now
Kay?". As well as initially stating his denouncement of his family's criminal activities, Michael, being the youngest of a group of second generation Italians, he is more American than Italian. This is evident in his pursuit of secondary education in America and by his wartime exploits in a conflict that was fought by his adopted nation against Italians, amongst others. As Michael is forced to take control of the family business he is forced to abandon his American values and notions of Justice. This process can be seen to begin with his assault by the corrupt police Sergeant. The black eye that he carries afterward is similar
to Gittes’ nose cut in Chinatown, a symbol of his wounded character. So the force of good, represented by Michael's promise within the family, is in direct opposition to the Italian values he is forced to embrace to ensure his family's survival. That is not to say that the source of corruption is the Italian values of
family, campanilismo, and infame’, it is more a matter of him being able to find a balance between conflicting obligations. In this way Michael is a unique protagonist within crime fiction by his existence in both the world of crime and that of decent law-abiding American citizens. However, like classic crime
fiction Michael's search for justice makes him vulnerable to corruption because he too is a less than perfect character. Ironically, it is Michael's firm confidence and conviction, not his more Italian traits which seal his descent into evil while attempting to apply justice in a corrupt world. It is these traits, along with
his insatiable vengeance, which allow him to murder so many people, including his own brother Freido, in the name of the greater good of the Corleone family.
Distinctions between good and evil are much less clearly defined in more recent crime fiction than in the classics featuring Sam Spade and Marlowe. This is demonstrated by crime fiction's move into organised crime, which began with The Godfather. It has also been further explored by neo noir films such as LA
Confidential which reveal a level of corruption that characterises an entire city community. These films represented changing attitudes towards notions of justice, which includes a growing awareness of institutional and systemic corruption. What these sources of corruption are as vast and numerous as one could imagine. Cultural frictions, the emergence of the Hollywood and media industries, money, power,
status, political influence. All things that motivate people's lives in contemporary society.
Ryan Butler
Bibliography
Articles
MacDonald, Ross, Self Portrait, Capra Press, 1981, Mean Streets, Popular Fiction & Mass Culture Reader, 3109ART, 2009, pg 138
Queneau, Raymond, Entry for 15th September 1945 - Batons Chiffres Et Lettres, Mean Streets, Popular Fiction & Mass Culture Reader, 3109ART, 2009, pg 140
Chandler, Raymond, The Simple Art of Murder, 1950, Mean Streets, Popular Fiction & Mass Culture Reader, 3109ART, 2009, pg 142
Internet
http://www.sparknotes.com/film/godfather
Wednesday, September 2, 2009
Doumentary Reviews
'Nanook of the North' Review
Nanook of the North, made in 1927 by Robert Flaherty, is a landmark in documentary film making. Not only was it the first major successful project in the Ethnographic tradition of documentary film, its immeasurable influence can be seen in documentaries today. Following his father on prospecting expeditions into arctic Canada at the beginning of the 20th century, Flaherty came to be very familiar with
the landscape and its inhabitants. Returning years later to capture the visions he had experienced on film, Flaherty was apparently acquainted with a particular Eskimo of the Inuit named Nanook. Recording the daily hardships of this man and his family in the oppressive natural conditions of the arctic became his subjects. The film has a charm and beauty still, which must have been astoundingly affecting on
audiences of the day. There is no doubt that Flaherty has a great admiration and affection for the Eskimo, which translates to the film. However, some questions have been raised by cultural critics on the possible consequences of this bias in the construction and presentation of the film.
A preface by the film maker appears at the beginning of the documentary. In this the motives and origins of the film are attributed to numerous trips made by Flaherty to 'the North', on which he was accompanied by several Eskimos with whom he developed relationships. The film-maker also makes note of his inexperience in film making, and that the film is a result of overcoming great adversity. Amongst these adversities is the wrecking of a cruising boat. Such setbacks are explained to have only given the director a clearer vision about what the subject matter was, and a renewed motivation to pursue the production in the direction which he deemed appropriate. This meant a more personal approach to depicting the life of the eskimo, by focusing attention one or two particular individuals, being Nanook and his family. Flaherty cleverly initiates an intimacy not only between the subjects and the filming process, but between the film's subjects and their audience. Just before the introduction of Nanook and the other characters Flaherty the audience that not long after filming, about a year, Nanook had died. The film now takes on a
new complexity, and more importantly, assumes a sense of exclusivity, as providing a unique insight into a delicate and fragile condition of human life. The expository approach to the presentation of the film's
subject is very effective. The narrative, which because being prior to synch sounds, features no voice, adopts a type of 'Voice of God' style narration.
The presentation of which follows a step by step switching between visuals and on-screen text. There are many memorable sequences in Nanook of the North which highlight the admirable qualities of the Eskimo people and their unique way of life. These give an impression of the great determination and strength of character of Nanook and the Inuit people, and also of the peculiar activities that they must perform in order to survive. The sailing and construction of the kayak by which they travel the water, the construction of igloos, and the hunting of seals all reveal the nature of a way of life that is completely foreign to that of many contemporary audiences'. What these sequences provide in one sense is a form of cultural relativism, a contrasting way of life to that of the mundane contemporary developed one that many developed nations may experience. Another thing is on offer is an adventure story, featuring a hero who must battle against the forces of nature to ensure the survival of himself and his family. Obviously it also must have required great ingenuity on Flaherty's behalf to conduct filming and direction in the testing conditions and circumstances of the arctic desert for such sequences. It is especially commendable considering the limited sophistication of photographic equipment that was at his disposal. One such example of Flaherty's expertise and flair was the cutting away of half of an igloo to provide adequate lighting for filming of the interior of the structure.
