Cinema-Saturate

Silent Light - Carlos Reygadas (2007)

2009-09-10T13:47:00.000-07:00

Carlos Reygadas's third feature following his brilliant Battle in Heaven, Silent Light marks a dramatic aesthetic departure from his usually more unpredictable, showy, but very exciting works. Here, Reygadas follows the footsteps of formalist masters Bresson and Tarkovsky, using long takes and slow tracking shots with stark attention to composition. Despite some wonderfully poetic moments, the beauty and meticulousness of every shot at times detracts from the organic unfolding of the story. That being said, the shots are absolutely gorgeous. Screensaver gorgeous.

Somewhere in a Mennomite community in Mexico (who knew there were Amish in Mexico?) Johan, a married man with a bunch of children falls in love with another woman, Mirianne. He is completely open to his wife, Esther, regarding his infidelity and is very conflicted with the situation. This betrayal results in his wife's heartbreak and eventual death. And that's pretty much the entire story. Rather than concern itself with plot or character, Reygadas is fascinated by the environment, man's place in nature, and nature as a mirror of man's emotional states. There is one outstanding scene which, to me, serves as a perfect illustration of what the short stories of Chekov would look like if adapted for the screen. It is a perfectly understated snapshot of the small gestures and details in the surroundings during an emotional fallout, in this case a scene where Esther cannot take any more of Johan's split feelings. To be honest, these screen captures don't do this scene any justice.

Esther: Remember when we would love traveling like this? We wouldn't stop singing. We were always happy. Or just remained silent or I would fall asleep. However it was, just being next to you was the pure feeling of being alive. I was apart of the world. Now, I am separated from it.

Johan: I feel the same.
Esther: How I wished it was all a bad dream. To close and open my eyes and be back in that time. In that feeling.

Esther: My chest is hurting.
Johan: We're almost there Esther.
Esther: Stop the car, Johan.

Esther: I'm cold Johan.

Heartbreaking.

An Affair of Love - Frédéric Fonteyne (1999)

2009-09-08T21:10:00.000-07:00

An unnamed man and woman schedule purely sexual encounters, no strings attached and no baggage, after they meet via an ad placed in an erotic magazine. Things begin to get complicated when they develop feelings for each other. During this realization of their mutual affection, their feelings are put to the test when the death of an old man outside the hotel room they frequent challenges what it means to dedicate one's life to a person they think they know (in this case, the character's don't) and serves as a reminder of the volatile nature of relationships.

The film opens with terribly cliched interview segments of our subjects (voice behind the camera intact), situating the viewer in an awkward position of trying to believe the characters' accounts while tackling with the fact that it's obviously a fictional narrative. One could argue this makes sense on a formal level though, as it reflects the characters' uneasiness and the superficiality of first impressions. But once the film moves onto their story without the hokey questions and documentary tactics it begins to pull us in. As the characters recount their experiences of getting used to their weekly sessions and becoming more familiar with each other, wonderfully poetic moments captured by the filmmakers reveal a tenderness and real empathy for the characters' feelings.

The film shines when it portrays their sensuality with grace and innocence. Foreplay underneath clean white sheets and playfully suggestive banter in a bathtub (what's going on beneath?), despite the scenes' carnality, portray the joy and purity of physical intimacy when shared with someone you respond to emotionally.

The film eventually charts the insecurities of a newly developed relationship and the fears of commitment. While both parties feel strongly about each other, their thoughts on how the other feels are completely misjudged. Out of fear of expressing their true feelings and leaving themselves vulnerable, the characters opt for an end to their tryst, leaving behind only memories of their brief but passionate affair.

Stylistically and thematically, An Affair of Love evokes a mix of Godard and Wong Kar Wai in terms of thematic content and some of the aesthetic choices. The film is wonderfully lit, though some of the compositional choices were a bit forced, with an over reliance on symmetrical/center framing for an "arty" effect. The film works best when it opens itself to spontaneity, featured most prominently in the love sequences. Nathalie Baye as "Elle", in particular, gives a wonderfully organic performance. Also, it's use of the post-rock band Rachel's "Lloyd's Register" from their LP The Sea and the Bells (1996) is absolutely fantastic and integrated seamlessly with the narrative. Check out the song here: http://www.youtube.com/watch?v=kkuUaHLZRds

Definitely worth checking out again.

