Listen Up!

For this post I visited field artist, Aaron Ximm's website. I started listening to a few of the field recordings and there were a couple that stuck out leaving a timely impression on me. Personally I really enjoy the sound of water and/or the sounds that certain liquids make. Water itself, to me has always had a very tranquil connection to it. In most occasions no matter the intensity, to some extent, water has always felt soothing or relaxing, either while sitting inside listening to the pitter-patter of rain drops hitting the window pain, or in a car during a down pour, as the the windshield wipers flip back and forth unable to wipe away the constant blur of the rain-covered glass. One of Ximm's pieces I listened to was entitled, "Beach Rain." The description says, "Rain on my poncho as I stroll on the Nha Trang beahces." As I listened to the recording it felt as though the microphones were placed at about ear level when the recording took place. As I listened to it with my headphones on, giving the piece all the more dedication and personalizing it in a way, it felt as though my head was actually under a poncho, as the rain came down, and my body was actually walking along the beach's shore. The sounds of waves crashing down in the surf almost sound like thunder clashing in a storm, accompanied by the rain I was hearing, and almost felt. The repetition and generality of water sounds like this keep one's mind from focusing too closely on one particular sound, but rather allows your mind to think and drift with no restrictions, just nature's ambient soundtrack. Another piece I enjoyed alot in conversation with the theme of liquid sounds, was the work entitled, "Faucet," which was described as the ominous gurgling from the faucet in room 402. Different from the previous water sound, the gurgling of this faucet almost in some ways sound like a monologue of some sort. The faucet's own language. Maybe asking for attention. Something is obviously wrong or unkept otherwise it wouldn't gargle. This piece sparked an amusing tone for me while listening. It was almost entertaining to sit back and listen to it talk.

Hitchcock and Hume: Stage Fight (Article Analysis)

Stage Fight (1950) has a structural complexity, a narrative coherence, and a textual density that's missing from Hitchcock's 1930's films such as "Young and Innocent." In other words, it brings back in the 1950s the innovating aspects of Hitchcock's Hollywood aesthetic of the 1940s.
The acting fell a bit short, but as John Orr, the author of the article, says if one were to watch the film again for a second time, it appears that the plot and motive deepen. The stage becomes more clearly a metaphor for, "the drama of the film."

The film is about a man on the run for being accused of murder. He turns to his friend Eve for help. He informs her of the situation which is shown through a flashback of the murder which starts the film, but begins to take advantage of her assistance and innocence. The movie plays on the idea of recall and recollection, even furthermore the idea of a reliable and unbiased memory. While Hitchcock still has his familiar "sly and calculated" humorous antics in the works, he pushed his structural theme of lost identities in new and unexpected ways.

Now if one thinks about David Hume and the way he accounts reliable memory in "A Treatise of Human Nature," he puts it that the senses always depend on the force and vivacity of the evidence recalled and the mind applies its reasoning to them. Orr says "event-recall outweighs, therefore, the power of imagination or fancy, which invents things that did not happen at all."
Here, in Stage Fight with these ideas on the table, Hitchcock dissects the strangeness of the familiar, the evil within that we least suspect.

Article Discussion

I recently read Florian Grandena's book review on Carrie Tarr (2005) Reframing Difference: Beur and Banlieue Filmmaking in France. It is a collection of essays gathered together to present the author's analysis and discussion of this contemporary cinematic trend. The main point is to "assess" the contribution of filmmaking in debates about, and she says, in resistance to, France's changing identity as a plural, multi-ethnic society." One important in these films, according to the author, is "their incapacity to represent beurs in an empowering manner to a beur audience. Not sure of what exactly this term meant, I looked it up. "Beur is a French term for descendants of immigrants of North African origin living in France.
I found this article hard to grasp. It discussed a culture I am not, myself, familiar with. For that reason it was hard for me to make a connection.

Secondly, I read "It Is What It Is," by Jennifer Cecconi, discussing Lynch on Lynch: Revised Edition. This book is part of the directors talking about directors book series. It showcases interviews and dialogues from various filmmakers. This revised addition brings back up-to-date information and filmography to the table. Most of the book is structured in a question and answer format, sort of like an interview. The book also has some very memoir-like elements, as it is densely made up of David Lynch's memories and thoughts.
I enjoy this type of books most often, because with this setting for the director to free his mind, it allows us readers to get further inside of the real artists. Of course it's nice to see or watch and interview, but it is much more critical when the artist has time to sit down and write out, ultimately saying, what he really wants and means to say about himself, his work, and his life.
"Lynch's films say a lot regarding the notion of self and personal identity. As a filmmaker, Lynch provides us with some very interesting anecdotes of his experiences making these films..."

Act/React and Think

The Milwaukee Art Museum's recent exhibit Act/React showcases interactive pieces of art. One of my favorite piece was Daniel Rozin's "Snow Mirror." It feel very soothing in the dark room, as the particles fell on the screen like millions of snowflakes. It reminded me of one of those perfect winter nights. As I stood still the flakes collected together rather quickly to form a mirror reflection myself in the snow. The contrast of the darkness and the white specs floating around, as if I were trapped in a snow-globe, highlighted beautiful shadows on the object in front of the lens. As I moved the flakes slowly trailed behind. If I shook quickly it looked as though the image of me suddenly combusted. I felt like a super hero.
This exhibit captivated me for sometime. It was very mesmerizing just to stand still and take it all in. Another piece I enjoyed was the wooden peg reflection. Like the other, it acts as sort of a mirror, simulating a distinguishable reflection of the subjects in front of it. As the camera records the movement, the pegs instantly correspond, using shadows created and different shades of wood, to display a very personal piece of art on the wall. It's amazing to think of how much work must have gone into constructing something like this. It felt like each little peg had a personality.
Both pieces seemed to have a very personal connection with the viewer. Even if you were with other people, it still almost felt like a one on one with you and the art. You are working with it in a way, you're adapting to it and it's adapting to you. Because of so much going on to operate the mechanics of the piece, both seemed to have a sense of slight delay, before it created your image back at you. In this sense, it almost felt like a dance, or game I played between me and the personified artworks.
It was quite comforting to know that I had put my own mark on the art work by interacting with it. It's interesting to think that the art will constantly be changing daily. So many unique images and visuals have been and will continue to be made, still spawning from one original idea.

Field Report 1

On October I went to the screening of the independent production of Self-Determination. The film was about a failing marriage, presented through the point of view of the wife. She struggles with the temptation of alcohol as a solution for her pain and the responsibility of being a mother. The film consisted of a lot of long shots with very few noticeable cuts. By doing this the audience is able to relate to the wife's long drowning days of constantly thinking about her husband and what he might be up to. When something like this is consuming your thoughts and weighing you down, things seem to go by slower and appear more mundane.
There is very little dialog in the film, which also adds to the way the silence fills the space and allows for only thoughts, in this case troubling ones. Also by having scarce dialog the acting becomes more noticeable and emotional. For instance, at the end of the short film, the husband comes home from being gone all night and walks in to the house to see his wife standing there, just furious. She doesn't say anything, but just glares. We get a close up of her face, her nostrils are flaring and her lip is quivering. She doesn't say anything before the film cuts to black, but we know the situation was not going to end peacefully.

Following the Journal

This semester I will be following closely the articles and passages of the online journal Film-Philosophy.

http://www.film-philosophy.com/


"Founded in November 1996, Film-Philosophy is an international academic journal dedicated to philosophically reviewing film studies, philosophical aesthetics, and world cinema. The email salon encourages discussion of related topics. The journal is published three times per year and is fully peer-reviewed." - Film-Philosophy