Long after its release the film, having received sufficient treatment and analysis; many issues have now been raised over the place of Nanook of the North in Documentary tradition. In regards to conceptions that documentary should depict reality and not fiction many people have taken issue. It seems that Flaherty took creative licence by interfering in the subject of the film. More specifically he staged the majority of the scenes. Examples of this include Nanook's use of a spear to hunt when in truth he would normally do so with a gun, which were by now commonly used and readily available. Such lengths were made of course to create a more authentically eskimo record, and give an impression of living in the style of ancestors who existed prior to European influence. Other accusations are that some facts are completely fabricated. Nanook's real name was actually Allariallak. In light of these revelations Nanook of the North seems to cross sacred lines between documentary and fiction because it is much more like a reenactment of times past than it is a depiction of actuality. Under noble claims of attempts to confront the audience with lived experience, it is in truth deceitful. Flaherty had defended himself claiming that "one often has to distort a thing to catch its true spirit". This I find an interesting yet incomprehensible supposition. Despite this, Nanook remains captivating as a glimpse into an alien existence which is dangerously fragile, and perhaps now lost, but is motivated by the same basic necessities as any other. It also contains moments of humanity that are genuinely spontaneous and moving.
'The Thin Blue Line' Review
Errol Morris's groundbreaking documentary recreates a real life Texas highway cop killing in the late 80s and reopens the investigation of the crime’s prime suspects. The film opens with two interviews, one of a man named Randall Adams, and the other of another younger man named David Harris. Both recall events of a particular night on which they met each other and went out drinking, smoked marijuana, and went to the movies. At some point in their recounts, events seem to become distinguishable from each other. Adams claiming he went home to a motel where his brother was staying. The younger, Harris, that the two were pulled over on the side of the road where Adams shot a police officer. Throughout the recounts the crime is reenacted on the screen to paint a vague picture of the brutal events for the audience. This is a recurring theme throughout the film.
Very little information regarding the crime is revealed at the beginning of the film except the conflicting stories of two suspects. This reflects the precise availability of evidence that was enjoyed by any investigators immediately following the crime. The audience is carefully kept in the dark to any information that would create bias, and is thus positioned by the filmmaker to assume the role of investigator (Agent provocateur). There is also a lack of audio narration throughout the film which gives the film a unique narrative style. This is one way in which The Thin Blue line embraces aspects of the Avant Garde tradition. Morris adopts a cinema verite style approach to documentary film where filmmaker is directly involved with the subject(s) being explored. This film could also be seen as being observational, participatory, and reflexive. The consequence of this is that the filmmaker, and therefore the audience is not a 'fly on the wall' but a 'fly in the soup', intervening in the process of justice. In fact Morris' method appears to be in direct opposition to direct cinema, and is exemplary of the notion that the search for truth requires provocation.
A number of visual motifs can be found throughout the film especially in the reenactment sequences. The first set of visual systems can be found in the interrogation sequences such as the one presented immediately after the first reenactment of the crime. It is important to note that the recounts of the interrogation process between suspects and even between police officers differs greatly. Motifs used in this sequence include close-ups of a clock at different time intervals which highlights the passage of time and the slow progress of the investigation. Similarly burning cigarette butts in an ashtray suggest a passage of time. The other motif used in the interrogation is that of a camera shot down the barrel of a gun, which reinforces the interviewee’s claims of being interrogated at gunpoint. It also highlights the extreme lengths to which police are acting in the pursuit of justice. Another image system is the one used in crime reenactments which repeats images of red police siren lights and sounds, which indicate both a police presence and blood, because the two are synonymous in this case. Another image is of a thrown milkshake, out the window by a police officer after hearing the gunshot, which flies through the air before landing on the bitumen and spilling over the road. This cleverly allows the audience to gain a visual sense of destruction following the sound of the shot.
The mood and pace of the film are very effective in creating a sense of frustration and determination. Frustration at the progress of justice, and the lack of evidence , but increasingly by the miscarriage of justice and the corrupt nature of the police investigation. But it is a determination to find the truth. Morris achieves this by raising the stakes as the fim progresses. While a quest for justice is the first concern raised, further issues such as emotional involvement, the credibility of justice, innocence and guilt, and the integrity of witnesses complicate the investigation and the subject material. These complexities further highlight the Avant Garde in The Thin Blue Line. It is iconclastic because of the controversial nature of the suggestions of police negligence and the inadequacies of the judicial processes, especially within Texas state system. It could also be seen to fall into the categories of non-commercial and non-mainstream because of the radical leftist and anti-establishment undercurrents that pervade.
The Thin Blue Line can be recognised as a significant milestone in documentary filmmaking, not just by its use of experimental narrative and other Avant Garde elements, but also through the influence which it may have had on future documentarists of a similar style such as Michael Moore. I found it to be an interesting exploration of the miscarriage of justice and modern judicial systems, but more importantly, I found it to be a very human and compelling real life drama.
