Friday, 30 September 2011

FM4 - Spectatorship - Kenneth Anger: Experimental and Expanded Film/Video

Kenneth Anger is an American underground experimental filmmaker, occasional actor and author. Working exclusively in short films, he has produced almost forty works since 1937, nine of which in particular have been grouped together as the "Magick Lantern Cycle," and form the basis of Anger's reputation as one of the most influential independent filmmakers in cinema history. His films variously merge surrealism with homoeroticism and the occult, and have been described as containing "elements of erotica, documentary, psychodrama, and spectacle." Anger himself has been described as "one of America's first openly gay filmmakers, and certainly the first whose work addressed homosexuality in an undisguised, self-implicating manner," and his "role in rendering gay culture visible within American cinema, commercial or otherwise, is impossible to overestimate", with several being released prior to the legalisation of homosexuality in the United States. He has also focused upon occult themes in many of his films, being fascinated by the notorious English occultist Aleister Crowley, and is a follower of Crowley's religion, Thelema.

As Anger discovered his homosexuality, at a time when homosexual acts were still illegal in the United States, he began associating with the underground gay scene. At some point in the mid 1940s, he was arrested by the police in a "homosexual entrapment," after which he decided to move out of his parents' home, gaining his own sparse apartment largely financed by his grandmother, and abandoning the name Anglemyer in favor of Anger. He started attending the University of Southern California, where he studied cinema, and also began experimenting with the use of mind-altering drugs like cannabis and peyote. It was then that he decided to produce a film that would deal with his sexuality, just as other gay avant-garde film makers like Willard Maas were doing in that decade. The result was the short film Fireworks, which was created in 1947 but only exhibited publicly in 1948.

Upon release of the work, Anger was arrested on obscenity charges. He was acquitted, after the case went to the Supreme Court of California, which deemed it to be art rather than pornography. Anger made the claim to have been seventeen years old when he made it, despite the fact that he was actually twenty, presumably to present himself as more of an enfant terrible. A homoerotic work lasting only 14 minutes, Fireworks revolves around a young man (played by Anger himself) associating with various navy sailors, who eventually turn on him, stripping him naked and beating him to death, ripping open his chest to find a clock ticking inside. Several fireworks then explode, accompanied by a burning Christmas tree and the final shot shows the young man lying in bed next to another topless man. Of this film, Anger would later state in 1966 that "This flick is all I have to say about being 17, the United States Navy, American Christmas and the fourth of July."

FM4 - Spectatorship - Maya Deren: Experimental and Expanded Film/Video

Maya Deren was an American avant-garde filmmaker and film theorist of the 1940s and 1950s. Deren was also a choreographer, dancer, poet, writer and photographer. Throughout the 1940s and 50s, Deren attacked Hollywood for its artistic, political and economic monopoly over American cinema. She stated, “I make my pictures for what Hollywood spends on lipstick,” and observed that Hollywood “has been a major obstacle to the definition and development of motion pictures as a creative fine-art form.” She set herself in opposition to the Hollywood film industry’s standards and practices. Deren's 'Meshes Of The Afternoon' is considered a key film in experimental/avante-garde cinematic history.

Thursday, 29 September 2011

FM4 - Spectatorship - Chris Cunningham: Experimental and Expanded Film/Video

Chris Cunningham is an English music video film director and video artist. Cunningham has had close ties to Warp Records since his first production for Autechre. Videos for Aphex Twin's "Come to Daddy" and "Windowlicker" are perhaps his best known. His video for Björk's "All Is Full of Love" won multiple awards, including an MTV music video award for Breakthrough Video and was nominated for a Grammy for Best Short Form Music Video. It was also the first ever music video to win a Gold Pencil at the D&AD Awards. It can still be seen at the Museum of Modern Art in New York. His video for Aphex Twin's "Windowlicker" was nominated for the "Best Video" award at the Brit Awards 2000. He also directed Madonna's "Frozen" video which became an international hit and won the award for "Best Special Effects" at the 1998 MTV Music Video Awards. '.

Cunningham discusses his contemporary approach to Experimental Filmmaking in an interview for Pitchfork.com here . Watch Cunningham's video for Bjork's 'All Is Full Of Love' below.

Thursday, 22 September 2011

FM4 - Urban Stories: City of God/La Haine

Section A of the Exam will be about ‘Urban Stories’. The paper will not name any set films but for our main films we have studied…

La Haine (Kassovitz, France, 1995)
City of God (Meirelles, Brazil, 2002)

There will be four different sections in Part A of the exam but you only have to answer one question on Urban Stories. There will be two questions and you have to choose and answer one of them.

