tag:blogger.com,1999:blog-342488812024-03-14T07:47:58.651-07:00The Signs of LifeAwesome LessonsWeshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.comBlogger51125tag:blogger.com,1999:blog-34248881.post-32921144119097919882022-04-19T13:44:00.007-07:002022-04-20T08:02:47.668-07:00Next Level Magic<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdOWbdQ93p7shxBbHaoK-d81qeltvENdKJVFTUL1qBX2MC-V_X09QHPhMm2x6C_UoX22iKR-VgvLzvXCk-lnhIKZYAjDl8ptcnGx2gxXx5tUwo01IWs_UDuQUq1KyBJSCjMt0aX5JFK3Ioa8EQSAHoW4EdMNxg21JcH03vgkPYX17tSZA/s1200/how-to-build-a-magic-the-gathering-deck.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="798" data-original-width="1200" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdOWbdQ93p7shxBbHaoK-d81qeltvENdKJVFTUL1qBX2MC-V_X09QHPhMm2x6C_UoX22iKR-VgvLzvXCk-lnhIKZYAjDl8ptcnGx2gxXx5tUwo01IWs_UDuQUq1KyBJSCjMt0aX5JFK3Ioa8EQSAHoW4EdMNxg21JcH03vgkPYX17tSZA/s320/how-to-build-a-magic-the-gathering-deck.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">PC: HobbyLark.com<br /><br /></td></tr></tbody></table><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Times New Roman", serif; font-size: 12pt; text-indent: 0.5in;">NOTE: The following is from an essay I wrote in April 2013. </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Times New Roman", serif; font-size: 12pt; text-indent: 0.5in;">Those who participate heavily in the culture of Magic: The Gathering have one thing in common. They need somewhere to go. Zeke Van Etten, an incoming college freshman said about playing the game, “it feels like we don’t belong anywhere else.” They find a place to belong at the game table, sitting across from other individuals like themselves. Those who become part of this subculture are outsiders in one way or another. The game allows them to literally gather together, in a way they would not be able to without the game to break the ice. As Zeke said, “I probably wouldn’t have as many friends if I didn’t play Magic, because I’m not that social.” Playing the game gives them a shield to protect themselves as they meet and interact with others, as well as providing them with an instant, immediate commonality.</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 32px;">Magic: The Gathering will celebrate its twentieth anniversary in August 2013 and is “the most successful game most Americans have never heard of.” (Slavin, 2004 , para 3). A collectable fantasy-based role-playing game played with, and based on trading cards, it deals with powerful wizards who can cross between universes, called “Planeswalkers.” The players war against each other acting as the Planeswalkers. Each player begins with 20 lifepoints, and through playing different cards, attempt to kill the other Planeswalker. It is an imaginative game, wherein the player participates in the story as if they are one of the characters. It has been called “Cardboard Crack” and can become highly addictive (Slavin, 2004, para 6). The game is produced by Wizards of the Coast, who also produce Dungeons and Dragons.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 32px;">Zeke began playing the game on a Boy Scout trip when fellow Scouts taught him how to play. Usually players are inducted into playing by friends who teach them how to play. It is rare that people get into the game by themselves. One may suppose that the artifacts of this subculture would be the cards themselves, but Steve Barnes, a twenty-one year old combat veteran, and aspiring Magic Professional (Magic Pro), would disagree. To him the artifact that members gather around, (or more accurately<i>, in</i>) is the LGS, or Local Game Shop. He went so far to describe the shops as temples. He hopes to own his own shop one day and is already on track to do so. He works at a LGS that has plans to expand, and he will own one of the franchises. Steve played another popular card game called Yi-Gi-Oh when he was younger, but transitioned to Magic in 2006. He joined the Navy after graduating high school, and upon his discharge in 2012 found himself at a crossroads. “I went to a war and that changes you drastically when you come back, and I [didn’t] want to hang out with …twenty year olds that [were] immature anymore.” Finding himself without friends, he started going to the LGS and playing Magic with the people he met there. Now all of his best friends come from playing Magic. As Zeke said of himself, he was “Looking for people to have fun with,” and he, just like Steve, found them at the LGS playing Magic.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 32px;">The social aspect of the game is the single biggest factor drawing people to gather together to play. Steve said that for “People without a social outlet, if you have an interest in things like this, it can become the most powerful thing in your life.” This is evident when speaking to him about the game. His eyes light up, and his speech becomes almost evangelical as he waxes eloquent about the virtues of the game and the community that surrounds it. For Steve, the community of Magic: The Gathering players is of paramount importance. It’s given him a place to belong and a purpose to his life after his honorable discharge from the military. As he said, “I’m all about expanding the Magic community as a whole.” He’s concerned about ensuring the transmission of the culture to the future. Some LGSs are not what one would call warm and inviting, let alone family-friendly enough for a mother or father to feel comfortable dropping their son or daughter off for a few hours to participate in or watch a tournament. This is a problem for the continuity of the culture. If new blood isn’t constantly being added to the “gene pool” of players, how will the game, and by extension, the community, survive?<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 32px;">There are three categories of people who play Magic: The Gathering: 1) Timmy’s. 2) Johnny’s, and 3) Spike’s. Timmy is what Zeke calls a “Nube.” They are the newest, most inexperienced players who are just staring out, or those who are simply superficially dabbling in the game. Johnny’s are the in-betweeners. They are quite above average in game play, and they are typically good at building decks of cards and being what Steve called “Brewmasters.” They experiment to find better and unexpected combinations of cards. Spike’s are the tournament players. They play to win, and if they win 9 times out of 10, but think they should have won the 10<sup>th</sup> game, they don’t walk away happy. All three categories of player are needed for the game, culture, and community to remain a success. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 32px;">Ideally, all Magic players would progress from one category to the next. Steve is a mix between a Johnny and a Spike. “I want to win the tournament but I also don’t have a problem with the 8 year kid who doesn’t really know how to play. I don’t mind sitting there teaching him how to play,” he said. “This game is 20 years old for a reason. Eventually that 8 year old kid needs to be me 10 years from now, and Magic will be 30, and that’s how magic won’t die.” Steve described his playing philosophy as “Have some fun, get some wins, [and] maybe make some money.” Some players play because they just plain love the game. According to Steve, Reid Duke, a Pro Magic player says his first favorite thing about Magic is winning, and his second favorite thing about Magic is losing. These are the players who would play even if the world as we know it ended. Steve joked that if the zombies were storming his house, the first thing he’d grab would be his Magic cards.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 32px;">To some players, teaching others to play is just as, if not more rewarding than playing for themselves. “I wouldn’t be the person I am today if I hadn’t taught others to be as good as me, or [even] better [than me].” Some LGS aren’t friendly toward new and beginning players, because of the atmosphere and culture perpetuated by the owners, and to a lesser extent, the shop patrons. The reason for this is simply the temperament of the owners and consumers. The stereotypes of Magic: The Gathering players as basement-dwelling nerds who like wizards and dragons (Steve referred to them as “Doritos Eaters”) does have some basis in fact, and when some of those people find their way into a position of power, they do not automatically lose their mistrust of people, or suddenly become extremely social. Some shops' demeanor and behavior is not socially inviting to the average person, which is why Steve and Zeke’s outlook on new and young players is so refreshing. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 32px;">On the flipside of the coldness from some owners and players are the individuals who mock Magic players. In high school, Zeke would play with his friends during lunch, and kids would go out of their way to make fun of him and his friend, even picking up the cards without permission. “They can’t understand [Magic] the same way I can’t understand why they like sports.” He would usually try to come up with a witty retort to the mockers, which wasn’t hard, since they were not that intelligent to begin with. He learned to ignore them, but laments their behavior. “If you don’t care about it, why do you insist on making fun of those who do?”<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 32px;">There is a significant time and financial investment to become and remain a part of the Magic culture. At one point Zeke would wake up in the morning, go to the LGS, and spend all day there. That’s simply not sustainable for most people. That’s why a player like Steve gets a job at a shop, so that they can sustain that connection even while working. The game also inspires dedication, and in the case of Zeke, bodily modification through tattooing symbols from the world of the game on his arm. Players like Steve are convinced the time one puts into Magic will always pay off eventually one way or another.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 32px;">There are many stereotypes about the game of Magic itself, but Steve says it’s intellectually stimulating, even if you don’t like dragons, dwarfs, and dryads. “The game itself appeals to me. I like puzzles, I like complicated things. I like the strategy. This game is like chess on crack.” In fact, many chess and poker players cross train by playing Magic to improve the skills they need in order to compete in the games they play. As Steve said, “Poker and Magic are [both] Romance languages. If you like chess or poker, you’ll love Magic. ” One former chess and poker player, Stanilav Cifka, recently won $40,000 in a Magic tournament and is now exclusively a Magic Pro. He said, <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt 0.5in;"><span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 32px;">“The principle of every game [chess, poker, Magic are] different, but some things like managing stress, being able to keep concentration for a whole day, coping with losses, time management before the tournament etc., are the same for every game. And for all these games, you need to calculate the variations, so playing one of these games improves you in the others (Reinderman, 2012, para 19).<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 32px;">Playing Magic encourages next level thinking, and linear thinkers will not do well. From a mental preparation standpoint, if a fifteen year old gets to next level thinking, “He will crush high school and college,” according to Steve. “This game makes you smarter.”<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 32px;">The good fruits of this culture can be seen in the lives of those like Steve who it has helped tremendously. Steve suffers from Post Traumatic Stress Disorder. Being involved in the community has helped him cope with the things he experienced during his military service. And so he is loyal to Magic. “Whenever good things, [or] bad things happen, I’m gonna roll with the cards,” he said. He’s not the only one who the game has helped. <span style="background-color: white;">“Most parents [of Magic players]… say the game has sharpened their kids' mental skills, kept them away from drugs and gangs, helped shy children make friends and, like other sports, taught them how to win and lose gracefully” (Slavin, 2004, para 11). As Steve says,</span> “The community is wonderful. It’s a fantastic support structure…My life is completely positively impacted by this game.” <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 32px;"> </span><span style="background-color: white; font-family: "Times New Roman", serif; font-size: 12pt; text-align: center;">References</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><span style="background-color: white; font-family: "Times New Roman", serif; font-size: 12pt; line-height: 32px;">Reinderman, D. (2012, November 22). FM Stanislav Cifka turns to magic, wins US $40,000. </span><i style="font-size: 11pt; text-indent: 3pt;"><span style="background-color: white; font-family: "Times New Roman", serif; font-size: 12pt; line-height: 32px;">Chessvibes.com</span></i><span style="background-color: white; font-family: "Times New Roman", serif; font-size: 12pt; line-height: 32px; text-indent: 3pt;">. 1-1. Retrieved from http://www.chessvibes.com/reports/fm-stanislav-cifka-turns-to-magic-wins-us-40000</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><span style="background-color: white; font-family: "Times New Roman", serif; font-size: 12pt; line-height: 32px;">Slavin, B. (2004, June 20). Magic the gathering casts its spell. <i>USATODAY.com.</i> 1-1. Retrieved </span><span style="background-color: white; font-family: "Times New Roman", serif; font-size: 12pt; line-height: 32px; text-indent: 3pt;">from </span><a href="http://usatoday30.usatoday.com/life/lifestyle/2004-06-20-magic_x.htm" style="color: purple; font-size: 11pt; text-indent: 3pt;"><span style="background-color: white; font-family: "Times New Roman", serif; font-size: 12pt; line-height: 32px;">http://usatoday30.usatoday.com/life/lifestyle/2004-06-20-magic_x.htm</span></a></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><span style="background-color: white; font-family: "Times New Roman", serif; font-size: 12pt; line-height: 32px;">(All references to Zeke Van Etten, and Steve Barnes are from interviews conducted between April 5, 2013 and April 13, 2013. Their names have been changed.)<o:p></o:p></span></p>Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com0tag:blogger.com,1999:blog-34248881.post-3681839588742440712022-04-07T13:56:00.005-07:002022-04-08T09:00:47.954-07:00Wes Dean's Social Media Rules<br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigWO-NA3noL7Zly44fG05bVUETCWhA_K5Vpe1LjMepRj5ALBjF9ol14adQ18VyBr5n0h3xAyDnWsHxwHhOsxzq0dUOr-q7GudLRLvRWmxgy71HYK6_E7uxqGniw0GkWlP9zw35ItpGQvjU16mr0WkVk8QNsFgauy62BCViUhTpW8Zjjbs/s4032/IMG_9872.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigWO-NA3noL7Zly44fG05bVUETCWhA_K5Vpe1LjMepRj5ALBjF9ol14adQ18VyBr5n0h3xAyDnWsHxwHhOsxzq0dUOr-q7GudLRLvRWmxgy71HYK6_E7uxqGniw0GkWlP9zw35ItpGQvjU16mr0WkVk8QNsFgauy62BCViUhTpW8Zjjbs/w240-h320/IMG_9872.jpg" title="This is a picture of a wall. It has nothing to do with the post. Or does it?" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">A picture of a brick wall. This has nothing to do with the post. Or does it?</td></tr></tbody></table><br /><p>"Rules" to live by:</p><p>1.) If you post a lot, don't cross post. Instagram and Facebook and Twitter are different. Post to them differently. I know you took more then one photo of your kid, post one to Facebook and one to Instagram. You're (probably) not Annie Leibowitz. Your second best picture is good enough, too. Facebook owns Instagram, and they're basically turning into the same thing. Fight this by treating them differently. </p><p>2.) Put a cap on how much you post. Maybe only post once a day? Be intentional. Plan it out if you have to. </p><p>3.) Don't post stuff you don't want your grandkids seeing, or that you'll have to justify to God someday. </p><p>4.) Don't lie. It is lame. And somebody always knows the truth, whether they call you out on it or not. </p><p>5.) If you see it's someone's birthday and you have their phone number, text them! Don't just post on their wall. </p><p>6.) It's called social media. Don't waste people's time by posting crap. You are the media in this arena. That's a responsibility whether you want it or not. Make people's life better for having seen your stuff. </p><p>7.) If social media isn't contributing to your happiness and delight in life, delete your accounts and walk off into the sunset. </p><p>Are there "rules" I missed? Do these need to be modified? What do you think?</p>Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com0tag:blogger.com,1999:blog-34248881.post-2146834913566681592022-03-19T19:47:00.004-07:002022-03-19T20:18:04.782-07:00Did I Like This Movie? <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhq24xmkRCkJ3kl6GrRS7rHVw1pXzzVV3nJQGiggEKCS0AvAPhGKzWkNf-lDrXN5peKNsV10e6GupHVaT3QczTjGQbeEjnQ-7QInP9W2OX2uTdXRISEGTnaGCD-_N3WADmWr1cD5uUyKKiMcr1PS5dKfEKtbOJoQbr5LS7w9PPZryDgL0A=s1920" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="798" data-original-width="1920" height="133" src="https://blogger.googleusercontent.com/img/a/AVvXsEhq24xmkRCkJ3kl6GrRS7rHVw1pXzzVV3nJQGiggEKCS0AvAPhGKzWkNf-lDrXN5peKNsV10e6GupHVaT3QczTjGQbeEjnQ-7QInP9W2OX2uTdXRISEGTnaGCD-_N3WADmWr1cD5uUyKKiMcr1PS5dKfEKtbOJoQbr5LS7w9PPZryDgL0A=s320" width="320" /></a></div><br /><p><i>White God</i> is a film about dogs running around and killing those who’ve mistreated them. Ironically the dogs use the skills those who have tormented them instilled in them to get their revenge. The sight of a hundred dogs running through the streets of Budapest is something to behold. I just wish the rest of the movie were as compelling. </p><p>The story begins when a thirteen-year-old girl, Lili, is dropped off with her father for three months while her mother goes to an academic conference in Australia. A talented trumpeter, Lili brings along her pet dog Hagen. Her father wasn’t informed the dog would be coming and treats the animal like garbage. It doesn’t help that his relationship with his daughter is fractured by prior unseen and unmentioned events. Another complication ensues when a law restricting non-Hungarian dog breeds is put into effect and Animal Control come sniffing around. After a few misunderstood teen/jerk dad father scenes Lili runs away with Hagen. Once the father finds her, he’s so angry he makes her abandon Hagen. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgJ9XYUXVYoWKLhHbTOXgXMai3zQ2m5OnEGPomFa6wF6JIQ_MPdTcDI7Yi6W3nh-0uI-18AYUukaB55u1yDct1Yk558fpYlUIDLYpTnxG4wSaBtk6K_pN7IShhmMofditPTeofACnko_I1DfJdtKCtl8q01O9orTtLDr0ck0goBD4Nnc-4=s1200" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="501" data-original-width="1200" height="134" src="https://blogger.googleusercontent.com/img/a/AVvXsEgJ9XYUXVYoWKLhHbTOXgXMai3zQ2m5OnEGPomFa6wF6JIQ_MPdTcDI7Yi6W3nh-0uI-18AYUukaB55u1yDct1Yk558fpYlUIDLYpTnxG4wSaBtk6K_pN7IShhmMofditPTeofACnko_I1DfJdtKCtl8q01O9orTtLDr0ck0goBD4Nnc-4=s320" width="320" /></a></div><br /><p>Once he’s abandoned we switch to following Hagen for a while and bear witness to his sad-dog adventures. He befriends a little mutt, and cycles through a series of owners, such as a homeless man who sells him to a dog-fight trainer, who sharpens his teeth to a razor-fine points and taunts him until he learns to lash out. Hagen becomes a great dog-fighter. He eventually escapes the compound he’s held in, but is captured by Animal Control and sent to the pound. Hagen then leads a rebellion against the guards and escapes Animal Control with all the other dogs. </p><p>The escaped dogs rampage around the city. The city is forced to go into lockdown. The dogs kill the dog-trainer, the lady from Lili’s apartment who narced about Hagen being in the building, and others. It’s pretty insane. At the very end, Lili manages to calm the wild dogs by playing her trumpet, and they all lay down as the sun rises over the city. As I write this, I think maybe I just need to see it again to appreciate it more. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjcMSJBRHVqQzfERb0mgC36eeVpJKYw2j98xMGPEcZWXLs7GV8_igh4vYFHIKD5xvezpinGocq5YsLORpoT-82WxjG6A1mpm-KTvgnumxfVz0Ypq5p-8HiUF4A75vITJaUQ7CsuJTlZikDYne-Lxj0q5IJXfnMQWGgGU9SZN2EW20m6SuI=s880" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="474" data-original-width="880" height="172" src="https://blogger.googleusercontent.com/img/a/AVvXsEjcMSJBRHVqQzfERb0mgC36eeVpJKYw2j98xMGPEcZWXLs7GV8_igh4vYFHIKD5xvezpinGocq5YsLORpoT-82WxjG6A1mpm-KTvgnumxfVz0Ypq5p-8HiUF4A75vITJaUQ7CsuJTlZikDYne-Lxj0q5IJXfnMQWGgGU9SZN2EW20m6SuI=s320" width="320" /></a></div><br /><p><br /></p>Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com0tag:blogger.com,1999:blog-34248881.post-5571171522219319012022-03-17T20:41:00.007-07:002022-03-18T19:20:00.312-07:00The Moon Also Rises: Joe Versus the Volcano Scene Analysis <p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b style="font-size: 11pt;"></b></p><div class="separator" style="clear: both; text-align: center;"><b style="font-size: 11pt;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjPXshXWN3Ej4ZUPkWHQS4eV5vpr5TJm1EoBDkuY3V-UbKsjg1OVA56XtDwSieaH6VGOCY-OE467D6ViG4itcPCHL6SxDL8ddTrq2ZfcdRrxkDFxmLUs227UEUgtDpHaSezwQMjL6T7eaK4VUOhrW2D9x8bGTc1BRawjwkn9hIDk_4vZjE=s1920" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEjPXshXWN3Ej4ZUPkWHQS4eV5vpr5TJm1EoBDkuY3V-UbKsjg1OVA56XtDwSieaH6VGOCY-OE467D6ViG4itcPCHL6SxDL8ddTrq2ZfcdRrxkDFxmLUs227UEUgtDpHaSezwQMjL6T7eaK4VUOhrW2D9x8bGTc1BRawjwkn9hIDk_4vZjE=s320" width="320" /></a></b></div><b style="font-size: 11pt;"><b style="font-size: 11pt;"><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;"><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b style="font-size: 11pt;"><b style="font-size: 11pt;"><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;"><br /></span></b></b></p>INTRODUCTION</span></b></b><p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><span style="font-family: "Courier Final Draft"; font-size: 12pt; text-indent: 0.5in;">Joe Versus the Volcano is a fable for our times. It addresses the number one problem in our world that crosses all social, political and religious lines: people don’t follow their hearts, and they don’t live the lives they dream of. Joe Banks is an everyman who’s given in to the systems of the world, sold his soul so to speak, but hasn’t been given the world for it, which is supposed to be part of the deal. He discovers he has a 100% fatal brain disease, quits his job, and is then approached to be a human sacrifice to a volcano. On the voyage to the island to be sacrificed he is stranded at sea with the girl he loves after their sailboat is destroyed by a storm. He saved her life, and now they are drifting in the ocean on Joe’s ever-useful steamer trunks. Shanley is subtly encapsulating the theme of the film in this scene. Joe is beginning to wake up to the wonder of the world, and his place in it. That’s what we all should and can do, and film is a great mechanism to help accomplish it.</span></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;"> </span></b><b style="font-size: 11pt;"><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Shot One</span></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjcyYrp2U-n3PIw6VsoAaS7nhudjuTeF2IEip_ns640vrHrjVuI8UazwVs_mOy6R8kdbCjfgU2W4LAUu2kfcRwprqz2vlKYKT7S7X4zE27piP_wBy4SBaCy2sbQ9-4-ZSi5PH_vTIljohIrnIaklq0r7rDOC744dRy13zc8pf2LZJT1WHc=s880" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="440" data-original-width="880" height="160" src="https://blogger.googleusercontent.com/img/a/AVvXsEjcyYrp2U-n3PIw6VsoAaS7nhudjuTeF2IEip_ns640vrHrjVuI8UazwVs_mOy6R8kdbCjfgU2W4LAUu2kfcRwprqz2vlKYKT7S7X4zE27piP_wBy4SBaCy2sbQ9-4-ZSi5PH_vTIljohIrnIaklq0r7rDOC744dRy13zc8pf2LZJT1WHc=s320" width="320" /></a></div><br /><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><br /></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b style="font-size: 11pt;"><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Start Frame : 01:17:18</span></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg0yWlFneSWNJxLtqSUy-ajlmDnL96CJDL0FCPQTCpRrvGTeTrvD8YanPG5eETY6q-sfxepaaCw512weX_517NewUyutwGmSph2LV_cuu1bbufRsAsYk6sm_eIYL0vQ9CEyxJynsVGxF-ySER3X-UV1TJGyUfItFD34b4A40liI1naDrSk=s880" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="440" data-original-width="880" height="160" src="https://blogger.googleusercontent.com/img/a/AVvXsEg0yWlFneSWNJxLtqSUy-ajlmDnL96CJDL0FCPQTCpRrvGTeTrvD8YanPG5eETY6q-sfxepaaCw512weX_517NewUyutwGmSph2LV_cuu1bbufRsAsYk6sm_eIYL0vQ9CEyxJynsVGxF-ySER3X-UV1TJGyUfItFD34b4A40liI1naDrSk=s320" width="320" /></a></div><br /><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><br /></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b style="font-size: 11pt;"><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">End Frame: 01:17:21</span></b></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Aspect Ratio:</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;"> 2:35:1<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Duration:</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;"> Four seconds.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Shot Size:</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;"> Medium close up.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Sound: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Non-diagetic score plays over the shot. It’s a beautiful, gentle, romantic melody that will eventually resolve into almost a lullaby. Chimes tinkle, and a single oboe plays a beckoning call to adventure. The waves lapping against the makeshift raft can be heard diagetically.<b><o:p></o:p></b></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Contrast Dominants:</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;"> Joe (played by Tom Hanks) is the dominant contrast. He is in focus just to the left of center screen, lying on his back atop “the only luggage you’ll ever need to buy.”<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Character Movement:</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;"> Joe lies still as he slowly wakes up and opens his eyes. Joe doesn’t move on his own initiative, but as the trunk he is laying on is floating in the Pacific Ocean, he moves side to side with the waves.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Camera Angle:</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;"> The camera is angled on Joe’s eyes, with the camera above him. This gives the feeling of standing over him, watching him wake up.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Lens:</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;"> This shot uses a standard lens.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Depth of Field</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: The shot is technically in deep focus, because Joe and his trunk are both equally in focus, yet despite this, a sense of selective focus prevails, as the eye naturally focuses on Joe coming awake.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Lighting: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">A high contrast key light resembling moonlight shimmers on Joe’s face, drawing our attention straight to him while creating a pool of shadows in the upper right of the frame. “Overall, it is low key and magical.” – Dirk Olson.<b><o:p></o:p></b></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Color Usage:</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;"> Joe’s shirt is a light tan color, and his trunks are a dark brown. He has red sunburn on his face and a big splotch on his neck. The cumulative effect is a monochromatic sense of undifferentiated color, except for the moonlight shimmering on the trunks and his neck. The drab and mundanely modest colors of his clothes and trunks give the appearance that he’s not anything special. But what will occur in the next seven shots will prove the lie of that statement.