'Gimme Shelter' Review
At its simplest understanding, Gimme Shelter is a document of the last 10 days of the Rolling stones' 1969 North American Tour. A tour which culminated with a free concert at the Altamont Speedway near San Francisco at which Meredith Hunter, an 18 year old black man, was stabbed to death. But when considered in light of a number of truths (which I will explore later), which may or not be known by the uninformed viewer, Gimme Shelter becomes so much more, taking on as many significances as one might wish to create.
Gimme Shelter also represents a definitive moment in documentary filmmaking. It is exemplary of a shift which had occurred during the 1960s within documentary filmmaking towards actuality. Moreover it is a development in the tradition of the 'Direct Cinema' style of documentary film. Gimme Shelter also shows evidence of successfully integrating aspects of avant garde tradition. This can be observed in the unique narrative style, and by the use of visual motifs.Gimme Shelter is largely devoid of any definable narrative. The structure which resembles a film within a film is much better demonstrated by the following description. After footage of The Rolling Stones performing "Jumpin Jack Flash" at Madison Square Garden, Gimme Shelter opens with a transition revealing the performance being played on a small TV. The scene then introduces the Rolling Stones in an editing room viewing the film as it was meant to be seen. Fundamentally as a concert movie. Jagger sits by a monitor watching and listening to himself and smiles. His name then flashes on the screen. Likewise each member of the band is introduced in a sort of mini profile. The band then begin listening to a radio report on the disastrous outcome of their own free concert in Altamont. Decidedly the eventual outcome and general impression of the tour and of the production is Death. This event creates significances in the film that were previously non distinguishable and no doubt also creates a need to create space for intellectual contemplation on these significances. The band upon hearing this and accounts of the events at Altomont by callers, enter a kind of inward journey. This is best exemplified by drummer, Charlie Watts, who displays some feelings of remorse after hearing a Hell's Angel gives his version of events. Importantly the member of the infamous bikey gang suggests that it is not possible to assign blame on anyone in particular, which seems to give an impression that the band itself is not without their own role in the catastrophic events.This scene ultimately introduces the audience to a fundamental element of the film and one which implies being in realms of high culture. The constant knowing presence of the superego. A sense of reflection on behalf of the Rolling Stones not only on their role in the tragic outcome of the Altomont concert, but also about what it all means, not least for rock and roll. Not ant any point however is the filmmakers acknowledged or responsive to the events. Instead the filmmakers and the audience are gifted with a source of reflection by the change that falls upon its characters and/or subjects.The final result and impression of death is made available to the audience at the beginning of the film, the result of which is a lasting impression which motivates individuals to construct any number of possible narratives. We do this by asking ourselves several questions. What is the root cause of the Altamont tragedy? Who is at fault? Is it the hell's angels, certain elements within the crowd, event organisers? Or is it the Rolling Stones themselves, perhaps by the content of their music, or by their general behaviour and psychological impression. From my understanding there are a number of observable recurring visual motifs throughout the film which encourage such an interpretation. Such moments, because of their spontaneity and elusiveness, could possibly represent what Winston Brian has coined "moments of revelation" when referring to the advantageous aspects of the direct cinema "fly on the wall" style of documentary. In truth, there is no limit to the significances available to the audience because the material it is not greatly bound by the conceptions of the director. One visual motif which can be identified points to a character analysis and sort of ultimate moral judgement of Mick Jagger. This is simply the colour red. For example, Jagger can be seen wearing a long red scarf on numerous occasions, on and off stage, throughout the film. In "Jumping Jack Flash" Jagger taunts the crowd, is playful, joyous and appears to be rediscovering magic, something that may have been missing for a time. But Jagger is a seductive, and destructive figure as well. A Femme Fatale almost. Beautiful and hypnotic, but not to be trusted.
By the time Gimme Shelter was released in the US, public and professional speculation on the Altamont tragedy and the reasons behind it had already been developed. The release of the film was anticipated as not unlike a form of evidence, as a promise of truth and closure. Journalist, Amy Taubin made an astute observation by likening the film's release to that of The Zapruder in the wake of the assassination of JFK. Such is the aim of this school of documentary film – to uncover truth by unbiased direction- that the film seems perfectly suited to provide the answers. However, like the assassination of JFK, the death at Altamont is no more justified or understood because of Gimme Shelter. If anything it palpably captures a moment of panic and uncertainty which reflects a much more widespread number of concerns that was present at the end of the 1960’s. The death of rock’n’roll, the apparent death of the counter culture movement are just a couple. It is no wonder this film has developed a cult following with such magnitude. The music is great but also provides numerous significances with the visual accompaniment. It offers not only insights on the character of a band and its members but on the character of an entire generation and cultural movement. I really enjoyed this documentary film.
'The War Room' Review
The War Room is a historical,/political documentary released in 1993 by documentary filmmakers Chris Hedegus and D.D. Pennebaker. Pennebaker, an innovator of Cinema Verite in the United States and a well renown filmmaker, pitched the idea for the film to the Clinton Campaign team, who were more than willing to cooperate. The result is a documentary of the 1992 US Presidential Campaign from the viewpoint of the Bill Clinton Campaign, and the oranisation who ran it, and it's members. The film focuses particularly on a number of key events in the Presidential campaign including allegation of Clintons affair with Geniffer Flowers, The New Hampshire primary result, Clinton's success and Presidential election, and other developments. The film follows the personal lives and contributions of individuals within the Clinton camp and a number of sub-plots that emerge in this area. Two characters in particular emerge as heroe's for the Clinton campaign and protagonists the film's subject matter. James Carville, the Clinton campaigns Lead Strategist, and George Stephanopoulos, the Communications Director, the adventures of whom drive the narrative.
