April 8th Quiz Makeup

In my personal opinion, diagesis and assemblage are the most powerful uses of cinematic form in Apocalypse now. In my 8th Rush I tried to explain how Willard was changing and gradually realizing his place in the war and that it was because of his growing admiration and opinions of Col Kurtz as he read through his files. Willard was realizing that the kind of man that Col Kurtz was interested in cultivating as a soldier was someone that was not far off from himself. Slowly he begins to realize the irony in the situation and so does the viewer. The scene that stands out the most to me that captures this idea is the scene on the boat when The Rolling Stones song, "I Can't Get No Satisfaction" is playing. All the soldiers on the boat are separate from each other, being fully themselves (Lance is water skiing, the captain is driving the boat, Willard is reading his files...) and not really in contact with each other besides the fact that they are on the same boat. It is not until military radio comes into the scene and sets the tone with a weather report, and eventually bringing all the men (and assumingly all other soldiers listening to it at the time) together for that moment; except for Willard. Willard does not engage with the song. He remains on the outside of the experience because he is immersed in the writings of Col Kurtz. The assemblage of this scene is brilliant! While Willard reads the writing of Col Kurtz, "As long as our officers and troops perform tours of duty limited to one year, they will remain dilletantes in war and tourists in Vietnam", he is eating a Hershey's bar, throwing the wrapper off the boat and listening to The Rolling Stones while his solders water ski off the back of the boat and dance. Shortly after, they pass another boat that is full of more soldiers who are fucking around and "mooning" them. The irony of this scene is palpable and without the diagesis and assemblage, it would not be nearly as powerful.

I am actually considering writing about Apocalypse Now for my paper. I hope it might be okay to change at the last minute to whatever I am inspired by at the time.

Rush #9 (late)

(I mistakenly thought there wasn't a rush this past week for some reason! I don't know what I was thinking. I just noticed this on the blog. Sorry for the late posting.)

Which film will you write about (and which films, television shows, or other screen-based narratives might also be pertinent)? Which broader issue, view, or conversation will you link your analysis to?  Which specific segment(s) of your film might you be focusing on, and how can one or more of our four categories of cinematic form be seen to be functioning here in interesting/pertinent ways?  And finally, which of our two special concepts interests you the most: the concept of the uncanny or the concept of the gaze--and what aspect of your chosen concept seems most promising as a means of advancing your film analysis?  

I'll be writing about The Wizard of Oz. Other films that I can think of that are relevant to it are Vanilla Sky, Peter Pan and Alice in Wonderland, and Pan's Labyrinth. I will be discussing the concept that I often see come up in film regarding the power of our subconscious and the idea that the answers to many of the questions we have lie within us. I think it is a commonly used framework for many storytellers. I will focusing specifically on the moments when Dorothy is no longer in Kansas anymore and when she returns to Kansas in the end. I will also be referencing the scene in which OZ is looking through the glass ball and how there was nothing he was telling her that she didn't already know within herself. There are repeated scenes with each character in that movie when the things they claim about themselves are actually the things that are actually untrue. For instance, the lion is a "coward" but he is brave enough to join on a journey with three strangers. At this point it is probably pretty obvious that I will be focusing on the gaze. I remember seeing The Wizard of Oz for the first time and I genuinely remember the moment when I realized that Dorothy had been dreaming the whole time. And at that moment the whole film flashed before my eyes and I realized the signs were there all along. I am excited to be able to really analyze the moments when the idea of the gaze is presented to us throughout a story and I want to be able to more easily identify it.

Rush #8

This is a tough one this week! I'm not sure I entirely understand the prompt, but I'm going to give it my best shot.

I know from my own research that it is widely believed and understood that Apocalypse Now was not necessarily and accurate depiction of the war in Vietnam, but moreso that it's mood captured what it was like for everyone during that time. A sort of madness is laced throughout the film, which seems to coincide with every story of any accuracy that has been told about that war. The duality that I noticed was in Captain Willard's opinion of Col Kurtz.