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Screen Composition</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Joe is slightly left of center frame, which gives us a sense of intimacy with him. He’s not framed for a perfect portrait, but captured in a candid moment. We feel like we’re standing above him as he wakes.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Editing Style</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Classic continuity cutting.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Time</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Time is contracted by a dissolve into the shot, and constant (real) in the cut out of the shot.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Subtext</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Joe Banks has figuratively been asleep in his life for a very long time. He’s on a voyage to sacrifice himself in a volcano to appease the god of a backwards tribe of Hebrew-Pacific Islanders. He was recruited for this job by a businessman who has interests with the islanders, and an interest in keeping them fat and happy. Joe has already been sacrificing himself for years. He worked a dead end job until he found out he was “dying” from an incurable disease called a brain cloud. Joe has been sacrificing himself for money, comfort, and society’s acceptance. On the voyage to the island he’s fallen in love with Patricia, the businessman’s daughter, and when we meet Joe in this scene, they are the only two survivors of the sailboat that was carrying them to the island. Now that he’s in love, and believes he is dying, and is also going to jump into a volcano, he is waking up to the beauty, majesty, and wonder of life and existence.</span><b style="font-size: 11pt; text-align: center;"><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;"> </span></b></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Shot Two</span></b></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;"><span style="font-size: 12pt; text-indent: 0.5in;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;"><span style="font-size: 12pt; text-indent: 0.5in;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgVfEmM7ep0FVkNCNFwI6dll4HU7_LxIbk5nrwkGrtcYkqXI093JGppo24g9sv4-DCabGBSoVhtSkUZ-AW8sVM1VlQpsIbRZ8mFhEBLndcxGPecRxrnkvTPxOzDiWTMc1QfiOOdpTWGTqfOiyur63CpI5zlLxrG3GsCfPPh_3lX_OX3q2I=s574" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="322" data-original-width="574" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEgVfEmM7ep0FVkNCNFwI6dll4HU7_LxIbk5nrwkGrtcYkqXI093JGppo24g9sv4-DCabGBSoVhtSkUZ-AW8sVM1VlQpsIbRZ8mFhEBLndcxGPecRxrnkvTPxOzDiWTMc1QfiOOdpTWGTqfOiyur63CpI5zlLxrG3GsCfPPh_3lX_OX3q2I=s320" width="320" /></a></span></span></div><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;"><span style="font-size: 12pt; text-indent: 0.5in;"><br /> </span></span><p></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Start Frame: 01:17:22<o:p></o:p></span></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjIMGt8mATuMvwebMadKDq1d8rGVTlwJtschW_J_5FAw-6w2LC7evuBdn66z1tsEFXqSwAHbFk4TH5-WAWMLexcpOYaSDK9yNm-vbZ3g93GQ-MsYiGsiY8eS7A3i7a7oWSSbDcKOtYgk5J1zte0PGbbAlsf6BQD5BJ_z5cNzy8iHrYBwRc=s582" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="328" data-original-width="582" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEjIMGt8mATuMvwebMadKDq1d8rGVTlwJtschW_J_5FAw-6w2LC7evuBdn66z1tsEFXqSwAHbFk4TH5-WAWMLexcpOYaSDK9yNm-vbZ3g93GQ-MsYiGsiY8eS7A3i7a7oWSSbDcKOtYgk5J1zte0PGbbAlsf6BQD5BJ_z5cNzy8iHrYBwRc=s320" width="320" /></a></div><br /><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><br /></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">End Frame: 01:17:27<o:p></o:p></span></b></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Duration</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Five seconds.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Shot Size</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Extreme long shot from Joe’s POV.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Sound</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Violins join the oboe from Shot One as the moon begins its ascent and there is a faint diagetic sound of the waves that sound almost like footsteps, suggesting forward movement. A very faint sound begins right before the cut that grows in intensity in the following shots and resolves into the nondiagetic sound of the moon rising.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Contrast Dominants</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: A sliver of light draws our focus to the horizon between the sky and the ocean as the moon rises. As more light is poured into the world (and the frame) by the moon’s rise, we see the subsidiary contrast of the blue sky.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Character Movement</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: For the sake of this analysis, the moon is a character. The moon enters from beneath the horizon, rising up the y-axis. The sight of the moon rising is beautiful, and we see it from Joe’s perspective as he wakes up from less than ideal circumstances and is confronted with this beautiful sight.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Character Proxemics and Position</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: The moon is very far away from Joe, but as it rises, it begins to feel like he’s about a hundred feet away from it due to its increase in size. Joe and the moon are at an extreme social, even cosmic distance away, but it feels like they’re about to share an intimate moment.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Camera Movement</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: The camera is stationary as Joe’s eyes are locked on the beautiful sight he’s glimpsing. The interesting thing about this shot is the feelings and emotions it evokes as we stand in Joe’s place and see the moon rise.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Camera Angle</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: We’re at Joe’s eye level, which is near ground (or more accurately, sea) level after he’s woken up and begins to sit up.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Lens</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: A standard lens is used in this shot, so as not to distract too much, since the moon rise effects are done in such a formalist manner.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Depth of Field</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: The shot is deep focus in order to let us take it all in, as well as it’s Joe’s POV, and he’s looking far out over the ocean.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Lighting</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: The motivated lighting of the moon as it rises illuminates the ocean and even lightens the sky. In practical terms the moon (though artificial) serves as the key light that illuminates Joe in succeeding shots.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Color Usage</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: The sea is dark blue, almost black, which ties into the subtext of the movie. The moon first appears as a sliver of white light and slowly rises, reflecting yellow off the water.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Screen Composition</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: The frame is filled in an elemental way, even though there is sparse texture. It’s full of water, sky, and light as the moon rises in center frame and our eyes follow as it starts its ascent.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Editing Style</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Classical Cut from Joe waking up and opening his eyes to what he is seeing: the beginning of moonrise.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Time</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: This is the beginning of the moonrise, and it appears in this shot and others to be happening in real time, though in reality it would take longer than a minute and forty two seconds.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Subtext</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Joe has been struggling to stay alive in the middle of the ocean, and also keep alive his unconscious true love. As he’s become focused on survival, the sun has been beating down on him, and he’s begun hallucinating. Isolated from the rest of the world and its ways, the beauty of the natural world is amplified. So at first he’s awoken by the light from the moon, and as he sees it rising, it becomes impossibly large.</span></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Shot Three<o:p></o:p></span></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhUSxpME1ejvUO0tGmBhEpLcEsdaz9Nur4SvQqzewiO7hrCnuvzaX1p8lUQNOt9wrGSlNQNdqYv6u3PE5Hu2FkMCc_FrCyEeunDcaDi-xljyfcXEZieRAiaCbWZvo475lmnGYqgU-L2-Bxj4KI9_rgowXHlpkhcp2TK1MDj8mNLnxSXT9I=s570" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="570" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEhUSxpME1ejvUO0tGmBhEpLcEsdaz9Nur4SvQqzewiO7hrCnuvzaX1p8lUQNOt9wrGSlNQNdqYv6u3PE5Hu2FkMCc_FrCyEeunDcaDi-xljyfcXEZieRAiaCbWZvo475lmnGYqgU-L2-Bxj4KI9_rgowXHlpkhcp2TK1MDj8mNLnxSXT9I=s320" width="320" /></a></div><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><br /></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Start Frame: 01:17:27<o:p></o:p></span></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgftH9Ewv-ur1xO1mMKT2n_wHh_NRiA0K7RdT7PZwybfyKxgWhJwuX9XAVm3LCTyuRdd18ghU8JiY3T5iQpyqRvXoaGpqgqacYL4u5NvM7WaOrdHjBtBfqFTvshHsVV6XEIhq1FoAyhy1F8qBU6BVpc5d95E1h0X5cbYoQJz8HPgTW2vzQ=s580" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="326" data-original-width="580" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEgftH9Ewv-ur1xO1mMKT2n_wHh_NRiA0K7RdT7PZwybfyKxgWhJwuX9XAVm3LCTyuRdd18ghU8JiY3T5iQpyqRvXoaGpqgqacYL4u5NvM7WaOrdHjBtBfqFTvshHsVV6XEIhq1FoAyhy1F8qBU6BVpc5d95E1h0X5cbYoQJz8HPgTW2vzQ=s320" width="320" /></a></div><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><br /></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">End Frame: 01:17:31<o:p></o:p></span></b></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Duration</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Four seconds.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Shot Size: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Medium shot that becomes a medium close up.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Sound: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">The tympani roll representing the moon rising grows louder here as Joe begins sitting up. It blends in with the music very well and could even be a synthesized sound and part of the score if not for what happens later.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Contrast Dominants: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Joe’s face is the Dominant Contrast and we’re drawn to his face as he moves his head while sitting up, and also because of the expression on his face of confusion and wonder as he wakes up. The Subsidiary Contrast is the colorful canopy with giant printed goldfish he’s erected to shade Patricia.<b><o:p></o:p></b></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Character Movement: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Joe sits up as he wakes up and he scans the horizon with his eyes from screen left to screen right along the X-Axis.<b><o:p></o:p></b></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Character Proxemics and Character Position: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">The camera starts at a social distance from Joe but moves into the personal the more he sits up and becomes aware.<b><o:p></o:p></b></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Camera Movement: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">The camera dolly’s in toward Joe’s face as he sits up.<b><o:p></o:p></b></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Camera Angle:</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;"> The camera shoots slightly above Joe’s eye level, representing his lack of understanding and knowledge. This plays into future shots as Joe awakens fully, the camera shoots from below him, making him a more powerful and aware figure.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Lens: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">A standard lens is used to accentuate Joe’s waking up and sitting up.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Depth of Field: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Shallow focus is used to draw us to Joe waking up and seeing the immense moonrise. The trunks Joe and Patricia are floating on are out of focus, as well as the goldfish canopy and the ocean.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Lighting: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Low to Moderate Key lighting with high contrast shadows is used to show us Joe’s little world floating on the Pacific Ocean. Joe is being illuminated by the moonrise, and we begin to feel his wonder at the sight.<b><o:p></o:p></b></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Color Usage: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">In contrast to Shot One, more of Joe’s world is visible, and even though he is wearing drab colored clothing, his surrounding are anything but drab. The red umbrella holding up the white canopy festooned with bright orange goldfish, even the “deck” of the trunks and the light shining off the water express the simple beauty and utility of Joe’s terrible situation.<b><o:p></o:p></b></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Screen Composition:</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;"> Joe takes up approximately two thirds of the screen starting from the bottom, as he lies down. When he sits up, the camera rises up and moves closer to him, and we can see more of what’s behind him. There is a sense of imbalance struggling toward balance.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Editing Style: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">This shot is a cut from the preceding shot of Joe’s POV. The editing emphasis is on telling the story with just enough time to take in the mise en scene. <b><o:p></o:p></b></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Time: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">The shot is in Real Time, though what is happening in the sequence has the feel of dreamtime, with the moon rising rapidly, yet appearing to move very slowly, while Joe reacts quickly by moving slowly to get up. Sometimes upon waking, everything seems to be going very slowly, yet also quickly, in a sort of timeless now. That is how the entire sequence plays out.<b><o:p></o:p></b></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Subtext: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Joe is finally awake and beginning to get a glimpse of understanding toward the nature of his world. This motivates him to action, to start to literally get up and stand on his own two feet as will be seen in further shots.</span><b style="font-size: 11pt; text-align: center;"><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;"> </span></b></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Shot Four<o:p></o:p></span></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiQ7SyDC-LsCzpaHxrCEMwPm72C5BAuCUhdTlf89VIrYatrSfhAeP0OZ5qeGCW6_1176GUc3DOjqkv4KW6Ov6B3izXeWJgiVcvZL6tuzKBG-XM95gkFuQMyobEQglfhyZ7MYLGfttNzO0ko7gqPf6BSPxfRN1c7AYduuAKBH2kzoGBFb1o=s580" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="326" data-original-width="580" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEiQ7SyDC-LsCzpaHxrCEMwPm72C5BAuCUhdTlf89VIrYatrSfhAeP0OZ5qeGCW6_1176GUc3DOjqkv4KW6Ov6B3izXeWJgiVcvZL6tuzKBG-XM95gkFuQMyobEQglfhyZ7MYLGfttNzO0ko7gqPf6BSPxfRN1c7AYduuAKBH2kzoGBFb1o=s320" width="320" /></a></div><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><br /></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Start Frame: 01:17:31<o:p></o:p></span></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj9ys-ZGmPiNVMFCCeIrAdW9YlaQmd1vWbX4tSJlheJ7EAItWM6u-uvijfCkbHqwYx2Pssyy0gGkKvSqMcFrgLGQBaZ5aUmfbKEiuRJQ5YcvInCMTJEoq5-9n4d67uhbmS7pe8pasnMXn2bluAO-pJRsCcn12I7QGii6xdz7PJPhdYLjkI=s584" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="328" data-original-width="584" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEj9ys-ZGmPiNVMFCCeIrAdW9YlaQmd1vWbX4tSJlheJ7EAItWM6u-uvijfCkbHqwYx2Pssyy0gGkKvSqMcFrgLGQBaZ5aUmfbKEiuRJQ5YcvInCMTJEoq5-9n4d67uhbmS7pe8pasnMXn2bluAO-pJRsCcn12I7QGii6xdz7PJPhdYLjkI=s320" width="320" /></a></div><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><br /></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">End Frame: 01:17:36<o:p></o:p></span></b></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Duration</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Five Seconds.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Shot Size</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Long shot.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Sound</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: The nondiagetic whirring sound begins to increase in volume as the light from the moon increasingly fills the frame, and faint water splashes can be heard.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Contrast Dominants</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: The moonlight spilling out from the edge of the frame at first draws our attention, but then we see Joe on his knees illuminated by the moonrise, watching the brilliant light. The light is almost a leading line directing us toward Joe.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Character Movement</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Joe looks from screen right to screen left, taking in the sight. His right foot is shaking, possibly because he is still somewhat disoriented from his fever-sleep.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Character Proxemics and Character Position</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Joe has his back to the camera and goes into a three-quarter turn as he looks toward the light. He is at public distance from the camera, which prepares us to be drawn in to his realization starting with the next shot. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Camera Movement</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: The camera is stationary. The camera is at a new angle from the previous shot. This angle is only used once.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Camera Angle</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: This is a slight Low Angle shot of Joe, and the first time he’s shown above the camera. This has the effect of giving him power, and since we have identified with him previously by being at eye level with him, as he gains more power in his life, we’re drawn to see things his way, so that when the epiphany comes in the last shot of this sequence, we are right in tune with what Joe feels.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Lens</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: A wide angle lens is used, to accentuate everything in Joe’s world showing that life doesn’t have to be a complicated tangle of shifting alliances, money-grubbing, and pessimistic plans, but can be simple and straightforward, all while allowing the light from the moonrise to lead us to Joe adrift on the raft.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Depth of Field</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: This is a deep focus shot and it looks like some kind of primordial creation is taking place with the light from the moon spilling into the frame. It appears more like a sunrise than a moonrise, and perhaps it is. It’s the first day of Joe’s new life.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Lighting</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Low Key and Low Contrast lighting is used and is motivated by the moonrise and the stars overhead.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Color Usage: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">The bright yellow-sun like color coming off the moonrise gives a fairy tale quality to the shot, which refers back to the beginning of the film when the title cards states: “Once upon a time, there was a guy named Joe…”<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Screen Composition: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">The light bursting into the frame from the moonrise acts as a leading line, though not technically one. It leads us to see Joe in the right half of the frame and focus on what he’s doing. This is Closed Form with sparse texture, giving a sense of open frame with the unfolding universe. Since this is a Formalistic piece it’s perfectly appropriate to make a moonrise appear as a sunrise in order to signify a character’s inner illumination and enlightenment.<b><o:p></o:p></b></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Editing Style:</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;"> This shot is cut on action from the previous shot of Joe sitting up. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Time:</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;"> Time is slightly contracted in this shot from the previous shot, because the cut on action does not precisely match up seamlessly with what is happening in this shot.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Subtext: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Joe is experiencing the dawn of a new era for his life, but it is happening through a moonrise, instead of what one would expect, which would be a sunrise. Shanley’s formalism allows him to use this one, slightly off kilter shot, in an expressionistic way to prime the audience to feel the subtext of what is happening to Joe: He’s waking up.<b><o:p></o:p></b></span></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Shot Five<o:p></o:p></span></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhFxSOWDXBnsIQX8QyoQrsSfiGIpb5WsrfK35ZsdCudode6s9G5efW1GrJWWEg1gTgBbHpy4S_zQHkVR0f30oRvk9zxKvtj4EbTJzq7dDFetjPSiUqOUgfyWqhMS2q5iMoHRdPr1DrFWwhjW4b97v_yFiUtrYj_je9jToWiyh6Xm2RjBOI=s588" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="330" data-original-width="588" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEhFxSOWDXBnsIQX8QyoQrsSfiGIpb5WsrfK35ZsdCudode6s9G5efW1GrJWWEg1gTgBbHpy4S_zQHkVR0f30oRvk9zxKvtj4EbTJzq7dDFetjPSiUqOUgfyWqhMS2q5iMoHRdPr1DrFWwhjW4b97v_yFiUtrYj_je9jToWiyh6Xm2RjBOI=s320" width="320" /></a></div><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><br /></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Start Frame: 01:17:36<o:p></o:p></span></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiSQJyFFuNEyEkHlrzilk5vIaVMq-JHk2zVX58ZXajfyYdhiLb_TNMDgAij075exlb3-bs8xnRBueijKc_NiGS5K-Lx4QodYAo9iIiD3VOl1lM_JOgZjOI1c06J0pCRuCiaNNWO_Iz3EcKNsQn22ZOYK6z-H5nDZQF_MjCaLmxxgso0iI0=s584" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="328" data-original-width="584" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEiSQJyFFuNEyEkHlrzilk5vIaVMq-JHk2zVX58ZXajfyYdhiLb_TNMDgAij075exlb3-bs8xnRBueijKc_NiGS5K-Lx4QodYAo9iIiD3VOl1lM_JOgZjOI1c06J0pCRuCiaNNWO_Iz3EcKNsQn22ZOYK6z-H5nDZQF_MjCaLmxxgso0iI0=s320" width="320" /></a></div><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><br /></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">End Frame: 01:17:40<o:p></o:p></span></b></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Duration</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Four seconds.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Shot Size</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: A full shot is used so that Joe’s entire body is in view as he starts to rise.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Sound</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: The score and moonrise sound (tympani) continue.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Contrast Dominants</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Joe’s face is in center frame, and the shifting moonbeams draw attention to his eyes as he focuses intently on the moon.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Character Movement</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Joe struggles and is determined, despite being very shaken up, to stand in the presence of this once in a lifetime sight.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Character Proxemics and Character Position</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Joe is at a social distance from the camera and is facing full front giving a sense of intimacy. It’s as though we’re watching someone get up after being wounded and knocked down, such as a boxer, and we’ve become fully sympathetic to Joe.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Camera Movement:</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;"> The camera is stationary until right before the cut, when it begins to tilt up with Joe. It does this in order to show Joe gaining greater power.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Camera Angle: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Eye level with Joe, we’re on the same emotional page as he is.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Lens: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Standard. There is nothing stylistic about this shot except for what is occurring in the story. This is done so we focus on what is happening to Joe.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Depth of Field: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Fairly deep focus is used to show us Joe and the stars above and around him.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Lighting: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">High Contrast Lighting with the bright water reflection moving across his face. The light is waking and drawing him up.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Color Usage</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: The bright, poppy, warm and cool colors of frame left and the dark nothingness on frame right show Joe’s two choices: Life or death. Joe stands in the midst of these two ways with his drab clothing that is made more beautiful by the shimmering moonlight.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Screen Composition</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Joe is placed in center frame. In this position he balances the two ways of being.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Editing Style</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Cuts get us in and out of this shot, and are used so that we can take in the mise en scene of this beautiful situation.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Time</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Time is constant and consistent in this shot from the previous shot.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Subtext</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Joe is moved to action and accepts the call to adventure and growth by taking baby steps to stand up and receive the sight of the moon on his feet.