The War Room opens with numerous shots of campaigners and supporters for the various candidates, Kerry, Clinton, Brown, etc. The setting of the film is established as being in a time of war, with a number of different factions fighting for supremacy. But the conflict of this war is not one of physical violence but verbal debate. Hardly more humane though, the film members of all sides are equally aggressive and willing to tear down their opponents by slander and any other means available.
Typically in the tradition of Cinema Verite, the filmmakers present the film in a mode of observation, where the audience is a fly on the wall to a situation where they would otherwise be denied access, but the film is a hybrid of styles, incorporating many more creative elements as well. Clinton frist appears in the film on the phone providing personal details about himself and his private life. He is wearing very casual clothing including a cap and college T-shirt. Nearby, several other men sit in suits at a dining table reading newspapers and other documents, no doubt monitoring developments of the campaign. Very effectively Clinton is portrayed in a way which is not often seen. This has a number of effects on me as a viewer. The Clinton here is a normal man, who followed sport, relaxed on the couch, hung out with guys, and had moments of both vulnerability and guardedness. A personal connection is made and the viewer in turn commits allegiance to his cause, or at least that appears to be the aim. Also while Clinton propogates his personality to an unknown person on the phone, the focus switches to the other people, the guys behind the scenes who work endlessy in pursuit of his cause. We sympathise with them.
Truth is apparently a closed concept of debate, because not only does the observational approach insist on presenting actuality but all information provided is well publicised and documented, and thus generally accepted to be true. However, there is one argument that can be made against claims of truth which is that in politics there is always to sides to every story, in fact that is the very nature and purpose of politics, to provide the two or more sides of every story. Therefore to position themselves on one particular side inevitable creates bias. The bias can be seen in the selection of material and their presentation. So the question of truth needs to be addressed in terms of whether the subject is interpretive or reflective of reality. It is reflective, yes because of its mode of presentation, but at the same time it is undeniably interpretive of events from the Clinton camp and a Democratic view of politics. Clinton is good, Bush is Bad. So likewise, the audience is given no choice but to interpret events within this context. Yes, Clinton won the Presidential election because of a determined and innovative campaign conducted by its campaign members, and by Clinton's ingenuitive use of new news media to appeal to a mass population which yearned to be seduced by charisma. But on the other hand, or simultaneously, it may have just been a case of the public having had too much of Bush and his mundane policies, that something different must equal something better. This film will never answer this question.
'Man With A Movie Camera' Review
Man With a Movie Camera, released in 1929, and produced by Ukranian film studio VUFKU, seems to be a milestone in the evolution of film making, which displays qualities of a number of film genre and phenomena, which it may or may not have influence, including realism, neo-realism, Russian montage, documentary and even surrealism.
Dziga Vertov, who directed the film, founded a group of film-makers called the Kinok or Kinokis, who sought to portray truth and realism, as opposed to the conventional Hollywood-style storytelling narratives of the day. The Stalin totalitarian regime at the time enforced strict artistic regulations which meant that fiction was forbidden and that film's like all art should seek to celebrate the emerging future which the government would provide, and the Soviet Union and it's people. This suited Vertov fine, who in MWAMC explores the relationship between the environment, or at least the city, the people, and the rapidly advancing technology and industry. The film aims to document a single day in the Soviet city of Odessa and others, while exploring the many aspects of the society in a way that reflects reality. In this sense it can be seen as not only a great example of early documentary style film-making but also as a precursor of neo-realism, because of its use of real people, outdoor settings, and naturalism, no script, no intertiles, no sets, and no actors. The main difference however between this film and others of neo-realism is that MWAMC does not follow any plot or individuals, or seek to sympathise with the misfortune any particular social group or individual.
The film has a very unique and distinctive style, employing dialogue or sound effects, but which is effective both as a documentary and as an experimental and at times surreal art film. This unique tone is achieved through, what the film is most well known for, it's inventive use of a range of existing and experimental cinematic techniques. One of the most common elements in the film is montage, which enables Vertov to arrange numerous related images after one another over a soundtrack to reinforce a particular motif. In fact the whole film can be seen as a montage, or at least a series of montages, as it is structured into 9 orchestral type sections, each dealing with a unique aspect of society. The repetition created by this technique becomes almost hypnotising, and with the added effect of the avante-garde style musical compositions creates a vey emotive experience for the audience. An example of how this can be seen in the scenes which display close-up images of heavy machinery as well as men and women working in industrial settings and factories. The viewer is left with a intense impression of progress, which is achieved through this strange and increasingly symbiotic relationship between man and machine. Another stylistic element which is prominent in the film is the use of double exposures and intercuts which enable images to appear beneath or on a top of others and several images to be juxtaposed in a single frame or over a series of quick cuts. Another surreal element of the film is the use of superimposition and other techniques to depict the camera or cameraman in locations which he could not realistically reach or achieve. An example is a cameraman appearing in a beer glass, and another is a cameraman setting up a camera atop of a giant camera stand. Shots like this create an idea in the viewer's mind that cameras can go anywhere. This concept, that the camera can go any where runs throughout the film. When we acknowledge this fact it also becomes apparent that they are capable of providing us with perspectives of ourselves and society, which we are otherwise unable or even forbidden. This might be due to practical reasons such as the size of a camera and its ablility to fill spaces from which we are excluded, but also cultural behaviours and ettiquette which prevent us from taking a step back from convention and seeing the truth of our existence. In this way Vertov elevates the camera to a position of great power and influence capable, as he puts it, of awakening the citizen through truth and ultimately bringing about understanding and action.