On the Waterfront - Elia Kazan (1954)

2009-08-16T16:43:00.001-07:00

Kazan's passionate film on loyalty and justice on the docks in New Jersey still packs an emotional punch despite some heavy handed sequences involving the social injustices inflicted upon the dockworkers. Some of the highlights include Marlon Brando playing a blistering wounded ex-boxer, Terry Malloy, hanging onto his dead-end job as a dockworker headed by the mob. What makes his performance so wonderful is the tightrope act he juggles between a muscle head bully and a sensitive loner who's in love. It's definitely easy to see how so many think Marlon Brando single handedly changed the direction of acting in cinema from his raw performance in the film, though it should be noted that many other of the supporting cast were trained by Stanislavski (precursor to Method acting). Also of note is the wonderful Eva Marie Saint (most known for her role opposite Cary Grant in North by Northwest) as his love interest, Edie Doyle. Despite, or perhaps because of, her image of innocence, therein lies an erotic charge hinted at in her steadfastness.

One of my favorite sequences:

Edie: I want you to stay away from me.
Terry: Edie, you love me... I want you to say it to me.
Edie: I didn't say I didn't love you. I said, "Stay away from me."

The neo-realist aesthetic, helmed by Boris Kaufman, gives the picture a layer of authenticity and dramatic heft. We get a really strong sense of place, from the layers of pigeon stool on the rooftops to the water worn dock (an excellent shot of a beaten Brando. The benefit of B&W, blood and water are visually interchangeable):

Kazan is a brilliant actor's director and a subtle visual stylist. His editing is disciplined, almost spartan. And there aren't really that many stylistic flourishes that distract from the story, so excellent balance between content and form.

On Kill Bill Vol. 1

2007-11-28T16:54:00.001-08:00

Quentin Tarantino’s Kill Bill Vol. 1 is a giant homage to Asian cinema. From the opening Shaw Brothers studio logo to the employment of Meiko Kaji’s music (who in turn also acted in Lady Snowblood, an obvious influence in the creation of Lucy Liu’s character as well as being a staple female revenge picture popular in 60’s-70’s Japanese cinema), the film serves an excellent model for a collage of eastern stylistics and media filtered through a Western (Tarantino and Hollywood) mindset. Perhaps one of the more memorable segments is the anime-styled flashback of O-Ren Ishii, which I feel exemplifies the cross-cultural interplay between eastern and western media. The segment was animated by Japanese studio Production IG (most known for their Ghost in the Shell films). Japanese anime is itself a product of post-WWII Western influence and many of its earliest creators were inspired by Disney cartoons (Osamu Tezuka, for example). This film is the ultimate geek-fest, brimming with references and tributes left and right. It’s a testament to Tarantino’s direction that it remains very much his film.

On Trinh and Ito

2007-11-28T16:19:00.001-08:00

On Trinh

Trinh discusses the role of the consumer and creator, with a specific emphasis on representation of the Other and the complex relationships it has with imperialist Western ideology. She adopts a mainly critical approach to popular media, pointing her finger specifically at Hollywood cinema, for imposing a specific language and model of media that mainly exhibits Western attributes, a symptom of what she calls the remains of the white imperialist mindset. For the most part, however, Trinh adopts a very self-reflective/critical stance on the role of media in general, acknowledging the potential of every image in spreading its own ideology. She calls for an alternative cinema that breaks down what we feel comfortable watching, best exemplified by her invocation of filmmaker Jean-Luc Godard (considered to be the foremost intellectual filmmaker) in his condemnation of TV and Hollywood and its capitalist principles and a call to disrupt that with media which “disrupt[s] sound and image”.

On Ito

Mobile phones – Ito does an ethnographic study of the use of mobile phones among teenaged youth in Japan. She reveals that these devices have changed how people interact in a space. For example in the past, people would decide on a time and place beforehand and respect that. Nowadays, with instant communication, a time and place can be decided later according to other people’s wishes. Things are much more flexible. It also opens up a space for communication when otherwise it would not be possible. Thus the urban space has become personalized, people are never alone.

Yugioh – Ito does an ethnographic study of Yugioh, a multi-media phenomenon not unlike Pokémon. She explores specifically the effect of these new media on the imagination of today’s children. Citing Appadurai, Ito claims that imagination is now more integrated into everyday living. She breaks down the Yugioh phenomenon into different parts: Media Mixing, hypersociality as social form, and remix as cultural form.

Media mix – virtual and real are converging. The narrative of the anime/game/manga is experienced in the real world by those who engage in the card playing as well.

Hypersociality – this game encourages social encounters. People bring the game out with them and are encouraged to with the help of portable gaming platforms.

Remix – The emphasis on personalization allows certain flexibility on how Yugioh is played. On one level, it creates its own economy and systems of exchange, exemplified by card otaku and their dedication to acquiring and selling of rare cards.

Comments: Trinh’s writings emphasize the importance of alternative approaches to media consumption and creation that resonate with me. With the mention of filmmakers as Godard and Tarkovsky, many of the points that Trinh makes are made clearer when being exposed to highly personal alternative “art house” cinema. In contrast to Trinh’s highly self-reflective and self-critical essays, Ito’s ethnographic essays emphasize changing modes of communication but not so much the negative implications. In relation to Trinh’s reading, I feel that the use of mobile phones and portable gaming devices in a way that also reinforces a limiting mode of communication with its own set of rules. Portable communication technology may be the way of the future, but what are the setbacks that come with it?