<o:p></o:p></span></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Shot Six<o:p></o:p></span></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhUpKT1GbzvCajhTnnpsMp6LNHPVLr4VCh3qP60QHVvfvkgjyQtjuWhJurKdzlUKxv-IWlU2I_-7DXjbVREAUKpWm5Zp78SIj8Alb3Kk3wTfv1lTA7ZM0BqO9W8AtOg4T6ppgCFYSY7AbE5jbztQU5a4HklXrxYol6Dli60FckaCpyNORA=s582" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="328" data-original-width="582" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEhUpKT1GbzvCajhTnnpsMp6LNHPVLr4VCh3qP60QHVvfvkgjyQtjuWhJurKdzlUKxv-IWlU2I_-7DXjbVREAUKpWm5Zp78SIj8Alb3Kk3wTfv1lTA7ZM0BqO9W8AtOg4T6ppgCFYSY7AbE5jbztQU5a4HklXrxYol6Dli60FckaCpyNORA=s320" width="320" /></a></div><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><br /></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Start Frame: 01:17:40<o:p></o:p></span></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEic4RCUixdiqwN1CMX9fDSNXbAYcFimQUpfP78833pwhzkqenQFt4selSZL39HrJeMVYmeXciasRlmGmvNuzv1I85wsfu7ngzBTwiz2Jy7yImMR_IFeawxBmBs1oLhtdZ829z0gkabxfD_3XoqzqrKiK3phMRueigv_hHkz4dODVABD42M=s594" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="334" data-original-width="594" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEic4RCUixdiqwN1CMX9fDSNXbAYcFimQUpfP78833pwhzkqenQFt4selSZL39HrJeMVYmeXciasRlmGmvNuzv1I85wsfu7ngzBTwiz2Jy7yImMR_IFeawxBmBs1oLhtdZ829z0gkabxfD_3XoqzqrKiK3phMRueigv_hHkz4dODVABD42M=s320" width="320" /></a></div><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><br /></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">End Frame: 01:17:44<o:p></o:p></span></b></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Duration</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Four seconds.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Shot Size</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: An extreme long shot is used so the enormity of the moonrise can wash over us.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Sound</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: The nondiagetic tympani roll continues and it’s now clear it belongs to the moon. It sounds like a spaceship humming through space. Perhaps the sound actually comes from the Earth rotating, and not the moon?<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Contrast Dominants</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: The moon grabs our attention and points us to Joe taking it all in and struggling to rise.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Character Movement</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Joe has very limited movement here, but the moon grows very big in a very limited amount of time.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Character Proxemics and Character Position</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: The camera is far away from Joe so we take in the uniqueness of what he’s seeing. If we were in a boat looking down at him as he sees this, we’d wish we were down there with him, too. The distance between the camera and Joe actually draws the viewer in closer emotionally.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Camera Movement: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">The camera is stationary throughout this shot, as if we are a passenger on a non-rocking boat, riveted on the moonrise.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Camera Angle</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: We’re slightly above eye level due to the distance between the camera and Joe, so we have feel like we have more power, even though we are slowly being drawn into Joe’s inner world.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Lens: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">A standard lens is used so we can see what our natural eyes would take in if we were witnessing this in real life.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Depth of Field: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">We’re in deep focus to take in the sparse yet edifying mise en scene.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Lighting: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">See Shot Two for technical reasoning. Joe’s whole world is coming alive, and he is encased in a bubble of light with the half circle of the moon above his head and the reflection of the light underneath him, forming a safe cocoon.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Color Usage: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Joe’s clothes are being lightened by the moon’s light, and the yellowish reflection on the water brings to mind the beginning of a new day.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Screen Composition: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">The closed form and composition here indicate increasing balance as the moon rises encompassing Joe within the comforting embrace of its sphere. This is also a good example of open frame. There is a universe to explore.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Editing Style: </span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Cut on action with a match getting into the scene aligns us mentally with Joe and because on the out cut we go to a continuation of the previous shot’s action of Joe facing full front attempting to stand up, we’re now seeing things Joe’s way, since we’ve been given a glimpse of how he is seeing things.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Time</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Real time is used. See Editing Style above for details.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Subtext</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Life is bigger, and grander, and stranger than we know, as symbolized by the enormous moon rising over the ocean, and we need to experience the reality of the beauty of our lives, even, and maybe especially in the bad times, such as when you believe you have an incurable brain disease while being lost at sea with no hope of rescue with your true love who might be dying.<o:p></o:p></span></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Shot Seven<o:p></o:p></span></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjS3oo1P_PUC_qBX7zwVEc3LFEOdyMbAdEEaYfReIBAWGyFB7Kyb4NT3EZLcSTGZZwdLR43Zql4WDkn_YNB6Cy1vP72nt559oB2ven_q6TDgr0zM6nktgC2yv30sW2Nn2N13vn97llBuf6biOucAav3WBMQhpVuY8NkfffsKoOtt47YZdc=s588" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="330" data-original-width="588" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEjS3oo1P_PUC_qBX7zwVEc3LFEOdyMbAdEEaYfReIBAWGyFB7Kyb4NT3EZLcSTGZZwdLR43Zql4WDkn_YNB6Cy1vP72nt559oB2ven_q6TDgr0zM6nktgC2yv30sW2Nn2N13vn97llBuf6biOucAav3WBMQhpVuY8NkfffsKoOtt47YZdc=s320" width="320" /></a></div><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><br /></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Start Frame: 01:17:44<o:p></o:p></span></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhQpE84JXIeXhpxuJDYnek9-d3F2f8byZe_bBH5WrunQQH9s34cNb5OEKn-PYe_A8mVT5U2X8LhBKoZsFy_XmSSJehoMo1n8OZItUDEdGH3pmlLvyzc4qWxRnHx_h4umfCSJFcKwl1JnQm_vmd-x392H2BjrgOHf9U4Q5PCvOpu5H_aAog=s584" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="328" data-original-width="584" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEhQpE84JXIeXhpxuJDYnek9-d3F2f8byZe_bBH5WrunQQH9s34cNb5OEKn-PYe_A8mVT5U2X8LhBKoZsFy_XmSSJehoMo1n8OZItUDEdGH3pmlLvyzc4qWxRnHx_h4umfCSJFcKwl1JnQm_vmd-x392H2BjrgOHf9U4Q5PCvOpu5H_aAog=s320" width="320" /></a></div><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><br /></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">End Frame: 01:17:58<o:p></o:p></span></b></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Duration</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Fourteen seconds.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Shot Size</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Full shot that tilts up into a medium shot that shows Joe’s power shift from weak to strong.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Sound</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Score and moon rumble continue. Water splashes, and feet thump as Joe stands fully erect. The score and the roar of the moon seem to trade off being mixed slightly higher than one another. A slight creaking sound is heard while Joe tries to rise, possibly from the strings of the violin, suggesting his body’s resistance to change.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Contrast Dominants</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Joe’s face and eyes are the contrast dominant, followed by his body as he rises.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Character Movement</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Joe struggles to rise along the Y-Axis. He is now isolated from the raft of trunks and Patricia’s canopy. He now dominates center frame. The only other objects in the shot are the stars in the sky<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Character Proxemics and Character Position</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Joe faces full front and is at a social distance from the camera. This intrigues us, and makes us want to get closer to him. As he rises he straightens up and the raft which had been slightly uneven, corrects itself due to Joe’s weight.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Camera Movement</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: As Joe stands up the camera tilts with him, which emotionally changes the whole mood as he is now totally alone in the frame.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Camera Angle</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: The shot begins with an almost eye level shot and then moves into a slight low angle shot to show Joe’s acceptance of the call to adventure by his rising up.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Lens</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: See Shot Five.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Depth of Field</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: See Shot Five.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Lighting</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Moderate to High Key light on Joe, with a dark expansive universe behind him. The reflection off the water can now be seen all over the front of Joe’s clothes, which gives the appearance of a current of electricity running through his body, representing a new found source of power for his life.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Color Usage</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: See Shot Five for an analysis of the first part of the shot. When Joe stands up in center frame, the only color is other than the black night sky and the shining stars is his khaki shirt and pants that through the light of the moon seem to subtly radiant a white light of their own, making them look not like khakis, but like white clothes that have become soiled.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Screen Composition</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Joe is in center frame cleaving the two sides of the frame in half, representing again, the two ways of life and the fact that we always have a choice of which path to follow.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Editing Style</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: The cut into this shot is almost like the moon’s POV of Joe. The natural world may not be aware of us, but we are aware of it, and we should learn its laws for ourselves and act accordingly, so it’s not a stretch to imagine parts of the natural world as having points of view. The cut out is our “safe” observer’s view. Except that how can an observer not be moved by seeing a fellow human opening up to the world and the universe? <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Time</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Time is real in this shot and it’s used to bring us right along with Joe’s journey.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Subtext</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Much of the subtext of this and the preceding shots can only be understood in the correct context after viewing the complete scene and/or film , for example, the idea of the electrical current running through Joe’s body discussed under the Lighting category above. In this shot Joe is facing full front, finally accepting the wonder of his existence. <o:p></o:p></span></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Shot Eight<o:p></o:p></span></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj9duHnWL7yrzzmPAvzZr7D4f58ee4Qf8W_khHn5Pp3xFF1biJffQbqcT9_fLeQCoBVj8QSK6opyLHvr_66-tvvdcTWFcE621Hd2eei-6RLkEfnrGM-06nXpl3fJRa33GwKX5qSKe7s0DyW4pmN1nPjtu-aQ8e5OUa25O165wyIudvIosM=s586" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="330" data-original-width="586" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEj9duHnWL7yrzzmPAvzZr7D4f58ee4Qf8W_khHn5Pp3xFF1biJffQbqcT9_fLeQCoBVj8QSK6opyLHvr_66-tvvdcTWFcE621Hd2eei-6RLkEfnrGM-06nXpl3fJRa33GwKX5qSKe7s0DyW4pmN1nPjtu-aQ8e5OUa25O165wyIudvIosM=s320" width="320" /></a></div><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><br /></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Start Frame: 01:17:58<o:p></o:p></span></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgURIspd9by4pNvK2VG1qDHqslaFoq5DdS3LJ0iooUg8H5q-kzBC948MMcxsPRoX0HEWq9vrnLi1mkXXP-NzX6DUjQMQ6xSlvrc911CR3fewN6yvBdKHZWbg4Ca3uozyxV0-lrro3-qBGwcfKY23_SCqGDv7LpYH2bpNDGd1t_tUm9DA4s=s574" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="322" data-original-width="574" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEgURIspd9by4pNvK2VG1qDHqslaFoq5DdS3LJ0iooUg8H5q-kzBC948MMcxsPRoX0HEWq9vrnLi1mkXXP-NzX6DUjQMQ6xSlvrc911CR3fewN6yvBdKHZWbg4Ca3uozyxV0-lrro3-qBGwcfKY23_SCqGDv7LpYH2bpNDGd1t_tUm9DA4s=s320" width="320" /></a></div><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><br /></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt; text-align: center;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">End Frame: 01:18:12<o:p></o:p></span></b></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Duration</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Fourteen seconds.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Shot Size</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Extreme long shot<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Sound</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Nondiagetic score soundtracks the epic nature of what is occurring while the deep sound of the moonrise crescendos as Joe lifts his skinny arms to heaven and a very faint tympani drum roll is heard in the latter part of the shot.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Contrast Dominants</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: The enormous moon draws our attention and then makes us look right at Joe. And when we see this shot, we’re now on board with Joe.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Character Movement</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Joe slowly lifts his arms on the Y-axis as the moon rises in front of him.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Character Proxemics and Character Position</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Joe is still at a maddening public distance from the camera. It’s an invitation to the audience to draw closer, but of course we can’t unless the filmmakers themselves bring us closer.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Camera Movement</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: The camera stays stationary so we can focus on Joe’s character movement.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Camera Angle</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: We are at an observer’s eye level, preparing us to be drawn in more fully in the final shots of the scene.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Lens</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: See Shot Six.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Depth of Field</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: See Shot Six.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Lighting</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: See Shot Six for previous details. The moon is now much bigger, so the motivated lighting casts more light on Joe.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Color Usage</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: See Shot Six.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Screen Composition</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Joe forms an upside down triangle with his arms. The full moon is a sphere, and the umbrella is circular. The triangle and the circle represent wholeness and perfection.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Editing Style</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: The in and out cuts are both on matching action to emphasize Joe’s actions while witnessing this special sight. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Time</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: The shots play out in real time, drawing us into what we’re seeing on screen.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.333335876464844px; margin: 0in 0in 10pt;"><b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">Subtext</span></b><span style="font-family: "Courier Final Draft"; font-size: 12pt; line-height: 32px;">: Joe is encased in the safety of the moon’s sphere, and accepts its power and beauty into his life with his prayerful gesture of raising his arms, not in some mystical metaphysical way, but in a metaphorical one. Joe isn’t doing this to please others, or to get ahead in the world, or because it’s what he’s “supposed to do.” He’s doing it in awe of reality. Because of this, he will later be able to accept that his sickness was a lie, and his whole voyage to the island was for nothing. Except… that on the sailboat to the island he did meet the love of his life, and marry her a minute before he jumped to his certain doom into a volcano. And then… he didn’t die. And he now has a beautiful future ahead of him with Patricia. As she asks Joe after the island is destroyed and they find themselves again floating on Joe’s trunks: “It’s always gonna be something with you, isn’t it, Joe?” His response is the only one a sane practitioner of reality would give: “Yeah.” <o:p></o:p></span></p>Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com0tag:blogger.com,1999:blog-34248881.post-55652612103430587302022-03-01T16:00:00.006-07:002022-03-01T16:00:51.159-07:00Mike Nichols: A Life<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgIv4YBnS-W1qf-szXKJ0Jzu_dph-hQvkefmAhrlvfWvghuYF2QsryBOyUhZ6iosHYAEfLEOke09Jph4szvHHn0La3XGqr8LM8ElyQOAvX6l1mJ9e71jWS8yUVVy5J0ImndNW445vRauiSc2_LR7tnJdbf4PWmONQUfy6LgL05ojrcoJQ8=s2560" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2560" data-original-width="1684" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgIv4YBnS-W1qf-szXKJ0Jzu_dph-hQvkefmAhrlvfWvghuYF2QsryBOyUhZ6iosHYAEfLEOke09Jph4szvHHn0La3XGqr8LM8ElyQOAvX6l1mJ9e71jWS8yUVVy5J0ImndNW445vRauiSc2_LR7tnJdbf4PWmONQUfy6LgL05ojrcoJQ8=s320" width="211" /></a></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">I enjoyed this book and even though our lives have been and are very different, I related to Mike Nichols so much. Mark Harris is a great writer. This is the third book of his I’ve read (the first being <i>Pictures At A Revolution</i>, about the 1967 Oscar best picture </span><span style="text-align: left;">nominees; and </span><i style="text-align: left;">Five Came Back, </i><span style="text-align: left;">w</span><span style="text-align: left;">hich follows the cadre of directors who joined the armed forces during WWII</span><span style="text-align: left;">). I hope there are many more where this came from. </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">It’s instructive to note that as Nichols’ career went on, he would have a success only to then not follow the same work process that led to that success, which resulted in what he considered failures. There’s always a “good” reason (money, pride, ego, owning too many Arabian racehorses, smoking crack, studio silliness, etc), but it boggles the mind why these rich people let that stop them. Reminds me much of Coppola in that regard. For example, if rehearsals for two or three weeks prior to shooting has helped you make classics, maybe keep doing it? Or if working with smaller budgets has resulted in genius and acclaim, maybe don’t stop? Also, don’t do drugs. </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">I dog-eared probably every other page to come back to and study, so that says something about the value of this book. The most important lesson I gleaned though, is just to start. The amazing thing is that all of Mike Nichols' success came from trying one thing after another. I don’t think anyone who saw Nichols and May in 1960 would have thought, “That guy is going to win a best director Oscar.” But he did. And if he hadn’t figured out (by trying other stuff such as attempting to be a method actor under Strasburg in New York) that he was best with Elaine May next to him, doing improv until they got it perfect, he couldn’t have gone on to win Tonys, an Oscar, Emmy awards, and a Grammy. As I type this out, I realize that the book covers all those wins, but never uses the term EGOT. That’s just classy.</span></div><p></p>Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com0tag:blogger.com,1999:blog-34248881.post-42003041084742746252021-05-28T21:07:00.008-07:002021-05-29T20:30:31.821-07:00The Dark Tower - Casting Call 2008 Edition<div class="separator"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img height="239" src="https://www.michaelwhelan.com/wp-content/uploads/darktower-1024x612.jpg" style="-webkit-user-select: none; display: block; margin: auto;" width="400" /></td></tr><tr><td class="tr-caption" style="text-align: center;">Art by Michael Whelan</td></tr></tbody></table><br /></div><div class="separator"><br /></div><div class="separator">I first read Stephen King's <i>Dark Tower</i> series in 2008. I was enthralled. This was about a year after I first fell hard for movies. If I was directing an adaptation in 2008, this is who I would have cast for the three heroic leads. </div><p>Clive Owen - Roland Deschain </p><p>The gunslinger supreme is a descendant of Arthur Eld, aka King Arthur, so the fact that Clive Owen played King Arthur is a bonus. Plus, he was in Children of Men as a character much like Roland, who lost his faith in his ideals, but recaptures them on a quest as he meets younger, idealistic people. Also, he could have played Stephen King when he appears in the story, much like he's playing a Stephen King stand-in the adaptation of <i>Lisey's Story</i> from AppleTV later this year. </p><p><br /></p><img height="320" src="https://i.pinimg.com/originals/86/59/2b/86592bf9e9f33dea6c2d7cfd1473f06c.jpg" style="-webkit-user-select: none; display: block; margin: auto;" width="208" /><div><br /></div><div><br /></div><img height="133" src="http://www.imfdb.org/images/thumb/8/8c/TheInternationalCZ75_2.jpg/400px-TheInternationalCZ75_2.jpg" style="-webkit-user-select: none; display: block; margin: auto;" width="320" /><div><br /></div><div><br /></div><img height="200" src="https://www.themoviescene.co.uk/reviews/_img/7398-2.jpg" style="-webkit-user-select: none; display: block; margin: auto;" width="320" /><div><br /><div>Joseph Gordon-Levitt - Eddie Dean</div><div><br /></div><div>JGL is the man. Eddie Dean is the man. No brainer. Also, this is a good, meaty, character actor, giant arc of a role, and fits Joseph Gordon-Levitt (especially at the time) like a glove. He was also in Spike Lee's <i>Miracle at St. Anna</i> for a few minutes at the end, about gunslinger types, so there some is connective tissue here in my brain. </div><div><br /><div><img height="180" src="https://deadline.com/wp-content/uploads/2018/06/joseph-gordon-levitt-e1558373010566.jpg" style="-webkit-user-select: none; cursor: zoom-in; display: block; margin: auto;" width="320" /><div><br /></div><div><br /></div><div><img height="225" src="https://www.dailyherald.com/storyimage/DA/20160205/ENTLIFE/302059824/EP/1/5/EP-302059824.jpg&updated=201602052203&MaxW=900&maxH=900&noborder&Q=80" style="-webkit-user-select: none; display: block; margin: auto;" width="320" /></div><div><br /></div><div><br /></div><img height="320" src="http://images2.fanpop.com/image/photos/14600000/Joseph-joseph-gordon-levitt-14645401-315-400.jpg" style="-webkit-user-select: none; display: block; margin: auto;" width="252" /><div><br /></div><div>Kerry Washington - Susannah Dean</div><div><br /></div><div>She's a great actress, which this role demands since she'd have to essentially play three characters, switching back and forth between two before the healed composite character of Susannah emerges. And she was in <i>Miracle at St. Anna</i> for a bit, just like her character's husband, JGL!</div><div><br /></div><div><img height="320" src="https://binside.typepad.com/photos/uncategorized/2008/09/23/kerry_washington.jpg" style="-webkit-user-select: none; display: block; margin: auto;" width="227" /><div><br /></div><div><br /></div></div></div></div></div><div><br /></div><div><img height="320" src="https://www.gannett-cdn.com/-mm-/fcc59dbbbe4b7e3de5bc4cbbd738c793c12808ce/c=135-294-3252-4454/local/-/media/USATODAY/None/2014/09/23/1411488782000-XXX-Kerry-Washington-jy-2721-.JPG" style="-webkit-user-select: none; cursor: zoom-in; display: block; margin: auto;" width="240" /></div><div><br /></div><div><img height="320" src="https://i.pinimg.com/originals/02/ac/74/02ac747365f7ee595de7d84b8d4005d7.png" style="-webkit-user-select: none; display: block; margin: auto;" width="213" /></div><div><br /></div><div>And I just would have gotten any up and comer teenager to play Jake Chambers. </div>Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com0tag:blogger.com,1999:blog-34248881.post-22314421304447372132021-02-22T20:46:00.005-07:002021-02-22T21:00:43.769-07:00The Matrix: Myth and Meaning<div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Times New Roman"; font-size: 12px; text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOScRsHwbfbliX9rD3Fu6fIGDk4U7NUKYnLmBMBFgCcsczMvMiPugTzvD1qqcB-uZahYwF9jbO85n-YDGNzLlxcQ-l3xuGYgOcRB_0q_owVV_cY0WBpmJeyEWNMTPRemw2Tyc/s1200/the-matrix-reloaded.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="799" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOScRsHwbfbliX9rD3Fu6fIGDk4U7NUKYnLmBMBFgCcsczMvMiPugTzvD1qqcB-uZahYwF9jbO85n-YDGNzLlxcQ-l3xuGYgOcRB_0q_owVV_cY0WBpmJeyEWNMTPRemw2Tyc/s320/the-matrix-reloaded.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">The<i> Matrix</i> trilogy famously borrowed from many sources of pop culture, philosophy, and religion. The Matrix series employs especially well concepts and ideas from Hinduism wrapped around a slam-bang action adventure story. While many people easily detect the Christian and Buddhist symbolism in the series, this post will discuss the Hindu symbols and mythology used in the series, with the most emphasis being on the second film, <i>The Matrix Reloaded.</i> </p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><i><br /></i></p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><i>The Matrix</i> follows the journey of Neo, a computer hacker who discovers that our world is not real, but a simulation created by artificial intelligence to trap humanity. He is led by a guru, Morpheus, who guides him into this newfound knowledge of reality. Hinduism teaches the concept of Maya, that the world around us in spiritually unreal. This is what Neo discovers during the course of the first film. The second deals with his life after ascending to the position of “The One,” who has the ability to change things within the world, i.e. The Matrix, and who is prophesied to bring about the end of the war with the machines. Neo exhibits incredible powers at the end of the first film, such as dodging bullets, and even coming back from the dead, which brings to mind astounding feats like Rama’s defeat of 14,000 demons singlehandedly in <i>The Ramayana.