Nanook of the North, made in 1927 by Robert Flaherty, is a landmark in documentary film making. Not only was it the first major successful project in the Ethnographic tradition of documentary film, its immeasurable influence can be seen in documentaries today. Following his father on prospecting expeditions into arctic Canada at the beginning of the 20th century, Flaherty came to be very familiar with
the landscape and its inhabitants. Returning years later to capture the visions he had experienced on film, Flaherty was apparently acquainted with a particular Eskimo of the Inuit named Nanook. Recording the daily hardships of this man and his family in the oppressive natural conditions of the arctic became his subjects. The film has a charm and beauty still, which must have been astoundingly affecting on
audiences of the day. There is no doubt that Flaherty has a great admiration and affection for the Eskimo, which translates to the film. However, some questions have been raised by cultural critics on the possible consequences of this bias in the construction and presentation of the film.
A preface by the film maker appears at the beginning of the documentary. In this the motives and origins of the film are attributed to numerous trips made by Flaherty to 'the North', on which he was accompanied by several Eskimos with whom he developed relationships. The film-maker also makes note of his inexperience in film making, and that the film is a result of overcoming great adversity. Amongst these adversities is the wrecking of a cruising boat. Such setbacks are explained to have only given the director a clearer vision about what the subject matter was, and a renewed motivation to pursue the production in the direction which he deemed appropriate. This meant a more personal approach to depicting the life of the eskimo, by focusing attention one or two particular individuals, being Nanook and his family. Flaherty cleverly initiates an intimacy not only between the subjects and the filming process, but between the film's subjects and their audience. Just before the introduction of Nanook and the other characters Flaherty the audience that not long after filming, about a year, Nanook had died. The film now takes on a
new complexity, and more importantly, assumes a sense of exclusivity, as providing a unique insight into a delicate and fragile condition of human life. The expository approach to the presentation of the film's
subject is very effective. The narrative, which because being prior to synch sounds, features no voice, adopts a type of 'Voice of God' style narration.
The presentation of which follows a step by step switching between visuals and on-screen text. There are many memorable sequences in Nanook of the North which highlight the admirable qualities of the Eskimo people and their unique way of life. These give an impression of the great determination and strength of character of Nanook and the Inuit people, and also of the peculiar activities that they must perform in order to survive. The sailing and construction of the kayak by which they travel the water, the construction of igloos, and the hunting of seals all reveal the nature of a way of life that is completely foreign to that of many contemporary audiences'. What these sequences provide in one sense is a form of cultural relativism, a contrasting way of life to that of the mundane contemporary developed one that many developed nations may experience. Another thing is on offer is an adventure story, featuring a hero who must battle against the forces of nature to ensure the survival of himself and his family. Obviously it also must have required great ingenuity on Flaherty's behalf to conduct filming and direction in the testing conditions and circumstances of the arctic desert for such sequences. It is especially commendable considering the limited sophistication of photographic equipment that was at his disposal. One such example of Flaherty's expertise and flair was the cutting away of half of an igloo to provide adequate lighting for filming of the interior of the structure.
Long after its release the film, having received sufficient treatment and analysis; many issues have now been raised over the place of Nanook of the North in Documentary tradition. In regards to conceptions that documentary should depict reality and not fiction many people have taken issue. It seems that Flaherty took creative licence by interfering in the subject of the film. More specifically he staged the majority of the scenes. Examples of this include Nanook's use of a spear to hunt when in truth he would normally do so with a gun, which were by now commonly used and readily available. Such lengths were made of course to create a more authentically eskimo record, and give an impression of living in the style of ancestors who existed prior to European influence. Other accusations are that some facts are completely fabricated. Nanook's real name was actually Allariallak. In light of these revelations Nanook of the North seems to cross sacred lines between documentary and fiction because it is much more like a reenactment of times past than it is a depiction of actuality. Under noble claims of attempts to confront the audience with lived experience, it is in truth deceitful. Flaherty had defended himself claiming that "one often has to distort a thing to catch its true spirit". This I find an interesting yet incomprehensible supposition. Despite this, Nanook remains captivating as a glimpse into an alien existence which is dangerously fragile, and perhaps now lost, but is motivated by the same basic necessities as any other. It also contains moments of humanity that are genuinely spontaneous and moving.
'The Thin Blue Line' Review
Errol Morris's groundbreaking documentary recreates a real life Texas highway cop killing in the late 80s and reopens the investigation of the crime’s prime suspects. The film opens with two interviews, one of a man named Randall Adams, and the other of another younger man named David Harris. Both recall events of a particular night on which they met each other and went out drinking, smoked marijuana, and went to the movies. At some point in their recounts, events seem to become distinguishable from each other. Adams claiming he went home to a motel where his brother was staying. The younger, Harris, that the two were pulled over on the side of the road where Adams shot a police officer. Throughout the recounts the crime is reenacted on the screen to paint a vague picture of the brutal events for the audience. This is a recurring theme throughout the film.