On Hobbs

2007-11-13T20:29:00.000-08:00

Visual Literacy - How factors like selection, framing, composition, sequence, and aesthetic dimensions of images affect viewers’ interpretation and emotional responses.

Information Literacy – A set of abilities requiring individuals to recognize when information is needed and have the ability to locate, evaluate, and use it. This allows users to identify useful media in the abundance of new media. Critics highlight this method’s de-emphasis on meaning being constructed through interpretation with its insistence on finding “facts” for organizational purposes.

Digital Literacy – The ability to understand, evaluate, and integrate information in multiple formats.

Media Literacy – Emphasizes inquiry and learning by doing/creating media, with an emphasis on cycle of awareness, analysis, reflection, action, and experience in a community context that is responsive to individuals, particularly in relation to social and political injustice. Media literacy advocates push the incorporation of media literacy studies into English classes as new media increasingly permeates our lives.

Critical Literacy – An examination of how various texts, including pictures, icons, and electronic messages are used to influence, persuade, or control people. This mode stresses that meaning is created through interaction and involvement, in the context of social, historic, and power relations. The critical in critical literacy refers to texts as a site of oppression and exploitation, as this mode of reading texts emphasizes that identity and power relations are always a part of the process interpreting texts, and that these processes occur in a socio-culturally and historically bound framework. Advocates believe that you can control your experience of the world through constructing messages as a part of transforming society.

These are all differing modes of reading texts, each with their own set of ideologies, strengths, and weaknesses. Hobbs sees that figuring out these modes and how they work and compromises will impact education greatly.

Hobbs discusses how a plethora of distinct modes of literacy are emerging due to the developments of new media, and how more modes are being developed, or dwindling as consensus among scholars increases. Despite this, everyone agrees that visual, electronic, and digital media is reshaping knowledge, skills, required to participate in contemporary society.

Luke reiterates many of Hobbs points about the role of new media in our lives, especially in relation to new methods of education for youth growing up in this era of new media.

Comments:

On Lister pgs. 119-179

2007-11-06T23:15:00.001-08:00

Lister discusses the relationship between cyberspace and everyday life, how nowadays, they are constantly informing each other.

Smart house – future where computers are hidden, and things within the house are all maintained and controlled via computer. From a critic of the technological deterministic view, it is reflection of “a commercial technological imaginary of domestic control, comfort and security” (223), which are not intended for social change.

Popular new media is primarily sold as commodities (DVD’s, videogames, etc). Lister mentions “black boxes” which package various technologies in a single product, that is never entirely a “coherent, discrete device, but always a more or less arbitrary (and temporary) closure on a diverse field o uses, technologies, and meanings” (226).

Lister than distinguishes different modes of consuming media:

1) Cyberculture – a celebration/embracement of new technologies. Cyberspace as a realm where social divisions can be transcended.

2) “Business as (or even worse than) usual” – Technology serving primarily to preserve the existing economic and social order. Exemplified by video games being a model for keeping consumers under control.

3) Populists and Post-modernists – Consumption and leisure determine texture and experiences of life. Consumers play a more active role in shaping their identities through their choices in media. Like cyberculture, but media/consumer society as a whole is the realm where creativity can flourish.

4) Cultural and Media Studies – Academic discipline involved in theorizing everyday cultural consumption. New media are not fundamentally distinct from old media. And consumption and production are both important, the relationships between the two create meaning.

Lister also blurs the distinction between the consumption of technologies as instrumental use and play, using the cellular phone as an example. The PC is also mentioned, particularly highlighted is its chameleon-like nature, and how its design and function reflects the user’s personality.

Also of note is how relationships are defined or revealed by the placement of the computer within a household. Lister also discusses how the computer was thought of as a haven from the dangers of playing outside, but with the introduction of the internet, the threat of pedophiles/pornography/etc has infiltrated the domestic space. Thus, access is “constrained by socio-economic factors, established household politics and relationships of gender and age, by material constraints of space and time and by anxieties about the relationships between everyday space and cyberspace” (239).

Lister spends time discussing “edutainment”, the phenomenon of using entertainment, toys, and games as learning utilities. Despite its early criticisms, it has been adopted by many organizations, hinting at the dissolution of boundaries between consumption of commercial media and education. Also being changed is the increasing bond between knowledge and capital. This blurring has many inherent contradictions not easily resolvable.