</i> </p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">When Neo fights his way into a dark tower that contains a room that it is said that if he enters he can end the war and save his people, he instead meets the creator of the Matrix, who reveals to Neo that the One was created to help control the human population. His dharma is to save the human race by restarting the free human population, outside the Matrix. Neo is given a choice to either fulfill his “dharma”, the purpose he was created for, or to let every human being the machines have trapped perish. Meanwhile, the love of Neo’s life is being pursued by warriors of the machine world, and it looks like she is going to die. The Architect shows Neo what is happening to her and insists he must make the choice his five predecessors as the One have made. Neo rejects the Architect’s offer, and uses his powers to rescue his love from falling to her death from a skyscraper. But he’s too late, and she dies in his arms. But Neo doesn’t accept this reality, and reaches inside Trinity’s Matrix avatar and resuscitates her heart with his hand. </p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">With the choice to reject what he has been told was his dharma and destiny since he first discovered the reality of the Matrix, Neo truly begins to understand what his purpose is for himself. By the third film, Neo ends up creating a state of Moksha, whereby the Machines agree to let those who wish to leave the Matrix to do so. This breaks the societal cycle of Samsara the human community living outside of the Matrix had unknowingly been experiencing. </p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">Neo was told by his guru that his destiny was to end the war and save humanity using his powers. That destiny was short on details, of course. Once Neo learned the truth that his five predecessors had chosen to collaborate with the machines rather than let the whole of humanity die (and if given the choice to make, would you and I do anything differently?), and that his true purpose was to continue “the war” his dharma should have been clear. His duty as the savior of humanity should be to capitulate to the machines. But he refuses and chooses instead to save his lover. This choice eventually leads to him thinking of a new solution to the human/machine conflict, where both sides get what they most need and want, though it comes at the cost of Neo’s life. </p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">Neo’s breaking of this cycle by specifically not doing what he had been led to believe is his duty by his friends and his foes alike, reflects a 21<sup>st</sup> century understanding of the great truths revealed in ancient religions. A myth like the Ramayana is not just a religious text, it’s also a story completely immersed in the ancient culture of India. Something like Rama’s banishment of Sita simply because his people think she may be unclean, even though Rama himself knows that she is worthy, but he banishes her to be a good example to his people would never fly as upright behavior in our day and age in our culture. The Wachowskis show their reverence for the myths that inform the story while also critiquing what the average uninformed audience member would expect of someone on a religious journey of awakening, since many people in our secular world think that religion comes down to doing what you are told. Neo refutes that idea, by following his heart and exemplifying his true dharma by actually ending the war, not repeating what his former lives had done by merely <i>appearing</i> to end the war. </p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">Since the series was marketed as essentially a sci-fi/kung-fu movie, but it is really about awakening to your true self and state in the world, many audience members were disappointed by the second and third entries in the series. Of course this mirrors what many religious people have experienced with those who do not choose to make the journey toward enlightenment. It takes diligence and an open heart to be enlightened, and the same is true for understanding the deeper mythic meanings of <i>The</i> <i>Matrix</i> series. </p><div><br /></div>Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com0tag:blogger.com,1999:blog-34248881.post-90875204228953076812021-02-22T20:27:00.009-07:002021-02-22T20:31:41.854-07:00Thou Art That: Brahman for the non-Hindu<div class="separator" style="text-align: center;"><a href="http://www.islandlight.ca/cortes-island-droplet-photo-1151" style="margin-left: 1em; margin-right: 1em;" target="blank" title="One More Drop in the Ocean ~ Droplet picture from Cortes Island Canada."><img alt="One More Drop in the Ocean ~ Droplet picture from Cortes Island Canada." src="http://www.islandlight.ca/photos/medium/cortes-island-droplet-photo-1151.jpg" /></a></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: center;"><span style="font-size: 0.6em;">Photo courtesy of </span><a href="http://www.islandlight.ca" style="font-size: 0.6em;">Island Light Photography</a></blockquote></blockquote><div><br /></div><br /><p style="color: #2d2d2d; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">The Hindu idea that all of reality is divine and is comprised of one great whole, called “Brahman” lines up strikingly well with scientific findings that all matter is made from the same “stuff.” I find this belief exciting and challenging and wonder what its implications are for my own religious worldview, as well as our modern western secular society.</p><p style="color: #2d2d2d; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="color: #2d2d2d; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">Of course this belief is logical. While a Hindu would say that all of reality is made of spiritual energy, and a scientist would say it is made up of the same physical matter, it’s not clear to me how those two views really differ other than semantically. Saying everything is spiritual to me suggests holiness. While the secularist may not believe in any sort of divinity, I think she would understand a non-religious definition of holiness as “something that is very, very, very, very, very, very, very special or important.” It seems to me that Hinduism and science are saying the same thing, and they are simply speaking from different orientations.</p><p style="color: #2d2d2d; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="color: #2d2d2d; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">I find this belief incredibly appealing. Everything is something. Everything is made of the same something, otherwise, what is it? This corresponds well to the book of Genesis, where the creation is accomplished by separating the light from the darkness, the water from the dry ground, etc, not by creating from nothing, but by separating and organizing from the great divine storehouse of matter. </p><p style="color: #2d2d2d; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="color: #2d2d2d; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">Literally believing that all things are connected by virtue of their ultimate source leads one to want to live in balance with all things. If acted upon, it destroys the separating ideals of power, materialism, and selfishness, and encourages living at peace with all things. This is an idea that everyone, religious or not, should get behind, since it’s true. </p><p style="color: #2d2d2d; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="color: #2d2d2d; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">The great thing about this idea in Hinduism and science is that it gives us actual insight into our existence. Obviously, the conclusion of the atheist and the Hindu will differ as to some of the particulars, but there is great good that comes from believing and acting on this idea. Number one being the fact that all things are connected on a fundamental level, which I think ought to give everyone pause, because if everything is one on a material level, then what is stopping everything being one on the level of consciousness? </p><p style="color: #2d2d2d; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="color: #2d2d2d; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">The first step in overcoming the seeming world of opposites is to see that many things that appear as opposites are not opposites, only the illusion of opposing forces. Does the day hate the night? Day and night only appear to us to exist as opposites, when in reality, the sun stands still as the earth moves and when the part of the earth one is standing on faces away from the sun, it is night for you. In my mind, accepting this idea would lead one to transcend things like political parties, us vs. them, and other dividing philosophies. </p><p style="color: #2d2d2d; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="color: #2d2d2d; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">Accepting that everything is materially one, can lead us to the idea that a form of balance in our personal, familiar, and societal lives is actually possible.</p><p style="color: #2d2d2d; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="color: #2d2d2d; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">Many problems and dilemmas that face our Western society would be helped by adopting this idea in some form. One example is the extreme selfishness exhibited by many in the West. If we believe we have common cause with those who suffer around us, perhaps we won’t buy that fast food meal, and instead donate the money to help the sufferer. If we perceive that we are all in this together, perhaps our orientation will shift from inward looking to outward looking and we can seek to build up others, rather than pursue the exhausting venture of focusing on one’s self at all times.</p><p style="color: #424242; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="color: #2d2d2d;"><br /></span></p><p style="color: #424242; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="color: #2d2d2d;">Neil deGrasse Tyson, noted astrophysicist, has said </span><span style="color: #2d2d2d; font-family: Times; font-stretch: normal; line-height: normal;">“</span>We are part of this universe; we are in this universe, but perhaps more important than both of those facts, is that the universe is in us. Many people feel small because they're small and the universe is big, but I feel big.” If we truly spring from Brahman (whether a Hindu formulation or in the secular sense as Dr. Tyson explains), then our potential as individuals and as a species is unlimited, since we emanate from Brahman (or the universe). Above all other beings, humans have the potential to understand themselves and the universe consciously. One of the great promises of Hinduism is that Brahman can be known when the illusion of separateness is seen to be an illusion. Once this happens, what is to stop us from emulating Brahman? As Frank Morales wrote,</p><p style="color: #424242; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px 0px 0px 36px;"><br /></p><p style="color: #424242; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px 0px 0px 36px;">Brahman does not arbitrarily will the coming into being of the non-Brahman metaphysical principles of matter and<i> jivas </i>(individuated consciousness), but rather they are manifest into being as a natural result of the overflowing of Brahman's grandeur, beauty, bliss and love. Brahman cannot but create abundant good in a similar manner to how Brahman cannot but exist. Both existence and overflowing abundance are as much necessary properties of Brahman as love and nurturing are necessary qualities of any virtuous and loving mother.</p><p style="color: #424242; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="color: #424242; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">When we believe that we are in the universe, and the universe is in us, our behavior toward others and ourselves will be transformed. We will seek to constantly expand outward, just as the universe (or Brahman) does! “All reality has its source in Brahman. All reality has its grounding sustenance in Brahman. It is in Brahman that all reality has its ultimate repose. Hinduism, specifically, is consciously and exclusively aiming toward this reality termed Brahman.” Thou art that. So let’s act like it.</p><p style="color: #424242; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="color: #424242; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">References</p><p style="color: #424242; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="color: #424242; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">Neil deGrasse Tyson. The Most Astounding Fact About The Universe, As Told By Neil deGrasse Tyson (VIDEO). Huffpost Good News. March 13, 2012. https://www.huffpost.com/entry/most-astounding-fact-universe-neil-degrasse-tyson_n_1339031</p><p style="color: #424242; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="color: #424242; font-family: "Times New Roman"; font-size: 12px;">Frank Gaetano</span><span style="color: #424242; font-family: Times New Roman;"><span style="font-size: 12px;"> Morales Brahman of the Vedas. <i>About.com Hinduism</i> https://www.learnreligions.com/brahman-of-the-vedas-1770045</span></span></p>Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com0tag:blogger.com,1999:blog-34248881.post-4665545942359480032021-02-17T15:36:00.019-07:002021-02-17T15:45:58.708-07:00Everyone Needs An Editor<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSsGXvBaJyIMSCCxPGzs1oGVg5Ta39ul5ia46ZLz6Y4z7McjMoEIhmBl0XBw2EWvSVGgLxO0ekIf254Vw4vMN1x8_l9tNgqd41FgzszgxzM7Ct7ITFgx1FIhumHxh9Qsx8kW4/s720/x6odnqqwo5551.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="480" data-original-width="720" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSsGXvBaJyIMSCCxPGzs1oGVg5Ta39ul5ia46ZLz6Y4z7McjMoEIhmBl0XBw2EWvSVGgLxO0ekIf254Vw4vMN1x8_l9tNgqd41FgzszgxzM7Ct7ITFgx1FIhumHxh9Qsx8kW4/s320/x6odnqqwo5551.jpg" width="320" /></a></div>
Walter Murch’s theories of editing say that cutting works because of the way that the brain is set up to receive information from the eye. As in the title of his book In The Blink Of An Eye, humans already have a system of editing to compose our thoughts and to receive the concepts imparted to us from others; it is the act of blinking. <div><br /></div><div>Blinking isn’t just a mechanism for clearing our eyes of dust and other small matter that lands on the lens of our eyes, it’s a biological way to show our understanding of an idea being presented to us. Murch says we blink at the same exact logical endpoint where a cut would be if our conversations were being filmed.</div><div><br /></div><div>I love Murch’s idea that the reason we don’t always feel comfortable with certain people (like politicians and bad actors) is they don’t blink right. They blink at the wrong times and at the wrong things. Subconsciously, we pick that up, and something feels off, and we don’t enjoy the interaction because we can’t give of ourselves appropriately to someone who won’t take in what we are giving to them. </div><div><br /></div><div>This is just like film editing. If the pace and rhythm of the cuts are not at the right place (for at least the majority of the film) the audience becomes uneasy, if only subconsciously, and is actually prevented from having the appropriate response hoped for by the filmmakers. </div><div><br /></div><div>That’s a shame, because much like in life when we first meet people, films should be greeted with goodwill and graciousness, but if our new acquaintance doesn’t give the effort back to us we give to him, we will soon disengage, and the potential relationship will be nipped in the bud before it’s had a chance to develop and bear fruit! </div><div><br /></div><div>I’ve definitely done this in my own life, when I’ve been too busy to connect with people that it would have been in my best interest to become friends with, for the simple selfish excuse that I was too busy to give them the time they deserved. If a film is too “busy” to connect with its audience, then it has failed on the most basic level. It’s better to slow down and take our time in our interactions with others, as well as during editing. </div><div><br /></div><div>We need time to be surprised, by people, by the footage, and by potential cuts. We need time to be surprised by joy. The cut can provide us this joy. I liken it to the guided visions that shamans, prophets, and holy people relate. In many of these visions, a messenger from God, or less frequently, one of the gods themselves takes the seer up to a high place and begins to show them what they need to see, either personally, or for their community. </div><div><br /></div><div>The editor is like the vision guide. She says “look!” And the audience can only see what she shows them. Once the audience understands what they need to know, the editor says “look!” again, and the scene of the vision changes. In all actuality, when we see films we are seeing a vision projected for us by those who know the past, present, and future of the story, or the world we’ve entered. As such, they have a sacred responsibility to show us only what will help us, and help us to help others. My main point is I think I might need to start taking editing a little more seriously. </div><div><br /></div><div>What I love most about Walter Murch is that he not just a great editor; he’s a philosopher, too. I think everyone should be so clear thinking and logical when it comes to their work. I think too many people don’t follow through (or in Murch’s case, back?) with their beliefs to find the real core of what and why they are doing what they are doing, whether that’s in regard to relationships, jobs, or their beliefs. Murch does, and it’s inspiring. When you drill down below the surface of things, you always hit gold, and find more questions that compel you to keep digging. </div><div><br /></div><div>I love how Murch stands up to edit. If editing is an art, it makes sense to stand up. Is standing up to edit essential? I don’t think so, and we probably have good evidence to back that up, but as a signal to yourself that you are here to work, just like the dancer, or the carpenter, I think it works beautifully. His theory makes me want to stand up when I’m writing, even though sitting down is pretty great.... </div><div><br /></div><div>The main thing I take from Murch’s theories is that whatever you are engaged in, you have to constantly be thinking how you can improve in it, and how to avoid becoming complacent. Editing is an art form, it’s not just piecework. You don’t just learn a bunch of rules and procedures from the old guys, and call it a day, you take what they’ve discovered and you build on it. You don’t worship John Lennon by getting an old fashioned haircut and memorizing all his songs, you worship him by starting a band, and transcending his influence, just like he did. This is hard to do. That’s why most people don’t do it, or don’t do it very well, but that’s the challenge we face, and the example all our favorite artists have given us. </div><div><br /></div><div>It’s interesting to me that even someone as accomplished as Murch talks about what he would like to happen in an ideal world. He would do his first cut, and then review all the dailies from scratch to get a fresh perspective on the material. This isn’t possible because of the pace of the schedule of films in our day. I guess no matter what level of accomplishment or skill we have, we will always have our work cut out for us.</div>Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com0tag:blogger.com,1999:blog-34248881.post-14636232309223468772021-02-16T20:09:00.000-07:002021-02-16T20:09:07.307-07:00Destroying the World to Save It<div class="page" title="Page 196"><div class="layoutArea"><div class="column"><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfa4U_RuMxeN8HRIoWA6-oWGBRWRQzzIpBU_aOCPorHXgr_Onz2TTkX_RdrSyaWJI74SCo5CBRf2jE-bq2LjHwQ0yBJw-z_GO_k1HCdrmXbT4ZhYIVgraNu68EJsj831VFX54/s1280/the-tree-of-life.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="656" data-original-width="1280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfa4U_RuMxeN8HRIoWA6-oWGBRWRQzzIpBU_aOCPorHXgr_Onz2TTkX_RdrSyaWJI74SCo5CBRf2jE-bq2LjHwQ0yBJw-z_GO_k1HCdrmXbT4ZhYIVgraNu68EJsj831VFX54/s320/the-tree-of-life.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Still from the Tree of Life, directed by Terrence Malick</td></tr></tbody></table><span style="font-family: TimesNewRomanPSMT; font-size: 12pt;"><br /></span></p><p><span style="font-family: TimesNewRomanPSMT; font-size: 12pt;">In an opinion piece published in the Guardian, entitled “Why We Should Have Fewer Children: To Save The Planet,” Travis Rieder responds to objections raised by others in response to his research and teaching concerning population control in an age of climate change. The upside of voluntary population control would be that there would be less overall human suffering and competition for resources. The downside to voluntary population control would be that fewer humans would have a chance to experience life. Rieder is trying to convince people that it is their moral duty to curtail the most basic activities that make us human so that less suffering will exist in the world.</span></p><p><span style="font-family: TimesNewRomanPSMT; font-size: 12pt;">Travis Rieder has great academic credentials. He works at John Hopkins University’s Berman Institute of Bioethics as a philosopher. He obviously has great expertise and training as a researcher. He’s also a good writer with his pulse on people’s anxieties about the future, along with a unique angle on how to address them.</span></p><p><span style="font-family: TimesNewRomanPSMT; font-size: 12pt;">Rieder invokes our emotions in a few ways. First, he mentions the suffering of people in underdeveloped nations, which will be the first to be affected by massive climate change. He writes that, “</span><span style="color: #262626; font-family: TimesNewRomanPSMT; font-size: 12pt;">The World Health Organization (WHO) </span><span style="color: #084376; font-family: TimesNewRomanPSMT; font-size: 12pt;">estimates </span><span style="color: #262626; font-family: TimesNewRomanPSMT; font-size: 12pt;">that from the years 2030-2050 – as we reach this level of warming – at least 250,000 people will die every year from just some of the climate-related harms.” The global poor will obviously be hurt the most, since they lack resources those in the West enjoy. He then plays on the sympathy of the Western reader by pointing out that if the warming trend continues we will be the cause of rising sea levels, which will destroy places like the Maldives.</span></p><p><span style="color: #262626; font-family: TimesNewRomanPSMT; font-size: 12pt;">Rieder also tries to make the case that making the people who are currently alive happier is better than making more humans with the potential to be happy. Of course </span><span style="color: #262626; font-family: TimesNewRomanPSMT; font-size: 12pt;">there is a conflict here with many religious people, such as married Catholics or Latter-day Saints, who believe in the sanctity of life. How could people with such beliefs ever adopt the ideas that Rieder proposes? Rieder says that, “It is not a harm to someone to not be created.” For Latter-day Saints specifically, this would not hold, since we believe that God created people’s spirits prior their being born on Earth, and that God has ordained marriage and family as the means to provide these spirits a physical body, and experiences on Earth that they need to become more like God. To be denied this would be a great harm in the Latter-day Saint view, and in fact would be a form of damnation. For Catholics it is a sin to tamper with the means God has ordained for the continuance of life. So that’s more than a billion people who cannot in good conscience support the measures Rieder suggests. I am going to go out on a limb here and guess that Rieder is not a believer in any traditional religion.</span></p></div></div></div><div class="page" title="Page 197"><div class="layoutArea"><div class="column"><p><span style="color: #262626; font-family: TimesNewRomanPSMT; font-size: 12pt;">Rieder’s reasoning is strong, yet his evidence for world destruction is flimsy. He is basically encouraging people to give up on what makes them human –their genetic inheritance – on the word of scientists who cannot prove their claims of destruction. Everything he claims is based on an “if, then” model. For example, yes, if the ocean rises and the Maldives are destroyed and it was my fault because my wife bore two children, I will feel terrible. But that’s not going to happen tomorrow. It’s not going to happen without warning. He bases his arguments on current trends in the planet’s warming. 40 years ago scientists were predicting that we were about to enter a new ice age and that the effects of the planet cooling would be disastrous. This was based on current trends. The trends changed. The trend in the United States for childbirth is at below replacement levels, something Rieder would cheer. This might or might not change. Would Rieder </span><span style="color: #262626; font-family: TimesNewRomanPSMT; font-size: 12pt;">want us all to react to this alarming news by increasing childbearing? Of course not. So why does he want Westerner’s to stop having kids based on the warming trend?</span></p></div></div></div><div class="page" title="Page 198"><div class="layoutArea"><div class="column"><p><span style="color: #262626; font-family: TimesNewRomanPSMT; font-size: 12pt;">I think fundamentally his argument is a religious one. He believes the prophecies of the secular prophets of scientism. But knowing what he knows, he still brought a child into this world. He still uses automobiles and flies on airliners to conferences to present papers. I feel he has a faith without works. His argument would be more persuasive to me if he were a sustenance farmer with a good wi-fi connection writing his own blog. His argument avoids specific logical fallacies. He is just good old-fashioned wrong.</span></p><p><span style="font-family: TimesNewRomanPSMT; font-size: 12pt;">In Rieder (2016)’s very last sentence he says, “</span><span style="color: #262626; font-family: TimesNewRomanPSMT; font-size: 12pt;">I believe difficult yet civil discussion is the crucial first step to making that future one we won’t be condemned for creating.” It’s interesting that he brings up the idea of future generations condemning us. This is an aspect of social proof (Cialdini, 2009, p.99), only instead of looking around at those around us and taking our cues from them, Rieder would have us look to the future and imagine what people who are not alive yet will think of us if the predictions of scientists come to pass, and choose to act now based on how he imagines they would want us to act if they were in our shoes. I believe that the reason this tactic works on people is because of some of the horrible practices of the past that we are taught were mostly practiced unthinkingly, like slavery and other horrors. People today do not want to be looked at the way we look at people of the past.</span></p><p><span style="color: #262626; font-family: TimesNewRomanPSMT; font-size: 12pt;">There is a strange inverted form of reciprocation (Cialdini, 2009, p.19-20) implicit in this argument as well. It’s as though Rieder is saying that because our parents have given us a pretty good world it would be impolite to give a worse world to our potential children.</span></p></div></div></div><div class="page" title="Page 199"><div class="layoutArea"><div class="column"><p><span style="font-family: TimesNewRomanPSMT; font-size: 12pt;">The argument also hinges on people’s uncertainty (Cialdini, 2009, p.109), but again in an inverted form. The future has been scary for the rising generations for a very long time. Whether it was the great depression, World War II, the threat of nuclear war, being drafted into Vietnam, the cold war, the threat of terrorism, economic recessions, mass shootings, massive student loan debt, or environmental disaster, the world that’s coming is uncertain, and has been for a long time. Rieder seems to provide answers that will benefit us by allocating resources here and now by ensuring that no one else is born to compete, and also helps theoretical people, who if Rieder’s suggestions are followed, will never exist, thus negating the help he wants to give them, which effectively means no help was given. Rieder wants to destroy the world in order to save it.