Act/React

The two exhibits I'd like to compare and contrast are Snow Mirror by Daniel Rozin and Healing #1 by Brian Knep. Both exhibits are a form of digital interactivity that George Fifield talks about in his article. They require some sort of interaction to be realized to their full extent. It's somewhat interesting however to look at the level of passiveness that is involved in Snow Mirror. Unlike Healing #1 where the participant must move around the floor-piece constantly in order to form the psychedelic designs, Rozin's piece requires the subject to remain inactive for a short period of time so that the pixels may form on the screen to produce our image. The relationship that these two pieces, as well as the whole Act/React installation share is that they seem to address the danger of technology overriding artistic human nature that Fifield talks about. This new form of interactive art provides a hybrid of both technology and and art and fully realizes the notion of "2nd person cinema" that Duchamp was a subscriber to.

Journal Entry #1

Article 1

http://www.sensesofcinema.com/contents/07/45/paul-thomas-anderson.html

This article written by Andre Crous talks about current filmmaker Paul Thomas Anderson and his use of the tracking shot. An opening quote by Anderson states that while Steadicam shots are typically overused in his opinion, they can be utilized well if they encompass a floating, dreamlike atmosphere that is inherent in the technique.

Crous goes on to elaborate how Anderson has used a tracking shot in all of his films and has distinguished himself from those who have used the shot in more formal ways than others (Tarantino's Pulp Fiction.) While the typical trajectory of the tracking shot seems to be forward on a horizontal plane, Anderson moves left, right, backwards, forwards, up and down, all in real time. But thats not to say Anderson's operatic movement isn't strictly grounded in realism. Crous mentions that Anderson likes to have a shot linger from high above and descend or roam aimlessly through a given space as if the camera was some kind of god or supernatural force. It is Anderson's combination of the natural/supernatural in the memorable opening sequence of Boogie Nights that has led some to compare it to Scorcese's infamous Steadicam shot in Goodfellas.


Article 2

http://www.sensesofcinema.com/contents/directors/02/kubrick.html

Keith Uhlich writes a thorough article on the life and work of Stanley Kubrick, one of my favorite directors. He charts his life from magazine photographer to esteemed director and offers great insight on all of Kubrick's films. It's a shame Uhlich hasn't seen Kubrick's first feature, Fear and Desire. Though obviously somewhat amateurish, the film establishes what would become the reoccurring themes of his work: war, violence and the psychology of man and his physical/social entrapment. Uhlich charts Kubrick's maturity as a filmmaker and how with each film he would become more and more meticulous and demanding in regards to actor's performances and technical acheivement. Uhlich also writes how all his films are shrouded in ambiguity in terms of certain meanings, but that are still intriguing to watch because of Kubrick's passion for mise-en scene and music.

Field Report #1- Namibia: The Struggle for Liberation

For independent filmmaker Charles Burnett, making a film like Namibia: The Struggle for Liberation must have been a tremendous task that he wasn't used to as a director. The movie is just around 2 1/2 hours, filled with many intense battle scenes and a storyline that spans over 4 decades. And unlike Killer of Sheep, a story that had its origins from the post-Watts riots era but was about a fictional family, Burnett's latest film is a study in both artifice and reality. Not only did Burnett create a very believable Namibia, a country that actually underwent oppression and eventual liberation from South Africa and German occupation, but the film also follows the true life of Sam Nujoma, who fought for independence his whole life and eventually became Namibia's first president.

Burnett makes full use of the relationship between artifice and realism when dramatizing this film. The musical score is used very conventionally as a means to punctuate the suspense or drama unfolding; the type of scoring you would see in a regular studio film. Settings look completely authentic, granted most of the scenes were shot on location where these events actually unfolded in Namibia. The cinematography is well done, especially the opening shot of a young Sam walking through the desert. Many props go to the acting of Carl Lumbly, who passionately plays the older Sam and also to Danny Glover who plays Father Elias. Burnett also goes great lengths to create some very realistic battle scenes that could compete with anything Michael Bay does, with a 1/4 of the budget most likely. These gory battles, scenes of gruesome torture and another scene where Namibian children are kicking a German's head around like a soccer-ball all add effective, harrowing realism to the story of this war-torn country. Add to the fact that Burnett used mostly African non-actors and even included some actual footage of Namibia after liberation and we have a film that is just as special as Killer of Sheep; skillfully made with the illusion that is film making, but also comes off as very realistic and genuine.