The act of constructing an identity is strongly tied to media construction and consumption. The Webpage functions as an avenue to the outside world, and how you construct your designs on the web heavily reflects the identity you wish to reveal. Lister reveals a study of girls and their web pages and how those sites were texts that revealed what girls wanted to become and how they wished to be viewed. It also functions as a “safe” space where they can put up personal insights and experiences.

The notion of identity is blurred on the web, because users can’t see other users. Bodies are essentially not involved. Lister mentions how this aspect of the internet can create the feeling of “disembodiment”. Thus, in the future, there lies the potential to experience different levels of reality, if not already.

Identity and Technology + postmodern theories:

1) Postmodernist cyberculture – assumes overthrow of passive consumption by interactive communication and creativity. New technologies are free from ‘master narratives’ and hierarchies of modern era.

2) Postmodernist politics of identity – identity is constructed and also contested. Media constitutes only one of many historical/cultural forces influencing changes in subjectivity.

3) Reading of postmodernity as crisis – postmodern world is hyperreal – place where information and images circulate such that real world is not tenable. Another reading is that real world exists, but we don’t have access to it.

4) Theories of postmodern media subject – identity is shaped through dominance of consumer and media culture.

5) Post-structuralist theories of self or subject as constructed through discourse – Self is viewed as a product of symbolic systems, thus new media has potential for challenging subject positions.

6) Cyberpunk – the emergence of individuals’ disembodied interaction/fusion with digital technology and networks.

History of the “subject” – emerged during Renaissance, beginning of modern world, away from God-centric fixed hierarchy of individuals and social classes to one that is attached to the self at birth. As time went by, social relationships change, thus this new model of defining the self helped make sense of it all. In modern era, post-modern notion of self = identity is not fixed; it is movable, changeable, etc.

Cyborg – blurring between machine and organism and other binaries. Thus, gender is also ambiguous. Difference is eradicated. (think of Neo from The Matrix being an androgynous hero in contrast to the hyper-masculine Arnold in The Terminator) From a cyber-feminist stance (Plant), women and machines are in a binary opposition to men, being that woman has been linked to being in service to men. Thus this new wave of technology marks a revolution that sweeps the male modern subject into the female world.

Videogames – Using Doom as an example, this dark visceral anti-social experience is painted in contrast to spontaneous play world of outside interaction in a natural environment. Thus, in critical studies, videogames have often been sidelined and criticized as being a conduit for violent, soul-less behavior.

Lister reveals the integral part computer games played in the development of personal computer, as finding innovative uses and testing the functionalities of computers was strongly linked to play. Programming and hacking have roots in gaming. This is exemplified by the game Doom, which allowed its users to go into its design and change things according to their own uses, promoting its own kind of creativity.

The phenomenon of Pokémon blurs the distinction between play and consumerism due to the franchise’s exploitation of children’s culture of collecting by creating its own distinct economy. This aspect of the game, however, also makes it a sociable game, perhaps promoting other aspects of human interactivity that could be considered productive.

Lister goes deeper into the significance of play in society by highlighting “play” as creating an arena separate from real life. A distinction is made between the types of play ludus (games that adhere to strict rules ie. videogames, chess) and paidia (games that are active, tumultuous, spontaneous ie. children’s make believe). Drawing from Caillois, Lister mentions how both are important, specifically the value of ludus in developing our ability to function or act creatively within society that has its own rules and confines.

Lister discusses the role of identification in gaming and notes the difference between playing a game and watching a film or TV. There is the possibility to intervene which changes the spectator’s expectations. Also, who we identify with is different. In a film, one usually associates with a protagonist. In games like SimCity or Civilization, one associates oneself with a multitude of roles, thus identifying with a network, perhaps the computer itself.

Comments: Lister goes really in depth into the complexities of relations between computers and their users. Of interest to me is the genre of cyberpunk, its implications of the blurring of distinction between humans and computers. Of note is the idea of the cyborg being androgynous. In contemporary cinema, depictions of the hero have moved towards the way of the cyborg, androgynous features being the norm. Examples including Neo from The Matrix, Jude Law's character in A.I. The popularity of the hyper-masculine hero has declined dramatically since the 1980's, giving way to the non-descript cyborg. Compare Superman of days past to the Superman of today. Of course, changing representations may not be so easily attributed to our relationship to technology, but it is a trend that is interesting to point out and perhaps function as a springboard for further discussion.

On Anime Fandom and the Industry

2007-10-31T13:53:00.001-07:00

Jenkins' studies on "spoilers" within the Survivor community is fascinating, especially in relation to media producers and the consumers. The anime community has a very similar relationship, though there's also quite a bit of differences as well.