</span></p><p><span style="font-family: TimesNewRomanPSMT; font-size: 12pt;">References</span></p><div class="page" title="Page 200"><div class="layoutArea"><div class="column"><p><span style="font-family: TimesNewRomanPSMT; font-size: 12pt;">Cialdini R.B., (2009). </span><span style="font-family: TimesNewRomanPS; font-size: 12pt; font-style: italic;">Influence: Science and practice</span><span style="font-family: TimesNewRomanPSMT; font-size: 12pt;">. Boston, MA: Pearson.</span></p><p><span style="font-family: TimesNewRomanPSMT; font-size: 12pt;">Rieder, T.N., (2016). Why we should have fewer children: To save the planet</span><span style="font-family: TimesNewRomanPS; font-size: 12pt; font-style: italic;">. The Guardian. </span><span style="font-family: TimesNewRomanPSMT; font-size: 12pt;">Retrieved from </span><span style="color: blue; font-family: TimesNewRomanPSMT; font-size: 12pt;">https://www.theguardian.com/commentisfree/2016/sep/12/why-we-should-have-fewer- children-save-the-planet-climate-change</span></p></div></div></div></div></div></div>Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com0tag:blogger.com,1999:blog-34248881.post-25603170503886117692021-02-09T20:17:00.003-07:002021-02-09T21:00:30.920-07:00Ambition and Bliss<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img alt="Image result for micmac art" class="n3VNCb" data-noaft="1" height="59" jsaction="load:XAeZkd;" jsname="HiaYvf" src="http://www.alansyliboy.ca/wp-content/uploads/2014/09/petroglyph.jpg" style="height: 159.41176470588238px; margin: 43.7441176470588px auto; width: 542px;" width="200" /></td></tr><tr><td class="tr-caption" style="text-align: center;">Art by Alan Syliboy<br /><br /></td></tr></tbody></table><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">The Micmac story <i>Caught By a Hair-String</i> can be fruitfully examined in light of the psychological and anthropological viewpoints, even by a layperson in these fields. This tale sheds light on healthy psychological states, something sorely lacking in many of the protagonists of more famous myths and epics. </p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span></p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">One of the most interesting aspects of <i>Caught By a Hair-String</i> is that the Lazy and Unattractive-Looking Husband refuses the leadership of the tribe when offered it by his brother-in-law. That is shocking in light of how many other myths proceed to depict similar situations. If this story were Greek, for instance, it is easy to imagine that the Lazy and Unattractive-Looking Husband surely would have already seized political power as he increased in knowledge and skill prior to the chief’s death. His loyalty to his brother-in-law would most likely not have been as strong as his need for glory and fame. </p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span></p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">Psychologically, this speaks to human nature. The fact that despite Lazy’s capabilities he stays loyal to the Chief’s Son speaks volumes about his psychological state. He has reached a healthy state of balance between his ambition to progress (exemplified by his desire to learn all that the Chief’s Son knows) and his familial and tribal obligations. Lazy has also overcome any need to prove himself. The remarkable thing about this is that after reaching this point, he does not attempt to overstep his bounds. He does not even countenance the idea of taking over the leadership of the tribe. He allows his love for The Chief’s Son to hold sway over his decision. The freely given offer to assume leadership of the tribe is not even a momentary temptation for Lazy. </p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span></p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">The power dynamics of this tale have a lot to teach us in our modern society. Lazy learns so much from his brother-in-law, and progresses so far from the young man we meet in the opening of the story, that upon first reading, I felt that the story was going to end with Lazy becoming the new Chief. I surmise this was my thought process because of the way in which modern Americans are encouraged to perceive power. The “best” person is the person who should get the job. Lazy has eclipsed The Chief’s Son, so surely Lazy should be the new Chief. But where is the end of ambition? In our age of economic expansion, where companies continually consolidate and move into new areas, it makes perfect sense that the next step that Lazy would take would be to consolidate power, but because of his psychological health, he does not even perceive this offer as a temptation. This is the opposite of the Greek <i>atē</i>. </p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span></p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">Another beautiful thing we can take today from this myth is the way Lazy takes advantage of his opportunities. We live in a day and age of unprecedented access to learning and education. The gradual expansion of the internet over the last two decades continues to roll on and penetrates more and more of the world. Now teenagers carry with them access to the knowledge of the world around with them in their pockets. But having the potential to use one’s opportunities is not the same thing as actually using them. As Joseph Campbell (2011) said, </p><p style="color: #181818; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px 0px 0px 36px;"><br /></p><p style="color: #181818; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px 0px 0px 36px;">Follow your bliss. If you do follow your bliss, you put yourself on a kind of track that has been there all the while waiting for you, and the life you ought to be living is the one you are living. When you can see that, you begin to meet people who are in the field of your bliss, and they open the doors to you. I say, follow your bliss and don't be afraid, and doors will open where you didn't know they were going to be. If you follow your bliss, doors will open for you that wouldn't have opened for anyone else (p.113).</p><p style="color: #181818; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="color: #181818; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">Lazy fully takes full advantage of having The Chief’s Son as his brother-in-law, and learns so many skills and powers that he eventually eclipses his brother-in-law. Lazy follows his bliss without any psychological hang-ups getting in the way. His original station in life was so lowly that his only name (which follows him throughout his entire life) is Lazy and Unattractive-Looking! Of course, later on after he “catches” the shy daughter of the elderly couple with the enchanted hair-string, “husband” is added to his designation. </p><p style="color: #181818; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span></p><p style="color: #181818; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">This background would seem like a lot to overcome, and Lazy does it by following his bliss. Following your bliss in simplest terms is following the path of your destiny, and one cannot follow the path if one never gets on, or gets on but sits down to rest and never gets up again, or if one wanders off the path for any reason. We find the path by taking advantage of the opportunities that present themselves to us.</p><p style="color: #181818; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="color: #252525; font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">The myth of <i>Caught By a Hair-String</i> can also be understood anthropologically. Claude Levi-Strauss (1963) said that, "Myth is language, functioning on an especially high level where meaning succeeds practically at 'taking off' from the linguistic ground on which it keeps rolling." This being true, what does the story of <i>Caught By a Hair-String </i>communicate to us about the people called the Micmac?</p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">The most shocking thing about reading <i>Caught By a Hair-String</i> on first approaching the story is the seeming lack of female agency exhibiting by the shy daughters who marry Lazy and The Chief’s Son. Upon further investigation, however, the hair-string can be seen as a symbol of advantage in attracting a mate, and not as a form of coercion. One cultural ideal inherent in this story and referenced above, is the idea of using the advantages that come to you. When Lazy meets The Old Woman who offers him a chance to become a husband to one of the shy maidens, she asks him if his brag about being able to get one of the shay daughters to marry him has any truth to it. Does he really want to marry and have children? Since he is sincere in his wish, she gives him the magic hair-string. Using this device allows him to be in a position to meet with his future wife alone and gain her favor as well as the favor of her elderly parents. </p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">Employing the magic hair-string, Lazy and his shy wife are able to be married and join fully the community of adults. This is much like today, where any worthy advantage should be pursued, as long as it is not at someone else’s expense. If one is athletic, they person could use that advantage to woo a spouse. If one is musically gifted, one can use that to win the heart of another. If one is intellectually blessed, one can use that cognitive power to court their love. I belief this is what the myth is getting at, and furthermore, the fact that in the story The Old Woman is helping the young man to win the heart of someone who would typically be outside the realm of marriage and courtship due to her living conditions and upbringing, shows that the actions of Lazy are sanctioned by the community and were not about violating the rights of others. Lazy is empowered by the community represented by The Old Woman. Cultural Empowerment refers to enabling the underprivileged to become more (Compton & Hoffman, 2013, p.272).</p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">The ways in which The Chief’s Son teaches Lazy explain the way that the Micmac had to rely on each other in order to survive. Lazy is only able to woo and marry the younger shy daughter because of the help of The Old Woman. Lazy only gains greater skills and power because he became the brother-in-law of the Chief’s Son, which only occurred because he shared the secret of the hair-string, which he only knew because The Old Woman shared it with him. The Chief’s Son only gets to ascend to the station of Chief because Lazy refuses to take the position form his friend and brother-in-law. And it goes on and on like that forever. The tale of Caught By a Hair-String teaches and enforces the idea that we all need each other, and we all have a part to play. In some ways this could be perceived as social control of the populace, but in the case of Lazy, while he has seemed throughout the course of the story to accept more and more power and an increase in his skills, he has never come across as ambitious for ambition’s sake. This is shown clearly in the complete lack of rebellion he shows. He focuses on his duties, and does not simply demand his rights, as many young people insist on (Cialdini, 2009).</p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">Lazy’s choice to remain as the friend and brother-in-law of the new Chief, rather than to ascend to the leadership of his people (which the teachings of the Chief’s Son had enabled him to be prepared to become) reinforces the social ties those ancient societies like the Micmac as well as our modern societies with their almost total separation into specializations, depend on. Without this cooperation, society as we know it could not function. Whether that is a good or bad thing is a topic for another paper, but what is obviously true is the way in which smaller, less mechanized cultures still function very similarly to our own. Lazy’s does not transverse the bounds of his station, but only progresses inside of it until he is fit to seize the reins of leadership. He decides not to continue and cross the boundary that would have him replace his best friend and brother. That is an example to all of us that our task is to be the best we can be in our own sphere, and certainly Lazy developed far past what his name claims that he is, yet he does not try to expand and take over everything, like many corporations of today do. He is much more like the filmmaker that just keeps cranking out small independent films year after year, than he is the starry-eyed young director who lets Hollywood seduce her away from pursuing making personal, pure cinema in order to make big dumb films for the studios. </p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="font-family: "Times New Roman"; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">The tale of <i>Caught By a Hair-String</i> has many responses psychologically, and teaches us much of the way Micmac society and culture was structured. By showing us a healthy mix of ambition along with familial and tribal loyalty, this tale teaches us about a different culture and reveals to us how to strike a similar balance in our own lives.</p>Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com0tag:blogger.com,1999:blog-34248881.post-87635255730428298602021-01-26T18:28:00.007-07:002022-06-13T13:21:11.866-07:00Play and Peak Aging<div class="page" title="Page 239"><div class="layoutArea"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLGUwBtpCKHmPZ8qa9iKRVPclP29DeyAxRjNJG56NIMSThwc31GTCzMPQUHVeJ2jYUulW2SeSJXf8S6ucgCmHg0U6x7r3-TWyVsqTpY70DiO9hkpDamvT3Y5raElSWEM0FlTU/s1000/kids%252Bplaying%252Btogether.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="692" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLGUwBtpCKHmPZ8qa9iKRVPclP29DeyAxRjNJG56NIMSThwc31GTCzMPQUHVeJ2jYUulW2SeSJXf8S6ucgCmHg0U6x7r3-TWyVsqTpY70DiO9hkpDamvT3Y5raElSWEM0FlTU/s320/kids%252Bplaying%252Btogether.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><span style="font-family: TimesNewRomanPSMT; font-size: 12pt; text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: TimesNewRomanPSMT; font-size: 12pt; text-align: left;">When considering factors relating to aging gracefully and what one can do now to prepare for old age, Erik Erikson has theorized that one aspect of preparation is adults learning to play again as they did when they were children. Erikson calls this playfulness one of the three prongs of “peak aging,” along with discernment, and wisdom.</span></div><div class="column"><p><span style="font-family: TimesNewRomanPSMT; font-size: 12pt;">But why should adults begin to play now? What does spending hours wasting time contribute to our happiness? For one thing, I can see from my own life that when I am “playing” my level of mindfulness is increased. This doesn’t happen when I am </span><span style="font-family: TimesNewRomanPSMT; font-size: 12pt;">watching television and lounging back after a hard week with my brain turned off. I remember that as a five year old, I could go into the backyard, and given three hours, construct an epic to rival Homer’s </span><span style="font-family: TimesNewRomanPS; font-size: 12pt; font-style: italic;">Odyssey, </span><span style="font-family: TimesNewRomanPSMT; font-size: 12pt;">complete with reversals, plot twists, change in point of view character, love stories, and the satisfying deaths of major characters, all without even breaking a sweat. Now it is like pulling teeth when I begin a screenplay, and I have to go through multiple iterations until I get it right, even though typically the answers it takes so long to come to are clear and obviously starring me in the face from the get-go.</span></p></div></div></div><div class="page" title="Page 240"><div class="layoutArea"><div class="column"><p><span style="font-family: TimesNewRomanPSMT; font-size: 12pt;">As Robinson, Smith, Segal, and Shubin (2016) write, “</span><span style="color: #262626; font-family: TimesNewRomanPSMT; font-size: 12pt;">Adult play is a time to forget about work and commitments, and to be social in an unstructured, creative way.” It is interesting that they chose the word “creative,” since creation is all about organizing preexisting things in new, unique forms. As Marah Eiken (2011) wrote, “If you love something, go make something someone else can love.” I think that applies even if that “someone else” is just ourselves. Another way of phrasing Eakin’s quote is, “when you really love something, you make more of it.” That is the meaning of creation. After all, “the opposite of play is death” (Compton & Hoffman, 2013, p.145). Play represents creation and life, while death, at its core, really means stagnation.</span></p><p><span style="color: #262626; font-family: TimesNewRomanPSMT; font-size: 12pt;">Erikson “contend[s] that the widespread absence of playfulness during adulthood stems from feelings of shame and guilt” (Compton & Hoffman, 2013, p.145). He also believes that in our current society the main thing we now suppress is our joy, something young children have no problem expressing.</span></p><p><span style="color: #262626; font-family: TimesNewRomanPSMT; font-size: 12pt;">One benefit of play is that through relaxed, unplanned activities we are able to learn, practice and discover new interests in a non-competitive way. How many brilliant </span><span style="color: #262626; font-family: TimesNewRomanPSMT; font-size: 12pt;">artists are waiting in the wings in all fields, but think they are too old to contribute? Or too old to start now? You can make a fantastic debut feature film at 75. What’s stopping us? I submit that one reason is the shame and guilt many people experience for not following the road less travelled when they were younger. I think this also extends to a field like teaching. If increasing numbers of older people were willing to just play, they would discover new interests and avenues for their talents. And what if they find something they can become passionate about, such as giving back to society by teaching? Imagine if the successful Harvard MBA became a high school teacher after retirement, or the single mom who worked two jobs to support her kids through school suddenly had the time to get her teaching certificate. How could our society be transformed if more people young, and old, just played?</span></p></div></div></div><div class="page" title="Page 241"><div class="layoutArea"><div class="column"><p><span style="color: #262626; font-family: TimesNewRomanPSMT; font-size: 12pt;">With more and more people reaching their 70s and beyond, it is vitally important for us to understand the ways in which the aging generation can be happy, fulfilled, and give back to the rising generations coming after them, and practicing playfulness is one of the easiest and most fun.</span></p><p><span style="color: #262626; font-family: TimesNewRomanPSMT; font-size: 12pt;">References</span></p><p><span style="color: #262626; font-family: TimesNewRomanPSMT; font-size: 12pt;"><br />Compton, W.C., & Hoffman, E., (2013). </span><span style="color: #262626; font-family: TimesNewRomanPS; font-size: 12pt; font-style: italic;">Positive Psychology: The science of happiness </span><span style="color: #262626; font-family: TimesNewRomanPS; font-size: 12pt; font-style: italic;">and flourishing</span><span style="color: #262626; font-family: TimesNewRomanPSMT; font-size: 12pt;">. Belmont, CA. Wadsworth.</span></p><p><span style="color: #262626; font-family: TimesNewRomanPSMT; font-size: 12pt;">Eakin, M., (2011). The adventures of Pete and Pete: A hard day’s Pete. </span><span style="color: #262626; font-family: TimesNewRomanPS; font-size: 12pt; font-style: italic;">The AV Club</span><span style="color: #262626; font-family: TimesNewRomanPSMT; font-size: 12pt;">.</span></p><p><span style="color: #262626; font-family: TimesNewRomanPSMT; font-size: 12pt;">Retrieved at </span><span style="color: blue; font-family: TimesNewRomanPSMT; font-size: 12pt;">http://www.avclub.com/tvclub/the-adventures-of-pete-and-pete-hard-</span><span style="color: blue; font-family: TimesNewRomanPSMT; font-size: 12pt;">days-pete-60799</span></p><p><span style="color: #262626; font-family: TimesNewRomanPSMT; font-size: 12pt;">Robinson, L., & Smith, M., & Segal, J., & Shubin, J., (2016). The benefits of play for adults: How play benefits your relationships, job, bonding, and mood. </span><span style="color: #262626; font-family: TimesNewRomanPS; font-size: 12pt; font-style: italic;">HelpGuide. </span></p><p><span style="color: #262626; font-family: TimesNewRomanPSMT; font-size: 12pt;">Retrieved at </span><span style="color: blue; font-family: TimesNewRomanPSMT; font-size: 12pt;">http://www.helpguide.org/articles/emotional-health/benefits-of-play- for-adults.htm</span></p></div></div></div>Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com0tag:blogger.com,1999:blog-34248881.post-78578466174739827932021-01-25T20:29:00.002-07:002021-01-25T20:29:57.148-07:00Virtue Ethics<p class="MsoNormal" style="line-height: 200%; text-indent: .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSYEvzXyYe7A01TGub0gyFWrVUwBwu4VuzSxVkzvWnI7f_ouci3bTkVmFyGGN5vRZBgM8OBTju_vMlW16kIgASXCtyOEd5XAJMla0TAHn953nl2DI-HLId-g-_cwm0uDYjeG4/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="505" data-original-width="999" height="162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSYEvzXyYe7A01TGub0gyFWrVUwBwu4VuzSxVkzvWnI7f_ouci3bTkVmFyGGN5vRZBgM8OBTju_vMlW16kIgASXCtyOEd5XAJMla0TAHn953nl2DI-HLId-g-_cwm0uDYjeG4/" width="320" /></a></div><br /><p></p><p class="MsoNormal" style="line-height: 200%; text-indent: .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Philosophy
means the love of wisdom. For hundreds of years philosophers have struggled to
understand the world and humanity’s place in it. Our task today is to
understand our individual place in the world. The love of wisdom can only be a
personal subjective conviction, which is why I believe focusing on building
character through developing virtues is the best, most direct route to address
ethical concerns. Henry David Thoreau said, “There are a thousand hacking at
the branches of evil to one who is striking at the roots.<a href="file:///F:/ETHICS/FINAL%20PAPER.docx#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[1]</span></span><!--[endif]--></span></a>”
The evils of the world are not inherent to the world. The decisions and
policies that arise from people (including ourselves) and governments’
philosophies are the cause of the suffering we experience. By evil, I mean that
which discourages continual personal and societal flourishing. It’s not evil when a lioness kills a gazelle
to feed her family. It is evil when I choose to be angry with my wife, and then
express it in a manner that causes her pain. By continually developing virtues,
I can uproot the evil I find within myself. By so doing, I can be free from the
concerns that constantly vex me and cause me to perform less well than I know
how. In this paper I will address why character building through personalized
virtue ethics is the best way to answer evil.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; text-indent: .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Virtue
ethics were most famously taught by Aristotle in ancient Greece. He taught that
virtue was the mean between two extremes. For example, courage lies at the mean
of the two extremes of foolhardiness and cowardice. Some object to focusing on virtue because of
the way Aristotle formulated virtues as situating between two vices. I think
this is easily handled if we use virtue to mean its definition which is
“behavior showing high moral standards<a href="file:///F:/ETHICS/FINAL%20PAPER.docx#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[2]</span></span><!--[endif]--></span></a>”.
This may also cause some to object to my intentional misreading of Aristotle,
but I do not see how it is incompatible with his focus on personal virtue, as
opposed to rules and regulations. If you object to my looser definition of
virtue, you are only doing so because I am not following the teachings, or
“rules” of Aristotle. Many also object to virtue ethics because it is not clear
what virtues we should pursue. This is a great question and, I think, the first
question a virtue ethicist should be asking! Many ethicists run into trouble
with audiences because people feel too prescribed when philosophers tell them
they should be doing this and that, which can create feelings of guilt within
the listeners, which breeds resentment toward the philosophical arguments
themselves. Virtue ethics has a great opportunity to avoid this by focusing on
the personal, rather than the universal, thus freeing people to apply the point
of the argument to their lives. What seems like a potential weakness is
actually the strength of virtue ethics; it does not proscribe what you should
do, only that you should do it. It essentially says, “be good,” while leaving
the how up to you.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"> The simplest way (which is usually the best) to address
ethical concerns is to address them for yourself first. This is why virtue
ethics appeals to me and why I feel it offers the best of all possible
philosophical worlds. Everything we perceive comes through our brains. We touch
a keyboard; the brain sends electrical signals telling us we are typing. We eat
a sandwich; the brain tells us it tastes good. It is -5 degrees outside; our
brain tells us we are freezing. Everything we experience comes through our
brains, and so, is subjective. This is an enormous strength to virtue ethics
because it places the responsibility for developing virtue not on the mores of
the dominant culture, but on the shoulders of those who make up that culture. This
is a freeing and empowering thought that requires us to use our minds to
discover what virtues we should personally be seeking. What virtues should you
be seeking? I suggest starting with the one you know you lack and progress
from there. Since we experience the world subjectively, the best place to start
improving the world is in the vessel we view the world from. I believe that there is objective truth, but
that does not matter to our discussion at present. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"> <span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Some
object to virtue ethics because they see the imperfect way many people behave. I saw this in a philosophy of ethics class when Peter Singer’s arguments for effective altruism were
dismissed by many because he only gives an estimated 30% of his income away.
This is flawed reasoning. If we only listen to those who lead perfect lives, we
would have to dismiss almost all of the accumulated wisdom of the ages! Martin Luther
King, Jr, Nelson Mandela, John F. Kennedy, were all adulterers. So their
contributions are worthless and we should not follow the true things they
espoused? I do not think that follows. Their positions may have been weakened
because of their hypocrisy, but they still contributed good to the world.
Another objection is that virtues are relative to the culture they belong to.
In Mexican culture, it is not uncommon for a male child to live with his parents
until he gets married. I had a professor that lived with his parents until he
was married at age 30. He had a doctorate before he moved out of his parents' house! That would be looked
down upon in the United States. While it is true that virtues are relative,
that is not a problem with my argument because the relativity and subjectivity
of virtues is vital to being a successful virtue ethicist. An example will make
this clearer. Suppose you are in a classroom and the teacher is starting to
bore you on a topic that you normally have some interest in. Maybe you have
read a book on the subject. You could sit there and let your mind wander or you
could engage and ask a penetrating question. If you think it is the teacher’s
job to entertain you, you will probably disengage. If, on the other hand, you
use the power of subjectivity, you will reengage by asking a great question,
thus changing the shape of the discussion, and relieving your boredom.