Very little information regarding the crime is revealed at the beginning of the film except the conflicting stories of two suspects. This reflects the precise availability of evidence that was enjoyed by any investigators immediately following the crime. The audience is carefully kept in the dark to any information that would create bias, and is thus positioned by the filmmaker to assume the role of investigator (Agent provocateur). There is also a lack of audio narration throughout the film which gives the film a unique narrative style. This is one way in which The Thin Blue line embraces aspects of the Avant Garde tradition. Morris adopts a cinema verite style approach to documentary film where filmmaker is directly involved with the subject(s) being explored. This film could also be seen as being observational, participatory, and reflexive. The consequence of this is that the filmmaker, and therefore the audience is not a 'fly on the wall' but a 'fly in the soup', intervening in the process of justice. In fact Morris' method appears to be in direct opposition to direct cinema, and is exemplary of the notion that the search for truth requires provocation.
A number of visual motifs can be found throughout the film especially in the reenactment sequences. The first set of visual systems can be found in the interrogation sequences such as the one presented immediately after the first reenactment of the crime. It is important to note that the recounts of the interrogation process between suspects and even between police officers differs greatly. Motifs used in this sequence include close-ups of a clock at different time intervals which highlights the passage of time and the slow progress of the investigation. Similarly burning cigarette butts in an ashtray suggest a passage of time. The other motif used in the interrogation is that of a camera shot down the barrel of a gun, which reinforces the interviewee’s claims of being interrogated at gunpoint. It also highlights the extreme lengths to which police are acting in the pursuit of justice. Another image system is the one used in crime reenactments which repeats images of red police siren lights and sounds, which indicate both a police presence and blood, because the two are synonymous in this case. Another image is of a thrown milkshake, out the window by a police officer after hearing the gunshot, which flies through the air before landing on the bitumen and spilling over the road. This cleverly allows the audience to gain a visual sense of destruction following the sound of the shot.
The mood and pace of the film are very effective in creating a sense of frustration and determination. Frustration at the progress of justice, and the lack of evidence , but increasingly by the miscarriage of justice and the corrupt nature of the police investigation. But it is a determination to find the truth. Morris achieves this by raising the stakes as the fim progresses. While a quest for justice is the first concern raised, further issues such as emotional involvement, the credibility of justice, innocence and guilt, and the integrity of witnesses complicate the investigation and the subject material. These complexities further highlight the Avant Garde in The Thin Blue Line. It is iconclastic because of the controversial nature of the suggestions of police negligence and the inadequacies of the judicial processes, especially within Texas state system. It could also be seen to fall into the categories of non-commercial and non-mainstream because of the radical leftist and anti-establishment undercurrents that pervade.
The Thin Blue Line can be recognised as a significant milestone in documentary filmmaking, not just by its use of experimental narrative and other Avant Garde elements, but also through the influence which it may have had on future documentarists of a similar style such as Michael Moore. I found it to be an interesting exploration of the miscarriage of justice and modern judicial systems, but more importantly, I found it to be a very human and compelling real life drama.
'Gimme Shelter' Review
At its simplest understanding, Gimme Shelter is a document of the last 10 days of the Rolling stones' 1969 North American Tour. A tour which culminated with a free concert at the Altamont Speedway near San Francisco at which Meredith Hunter, an 18 year old black man, was stabbed to death. But when considered in light of a number of truths (which I will explore later), which may or not be known by the uninformed viewer, Gimme Shelter becomes so much more, taking on as many significances as one might wish to create.
Gimme Shelter also represents a definitive moment in documentary filmmaking. It is exemplary of a shift which had occurred during the 1960s within documentary filmmaking towards actuality. Moreover it is a development in the tradition of the 'Direct Cinema' style of documentary film. Gimme Shelter also shows evidence of successfully integrating aspects of avant garde tradition. This can be observed in the unique narrative style, and by the use of visual motifs.Gimme Shelter is largely devoid of any definable narrative. The structure which resembles a film within a film is much better demonstrated by the following description. After footage of The Rolling Stones performing "Jumpin Jack Flash" at Madison Square Garden, Gimme Shelter opens with a transition revealing the performance being played on a small TV. The scene then introduces the Rolling Stones in an editing room viewing the film as it was meant to be seen. Fundamentally as a concert movie. Jagger sits by a monitor watching and listening to himself and smiles. His name then flashes on the screen. Likewise each member of the band is introduced in a sort of mini profile. The band then begin listening to a radio report on the disastrous outcome of their own free concert in Altamont. Decidedly the eventual outcome and general impression of the tour and of the production is Death. This event creates significances in the film that were previously non distinguishable and no doubt also creates a need to create space for intellectual contemplation on these significances. The band upon hearing this and accounts of the events at Altomont by callers, enter a kind of inward journey. This is best exemplified by drummer, Charlie Watts, who displays some feelings of remorse after hearing a Hell's Angel gives his version of events. Importantly the member of the infamous bikey gang suggests that it is not possible to assign blame on anyone in particular, which seems to give an impression that the band itself is not without their own role in the catastrophic events.This scene ultimately introduces the audience to a fundamental element of the film and one which implies being in realms of high culture. The constant knowing presence of the superego. A sense of reflection on behalf of the Rolling Stones not only on their role in the tragic outcome of the Altomont concert, but also about what it all means, not least for rock and roll. Not ant any point however is the filmmakers acknowledged or responsive to the events. Instead the filmmakers and the audience are gifted with a source of reflection by the change that falls upon its characters and/or subjects.The final result and impression of death is made available to the audience at the beginning of the film, the result of which is a lasting impression which motivates individuals to construct any number of possible narratives. We do this by asking ourselves several questions. What is the root cause of the Altamont tragedy? Who is at fault? Is it the hell's angels, certain elements within the crowd, event organisers? Or is it the Rolling Stones themselves, perhaps by the content of their music, or by their general behaviour and psychological impression. From my understanding there are a number of observable recurring visual motifs throughout the film which encourage such an interpretation. Such moments, because of their spontaneity and elusiveness, could possibly represent what Winston Brian has coined "moments of revelation" when referring to the advantageous aspects of the direct cinema "fly on the wall" style of documentary. In truth, there is no limit to the significances available to the audience because the material it is not greatly bound by the conceptions of the director. One visual motif which can be identified points to a character analysis and sort of ultimate moral judgement of Mick Jagger. This is simply the colour red. For example, Jagger can be seen wearing a long red scarf on numerous occasions, on and off stage, throughout the film. In "Jumping Jack Flash" Jagger taunts the crowd, is playful, joyous and appears to be rediscovering magic, something that may have been missing for a time. But Jagger is a seductive, and destructive figure as well. A Femme Fatale almost. Beautiful and hypnotic, but not to be trusted.