I used to be an avid fan of Japanese animation back in middle school and high school. My first exposure to anime was primarily through the Sci-Fi's channels' Saturday Morning Anime, which broadcast (usually) violent shows with dark thematic material in sci-fi/fantasy settings. I was around 8 years old and the existence of animation that had "adult"material blew my mind. Unfortunately the program was not very popular and stopped airing. Since then, I had a thirst for this "alternative" animation seemingly unavailable in the US. The domestic anime industry at the time was still small and the main method of distribution was VHS. Due to the limited size of the fanbase as well as the expensive licensing costs of shows, purchasing anime was not a cheap hobby.

As the internet became more popular, so did access and exposure to anime. Online communities provided a space where fans from around the world could discuss and celebrate their fandom. As internet technologies grew, so did the opportunity to download shows. Fansubs (fan translations of unlicensed shows) played a crucial role in the growing anime industry (especially in the early 2000's). Popular shows from Japan that weren't available in the US were now available for download, which in turn increased exposure to shows, guaranteeing the domestic release of those shows a good profit. Shows like Naruto and Full Metal Alchemist built legions of fans way before they were officially released on DVD. As the anime industry began to get bigger, companies began to release hundreds of new shows in an attempt to ride the wave of the increasing popularity of anime.

Unfortunately, the anime fan community couldn't keep up with the increasing size of the industry, and thus the market became oversaturated. At the same time, because of the increase in interest of licensing shows for domestic distribution, Japanese companies began increasing licensing costs in order to cash in on the increase in popularity. Because anime DVD prices were expensive for new releases, fans would wait for massive price cuts on older titles, thus anime companies were not making profits. These days, there's been a massive decrease in distribution from just a couple of years ago. Added to that, the ability to download anime for free or watch them free on streaming sites such as Stage6 or Youtube has proven to be a tempting alternative to paying $30 for a new DVD containing an average of 4 episodes per disk. Not to mention the availability of extremely cheap Hong Kong bootleg copies (which can cost as little as $15 per boxset ~ 4 disks w/ 52 episodes).

Of course, anime fandom and its relationship to the media producers is a much more complicated thing than can be outlined. For one thing, the people producing the products are in Japan and aren't making anime for the international consumption. That in itself provides an interesting scenario where many fans in the US have input for the shows that may not be what Japanese audiences want (thus explaining why unpopular shows like Cowboy Bebop flourish in the US, whereas super popular shows like Crayon Shin-Chan or Sazae-san flop in the US). Again, lots of interesting stuff to talk about...

On Jenkins Ch. 1 + 6

2007-10-30T23:19:00.000-07:00

Jenkins Ch. 1

Jenkins studies online communities, specifically spoilers for the show Survivor. Some qualities of these communities:

Collective intelligence is ability of virtual communities to leverage combined expertise of members. The can utilize these powers against media producers. Jenkins believes that “new knowledge culture” is changing societal structures, now that it’s easier to make communities based off of interest regardless of geography. These groups are sustained by constant manufacturing and engagement with knowledge. The danger now, however, is that misinformation can be easily spread as well.

One belief is that these communities are central to restoring democratic citizenship. Jenkins hints at the potential spoiling would have on a political level.

Spoiling traces back to early years of internet, when baseball games played at different times according to different time zones. People on internet began posting the results, spoiling the results. This also happens with TV shows.

Jenkins begins detailing the structure of an online community forum, Survivor Sucks, and its hierarchical structure, with its system of brain trusts and valued members. Also interesting to note is the involvement of Mark Burnett, the series producer, in crafting information to throw off fans. Thus, there is an interesting interplay between forum participants and the creators’, very aware of the extremity of the fans’ detective work. Also disruptive to the fan community was the input of fan poster ChillOne, whose info was surprisingly accurate, but whose identity and sources of information and motivation was suspect.

Jenkins determines that what holds a collective intelligence together is a constant interplay and testing of the groups’ social ties. Thus, there are always debates on “acceptable” data and re-evaluations of the function of the board.

The relationship between internet fans and the producers is an interesting one, it that they have different interests which may or may not overlap.

Jenkins Ch. 6

In this chapter, Jenkins discusses the role of audience in relation to media and how they are interacting with it.
Three trends he notices: 1) New tools available for consumers to archive, re-appropriate, re-circulate media content. 2) Subcultures promote DIY media production 3) Economic trends favoring horizontally integrated media conglomerates encourage flow of images, ideas, across multiple media channels.

On Collective Intelligence, Jenkins discusses the proliferation of online communities as an extension of Levy’s model of cosmopedia, as these groups are gathered by interest rather than geography.

Levy distinguishes between collective intelligence (information available to community) and shared knowledge (information known by community). This interplay between information and community members has broader connotations and effects. Levy then discusses how the internet constitutes a turning point in collective intelligence, communication could now occur at a faster rate.