Subjectivity is not a weakness of virtue ethics, but a great strength. Another
objection is that you are not getting rid of unethical behavior by focusing on
your own character. I will show how this is untrue by the following example. A
young woman in my speech class gave a very moving speech about preventing
suicide. It was evident from her speech that someone she was close to had taken
their own life. She said that you cannot ultimately prevent suicide, it is
their choice, and all you can do is try to be there and show them that pain is
a feeling and is temporary, and if you can feel pain that extreme, you have the
capacity to feel joy that deeply as well. She is right, of course, that we are
not responsible for the choices of others, and we cannot prevent them if they
are determined to hurt themselves. But we can prevent our own suicide. We can
get medical help, we can fill our lives with good things, and we can hold on. We
do not need to remove the roots of evil in others, only in ourselves. That is
how we change the world. Like Gandhi said, “<span style="background: white;">If we could change ourselves, the tendencies in the world
would also change. As a man changes his own nature, so does the attitude of the
world change towards him. ...we need not wait to see what others do.<a href="file:///F:/ETHICS/FINAL%20PAPER.docx#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: black; font-size: 12pt; line-height: 115%;">[3]</span></span><!--[endif]--></span></a>”<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="background: white; font-family: "Times New Roman", serif; font-size: 12pt; line-height: 200%;"> In conclusion, I believe
that admitting to ourselves that we see the world subjectively is a great help
in obtaining virtues for ourselves, and that many of the so-called weaknesses
of virtue ethics are actually its secret strengths.</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"><o:p></o:p></span></p>
<div><!--[if !supportFootnotes]--><br clear="all" />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<div id="ftn1">
<p class="MsoFootnoteText"><a href="file:///F:/ETHICS/FINAL%20PAPER.docx#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span><!--[endif]--></span></a> <span style="background: white; font-family: Helvetica, sans-serif; font-size: 9pt;">Henry David Thoreau. BrainyQuote.com, Xplore Inc, 2013.
http://www.brainyquote.com/quotes/quotes/h/henrydavid161709.html, accessed
December 5, 2013.</span></p>
</div>
<div id="ftn2">
<p class="MsoFootnoteText"><a href="file:///F:/ETHICS/FINAL%20PAPER.docx#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span><!--[endif]--></span></a>Retrieved
from <a href="https://www.google.com/search?q=virtue+definition&oq=vir&aqs=chrome.0.69i59j69i57j69i65l3j69i59.2614j0j8&sourceid=chrome&espv=210&es_sm=93&ie=UTF-8">https://www.google.com/search?q=virtue+definition&oq=vir&aqs=chrome.0.69i59j69i57j69i65l3j69i59.2614j0j8&sourceid=chrome&espv=210&es_sm=93&ie=UTF-8</a></p>
</div>
</div><p><a href="file:///F:/ETHICS/FINAL%20PAPER.docx#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></a> Brian
Morton, “Falser Words Were Never Spoken.” <i>The
New York Times</i>, August 29, 2011 <a href="http://www.nytimes.com/2011/08/30/opinion/falser-words-were-never-spoken.html?_r=0">http://www.nytimes.com/2011/08/30/opinion/falser-words-were-never-spoken.html?_r=0</a> </p>Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com0tag:blogger.com,1999:blog-34248881.post-24583701054635129272016-12-27T21:56:00.000-07:002016-12-27T22:16:43.869-07:00Father Like I Wanna<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDPf4vmdp4yChkJDU_dfiC5vzC5Szg9i1zludixmD4MvLrVTxb_0FUl8-q2p44CBHHQMNDQDk9iNWFd9g-u4YhyphenhyphenjoFgy76VJIVnTqEe7PAkHrS_1gucmiUUAPIoIMRg1k9Q60/s1600/The-Intern-2015-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDPf4vmdp4yChkJDU_dfiC5vzC5Szg9i1zludixmD4MvLrVTxb_0FUl8-q2p44CBHHQMNDQDk9iNWFd9g-u4YhyphenhyphenjoFgy76VJIVnTqEe7PAkHrS_1gucmiUUAPIoIMRg1k9Q60/s320/The-Intern-2015-3.jpg" width="213" /></a></div>
<i><br /></i>
<i><br /></i>
<i>In which Nancy Meyers makes a French-styled film in America</i><br />
<br />
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman";">I
just watched <i>The Intern</i> (2015), with my incredibly talented, smart, and
beautiful wife, and these are my thoughts about it. Written and directed by
Nancy Meyers, the film deals with the intersection of work, family, and life
satisfaction through two interlocking stories, one dealing with Robert De
Niro’s retired widower and newly minted (at the perfect age of seventy) office
intern, and the other with Anne Hathaway’s brilliant fashion-start up
entrepreneur, whose brand new, rapidly expanding online business is named About
the Fit. The interplay of our expectations and the characters’ desires plays
out like a French domestic drama, something I highly doubt Meyers gets credit
for from critics at large.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman";"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman";">While there is a betrayal in the
film, it’s not the one I’d imagined from seeing the marketing materials, and
the way it unfolds is surprising and unexpected, and avoids the clichéd
workplace climbing we’ve come to expect from films that heavily feature office
workplaces.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman";"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman";">Ultimately the film defies the
template we’ve seen in so many movies about modern women, where steep tradeoffs
have to be made in order for the leading ladies to have families and careers.
Familial satisfaction and the outward ordinances of modern Western-style
“success” clash incessantly and demand that we serve two masters
simultaneously, but we all know that is impossible. What is needed is balance,
and Hathaway’s character finds it, not by denying one side of her heart or the
other, but by placing her affection (despite very compelling reasons to reject
her husband) where it most belongs: on her family. That emphasis allows her to
accept her situation and gives her the courage to stay who she is while finding
the beginnings of balance. The film ends on a note of acceptance as Hathaway
and De Niro do Tai Chi in the park. Ultimately, life is about the fit.</span></div>
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<span style="font-family: "times new roman";"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman";">Oh
yeah, and De Niro is hilarious, too. <o:p></o:p></span></div>
Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com0tag:blogger.com,1999:blog-34248881.post-71647430968605703812016-03-10T21:14:00.001-07:002016-03-10T21:20:15.583-07:00George Washington Wrote This Post In 1796, So Why Am I Writing it 220 Years Later?<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSubIxw8b8H3x4rOiT-LpV4U0e2ksK5pg9Me3N7swdLkRQFH5__tWQv8O0E-3pFN_RQLwY6dxnePiLiqeERdsdltXzXPcNN1ZTLi56alTcF430q-7tekG4qfftza6I_LcdSkU/s1600/pp_front01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSubIxw8b8H3x4rOiT-LpV4U0e2ksK5pg9Me3N7swdLkRQFH5__tWQv8O0E-3pFN_RQLwY6dxnePiLiqeERdsdltXzXPcNN1ZTLi56alTcF430q-7tekG4qfftza6I_LcdSkU/s320/pp_front01.jpg" width="197" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "times new roman"; font-size: 12pt; line-height: 200%; text-indent: 0.5in;"><br /></span></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<span style="font-family: Times New Roman;"><span style="font-size: 12pt; line-height: 200%;">(I </span><span style="line-height: 32px;">originally</span><span style="font-size: 12pt; line-height: 200%;"> wrote this on December 14, 2012)</span></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">The
American Revolution was fought not only for the immediate fate of the
colonists, but also for the future residents of the country they hoped to carve
out from Great Britain. The rebels thought, fought, planned, bled, and died for
a future where men were free to govern themselves. In the preamble to the
Constitution of the United States of America, it reads,<o:p></o:p></span></div>
<div style="line-height: 200%; margin-bottom: 7.5pt; margin-left: 1.0in; margin-right: 0in; margin-top: 0in;">
We the People of the United States, in Order to form a more
perfect Union, establish Justice, insure domestic Tranquility, provide for the
common defense, promote the general Welfare, and secure the Blessings of
Liberty to ourselves and our Posterity, do ordain and establish this
Constitution for the United States of America.<o:p></o:p></div>
<div style="line-height: 200%; margin-bottom: 7.5pt; margin-left: 0in; margin-right: 0in; margin-top: 0in; text-indent: .5in;">
We as the citizens of the United States of
America have abdicated our Constitutional rights and responsibilities to govern
ourselves by vesting power in the two major political parties.<span style="mso-spacerun: yes;"> </span>The rightful rulers of the United States, its
people, must break the power of political parties. The unique system of
government bequeathed to us from the Founders of our country demands that the
power of government be wielded by the people, otherwise there is no reason for
the United States to exist.<span style="mso-spacerun: yes;"> </span>In the
Declaration of Independence it states,<o:p></o:p></div>
<div style="line-height: 200%; margin-bottom: 7.5pt; margin-left: 1.0in; margin-right: 0in; margin-top: 0in;">
We hold these truths to be self-evident, that all men are
created equal, that they are endowed by their Creator with certain unalienable
Rights, that among these are Life, Liberty and the pursuit of Happiness.—That
to secure these rights, Governments are instituted among Men, deriving their
just powers from the consent of the governed, --That whenever any Form of
Government becomes destructive of these ends, it is the Right of the People to
alter or abolish it, and to institute new Government, laying its foundation on
such principles and organizing its powers in such form, as to them shall seem
most likely to effect their Safety and Happiness.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">This
was true in 1776, and it is still true today.<span style="mso-spacerun: yes;">
</span>Luckily in order to alter the form our government has taken we do not
need to have an armed rebellion, just a little change in our voting habits,
because the Democrat and Republican parties are not true representatives of the
people who elect them to power. They are not affected by the laws they pass,
they are supported by the taxes of the people, even when they are independently
wealthy, which most of them are. Both parties refuse to cooperate with one
another on specious grounds, which boil down to the often unspoken cliché of
the critic; “I wouldn’t have done it that way.”<span style="mso-spacerun: yes;">
</span>As both parties tell the Manichaean lie that they are the party of the people,
opposing the darkness with the light of rational platforms designed to keep
America great, they blame the other side, in an endless cycle of political
maneuvering, which has the effect of obscuring the fact that no one on either
side is getting done what we the people need to have done on our behalf.<span style="mso-spacerun: yes;"> </span>The parties have become a law unto
themselves, rather than doing their professed job of representing the best interests
of the American people.<span style="mso-spacerun: yes;"> </span>Hence, the power
of the parties should be shattered by the American people because 1) the system
of government we enjoy is rooted in experimentation. 2) We must grow up as a
democracy in the 21<sup>st</sup> century, and 3) all systems run to corruption
without constant and perpetual renewal.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">The
people of the United States have allowed our national interests to be swallowed
up by the interests of the political parties, whose central interests are
holding on to their supposed power.<span style="mso-spacerun: yes;"> </span>We
can change this situation, and indeed must, if our country is to flourish. The
rebellion against the British monarchy was an experiment in self-government,
and was a resounding success.<span style="mso-spacerun: yes;"> </span>The
democratic republican form of government we enjoy today was made possible by
the revolution, which was not a sure thing. Since then, democracy has spread
across the globe, and is still growing.<span style="mso-spacerun: yes;">
</span>Monarchies still exist, but the power they wielded in times past has
been broken. That is the model for what should happen to the major parties in
the United States.<span style="mso-spacerun: yes;"> </span>The experiment in
self-government is by definition open-ended.<span style="mso-spacerun: yes;">
</span>It will only fail if we do not live by the principles laid down in our
founding documents. We must not abandon the experiment. That being said, the
Constitution allows us to modify it as the experiment reveals change is needed.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">Part of
the problem with the power of the parties, is that we have somehow come to
believe that this is the way our government is designed to function.<span style="mso-spacerun: yes;"> </span>It is not. The Constitution never so much as
mentions political parties, let alone the system as it currently stands today.
The Founders were extremely concerned with the concept of unity. In order for
the United States to be a workable concept and be able to function with the
Constitution, unity was paramount.</span><span style="background: white; color: #330000; font-size: 13.5pt; line-height: 200%;"> </span><span style="background: white; color: #330000; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">In 1858 Abraham Lincoln said, “A house divided
against itself cannot stand. I believe this government cannot endure,
permanently, half slave and half free. I do not expect the Union to be
dissolved; I do not expect the house to fall; but I do expect it will cease to
be divided. It will become all one thing, or all the other</span><span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">.”<span style="mso-spacerun: yes;"> </span>While Lincoln is referencing the issue of
slavery, the principle of his point still stands; divisiveness creates
disunion. In his final address to the American people, the first President of
the United States, George Washington said, speaking about political
combinations, and associations, <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: 1.0in;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">They
serve to Organize faction, to give it an artificial and extraordinary force--to
put in the place of the delegated will of the Nation, the will of a party;
often a small but artful and enterprising minority of the Community; and,
according to the alternate triumphs of different parties, to make the public
Administration the Mirror of the ill concerted and incongruous projects of
faction, rather than the Organ of consistent and wholesome plans digested by
common councils and modified by mutual interests.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span>We must break the power of parties in the
United States by using the power the Constitution grants us: Vote against the
parties until they get the message that the representatives we elect represent
us, and nothing and no one else.<span style="mso-spacerun: yes;"> </span>We can
do this by never voting for an incumbent again.<span style="mso-spacerun: yes;">
</span>As we do this, a pattern of one-term officeholders will emerge, showing
that simply being a Democrat or a Republican is not enough to get anyone
elected.<span style="mso-spacerun: yes;"> </span>After that, the only thing left
for us to judge a candidate’s fitness for office is that candidate’s ideas to
improve their country/district/etc.<span style="mso-spacerun: yes;"> </span>And
that is how it should be.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">Our
refusal to exercise the power guaranteed us in the Constitution is like the
young person who refuses to grow up and take responsibility for his or her own
life, liberty, and pursuit of happiness.<span style="mso-spacerun: yes;">
</span>President Barack Obama said in a television interview that, “The most
important lesson </span><span style="background: white; color: #333333; font-family: Georgia; font-size: 11.5pt; line-height: 200%;">I've learned is that you
can't change Washington from the inside. You can only change it from the
outside.” </span><span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">One way to change it is to stop electing politicians to
office who will be there for longer than one term.<span style="mso-spacerun: yes;"> </span>If Washington is so entrenched with
partisanship and corruption that it is not possible for a seeming outsider like
Obama to change the culture, then to change it we need to elect a flood of
outsiders every two, four and six years, until the statement of Martin Luther
King Jr, writing from Birmingham Jail is realized, “Anyone who lives inside the
United States can never be considered an outsider anywhere within its
borders.”<span style="mso-spacerun: yes;"> </span>Term limits should be imposed
on every elected office in the United States, not by a Constitutional
amendment, but by the ballots of the voters each election. We would need more
candidates if this were to occur, which would allow ordinary citizens to be
elected to office.<span style="mso-spacerun: yes;"> </span>The mirror example is
when reserve military personnel are called to active duty. Upon their return,
they are guaranteed the job they left to serve will be waiting for them.
Considering that congress people are not eligible for the congressional pension
unless they have served five years, the pension plan would essentially not
serve Senators and Representatives any longer, saving the taxpayers’ money.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">We say
it is too hard to change Washington D.C., but we cannot know that until we have
tried.<span style="mso-spacerun: yes;"> </span>President Obama himself did not
know it could not be done until he was the president for almost four years.<span style="mso-spacerun: yes;"> </span>We must use the most fundamental power vested
in us by the Constitution to change Washington; namely, the right to vote.<span style="mso-spacerun: yes;"> </span>The best part of changing government this way
is that we do not have to wait for the government to fix something for us.<span style="mso-spacerun: yes;"> </span>It is a false idea that the government is
something separate from the people of this country.<span style="mso-spacerun: yes;"> </span>That is one of the reasons the power of the
parties must be broken; the false duality of government versus the people
and/or government serving the people is incorrect. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">We are
the government of the United States.<span style="mso-spacerun: yes;"> </span>We
elect representatives to represent us.<span style="mso-spacerun: yes;">
</span>Hence, we are the government. As Martin Luther King, Jr, “We are caught
in an inescapable network of mutuality, tied in a single garment of destiny.” We
have lost sight of that. And in fact we have lost sight of the power of
democracy.<span style="mso-spacerun: yes;"> </span>Sometimes when a job seems
too hard, we abdicate our power in order to get out of doing it ourselves.<span style="mso-spacerun: yes;"> </span>We don’t want to take the responsibility of
helping our workplace be an inviting environment, so we put all the blame on
our boss, or his or her boss, or the corporate structure of the company.<span style="mso-spacerun: yes;"> </span>Which may even be true, but it is not
justifiable to solely blame others when we have not done our part yet.<span style="mso-spacerun: yes;"> </span>The parties encourage this kind of thinking,
all the while giving the excuse, “it’s not our fault, blame them!”<span style="mso-spacerun: yes;"> </span>If the United States was a marriage, this
kind of thing would be seen for the immature sham it really is.<span style="mso-spacerun: yes;"> </span>Imagine two married people both saying to one
another, “it’s not my fault, you made this happen!<span style="mso-spacerun: yes;"> </span>You got in the way of my dream!”<span style="mso-spacerun: yes;"> </span>We would see a problem there.<span style="mso-spacerun: yes;"> </span>If two persons both level the same exact
charge at each other, then we say it takes two to tango, and that is right. We
would tell this couple that they must be more realistic, and must learn to
compromise.<span style="mso-spacerun: yes;"> </span>If they refused this advice,
we would say they need to end their partnership. The fact that the parties
constantly blame each other for preventing important legislation being passed
is proof of their illegitimacy.<span style="mso-spacerun: yes;"> </span>As
Washington said, “the common & continual mischiefs of the spirit of Party
are sufficient to make it the interest and the duty of a wise People to
discourage and restrain it.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">Some
say that political reform, revolution and repentance are no guarantees to
future progress. They say that if we fix one issue, that creates a myriad of
other problems.<span style="mso-spacerun: yes;"> </span>Well, then we will fix
those problems, and then fix the problems the former solutions created, ad
infinitum.<span style="mso-spacerun: yes;"> </span>An endless cycle of reform
may sound like the worst thing in the world to some, but it is the only thing
that will bring continual progress to this great country.<span style="mso-spacerun: yes;"> </span>Researchers at The Harvard Business School
have recently done studies about what makes people truly happy, and what they
have found is that, “it’s simply making progress in meaningful work.” (Amabille
and Kramer) That sounds an awful lot like the language of the Declaration of
Independence talking about our right to pursue happiness. We have an
unalienable right, not to be happy necessarily, but to be able to progress
toward happiness and felicity. We must stand up and take our rightful place as
the true source of power that allows this great country to exist and thrive.
Americans are only exceptional when we actually live the principles our
government was founded on. So let us start acting like Americans. And if we
have an unending task of checking and balancing the government before us as a
people, then the great task of guarding and keeping safe the ongoing evolution
of democracy is a cause worthy of giving our time, talents, and our lives to.<a href="https://www.blogger.com/null" name="p9"></a><a href="https://www.blogger.com/null" name="p6"></a><span style="background: white; color: black;"><o:p></o:p></span></span></div>
<div style="line-height: 200%;">
<br /></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<span style="background: white; color: black; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">WORKS CITED<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="background: white; color: black; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">“<i style="mso-bidi-font-style: normal;">Preamble.</i>” United States.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="background: white; color: black; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">“<i style="mso-bidi-font-style: normal;">Declaration of Independence</i>.” United
States. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="background: white; color: black; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">Washington,
George. “Farewell Address.”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="background: white; color: black; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">Obama,
Barack. As qtd in Dwyer, Devin. “Obama Says He Can’t Change Washington From
Inside.”<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">ABC News</i>. ABC News. 20 Sept. 2011. Web. 11 Dec. 2012.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="background: white; color: black; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">King,
Jr., Martin Luther. “Letter From Birmingham Jail.”. <i style="mso-bidi-font-style: normal;">80 Readings for Composition.</i> Ed. David Munger. n.p. Pearson
Longman, 2006. 245-262. Print.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="background: white; color: black; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">Amabille,
Teresa and Steven Kramer. “Do Happier People Work Harder?” <i style="mso-bidi-font-style: normal;">The New York Times.</i> The New York Times. 3 Sept. 2011. Web. 11 Dec.
2012.<o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: left;">
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Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com0tag:blogger.com,1999:blog-34248881.post-32553711176750407942015-11-09T08:33:00.000-07:002015-11-09T08:33:16.784-07:00Operational Cinema: Inglourious Basterds and You
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgelzAl9gxfEwKE4jPmQsbaPVoQGYQLAeqL0Kjx3sAmKo6ugNuGJx6jOdz6fn22A1ClJYbxyYzyVYE6Lyz7RqauuaV9QezMcvhvQ0RdFgqvpslw7jtPwYOKobHHTYZEzdUYV_s/s1600/Raine_and_Utivich_final_scene.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgelzAl9gxfEwKE4jPmQsbaPVoQGYQLAeqL0Kjx3sAmKo6ugNuGJx6jOdz6fn22A1ClJYbxyYzyVYE6Lyz7RqauuaV9QezMcvhvQ0RdFgqvpslw7jtPwYOKobHHTYZEzdUYV_s/s320/Raine_and_Utivich_final_scene.jpg" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";">Inglourious
Basterds</span></i><span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";"> (sic)<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[1]</span></span><!--[endif]--></span></span></a>
is a World War II movie written and directed by Quentin Tarantino<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[2]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>The film raises questions of historical
accuracy, the validity of revenge, the costs of racism, and the acceptable
usage of violence as told in five chapters. The film is long on plot and
suffused with themes, so for the purpose of this review only the first chapter,
“Once upon a time in … Nazi-occupied France,” will be summarized. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";">The film opens in the idyllic French
cow country during the Nazi occupation of the country. A farmer (Perrier
LaPadite) chops wood as a delegation of German military drive up the lane. The
delegation is led by Colonel Hans Landa, who has been placed in command of the
search for Jews in country. In fact Landa is so good at it he’s been dubbed
“The Jew Hunter” by the people of France. Landa says he wants to visit
LaPadite’s farm as a simple formality in order to officially close the file on
the LaPidite family. What Landa and LaPidite both know, and what the audience
gradually learns as LaPidite slowly realizes what already Landa knows, is that
there is a Jewish family that has been hiding underneath the kitchen
floorboards for the past year<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[3]</span></span><!--[endif]--></span></span></a>.