By the time Gimme Shelter was released in the US, public and professional speculation on the Altamont tragedy and the reasons behind it had already been developed. The release of the film was anticipated as not unlike a form of evidence, as a promise of truth and closure. Journalist, Amy Taubin made an astute observation by likening the film's release to that of The Zapruder in the wake of the assassination of JFK. Such is the aim of this school of documentary film – to uncover truth by unbiased direction- that the film seems perfectly suited to provide the answers. However, like the assassination of JFK, the death at Altamont is no more justified or understood because of Gimme Shelter. If anything it palpably captures a moment of panic and uncertainty which reflects a much more widespread number of concerns that was present at the end of the 1960’s. The death of rock’n’roll, the apparent death of the counter culture movement are just a couple. It is no wonder this film has developed a cult following with such magnitude. The music is great but also provides numerous significances with the visual accompaniment. It offers not only insights on the character of a band and its members but on the character of an entire generation and cultural movement. I really enjoyed this documentary film.
'The War Room' Review
The War Room is a historical,/political documentary released in 1993 by documentary filmmakers Chris Hedegus and D.D. Pennebaker. Pennebaker, an innovator of Cinema Verite in the United States and a well renown filmmaker, pitched the idea for the film to the Clinton Campaign team, who were more than willing to cooperate. The result is a documentary of the 1992 US Presidential Campaign from the viewpoint of the Bill Clinton Campaign, and the oranisation who ran it, and it's members. The film focuses particularly on a number of key events in the Presidential campaign including allegation of Clintons affair with Geniffer Flowers, The New Hampshire primary result, Clinton's success and Presidential election, and other developments. The film follows the personal lives and contributions of individuals within the Clinton camp and a number of sub-plots that emerge in this area. Two characters in particular emerge as heroe's for the Clinton campaign and protagonists the film's subject matter. James Carville, the Clinton campaigns Lead Strategist, and George Stephanopoulos, the Communications Director, the adventures of whom drive the narrative.
The War Room opens with numerous shots of campaigners and supporters for the various candidates, Kerry, Clinton, Brown, etc. The setting of the film is established as being in a time of war, with a number of different factions fighting for supremacy. But the conflict of this war is not one of physical violence but verbal debate. Hardly more humane though, the film members of all sides are equally aggressive and willing to tear down their opponents by slander and any other means available.
Typically in the tradition of Cinema Verite, the filmmakers present the film in a mode of observation, where the audience is a fly on the wall to a situation where they would otherwise be denied access, but the film is a hybrid of styles, incorporating many more creative elements as well. Clinton frist appears in the film on the phone providing personal details about himself and his private life. He is wearing very casual clothing including a cap and college T-shirt. Nearby, several other men sit in suits at a dining table reading newspapers and other documents, no doubt monitoring developments of the campaign. Very effectively Clinton is portrayed in a way which is not often seen. This has a number of effects on me as a viewer. The Clinton here is a normal man, who followed sport, relaxed on the couch, hung out with guys, and had moments of both vulnerability and guardedness. A personal connection is made and the viewer in turn commits allegiance to his cause, or at least that appears to be the aim. Also while Clinton propogates his personality to an unknown person on the phone, the focus switches to the other people, the guys behind the scenes who work endlessy in pursuit of his cause. We sympathise with them.
Truth is apparently a closed concept of debate, because not only does the observational approach insist on presenting actuality but all information provided is well publicised and documented, and thus generally accepted to be true. However, there is one argument that can be made against claims of truth which is that in politics there is always to sides to every story, in fact that is the very nature and purpose of politics, to provide the two or more sides of every story. Therefore to position themselves on one particular side inevitable creates bias. The bias can be seen in the selection of material and their presentation. So the question of truth needs to be addressed in terms of whether the subject is interpretive or reflective of reality. It is reflective, yes because of its mode of presentation, but at the same time it is undeniably interpretive of events from the Clinton camp and a Democratic view of politics. Clinton is good, Bush is Bad. So likewise, the audience is given no choice but to interpret events within this context. Yes, Clinton won the Presidential election because of a determined and innovative campaign conducted by its campaign members, and by Clinton's ingenuitive use of new news media to appeal to a mass population which yearned to be seduced by charisma. But on the other hand, or simultaneously, it may have just been a case of the public having had too much of Bush and his mundane policies, that something different must equal something better. This film will never answer this question.