The impact of the online communities has been undeniable, representing a voice that has always been there, but never has it been so potent. One of the questions, however, is how much control will users have? There are positives and negatives with the emergence of grassroots communities promoting distribution of media for free.

As a response to mainstream media controlling the majority of content, activists, called jammers, created DIY methods of creating alternative media and alternative methods of distribution. With the advent of digital, this has spread, though among the populace are those who see the potential of mainstream media for re-appropriation, etc. and . Jenkins views bloggers as those who facilitate communication of the stream of media, rather than jamming it, in the web by putting up links and personal opinions on content.

Comments:

Jenkins' piece on Survival "spoilers" is a fascinating study on the phenomenon of online communities impacting actual media content. Concerns, however, with this opening up of information includes an invasion on the private lives of others. It was kind of scary to read to what lengths fans went through to find out information about the participants of the show.

On Luke/Freebody

2007-10-23T20:29:00.001-07:00

Reading + Colonization

Materials in books tended to have colonialist mindsets, exoticizing non-European locales, which were intended as an introduction to classical English literature. Literacy education was based on two stages: 1) reading/writing basics, 2) “classic” literature. This model was exclusionary in terms of content and practice. Ways of teaching changed during early 20^th century, a move towards individualistic reading, a shift from moralistic readings to scientific ones. The reader was now emphasized as “a psychological entity with a set of (nonetheless normative and ‘western’) mental capabilities, a reflection of the shift in attention from rural or colonial mindset to one of standardized suburban life.

1960’s: Movement away from shift from psychological approach to more humanistic one, valuing reader’s input and engagement with the reading material. This is known as progressivist. Emphasis on reading as a personal activity reveals the “rise of a self-interested individual as the central platform for effective action in late capitalist society (Apple, 1982)”.

The ways reading is taught is wrought with politics/ideology. This is increasingly important in the way minority groups have access to how they engage in these activities and how they are represented.

Luke/Freebody make propositions on critical approaches to literacy.

1: Reading and writing are social activities. Identities assumed when reading are cultural products.

2: All texts are motivated. Neutral doesn’t exist. Literacy practices are forms of social action.

3: Our positions as readers are defined by those who raise us (parents, schools, authors, etc.).

4: Institutionally purpose-built repertoires of “selves” are represented in all texts.

Thus, reading practices are power relations at work. They determine culture

Luke/Freebody begin to discuss cross-cultural examples of literacy and different traditions.

In some cultures, reading is gendered (only men can read), religious, etc. Using a variety of examples, they solidify the importance of literacy in its role in shaping societies. They also conclude that certain people are excluded from learning literacy (from cultural limitations), as well as question methods that determine literacy.

Luke/Freebody then take an example from a school textbook and reframe it in such a way that reveals its biases and ideological stances, thus explaining the limitations of literacy education in modern education.

They then propose an alternate model where reading is shifted from a psychological approach to a social/cultural one.

Luke/Freebody argues that our capitalist society that equates literacy with “moral virtue”, which marginalizes minority groups in the terms of literacy deficiency. Suggestions for improvement include:

Attending to critical, text-meaning, and coding elements at all stages of reading instruction.
A shift away from psychological to sociological methods that promote diversity.
Bring in new forms of media
Focus on community’s relationship with cultural texts and vice versa.

On Robert Rodriguez's and Frank Miller's Sin City

2007-10-16T23:13:00.000-07:00

Sin City is a fascinating formal experiment, adapting faithfully (to the point of blurring the distinction of authorial control) Frank Miller's pulp noir graphic novel of the same name. The strength of the film lies in its bold aesthetic choices, shooting digitally with a reliance on CG to provide the bulk of the film's set design, all in stark black and white.

Sin City appropriates film noir conventions, basking in its own gloss of plasticity and over the top antics. There's a very obvious post-modern self-referentiality at work here, in that its aesthetics are a constant reminder of the source material and that the stories depicted here could not be told in a less artificial environment.

Concerning multimodality, Sin City is first of all, an adaptation of a graphic novel. It is a filmic representation of a text w/ pictures. What does this do? In what way do they differ?

On Kress’ Multimodality:

2007-10-14T17:49:00.000-07:00

Kress states that among Western societies’, there is an insistence on the distinction between forms of communication and the fine arts (music/visual arts, declared as a form of expression. Thus, these are consequently taken out of the school curriculum and, according to Kress, have handicapped how people communicate.

Kress describes how these days, written forms of communication are turned into visual forms, due to an increase in diversity of groups that cause language barriers, etc. Thus, texts have become multimodal, in that there are a variety of modes of representation through which these texts may appear. Because human beings rely on multiple senses which work together, our perception of things is inherently multimodal. Thus, Kress argues that language, writing, things that people have assumed are mono-modal, is in fact multimodal. He uses sign-language and its reliance on touch and sight as an example.