From the beginning scene, it seems as if Captain Willard might be going a little crazy himself. When he is taken to speak with the general about his mission to kill Col Kurtz, the audio recording of Col Kurtz sounds like it could have been audio of Captain Willard earlier that day. Throughout the film, and particularly during the times when Captain Willard is reading Col Kurtz file via narration, it is clear that Captain Willard gradually begins to admire Col Kurtz. He begins to see the humanity in him and the honor in his experiences. He starts to wonder if it is even possible that he will be able to kill him, but then realizes that he has also lost a little bit of his own humanity during his time in the jungle, making him the perfect man for the job.

The duality I see is that anyone can be made an enemy in war if you decide that what they are fighting for is directly against what you are fighting for. In the dynamic I just explained, Col Kurtz and the vietnamese people share a commonality as the target and Captain Willard and the United States share a commonality as the "seekers of justice" and the ones with the target in sight.

Most soldiers have to convince themselves at one point or another that what they are fighting for is just and that there is honor in killing for your country, and in this case, killing another soldier for your country.

I hope that makes sense. I am finding it difficult to articulate this one!

Rush #7 (very late)

The moment after Capt Willard finally kills Col Kuntz, he appears to have changed in some way. There is a darkness in his eyes that wasn't there before. He emerges and the entire tribe is ready to worship him as their new leader. 

I think there are similarities between this moment and the moment when Lawrence returns to his home and is also changed in some way. The same kind of darkness is in his eyes as was in Capt Willard's, particularly in the moment he is drinking lemonade at the bar. 

Both Captain Willard and Lawrence are markedly different and it is in a way that will remain with them for the rest of their lives. They both had done things they never thought they would, and they both began to sympathize and question the fight they were fighting. 

Rush #6

During the scene between Spartacus and his wife, Aurelia, he begins to realize that in his freedom he still has a long journey ahead of him. He realizes that his freedom implies a responsibility and a privilege that slavery did not require. Even while he is there, finally, with his love, he is looking ahead. The mise en scene is interesting as the backdrop is a wide open, blue sky: full of possibility. Yet, there is such a sadness in his words as he (and the viewers) remember that he is still a prisoner chasing many more freedoms. As you discussed in class, there is a repeated melody that is played when the two of them are together which triggers tenderness and sympathy in the viewer.

Also interesting, is when Aurelia explains where the wind comes from, she calms him with her mythical ideas and it reminds him that he doesn't have to know everything right at that moment and that joy was allowed to be felt.


(Sorry this is late, I waited until the last minute and of course my internet went down)

Rush #5

When Lawrence shoots Gasim, the frame has only Lawrence's face in a close-up. This indicated a pivotal moment as it did throughout the film. The film is focused on the physical and internal battles of one man, Lawrence, and it is made increasingly clear that this individual focus is incredibly important. As Lawrence becomes increasingly relied upon by more men and seen as a leader, it is important for him to follow through with what he says and set an example of decisiveness and courage. He decides without knowing the identity of the man that he will carry out the law, and decides to follow through with that decision even after realizing the man's identity. If he had wavered in this decision in any way, he would be putting himself and his men in danger.

Rush #4

Just prior to pausing Lawrence of Arabia in class last week, a scene was beginning to unfold where Lawrence was dancing around in his new clothes, and experiencing a new version of himself.  This idea was beginning to develop in the scenes previous when he returned to the arabs after rescuing one of their men. It is the morning after that night where we realize that Lawrence is clearly at a stage where he is starting to question his identity and his role in the world and he is dressed in full Arab garb. He is questioning his loyalty and where it lies. The most interesting bit of this scene is surprisingly not the moments we see him watching his own shadow with his new garments, but the moment someone approaches and immediately identifies him as a soldier. In that moment not only are we reminded of his roots, but he is also reminded and simultaneously disoriented. As if he had forgotten for a moment where he came from.

Rush #3 (better late than never?)

Your task this week is to use a repeated object or detail from John Ford's The Searchers in order to think about the film's particular staging of "domestic return" (the question of civic and/or familial belonging that we've begun tracing from Homer's Odyssey to the films of Eisenstein and Ford). 