It is likely the question will be something similar to the following:-

* How important is *insert micro aspect here* in the films you have studied? (Sound, Mise en Scene, Editing …)
* How is poverty / power / conflict represented cinematically in your films?
* Discuss the uses of narrative / genre in the films you have studied

These are the key features of good exam essays:-

* You need to write an organised answer, with an introduction, three or four paragraphs in the main part of the essay, and a conclusion.
* Your introduction should tell the examiner what films you are going to be writing about and what you’re going to say in your three or four paragraphs. (Tell them what you’re going to tell them)
* The main body of your essay will be three or four paragraphs, each about a different issue which is common to all of your films (or at least is common to the two main films and allows you to say something about any others).
* You should talk about both of your main films in each paragraph, and mention any other films that we cover. You are not going to write half an essay about La Haine and half an essay about City of God with the odd mention of other things.
* You are going to analyse and not describe – although some detailed description of sections of the films will be there as evidence in support of your analysis.
* Discuss the evidence that you do select in detail. Include cinematic detail from the films – you get marks for selecting relevant material and describing it accurately as evidence to support your analytical points.
* Use technical language accurately – write about close ups and long shots, camera pans and tilts, diegetic sound and iconography. Check your work at the end of the exam with a focus on technical language – have you used the right word there? Is there a technical term that would fit in that sentence?
* Use contextual knowledge of each country and the social/historical circumstances that inform the text. Refer to any documentary or news reports that we have viewed/read to support your argument.
* Your conclusion should pick out the major issues with a clear personal voice. Say what you think your most interesting or important point was and explain why, or say what questions you would consider if you were to take this work further, or what other films would be interesting to compare these to in an expanded study, and why.

If, for example, you have a question about Narrative, you could have your main paragaraphs about…

1. Narrative time – 24 hours in La Haine (and the cinematic detail of the ticking clock and some of the events of the day) 15-20 years in City of God (and the changing Mise en Scene as the favela develops, and the aging of the characters, and the movement from dope to cocaine).

2. Narrative shape – Continuous narrative in La Haine and disrupted narrative in CIty of God – a good chance to write about the narrative loops in the story of the apartment / the story of Lil Ze. On the other hand both are ‘episodic’ realist narratives – they link together key moments to show the development to a crisis point even if one happens over a day and the other over years.

3. Narrative space – Here there is more in common between the films – we have different country’s versions of ‘the slums’ – the favela in Brazil and the banlieue in France. European poverty is different to South American poverty and you can look at how that is shown. Aspects of mise-en-scene can be discussed and the influence of western culture in the characters lifestyle.

4. Characters and themes – can you match up similar character types from the different films? Lil’Ze and Vinz? How does La Haine work in this way? Are there obvious ‘good guys’ and ‘bad guys’ in the different films? How do we know? (Iconography? Music? Mise en Scene) How is ‘everyday life’ in the slums represented as opposed to the lives lived by the main characters? How wide a range of significant characters do we have and how many of them have any real narrative significance (Who is important outside of the main trio in La Haine? How many characters have significant if short narrative threads in City of God?

… whatever you say about each film you illustrate it with a cinematic detail – something about the mise en scene, about how a short sequence is shot and edited, about the use of music.

If you write an organised answer, which analyses the films, quotes cinematic detail as evidence and uses technical language accurately, the examiner will generally give you a grade ‘C’ and move you up if your answer is consistent throughout.

Wednesday, 21 September 2011

FM4 - Urban Stories: City of God/La Haine

How does world cinema get across the idea of a city as a character in its own right? Read this short article at denofgeek.com for some viewpoints that will enhance your understanding of critical approaches to the topic.

Extract:
Depicting the city as a character is a universal trait, shared by any cinema that concentrates its population in urban centres. However, it is especially relevant as a character in non-first world cinemas, where the development of a city mirrors the development of a culture or community. The city brings into sharp focus the conflicts inherent between people, while also highlighting the often found extremes of living, fabulous wealth for some and abject poverty for others.

Tuesday, 20 September 2011

FM4 - Spectatorship - Chris Marker: Experimental and Expanded Film/Video

Chris Marker became known internationally for the short film La jetée (1962). It tells of a post-nuclear war experiment in time travel by using a series of filmed photographs developed as a photomontage of varying pace, with limited narration and sound effects. La Jetée was the inspiration for Terry Gilliam's 12 Monkeys (1995) and will be one of the films studied as part of the Experimental and Expanded Film/Video topic. His films can be difficult to view, like many experimental works, as they deal more with issues of memory and time rather than narrative. Discover more about this director and his work here.

Sunday, 18 September 2011

FM4 - Urban Stories: City of God


Here are two very good reviews for 'City Of God'. They appeared in The Guardian and The Independent at the time of the films release.


'The sacrificial purpose of the chicken conveys with the force of a blunt instrument how cheap life has come to be in the ghetto, and how victimhood and aggression have become fused together. The wiseguys, their cowering subordinates, their stoic womenfolk and the dead bodies around them are all chickens - and they are mostly all children.'

'Whenever guns are waved around on screen, especially by young excitable men, critics reach for the handy term "cycle of violence", but it's rarely been so apposite as it is here. The violence in City of God is relentless and cyclical; the narrative rests on a structure in which each generation of juvenile hoods lines up to be slaughtered by the next, younger and more ruthless. Although the film has a causal plot in which one event triggers another, events in Fernando Meirelles's gang-war saga escalate so bewilderingly fast that you feel as though you're watching one of those speeded-up microscope shots of multiplying amoebae.'