The last Germans who searched the farm didn’t suspect a thing, because they
would never hide there themselves. The colonel interrogates the farmer and
humbly brags about how he is proud of the nickname the French people have given
him, “precisely because I’ve earned it.”<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[4]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Landa offers terms to LaPidite, who
accepting, points out where the Dreyfusses are hiding. The Germans soldiers
machine gun the floor, massacring the whole family, except for one teenage
girl, who escapes the slaughter and runs out into a field, with Landa trailing
her with his pistol, waiting for a sure shot, and right when it appears he has
it, he shouts, “Au Revoir, Shosanna!” and drops his pistol to his side as she
runs over a hill out of sight. Does he let her go because he can’t make the
shot, or to let the infamy of the Jew Hunter circulate even wider? After all,
anyone Shosanna would tell the truth of her tale to would obviously be
sympathetic to the Jews, and hence would be even more afraid to continue giving
aid to them if the Jew Hunter was on the case, just like LaPidite was when he
found out who had come to call on him.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";">Tarantino sets up all of the themes of
the film in this first nearly 20 minute scene. All the characters are playing a
part throughout, save for the terrified Shosanna as she runs from the massacre
of her family. </span><span class="apple-converted-space"><span style="background: white; color: #4c4c4c; font-family: Georgia; font-size: 9.5pt; line-height: 200%;"> </span></span><span class="apple-converted-space"><span style="background: white; font-family: Georgia; font-size: 9.5pt; line-height: 200%;">“</span></span><span style="background: white; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">A theme
that is central to nearly every moment, every image, every line of dialog, is
that of performance -- of existence as a form of acting, and human identity as
both projection and perception.”<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="background: white; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[5]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="background: white; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">The second chapter, called “Inglourious Basterds” deals with
a group of Jewish commandos, led by a descendant of Jim Bridger named Aldo
Raine, who are dropped behind enemy lines undercover to terrorize the German
forces.</span><span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">
“<span style="background: white;">They are a propaganda unit to counter Goebbels'
-- a<span class="apple-converted-space"> </span><i><span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">movie</span></i><span class="apple-converted-space"> </span>at loose in the world. Forget<span class="apple-converted-space"> </span><span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Dresden</span>, the Basterds
are carpet-bombing the Germans with the most powerful weapon of all: fear.<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="background: white; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[6]</span></span><!--[endif]--></span></span></a>” The
Basterds, as the Germans call them are guerrilla fighters who kill German
squads, but let one survivor go after marking him with a swastika carved into
his forehead. The principle reason they give for doing this is that “We like
our Nazis in uniform. That way, you can spot ‘em just like that. But you take
off that uniform, ain’t nobody gonna know you was a Nazi<span style="color: black; mso-themecolor: text1;">. </span>And that don’t sit well with us.”<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="background: white; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[7]</span></span><!--[endif]--></span></span></a> This may
seem like a simple case of a gruesome revenge fantasy, but many Nazis attempted
to flee Germany after the war to avoid being prosecuted for their crimes, and
many succeeded with the help of relief organizations as well as churches in
escaping from justice and setting themselves up with nice new lives in places
like Argentina..<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="background: white; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[8]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="background: white; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">Tarantino never states whether the commandos are religious
Jews, or just culturally and ethnically Jewish, but either way the fact that
they mark their victims has religious and cultural significance to the Jewish
faith. In Leviticus 19: 28 it states, “Ye shall not make any cuttings in your
flesh… nor print any marks upon you.” The fact that Jews were tattooed in
concentration camps was disrespectful to their religion, to say nothing of
their human rights. The act of the Basterds in marking Nazis is evidence of the
belief of the soldiers that, in the words of Lt. Raine, “Nazi[s] ain’t got no
humanity.”<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftn9" name="_ftnref9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="background: white; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[9]</span></span><!--[endif]--></span></span></a> The
Basterds’ belief in this idea is shown by the fact that they mark their enemies
in a way that is considered an abomination when it is perpetrated against their
own people. The question is raised by the scenes of the Basterds killing Nazis
simply because they wear a certain uniform, if killing people because of their
political persuasions is moral, or not. And that’s a good question. But that’s
exactly what wars are all about. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="background: white; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">The issue in this film is that we are actually shown the
faces of the Nazis.<span style="mso-spacerun: yes;"> </span>We see how good they
are at their jobs, we hear of their bravery in battle, we see the pride<span style="mso-spacerun: yes;"> </span>and love they have for their children, and
are even shown one Nazi’s tears of joy when commended by the Fuhrer. Shorn of
context, these characterizations make us admire and sympathize with these
characters. Interestingly, we are never shown anything of the concentration
camps, and they are never even brought up! But we know they were there. We know
what happened there. We know that they killed millions of undesirables purely
for the sake of furthering their power.</span><span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="background: white; color: black; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%; mso-themecolor: text1;">Subtextual criticism is
brought up in the film itself by film critic-turned-secret agent Archie Hicox,
so it is safe to say this is a movie that openly invites audiences to bring
subtext into the theatre with them. Does bravery in battle matter when one’s
moral bravery has been abandoned? Does it matter that young Sgt. Wilhelm is a
proud and loving new father, eager to share his favorite movies with his new
baby boy? Does he deserve to live in a time of war when he has signed up with
the Nazis? If one makes quality films but does it for the glory of racist
fascists, should one take pride in the work?<span style="mso-spacerun: yes;">
</span>So the question remains, is what the Basterds do up close and personal
worse then what regular soldiers do in battle from the safe distance of a
foxhole?<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="background: white; color: black; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%; mso-themecolor: text1;">In the next chapter we see
the decadence of the lifestyle of the Nazi high command when the escaped
Shosanna has lunch with a German war hero (Fredrick Zoller), Joseph Goebbels,
his mistress, and some SS officers who interview her in order to determine if
the cinema she owns would be a proper place to host Goebbels latest masterpiece
starring Zoller. The pampered poodles of Goebbels’ mistress sit at the table
with the Nazi entourage. Tarantino lingers on lavish close-ups of delicious
looking strudel and crème. Why? To show that these people have the will to
power to have the best of everything, but instead of obtaining it and sharing
the surplus with the people of the world, they waste it all in conquering,
subjugating, and destroying their fellow man. Landa even describes the strudel
as, “Not so terrible.”!<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftn10" name="_ftnref10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="background: white; color: black; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-themecolor: text1;">[10]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="background: white; color: black; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%; mso-themecolor: text1;">The last two chapters deal
with a plot hatched by the American OSS and the British SOE, to assassinate the
German high command (Hitler, Goebbels, Hermann Goring, and Martin Bormann) at
Shosanna’s cinema during a gala premiere using the Basterds as the operatives.
Shosanna has also decided to blow up her theatre to create her own oven to
roast the Nazis. The two overlapping plots to kill Hitler<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftn11" name="_ftnref11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="background: white; color: black; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-themecolor: text1;">[11]</span></span><!--[endif]--></span></span></a>
dovetail and intertwine in the last chapter as plot complications force the
Basterds to improvise, to disastrous results, which leads Landa to detect their
plot. Landa is a self serving piece of human trash, with no real loyalty to the
Nazi party he has sworn to serve, so he makes a deal to let the bombs blow as
long as history is rewritten to state he was a double agent for the allies the
entire time. The deal is struck, so the Basterds’ bombs go off, as well as
Shosanna’s undiscovered plot to set the theatre ablaze, but not before Shosanna
is murdered by the previously thought of as nice Nazi Zoller., and the Basterds
left at the cinema by Landa wreck vengeance on Hitler by machine-gunning him to
death.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="background: white; color: black; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%; mso-themecolor: text1;">With the death of Hitler in
the film, we see we’ve not been in our reality, but watching an alternate
history. We should have know this the whole time. Movies are not reality.
Tarantino never lets us forget we’re watching a movie, a hallmark of French New
Wave cinema<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftn12" name="_ftnref12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="background: white; color: black; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-themecolor: text1;">[12]</span></span><!--[endif]--></span></span></a>as
he uses chapter headings,<span style="mso-spacerun: yes;"> </span>repurposed
film score from classic films, voice-overs, constant references to characters
watching movies, split screen, and ‘80’s rock songs as score. Tarantino’s
intention is unclear here, but that is a hallmark of art films, where the
director gives just so much, and leaves the rest up to the audience. The
trailers for <i style="mso-bidi-font-style: normal;">Inglourious Basterds</i>
promised a thrilling revenge commando movie, but what Tarantino made is a
European art house movie about the actions taken on all sides during World War
II. The film poses many questions, some extremely uncomfortable, about our
moral logic, our duty to our beliefs, and the toll of war on societies<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftn13" name="_ftnref13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="background: white; color: black; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-themecolor: text1;">[13]</span></span><!--[endif]--></span></span></a>.
The film is a masterpiece, and will stand the test of time. It is also fun. As
Tarantino said, <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in;">
<span style="background: white; color: black; font-family: "Times New Roman"; font-size: 12.0pt;">Holocaust movies always have Jews as victims. We’ve seen that story
before. I want to see something different. Let’s see Germans that are scared of
Jews. Let’s not have everything build up to a big misery, let’s actually take
the fun of action-movie cinema and apply it to this situation.<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftn14" name="_ftnref14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="background: white; color: black; font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[14]</span></span><!--[endif]--></span></span></a></span><span style="font-family: "Times New Roman"; font-size: 12.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<br /></div>
<div style="mso-element: footnote-list;">
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Calibri; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span><!--[endif]--></span></span></a>
The title is purposefully misspelled. The only clue the film offers for this is
a shot where Lt. Raine sets his rifle against a rock and we catch a fleeting
glimpse of the words “inglourious basterds” carved into the rifle stock.<o:p></o:p></div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Calibri; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span><!--[endif]--></span></span></a>
Film is the most collaborative medium of all the arts, but for the sake of
space as well as style, I will leave out mention in the body of the review of
the contributions of the cinematographer Robert Richardson, editor Sally Menke
(1953-2010), and other essential personnel.<o:p></o:p></div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Calibri; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span><!--[endif]--></span></span></a>
Doris L. Bergen, War & Genocide (Maryland: Rowman & Littlefield, 2003),
185. Most of the Jews that were hidden in Europe were children, because it was
easier to hide and explain them than adults. Boys were riskier to hide than
girls as few European Christians circumcised their boys, and the Jew hunters of
the time would routinely ask men and boys to pull down their pants to determine
if they were Jews.<o:p></o:p></div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Calibri; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span><!--[endif]--></span></span></a>
Quentin Tarantino, <i style="mso-bidi-font-style: normal;">Inglourious Basterds</i>
(New York: Weinstein Books, 2009), 11.<o:p></o:p></div>
</div>
<div id="ftn5" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Calibri; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span><!--[endif]--></span></span></a>
Jim Emerson. Inglourious Basterds: Real or Ficticious, it Doesn’t Matter. <i style="mso-bidi-font-style: normal;">Scanners With Jim Emerson</i>. September 1,
2009. <a href="http://www.rogerebert.com/scanners/inglourious-basterds-real-or-fictitious-it-doesnt-matter">http://www.rogerebert.com/scanners/inglourious-basterds-real-or-fictitious-it-doesnt-matter</a>.<o:p></o:p></div>
</div>
<div id="ftn6" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Calibri; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[6]</span></span><!--[endif]--></span></span></a>
Jim Emerson. Some Ways to Watch Inglourious Basterds (Sic). <i style="mso-bidi-font-style: normal;">Scanners With Jim Emerson</i>. August 25,
2009. <a href="http://www.rogerebert.com/scanners/some-ways-to-watch-inglourious-basterds-sic">http://www.rogerebert.com/scanners/some-ways-to-watch-inglourious-basterds-sic</a>.<u><o:p></o:p></u></div>
</div>
<div id="ftn7" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Calibri; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[7]</span></span><!--[endif]--></span></span></a>
Tarantino, <i style="mso-bidi-font-style: normal;">Inglourious Basterds</i>, 37.<o:p></o:p></div>
</div>
<div id="ftn8" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Calibri; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[8]</span></span><!--[endif]--></span></span></a>
Gerald Steinacher, Nazis On The Run (New York: Oxford University Press Inc,
2011), 286-289. Shockingly, two large organizations that helped former Nazis
flee justice were the Catholic Church, and the International Committee of the
Red Cross.<o:p></o:p></div>
</div>
<div id="ftn9" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftnref9" name="_ftn9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Calibri; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[9]</span></span><!--[endif]--></span></span></a>
Tarantino<i style="mso-bidi-font-style: normal;">, Inglourious Basterds</i>, 19.<o:p></o:p></div>
</div>
<div id="ftn10" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftnref10" name="_ftn10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Calibri; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[10]</span></span><!--[endif]--></span></span></a>
Tarantino, <i style="mso-bidi-font-style: normal;">Inglourious Basterds</i>, 66.<o:p></o:p></div>
</div>
<div id="ftn11" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftnref11" name="_ftn11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Calibri; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[11]</span></span><!--[endif]--></span></span></a>
Roger Morehouse, <i style="mso-bidi-font-style: normal;">Killing Hitler</i> (New
York: Bantam Books, 2006), 322. There were many, many plots in real life to
kill Hitler, a majority of which were plotted by members of the German
military, but something always seemed to go wrong at the last second and Hitler
walked away from them all. But not in this film.<o:p></o:p></div>
</div>
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<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftnref12" name="_ftn12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Calibri; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[12]</span></span><!--[endif]--></span></span></a>
Aaron Koehler,” C’est Si Bon! French New Wave Cinema & Its Impact on
Contemporary Film” (ENG 122-316, Community College of Aurora, 2013). Rough
draft in my possession.<o:p></o:p></div>
</div>
<div id="ftn13" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftnref13" name="_ftn13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Calibri; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[13]</span></span><!--[endif]--></span></span></a>
The author has seen the film a total of four times.<span style="mso-spacerun: yes;"> </span>On August 22, 2009, September 18, 2009 (both
in movie theaters), December 25, 2009, and May 8, 2013 (on home video), and
these and other themes, far too many to address in this essay constantly well
up and present themselves with the smallest bit of intellectual effort on the
part of the author.<o:p></o:p></div>
</div>
<div id="ftn14" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=34248881#_ftnref14" name="_ftn14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Calibri; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[14]</span></span><!--[endif]--></span></span></a> Jeffrey
Goldberg, “Hollywood’s Jewish Avenger,” <i style="mso-bidi-font-style: normal;">The
Atlantic</i>, September 1, 2009. <a href="http://www.theatlantic.com/magazine/archive/2009/09/hollywoods-jewish-avenger/307619/?single_page=true">http://www.theatlantic.com/magazine/archive/2009/09/hollywoods-jewish-avenger/307619/?single_page=true</a><o:p></o:p></div>
</div>
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<!--EndFragment-->Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com0tag:blogger.com,1999:blog-34248881.post-79041331931339194612015-11-07T08:03:00.001-07:002015-11-07T08:03:34.375-07:00Django Unchained<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Django Unchained starts off at the
lowest point in the slave Django’s life.<span style="mso-spacerun: yes;">
</span>We don’t know it yet, but he’s just been sold away and separated from
his wife, Broomhilda, for attempting to escape to freedom together.<span style="mso-spacerun: yes;"> </span>He’s being marched through Texas, barefoot,
chained to other slaves, with just an old pair of ratty pants, and an old
blanket to try and keep warm.<span style="mso-spacerun: yes;"> </span>In this
first scene, the promise of the title begins to unfold.<span style="mso-spacerun: yes;"> </span>Django is literally unchained with the help
of Dr. King Schultz, a German dentist turned bounty hunter. Schultz needs
Django to help him with a bounty he’s after, and only Django can help him with
it, because he knows what the bounty looks like.<span style="mso-spacerun: yes;"> </span>Schultz and Django have an interesting
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partnership and friendship.<span style="mso-spacerun: yes;"> </span>Schultz
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who are slaves, because he doesn’t have any personal experience with them.
Throughout the film, Schultz gains that experience, and at the end of the film,
it causes him to act against what we’ve understood to be his character up to
that point, so much so that he apologizes to Django after the fact. Django
truly becomes unchained after being freed.<span style="mso-spacerun: yes;">
</span>He becomes the fastest gun in the south, he becomes an expert bounty
hunter, and he becomes a hero as he saves his wife from a living hell. Django always
had this in him, and the film shows us the clues, for example, we see him run
away with Broomhilda, we see him do everything he can to save her from the
lashing of the Brittle Brothers, even the fact that he and Broomhilda are
married at a time when slaves weren’t allowed to be married, shows that he has
a rebel heart against evil and tyranny, it’s just waiting to have a chance to
come out and expand. King Schultz may initially give him that opportunity, but
Django takes it whole-souled and wholeheartedly.<span style="mso-spacerun: yes;"> </span>And at the end of the story, with the
corruption of Candieland destroyed, his wife saved, and their freedom papers in
his pockets, it is his victory.<o:p></o:p></span></div>
<!--EndFragment-->Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com0tag:blogger.com,1999:blog-34248881.post-39138064144192375412015-11-05T07:45:00.001-07:002015-11-05T07:45:10.100-07:00Beasts of the Southern Wild
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<!--StartFragment-->
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVc4KA6rQUlEBDGuooLKNrk64XM-aYM20Na4NHGI6B54TVriP1yOX9L33yUC_dH9kseOu8PDOSTMx5IgGNe-GjCrXg_r9WqtzASOCDY001AGiY_Gys6lPJO6d_QIqBbY1QTzs/s1600/1aa-beasts-southern-review-art0-gqgi9noi-1beasts-of-the-southern-wild-6-jpg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVc4KA6rQUlEBDGuooLKNrk64XM-aYM20Na4NHGI6B54TVriP1yOX9L33yUC_dH9kseOu8PDOSTMx5IgGNe-GjCrXg_r9WqtzASOCDY001AGiY_Gys6lPJO6d_QIqBbY1QTzs/s320/1aa-beasts-southern-review-art0-gqgi9noi-1beasts-of-the-southern-wild-6-jpg.jpg" width="320" /></a></div>
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<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%;">This
film is like a fable written by Terry Gilliam, and filmed by Terrence
Malick.<span style="mso-spacerun: yes;"> </span>It’s impressionistic, hazy, up
for debate, sad, strange, and beautiful. It’s a movie that makes you want to
make movies.<span style="mso-spacerun: yes;"> </span>If it was better, you might
not be as inspired by it.<span style="mso-spacerun: yes;"> </span>The film is
about a rundown community of jolly fools who live on the edge of survival and
civilization, in a place called the Bathtub. The world has passed these people
by, and they are just fine with that, besides, there’s “No crying in the
Bathtub.” This is a place to experience and celebrate the mysteries of life,
and to realize your connection to, and your purpose in, the universe. Nobody in
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love, passion, and joy who just wants her mommy back and her daddy, Wink, to
take care of her.<span style="mso-spacerun: yes;"> </span>Wink wants to make her
strong enough to take care of herself, because he’s slowly dying, so he’s
downright frightening and seems like a danger to Hushpuppy in some scenes.<span style="mso-spacerun: yes;"> </span>He says his job is to “keep you from dying.”
Gradually, as the film unfolds, we begin to see why Wink is this way.<span style="mso-spacerun: yes;"> </span>His wife ran off after Hushpuppy was born.
True love crushed him, and all he knows now is that living is good, so he’s too
tough on Hushpuppy. He gives Hushpuppy her own double wide on their property.
Until she burns it down, gets rescued by Wink, and a giant storm hits the
Bathtub, flooding everything.<span style="mso-spacerun: yes;"> </span>The polar
icecaps start melting, and the Aurochs, giant wooly mammoth-boars get unfrozen
from the ice, and head toward the Bathtub.<span style="mso-spacerun: yes;">
</span>Society finally notices the Bathtub, but only makes things worse, and
Hushpuppy leads a gang of pre-pubescent girl orphans on a quest to find
mothers.<span style="mso-spacerun: yes;"> </span>Hushpuppy is a kid character
for the ages. She saves the Bathtub from the Aurochs by being herself, and
taking the time to explain her situation to bloodthirsty animals, something only
a kid would think to do. She knows what’s right, and doesn’t question it.<o:p></o:p></span></div>
<!--EndFragment-->Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com0tag:blogger.com,1999:blog-34248881.post-4346507089401209672015-11-04T09:22:00.003-07:002015-11-04T09:30:31.896-07:00Moonrise Kingdom<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0yoTyBa95G0itybF0vcxtvO1KN3qIyhhfIwnkZGofcf0tolrZbB0pgWquyf-QjtlggWofE6c8zzDWNBpcTUHj9tWDWOi_I2fPLh-xIfTfTrHO5NrD9_el32AVbkHu4FMy2XY/s1600/91o9OrQUMmL._SL1500_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0yoTyBa95G0itybF0vcxtvO1KN3qIyhhfIwnkZGofcf0tolrZbB0pgWquyf-QjtlggWofE6c8zzDWNBpcTUHj9tWDWOi_I2fPLh-xIfTfTrHO5NrD9_el32AVbkHu4FMy2XY/s320/91o9OrQUMmL._SL1500_.jpg" width="320" /></a></div>
<span class="Apple-style-span" style="font-family: "times new roman"; font-size: 16px; line-height: 32px;"><br /></span>
<span class="Apple-style-span" style="font-family: "times new roman"; font-size: 16px; line-height: 32px;">Moonrise Kingdom is a story of
first love, set in 1965.</span><span class="Apple-style-span" style="font-family: "times new roman"; font-size: 16px; line-height: 32px;"><span style="mso-spacerun: yes;"> </span></span><span class="Apple-style-span" style="font-family: "times new roman"; font-size: 16px; line-height: 32px;">The lovers are
two 12 year olds, Sam, an orphan, and Suzy, who lives on New Penzance Island.
Sam meets her on a Khaki Scout field trip to the island. They become pen pals
and concoct a plot to run away together while Sam is on the island for a Khaki
Scout camp. The difference between the adult characters like Suzy’s parents,
Captain Sharp, and Scoutmaster Ward, is that Sam and Suzy have an openness to
the world, even as they rebel against the constraints placed on them by that
adult world by running away to create their own.</span><span class="Apple-style-span" style="font-family: "times new roman"; font-size: 16px; line-height: 32px;"><span style="mso-spacerun: yes;"> </span></span><span class="Apple-style-span" style="font-family: "times new roman"; font-size: 16px; line-height: 32px;">As their adventure goes on, they learn more
about each other’s world views, and the limits of each other’s experience, as
well as one another’s faults and flaws, but this doesn’t cause tension and
conflict in their relationship. They accept the reality of the other. They take
each other as they are, for what they are, and try to help each other be
better. Sam and Suzy’s openness and acceptance of each other is contrasted by
the attitudes of the other Khaki Scouts in Sam’s troop.</span><span class="Apple-style-span" style="font-family: "times new roman"; font-size: 16px; line-height: 32px;"><span style="mso-spacerun: yes;"> </span></span><span class="Apple-style-span" style="font-family: "times new roman"; font-size: 16px; line-height: 32px;">The other Scouts are children who play at
adult roles, like Redford, who can’t stand any deviance from social norms, and
takes on the role of an enforcer of society’s rules, the way a policeman, or a
principal would. After the runaways are apprehended, one of the Scouts, Skotak,
has a change of heart about their involvement in the capture and their
unthinking rejection of Sam.</span><span class="Apple-style-span" style="font-family: "times new roman"; font-size: 16px; line-height: 32px;"><span style="mso-spacerun: yes;"> </span></span><span class="Apple-style-span" style="font-family: "times new roman"; font-size: 16px; line-height: 32px;">Skotak
gives a speech convincing the others to help rescue Sam and Suzy. It doesn’t
matter that of course, two 12 year olds can’t run off together and live a happy
life, what matters is the changing of our hearts to love and accept other
humans, and seek their happiness. Eventually the adults are won over to this
purpose as well, but with their additional wisdom and years of experience, are
able to cut to the heart of the matter, and give Sam and Suzy what they really
needed all along, a family to belong to.</span>Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com0tag:blogger.com,1999:blog-34248881.post-16768568290358475282015-11-03T14:22:00.000-07:002015-11-07T21:06:40.728-07:00Wong Kar-Wai's In The Mood For Love: A Hong Kong Tragedy<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrDVepcDZNkDv_E-8RmsWR89clhh0_7IAd6XfYBhiz5ovgqqM4S8xozGvQwR-Wgc92vQRSvpOARW1NPsJ_FwAuzvF0w324r54WTfrdCtzMgBt-tE4NPO71XfOSjOhj7RnNT1I/s1600/ITMFL-image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrDVepcDZNkDv_E-8RmsWR89clhh0_7IAd6XfYBhiz5ovgqqM4S8xozGvQwR-Wgc92vQRSvpOARW1NPsJ_FwAuzvF0w324r54WTfrdCtzMgBt-tE4NPO71XfOSjOhj7RnNT1I/s320/ITMFL-image.jpg" width="320" /></a></div>
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><br /></span><span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><i>Note: This was written for my Contemporary Global Cinema class last spring.</i></span><br />
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">Wong Kar-wai “the Jimi Hendrix of cinema”s most well
loved film is 2000’s <i>In The Mood For Love.