Kress argues that imposition of two-dimensional interactions that focus on one mode of perception denies communication to other groups who rely on other modes.

Kress continues by breaking down the process of our interaction with a bottle of mineral water, revealing how the bottle is designed determines how we react to it. Using the spoon-tray as an example, he discusses how an object is entrenched with cultural significance and functionality based on its material, its look, etc.

Kress discusses the multi-modality of language and pre-conceived notions of language being the most “effable”. Language and visual modes of communication cover separate grounds. Kress uses a variety of examples from children’s drawings.

On Lister pgs. 72-92

2007-10-13T23:34:00.000-07:00

McLuhan vs. Williams: Technological determinism vs. human agency.

Technological determinism – the idea that technological innovations create cultural change.

McLuhan:

McLuhan’s approach to media studies is non-linear, “mosaic”, much like the way the internet and new media work today in opposition to the “linear print culture” of text on paper.

His viewpoint of media as an extension of the body serves as a basis for his idea of four media cultures, which are: 1) oral communication 2) alphabet and speaking 3) the age of printing, and 4) the culture of ‘electric media’, including radio, television, and computers.

He views the age of printing responsible for creating a “sensory alienation” which highlighted the visual component in our lives meanwhile pushing out the others. He views the culture of electric media one that returns us to the primitive, participating in a ‘global village’, where all the senses are utilized once again.

Remediation: the idea that new media re-appropriates the older forms of media and reconfigures them into something else. McLuhan and Williams both share this idea.

The medium is the message: McLuhan believes that media, technology are interchangeable and that their relationship to the human body is the same (anticipating the concept of cyborg) in that they are both extensions of it. What’s important about these new technologies/media is not what they do, but how they change the way we perceive the world. One example being the electric light and how it extends and speeds up forms of perceiving and communicating.

Williams:

Believes that technologies are created in order to serve human interests. How they are used is vital to Williams. Contrary to the ideas of McLuhan, Williams thinks that new technologies are created out of the needs or interests of specific social groups. He also believes that developments in these technologies are not determinable or predictable. Williams makes an argument for the social nature of media technology, in that there is a distinction and that one informs the other and not the other way around. He also determines that media is a reification of a social process.

McLuhan: “the rise of electronic technologies makes the technological environment one composed from ‘the externalization of the human nervous system’ (Kroker 1992:64).” Three theses:

1. 1. Extension thesis, technology as extension

2. 2. Environmental thesis, new media aren’t bridges between man and nature, they are nature

3. 3. Anti-Content thesis, societies are shaped by nature of media than by content.

On WKW, Post-modern Cinema: Substance or just Style?

2007-10-10T14:48:00.000-07:00

I originally made a comment on Fiona's blog space, but since this topic interests me, I'm posting it up here on my blog:

I think your take on the film perfectly reflects a common criticism on what we know as post-modern cinema. It reminds me of the division of people's responses to Tarantino's Pulp Fiction. There are people "in the know" who love it, the people who don't know who love it, and the people who are "in the know" but hate it because of the exact same reasons why the people who are "in the know" love it.

What is the validity of a film as a valid piece of art if in order to "appreciate" the film one has to be familiar with film history/grammar/etc? Is he sacrificing content for style? Is this nihilism in these works just an honest portrayal of life of the under privileged? Or is WKW milking it for all its worth in order to illicit audience sympathy when it's not deserved?

I personally love the films of Wong Kar Wai, but some days, when I put him on, I notice all the gloss and can't see what's underneath. This is especially true of one his more recent outputs, 2046. There is a danger of becoming too self-conscious as a director, too obsessive of your own sense of style, too concerned with maintaining an "image". I'd like to point out Wes Anderson (though he's not the only or worst perpetrator). There's a possibility where it becomes all about selling an image. About developing "a style" that's recognizable and marks you as an "auteur". This is post-modern cinema at its worse. Wong Kar Wai has become "hip", it's cool to love him. But why? What is his cinema have to say about life or the people living in it?

There's an increasing trend for young filmmakers these days to try to be the next big thing. While that drive isn't bad (Orson Welles was definitely one these young titans), the output has been questionable. There's a desire to create this distinct aesthetic in order to be recognized, to be an "auteur" before you've even put out your second film. It's navel-gazing, posturing.

I think there's a lot to be said about this topic, lots of difficult stuff.

On Goodman's "Teaching Youth Media"

2007-10-10T14:13:00.001-07:00

Goodman Intro

Youth today are being raised in media oriented environment, capable of recognizing symbols/logos of major corporations before recognizing words. Impact and influence of commercial media is huge, nowadays kids spend more time in front of a screen where they are exposed to thousands of images.