The repeated detail that I noticed was the frequent framing of various characters within doorways.  A scene that I found this to be interesting was when Ethan's brothers wife, Martha was folding the blankets in the house and was being watched by Ethan. This was one of the scenes that made it fairly obvious that he was in love with her or that something had happened with them in the past. This secret love affair that is never vocalized is one of the many elements of the film that cause us to dislike Ethan but also sympathize with the humanity of his character. The implication that Debbie may actually be his daughter, really drives home the Homeric theme in this movie, causing the viewer to cheer for his quest to find her.

Rush #2

Your task in rush 2 is to consider how sound is functioning in the opening sequence in relation to the film's staging of "homecoming" (a form of narrative which we've now begun to trace from the poetry of Homer to the films of Eisenstein and Ford). Don't worry so much about dialogue. Focus more on the music and the voice on the radio at the end of the segment (and in doing so, try utilizing the conceptual distinction between diegetic and non-diegetic).  

I fear my response to this is not going to suffice, as I essentially have very little idea how the intro relates to "homecoming" and I also barely remember World War I history and I'm not sure where this intro is taking place geographically which I imagine is important. But, I am going to brainstorm here and hopefully come up with something. This film was easier for me to follow than the last, but it was still extremely slow. I understand that it's a classic and groundbreaking for it's time, but I was struggling. 

As far as diagesis, all of the tribal music and chanting was within the film, and being experienced by the characters. It is only of the only times in the film, other than the last 20 minutes, when land is even referenced. I believe that is how it relates to "homecoming". As the characters experience sounds and sights from the shore, they are reminded of their homes on land. The radio heard at the end is the a swift departure from the melancholy experienced by the men on board as the voice delivers news of prisoners. 

Rush #1

Your rush assignment for this week is to answer the following questions. Use whatever format you like (a paragraph, a sentence or two in response to each question, etc.). 

1. What are you focusing on here at Cornish? (What's your major and/or track? Are you currently undertaking any special projects--e.g. BFA project, senior thesis, etc.?)
• My major is Art. I am a transfer student, and just barely still qualify as a freshman. I don't know what my focus is yet but I anticipate that it will be video and/or painting. 

1. What's going on in your life outside of Cornish? Nothing much (because of full time study)? Creative activities beyond your Cornish work? Job(s)? Family life?  No need to tell me anything here that you're not comfortable sharing.  (Just skip this question if you're not comfortable with it.)

• As one of the older students at Cornish, I have a pretty well established life outside of my studies. I am a full time student, but I have a part time job at a gym called Denali Fitness as the front desk staff. As far as creative activities, I accept drawing commissions occasionally. I live with my sister in an apartment in West Seattle and I spend most of my spare time reading, watching movies, TV or hanging out with family and friends.

1. What's your background with film? Are you an avid viewer? (If so, all kinds of film, or just certain genres?) Have you helped make any film or video (or you hope to be involved in this in the future?) Have you taken other courses in film and/or film history?  (It's perfectly OK if you don't have any particular investment in film at this point.)
• I LOVE MOVIES. I spend a tong of time watching them. I try to make sure I watch the major films that everyone is talking about, but for the most part I am drawn to dark, character driven, independent films. Also, documentaries, thrillers, unconventional stories. Basically, anything that will make me question my own reality and way of viewing the world; even if just for the duration of the film. I consider myself a movie buff. I was raised going to the theater and I consider it one of the ultimate joys of life. I don't have any background in the creation of film, but I do have an itch for it. 

1. Any hopes are goals for this course? (Specific films, techniques, or concepts you're hoping we'll deal with, for instance)?  It's OK if you don't have any particular aspirations. (Maybe this course simply fit your schedule--that's fine!)

• I'm just excited to be more educated in the way I interpret and experience a film. I have to admit that the first film we watched has kind of scared me for what is coming next. I had a really hard time becoming invested or interested in the characters or the plot of Alexander Nevsky. I'd love to approach any of the Star Wars films since I have never seen them (I know - blasphemy!), but I am also curious if films like Ben Hur, Legends of the Fall or The Godfather (not sure if it qualifies) will be discussed or viewed. Looking forward to hopefully enjoying some of the films we watch and the way we talk about them.