</i>(Jones 2000) The only film released in this century to be voted into the
top 25 of the Sight & Sound critic’s poll of the best movies ever made.
(Sight & Sound 2012) This along with the fact that it’s his most well
regarded movie is the reason why I chose to analyze this film out of the ten
total features he’s credited with directing. The Criterion Collection stamp of
approval didn’t hurt either: “This film has been a major stylistic influence on
the past decade of cinema, and is a milestone in Wong’s redoubtable career.”
(Criterion 2012)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">I’m not sure this is a movie you can understand. Analyze
endlessly, yes. Understand? No. It’s a movie you feel. This may be because, “for Wong, emotion, and
not necessarily story, <i>is </i>the content; style exists to evoke it.” (The Playlist 2013) It will make you question not if
you are with the right person, but if <i style="mso-bidi-font-style: normal;">you</i>
are the right person, and if you’re not, what should you do to ensure you
become that person?<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><span style="mso-tab-count: 1;"> </span>The film is set in 1960s Hong Kong and concerns
two next-door neighbors, Mr. Chow and Mrs. Chan, whose spouses begin an affair.
After a while our heroes figure out they’re being cheated on, and begin meeting
to commiserate together. They develop feelings for each other, but struggle
with the choice of whether to act on them or not. They eventually choose not to
pursue a relationship, which breaks their hearts, but keeps them morally
superior to their unfaithful spouses. However, once their platonic relationship
develops into love and becomes an open secret between them, Chow does ask her
to leave Hong Kong with him. She doesn’t accept his extra ticket, and Chow moves
away to Singapore alone. They never see each other again.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><span style="mso-tab-count: 1;"> </span>This is really a film about questions. The
original title was <i style="mso-bidi-font-style: normal;">Secrets </i>but was
changed at the urging of the Cannes Film Festival because it was such a generic
title. (Kaufman 2001) The title <i style="mso-bidi-font-style: normal;">Secrets</i>
brings to my mind the act of interrogation, either of self, or others, which
the narrative encourages us to think about, as our protagonists role play Mrs.
Chan confronting Mr. Chan about his affair. We wonder if Mr. Chow and Mrs. Chan
shared secrets with their respective spouses. Mrs. Chan, for instance, arranges
clandestine meetings for her boss, Mr. Ho with his mistress, even on his wife’s
birthday! She tells Mrs. Ho that he’s working late at the office. The one
exception being on Mr. Ho’s birthday, where Mrs. Chan explains to the mistress
that he will be having dinner with his wife. Does Mrs. Chan go home and tell
her husband these things? I think not. The great irony is that the same types
of lies Mrs. Chan is involved with are what her husband tells her in order to
cheat on her.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">Some of the questions the film raises include,
should we stay faithful to unfaithful people? What constitutes an affair? Why
would people cheat? Why not leave first? How much, if any, of the blame do
those who are cheated on share? Is getting emotionally attached to someone of
the opposite sex being unfaithful? Is getting cheated on a sufficient reason to
cheat also?<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><span style="mso-tab-count: 1;"> </span>The whole film can perhaps be summed up in a
line from Mr. Chow. Speaking with Mrs. Chan about his former dream of being a
martial arts serial writer (I presume this means Wuxia stories), he says, “I
couldn’t get started, so I gave up.” This encapsulates their entire future
relationship. The sad part is that even though they never officially began a
romantic relation, they did have the foundation in place for a great
relationship. That’s why I’m tempted to believe that what they were doing in
essence constituted an “affair” as well, even if it never became anything physical.
<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><span style="mso-tab-count: 1;"> </span>Another important line is uttered by Mr. Ho
to Mrs. Chan. He tells as he prepares to leave the office to see his mistress
that there’s “No need to stay if everything’s done.” We as the audience want
Mr. Chow and Mrs. Chan to get together, because we know that their marriages
are already over and done with. But they can’t seem to go through with it. As
Joshua Kline writes, “The two potential lovers cling near one another like
satellites, but they seem to understand that they may never be able to share
the same orbit.” (Kline 20013) <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">But if “everything’s done,” why stay? Divorce was
less common in the 60s, surely, but these are very cosmopolitan characters, who
it seems aren’t against divorce. Why can’t they be together and stay together?
The film leaves it up to us to answer. I want to remake this as a teen romance
with the couple’s parents standing in for the cheating spouses to explore these
questions.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><span style="mso-tab-count: 1;"> </span>Wong Kar-wai is known for his incredible
visual aesthetic and he further explores this in <i style="mso-bidi-font-style: normal;">In The Mood For Love. </i>According to Tony Rayns, Wong Kar-wai
actually acted as his own director of photography on this film, despite what
the credits say. This was Wong’s first film where he knew exactly what he
wanted and how to get it. This film was actually shot two times over a period
of fifteen months because Wong found better location for the many apartment
scenes after they had “finished” shooting principal photography the first time,
(Rayns 2012) which accounts for why Christopher Doyle and Mark Li Ping-bin are
credited as the film’s cinematographers, since they did shoot the movie even if
their actual work isn’t on the screen or in the finished product.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">This film is rife with beautiful shots ready to be
swiped and repurposed for other films. The cinematography tells the story. All
these beautiful shots serve a purpose. The lush photography shows us an
aesthetically beautiful world even while our heroes’ lives are falling apart
around them. We see they’re in this beautiful world, but they can’t seem to
escape their misery to enjoy it. This is where the power of photography comes
to intertwine with the subject and subtext of the film. The film takes place in
a Shanghaiese community that no longer exists; a world vanished. Wong Kar-wai
grew up in such a community, and he and his art director, William Chang do
their best to recapture it here. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">But we all know the past can’t be recaptured, no
matter how hard we try. The film seems to tell us through its cinematography that
we are already in paradise and what we must do is awake to that fact, and make
our lives match the gorgeous worlds we already inhabit. That’s one of the
ironies of nostalgia; things once taken for granted are now infused with magic
and mystery and yes, even love. To quote the American director Noah Baumbach on
the popular music of his youth, “When I was a kid, I would resist Top 40 music,
because I was that kind of kid. But now I hear whatever was on the radio when I
was a kid and it makes me want to cry, it’s beautiful.” (Arbeiter 2015) And to
finally drive the nail in, an intertitle taken from Liu Yi-chang’s short story <i style="mso-bidi-font-style: normal;">Intersection</i> that appears towards the
end of the film reads, “That era has passed. Nothing that belonged to it exists
anymore.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">We see this in every
frame of the film. Restaurants, taxis, wallpaper, hairstyles, fashion, they’ve all
gone the way of all the earth. This leads us to ask the question, why is
nostalgia such a powerful force? What is it we want back? And is there a way to
get it back? This is a heavy movie!<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">I think that what Wong
Kar-wai is getting at through showing us these images is that we can’t be sure
that we’re not living in a golden age right now---and that even applies to our
relationships. Mr. Chow and Mrs. Chan love each other, but they don’t take the
next step to establish a relationship. Mr. Chow does make a weak attempt to
persuade Mrs. Chan to go with him to Singapore, but she doesn’t leave with him.
<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">Later, there is a scene
where Chow can’t find something in his room, and he asks the apartment manager
who’s been in his room. The manager denies anyone has been there, but we then
see shots of Mrs. Chan in his room looking at his things. She was there, but
without him. Later, Mr. Chow goes back to Hong Kong and stops by his old
building to visit his landlord, and give him a present. He learns that his
landlord moved sometime ago. He leaves the present with the new occupant. He
almost knocks on the door next door to say hello to Mrs. Chan’s old landlord,
but he hesitates, and then leaves. What he doesn’t know is that Mrs. Chan has
since bought her landlord’s apartment and lives there. If he had knocked, he
would have seen her again! He barely misses her! <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">This film is so, so sad.
But it speaks a truth about the past and the future and the present that is
unmistakably important to everyone who sees it: we can’t let our lives (with
their attendant golden ages) pass us by through indecision. Mrs. Chan loves Mr.
Chow but won’t leave her husband even though he’s already left her in his
heart. This parallels what a clerk at Chow’s wife’s work tells Chow when he
comes to pick her up after her shift: “She’s already gone.”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">The film’s final scene
follows Chow in Cambodia at the Angkor Wat temple complex as he follows the
ancient custom of letting go of secrets by whispering them in to a hole and
then filling the hole in with mud. He uses grass and dirt, but we get the idea.
But does he get rid of the secrets, or just sacralize them?<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">This emotion of losing
time right in front of your eyes is expressed in some of the bizarre shots
selected. There are shots when our heroes are in a restaurant talking and
suddenly we cut to a shot where the camera starts on an empty booth and quickly
dollies screen left to catch Mrs. Chan and Mr. Chow sitting in a booth
together. It’s disorienting because it looks almost amateurish. But since we
know these aren’t amateurs, we have to consider what they are drawing our
attention to, and that is the subject of time itself. As Kent Jones writes, “His
films are made up of moments that seem to have been grabbed out of time, as
though he's almost always just missed it.” (Jones 2000) <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">Another technique the
filmmakers use is jittery slow motion. It makes us feel like we’re being led
inexorably toward something, like the gallows for execution. That’s exactly
what happens as the potential relationship of our protagonists is killed by
their indecision. We’re repeatedly shown this in the objects the camera lingers
on. Clocks, doorways, hotel room numbers, empty hallways, walls that separate
characters who want to be together, and ringing telephones all testify to the
fact that the characters are halting between two opinions. (1 Kings 18:21)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">Mrs. Chan wears a
different close-fitting high neck cheongsam dress in each scene. Twenty-one
different dresses appear in the final cut of the film. (Foam of Days 2013) Mrs.
Chan’s high fashion looks reveal her beauty and seemingly flirty and fun loving
ways while cleverly hiding and distracting from her heartbreak. We’d never see
her on the street and think that her husband would cheat on her. The change of
dress further imprints the passage of time on the audience. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">The final intertitle
reads “The past was something he could see but not touch. And everything he
sees is blurred and indistinct.” Much like a Greek tragedy, Wong Kar-wai’s
masterpiece acts as a cathartic experience for the audience. The characters
suffer so that we can learn from their mistakes. We’re privileged to witness
the sad fate of Mr. Chow and Mrs. Chan so that we don’t become people who hold
on to the beautiful past, when we thought our future was brighter and
possibilities seemed to abound, but instead make the hard choices that will
allow our happiness to bloom in our hearts, just like the flowers on Mrs.
Chan’s amazing dresses. In The Mood For Love is a heartbreaking, instructive,
tragic masterpiece that deserves every bit of its lofty reputation.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<u><span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><br /></span></u></div>
<div class="MsoNormal" style="line-height: 200%; text-align: left; text-indent: 0.5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"> Bibliography</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">Interview: Noah Baumbach Talks 'While We're Young,'
Working With James Murphy, Ad-Rock, Wes Anderson & More by Michael
Arbeiter. Retrieved at <a href="http://blogs.indiewire.com/theplaylist/interview-noah-baumbach-talks-while-were-young-working-with-james-murphy-ad-rock-wes-anderson-more-20150325">http://blogs.indiewire.com/theplaylist/interview-noah-baumbach-talks-while-were-young-working-with-james-murphy-ad-rock-wes-anderson-more-20150325</a><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">Online Entry for <i style="mso-bidi-font-style: normal;">In The Mood For Love</i> (2000) – The Criterion Collection #147 <a href="http://www.criterion.com/films/198-in-the-mood-for-love">http://www.criterion.com/films/198-in-the-mood-for-love</a><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><i style="mso-bidi-font-style: normal;">In The
Mood For Love</i>: 21 Dresses by “Foam
of Days” retrieved at: https://foamofdays.wordpress.com/2013/06/02/in-the-mood-for-love-21-dresses/<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">Of Love And The City: Wong Kar-wai’s <i style="mso-bidi-font-style: normal;">In The Mood For Love</i> by Kent Jones. Retrieved
at: <a href="http://www.filmcomment.com/article/of-love-and-the-city-wong-kar-wais-in-the-mood-for-love">http://www.filmcomment.com/article/of-love-and-the-city-wong-kar-wais-in-the-mood-for-love</a><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">Decade: Wong Kar-wai on "In The Mood For
Love" by Anthony Kaufman. Retrieved at http://www.indiewire.com/article/decade_wong_kar-wai_on_in_the_mood_for_love<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">1,001 Movies You Must See Before You Die, <i style="mso-bidi-font-style: normal;">In</i> <i style="mso-bidi-font-style: normal;">The
Mood For Love</i> entry by Joshua Klein. General Editor Steven Jay Schneider,
Updated By Ian Haydn Smith<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">Retrospective: The Films of Wong Kar-wai by The
Playlist Staff retrieved at <a href="http://blogs.indiewire.com/theplaylist/retrospective-the-films-of-wong-kar-wai-20130819">http://blogs.indiewire.com/theplaylist/retrospective-the-films-of-wong-kar-wai-20130819</a><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">On <i style="mso-bidi-font-style: normal;">In The
Mood For Love</i>. Interview with Tony Rayns on Special Feature found on the
2012 Criterion Collection Blu-ray reissue of Wong Kar-wai’s <i style="mso-bidi-font-style: normal;">In The Mood For Love</i>.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">The 50 Greatest Films of All Time By Sight &
Sound Contributors and Ian Christie. retrieved at: http://www.bfi.org.uk/news/50-greatest-films-all-time
</span><span class="Apple-style-span" style="font-family: "courier";"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
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<!--EndFragment-->Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com1tag:blogger.com,1999:blog-34248881.post-81995958689647435842015-01-20T23:00:00.001-07:002015-01-20T23:04:39.396-07:00Hey, what's YOUR name?<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc8XEHHY7fAcqLZtZsTeaC1zihCgcbVwrUHWLyY1mfqyDAFvqVqwk3LVmLcXinxCwCx_XxL-iOZeP0_E1nGwfszZkl0PhR-CzQHLtGDhXRw0-lKN40-Qt6PKjdNVwX8ee7BxE/s1600/madman17.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc8XEHHY7fAcqLZtZsTeaC1zihCgcbVwrUHWLyY1mfqyDAFvqVqwk3LVmLcXinxCwCx_XxL-iOZeP0_E1nGwfszZkl0PhR-CzQHLtGDhXRw0-lKN40-Qt6PKjdNVwX8ee7BxE/s1600/madman17.jpg" height="252" width="320" /></a></div>
(From Madman Atomic Comics # 17 by Mike and Laura Allred)<br />
<br />
IMAGINARY BAND NAMES part II<br />
<br />
Novels I Wanna Write<br />
Teleport<br />
The Likes<br />
Jakob Dylan's Dad<br />
Buzz, Your Girlfriend, Woof!<br />
The Exceptions<br />
Lazy Ambassador<br />
Teenagers From The Future<br />
Shaman Ballers<br />
Infinite Crisis<br />
Summerbaby<br />
Obsolete Vernacular<br />
Lovecon Four<br />
The Right Things<br />
Hot Republicans<br />
Accelerationist<br />
Braverman<br />
Loveography<br />
The Complete Unknowns<br />
Checkreign<br />
The Bumper Stickers<br />
The Future<br />
Plus Plus<br />
Colorado Llamas<br />
The Gazebos<br />
<br />
<br />Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com0tag:blogger.com,1999:blog-34248881.post-70032690865555920142011-07-07T16:20:00.000-07:002011-07-07T16:33:34.924-07:00WORST BLOGGER EVER<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ9RMwVTXct6QLXBgPiZHwvYLxsEOqnswAsIdQ-SyX9O2UXLY8leg1Cyuks2NsnLPj01rADityvX7dVYXMgbknpGADR51x5VPcE5jt99Y611UxaYEvRiN1k4p55Jd5FkL1zYE/s1600/amends.jpg"><img id="BLOGGER_PHOTO_ID_5626755392321528530" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 267px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ9RMwVTXct6QLXBgPiZHwvYLxsEOqnswAsIdQ-SyX9O2UXLY8leg1Cyuks2NsnLPj01rADityvX7dVYXMgbknpGADR51x5VPcE5jt99Y611UxaYEvRiN1k4p55Jd5FkL1zYE/s400/amends.jpg" border="0" /></a><br /><br /><br /><br /><div>I've had this blog for four years and seven months. I've posted a total of 30 times, most of which were simply a picture and a caption. I know I am the best worst blogger ever. I've won only shame and disgrace for this. And I want to be better. But how do I make amends? Let me know in the comments.</div><br /><div></div><br /><div>Love, Wes</div><br /><br /><div></div><br /><br /><div></div>Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com2tag:blogger.com,1999:blog-34248881.post-12504675249487851642011-06-23T13:04:00.000-07:002011-06-23T13:09:37.987-07:00I WOULD SO BUY THIS<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRJGtsCrM7MKcduteSdYODIhJhe3sgzz-zuiHi7Hm0TX9-Scuvc1Es13MD6UDgMizu6wJBI676GePatYH9yTftQWTDpmq4VcNEZ1xIfXMob_dOslb_MkWITO3_8nX8w3y5pSE/s1600/hipstersfohirelarge.jpg"><img id="BLOGGER_PHOTO_ID_5621509872228811666" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 276px; CURSOR: hand; HEIGHT: 400px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRJGtsCrM7MKcduteSdYODIhJhe3sgzz-zuiHi7Hm0TX9-Scuvc1Es13MD6UDgMizu6wJBI676GePatYH9yTftQWTDpmq4VcNEZ1xIfXMob_dOslb_MkWITO3_8nX8w3y5pSE/s400/hipstersfohirelarge.jpg" border="0" /></a><br /><br /><div></div>Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com1tag:blogger.com,1999:blog-34248881.post-9374026916766743972009-08-10T19:53:00.001-07:002009-08-10T19:59:48.899-07:00Away We Go<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG5AoOlKRfFTCPQ1GGiNGMbUhJhTPWc5zCXjHlpS4ZSmGw3hKBW-TvgHVGJWPLeuPJlQUI1uaUfG7MnwoOH5r2Mo4yicS257kDVnbq3MFZlQoE0GimUAg8Ibp4QhTMHcoRzoA/s1600-h/wagons+east!.jpg"><img id="BLOGGER_PHOTO_ID_5368535196290481058" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 300px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG5AoOlKRfFTCPQ1GGiNGMbUhJhTPWc5zCXjHlpS4ZSmGw3hKBW-TvgHVGJWPLeuPJlQUI1uaUfG7MnwoOH5r2Mo4yicS257kDVnbq3MFZlQoE0GimUAg8Ibp4QhTMHcoRzoA/s400/wagons+east!.jpg" border="0" /></a><br /><div></div>Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com1tag:blogger.com,1999:blog-34248881.post-12664051235486218232009-07-11T12:58:00.000-07:002015-01-20T23:06:48.366-07:00Heart Songs Pt. 1: Are You Listening?<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipksPzgvCpzhSQpVEYgh0JNgaw0p4RGte1I-ramrGi7yer9SlDKY1iknMRUA57HPqcVNQGEZHvokBhLhRuOE8zYDU0lr23qdKdwuqK6M1UXf_JuqkQmxgfTJrSp4HhDzJ_3J8/s1600-h/as+i+lay+me+down198899697_8a1e415384.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipksPzgvCpzhSQpVEYgh0JNgaw0p4RGte1I-ramrGi7yer9SlDKY1iknMRUA57HPqcVNQGEZHvokBhLhRuOE8zYDU0lr23qdKdwuqK6M1UXf_JuqkQmxgfTJrSp4HhDzJ_3J8/s400/as+i+lay+me+down198899697_8a1e415384.jpg" id="BLOGGER_PHOTO_ID_5357306262363509954" style="cursor: hand; display: block; height: 270px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
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In 1995 I started listening to the radio. The events that preceded this occurrence are slightly obscured in my own mind. Suffice it to say, I did not discover KKDS 1060 Radio AAHS on my own. Radio AAHS was a children's (kids) station on AM (radio). I could now go into what I did while the radio played, the significance of it to my 11 year old life, what the radio looked like, and the time I called the station to answer the daily moral question asked by my favorite daytime DJ (whose name is lost to history), and how my recorded conversation with said woman was broadcast throughout these united states. But the minutia of biography is sometimes overbearing (at least to one's self), so let's skip it. I got an old radio and started listening. All of this is to say my first favorite song was "As I Lay Me Down," by Sophie B. Hawkins. All of my early favorite songs were sung by women. All of my life I have loved women. I know now and can see now the preparation that was occurring in my heart for the future.</div>
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This is the first in a series about the songs I love. Not songs that rock, not songs that are good, great, or greatest, but songs I love. Songs that have an emotional connection to my life, whether in time, space, or event. </div>
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Songs are music and words together. Lyrics alone can never give the same effect as actually hearing a song, but for your enjoyment: "As I Lay Me Down," Sophie B. Hawkins</div>
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It felt like springtime on this February morning</div>
In the courtyard birds were singing your praise<br />
I'm still recalling things you said to make me feel alright<br />
I carried them with me today, Now<br />
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(chorus)As I lay me down to sleep</div>
This I pray<br />
That you will hold me dear<br />
Though I'm far away<br />
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I'll whisper your name into the sky</div>
And I will wake up happy<br />
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I wonder why I feel so high</div>
Though I am not above the sorrow<br />
Heavy hearted<br />
Till you call my name<br />
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And it sounds like church bells</div>
Or the whistle of a train<br />
On a summer evening<br />
I'll run to meet you<br />
Barefoot barely breathing<br />
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It's not too near for me</div>
Like a flower I need the rain<br />
Though it's not clear to me<br />
Every season has its change<br />
And I will see you<br />
When the sun comes out again<br />
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For an incomplete picture of Radio AAHS see <a href="http://en.wikipedia.org/wiki/Radio_AAHS">http://en.wikipedia.org/wiki/Radio_AAHS</a></div>
Weshttp://www.blogger.com/profile/17717345585732567692noreply@blogger.com0