Goodman argues that inner-city teenagers are oppressed by larger systems (school and media) that want them to be passive/consumers as opposed to socially active. Academic institutions’ inability to incorporate or acknowledge the influence the media creates a disconnect between the realm of school and the realm beyond school.

Goodman’s solution is to develop “critical literacy”: “the ability to analyze, evaluate, and produce print, aural, and visual forms of communication” (Goodman, 3). Thus, being able to manipulate and create one’s own form of media (such as video) is a source of empowerment.

In the past, the voice of the poor and marginalized was expressed primarily through reading and writing. The emergence of new media like the internet and video has shifted the dominant form of literacy from one of the printed word to one of images. Goodman makes an analogy between the world’s reliance of images today with that of late 10^th century Europe’s, during which painting was used to communicate the Bible to the illiterate. He says that now, however, images are used to sell things as opposed to attaining spiritual salvation.

New media uses a complex series of symbols and signs that make up the “grammar” of the images. Logos such as Nike, McDonalds, Disney, ensure sales by imprinting these images onto the minds of children. In order not to be sucked into this trap, it is important to teach people to be more conscious and critical of these devices. The best method is, according to Goodman, is to allow students to create their own media.

Goodman states that the inability of schools to teach a critical approach to new media reinforces an inequality of knowledge and power.

History of Schooling:

Beginning of 19^th century, schooling was heavily influenced by “systematic order and efficiency” of the growing industries of the time. Thus, education was systematized. Exams were an indicator of quality. Students were treated like parts in an assembly line, as were the role of teachers as well. Joseph Lancaster from England proposed an education model that was heavily influenced by this and also employed the use of the superintendent as a manager of this school. John Dewey opposed this model and proposed a new model that emphasized group work and community in order to build a student who was independent minded.

3 methods of media education: 1) technology integration 2) media literacy 3) community media arts

Technology Integration: With the advent of cinema, schools were optimistic of the promises cinema had for educational opportunities. This also happened with the radio and the computer etc. With each advent in technology, there were heightened expectations for each new innovation, but studies showed that the use of these technologies was sidelined. The internet proved to be an exception; however, these technologies were available mainly to affluent schools. Thus, a “digital divide” occurred.

Media Literacy: There was a trend among educators about the importance of studying about mass media, rather than through it. Various organizations launched their own ways of promoting media literacy, and despite some success, Goodman says that if the factory-system based school model doesn’t change, than the progress of media literacy will be stunted.

Community Media Arts: In the 1960’s, a wave of government sponsored programs initiated community based media arts programs. There was a prolific outpour among independent artists, in terms of creativity and experimentation. Throughout the years, employment of new media had an impact on youth, but almost all of these programs were offered outside of school.

Goodman thinks that none of these strands of media education have breached the modern school system. A possible solution is Goodman’s involvement in the Educational Video Center, which he describes in detail in the reading.

On WKW's As Tears Go By

2007-10-09T22:49:00.000-07:00

A fascinating film, pulsating with a frenetic energy invoking the fast pace lifestyle of Hong Kong, modern life, and living on the fringe.

Why the acclaim?
- Wong was perhaps one of the first, or at least the most popular, Hong Kong film director at fusing European/Western art-house sensibilities with the tried and true genre pic. Kind of like what Godard did with Breathless, and what Tarantino did with Pulp Fiction (or the entirety of his work). This aspect of Wong's style, however, is much more apparent in his later works, Chungking Express, Fallen Angels, and Ashes of Time.
- Creating a distinct aesthetic, employing a variety of cutting edge/"hip" techniques (nowadays not unfamiliar to the realm of music videos). Many of these include an elliptical editing pattern (jumps in time/space), a constantly moving camera, time manipulation, and the strong use of the pop song.
- Use of star actors/singers/pop icons. Andy Lau. Jackie Cheung. Maggie Cheung. Probably helped with the popularity.

A list of influences:
John Woo
Martin Scorsese (especially Mean Streets)
Jean Luc Godard

His influence has been widespread, from music videos to commercials. His influence is most clearly seen in many new Asian films from young directors. It has even expanded to other filmmaking giants, including Taiwanese auteur Hou Hsiao Hsien (especially the first segment of Three Times).

Interesting things to note, however, is his popularity outside of Asia. Wong is huge in the art-house film festival circuit. In his homeland, however, reception to his film is a lot more mixed. Cross-cultural interpretation issues to be explored in more detail perhaps in class is the exotic appeal of his cinema. His English language debut, My Blueberry Nights, was supposedly received with lukewarm reviews after its debut at Cannes last year. And to be honest, I think his short BMW film, The Follow, was a big disappointment. I think there are a lot of lines in his films that you couldn't get away with in an English language film. Wong's films, if imagined in a Western environment and in the English language, would seem melodramatic.