'Man With A Movie Camera' Review
Man With a Movie Camera, released in 1929, and produced by Ukranian film studio VUFKU, seems to be a milestone in the evolution of film making, which displays qualities of a number of film genre and phenomena, which it may or may not have influence, including realism, neo-realism, Russian montage, documentary and even surrealism.
Dziga Vertov, who directed the film, founded a group of film-makers called the Kinok or Kinokis, who sought to portray truth and realism, as opposed to the conventional Hollywood-style storytelling narratives of the day. The Stalin totalitarian regime at the time enforced strict artistic regulations which meant that fiction was forbidden and that film's like all art should seek to celebrate the emerging future which the government would provide, and the Soviet Union and it's people. This suited Vertov fine, who in MWAMC explores the relationship between the environment, or at least the city, the people, and the rapidly advancing technology and industry. The film aims to document a single day in the Soviet city of Odessa and others, while exploring the many aspects of the society in a way that reflects reality. In this sense it can be seen as not only a great example of early documentary style film-making but also as a precursor of neo-realism, because of its use of real people, outdoor settings, and naturalism, no script, no intertiles, no sets, and no actors. The main difference however between this film and others of neo-realism is that MWAMC does not follow any plot or individuals, or seek to sympathise with the misfortune any particular social group or individual.
The film has a very unique and distinctive style, employing dialogue or sound effects, but which is effective both as a documentary and as an experimental and at times surreal art film. This unique tone is achieved through, what the film is most well known for, it's inventive use of a range of existing and experimental cinematic techniques. One of the most common elements in the film is montage, which enables Vertov to arrange numerous related images after one another over a soundtrack to reinforce a particular motif. In fact the whole film can be seen as a montage, or at least a series of montages, as it is structured into 9 orchestral type sections, each dealing with a unique aspect of society. The repetition created by this technique becomes almost hypnotising, and with the added effect of the avante-garde style musical compositions creates a vey emotive experience for the audience. An example of how this can be seen in the scenes which display close-up images of heavy machinery as well as men and women working in industrial settings and factories. The viewer is left with a intense impression of progress, which is achieved through this strange and increasingly symbiotic relationship between man and machine. Another stylistic element which is prominent in the film is the use of double exposures and intercuts which enable images to appear beneath or on a top of others and several images to be juxtaposed in a single frame or over a series of quick cuts. Another surreal element of the film is the use of superimposition and other techniques to depict the camera or cameraman in locations which he could not realistically reach or achieve. An example is a cameraman appearing in a beer glass, and another is a cameraman setting up a camera atop of a giant camera stand. Shots like this create an idea in the viewer's mind that cameras can go anywhere. This concept, that the camera can go any where runs throughout the film. When we acknowledge this fact it also becomes apparent that they are capable of providing us with perspectives of ourselves and society, which we are otherwise unable or even forbidden. This might be due to practical reasons such as the size of a camera and its ablility to fill spaces from which we are excluded, but also cultural behaviours and ettiquette which prevent us from taking a step back from convention and seeing the truth of our existence. In this way Vertov elevates the camera to a position of great power and influence capable, as he puts it, of awakening the citizen through truth and ultimately bringing about understanding and action.
Saturday, May 23, 2009
Best Fims by Year
Best Films of 2005
Crash, Brokeback Mountain, Batman Begins, Sin City, Memoirs of a Geisha, The New World, Tsotsi, King Kong, Munich, The Corpse' Bride, Revenge of the Sith, Mr & Mrs Smith, Walk the Line
Best films of 2006
Pan's Labyrinth, The Prestige, 10 Canoes, A Scanner Darkly, The Departed, Children of Men, Apocalypto, Casino Royale, Blood Diamond, Cars, Babel, Little Miss Sunshine, The Proposition, Clerks 2, A History of Violence
Best Films of 2007
No Country For Old Men, there Will Be Blood, The Assassination of Jesse James By the Coward Robert Ford, Into the Wild, Romulus My Father, Eastern Promises, A Mighty Heart, This Is England, Ratatouille, Stardust
Crash, Brokeback Mountain, Batman Begins, Sin City, Memoirs of a Geisha, The New World, Tsotsi, King Kong, Munich, The Corpse' Bride, Revenge of the Sith, Mr & Mrs Smith, Walk the Line
Best films of 2006
Pan's Labyrinth, The Prestige, 10 Canoes, A Scanner Darkly, The Departed, Children of Men, Apocalypto, Casino Royale, Blood Diamond, Cars, Babel, Little Miss Sunshine, The Proposition, Clerks 2, A History of Violence
Best Films of 2007
No Country For Old Men, there Will Be Blood, The Assassination of Jesse James By the Coward Robert Ford, Into the Wild, Romulus My Father, Eastern Promises, A Mighty Heart, This Is England, Ratatouille, Stardust
Best Films of 2008
Che, Slumdog Millionaire, The Dark Knight, The Curious Case of Benjamin Button, Iron Man
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