Monomyth - Hero has an adventure, fights evil, wins, comes back with the moral of the story. Hugely prevalent story basis, myth, folklore, lotr, star wars...
Cultural production - Mass entertainment, corporate owned, profit based. Companies control who’s stories are being told, ideas of cultural representation/misrepresentation, sexism, homophobia, toxic fans. e.g. Disney, netflix, HBO...
Film has been used as an ideological tool, deep roots of sexual objectification, mirrors society, has also been used to critique capitalism through art and analysis.
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What is Nostalgia? - ”Nostalgia is a sentimentality for the past, typically for a period or place with happy personal associations.”
What is Hauntology? - “Hauntology is a neologism introduced by French philosopher Jacques Derrida in his 1993 book Spectres of Marx. As a philosophical concept, it refers to the return or persistence of elements from the past, as in the manner of a ghost.”
What is Epistemology? - “Epistemology is the branch of philosophy concerned with the theory of knowledge. Epistemology is the study of the nature of knowledge, justification, and the rationality of belief.”
Nostalgia is not just about the past, but also reaches from the past to the future. There are different types of nostalgia, cultural, personal, vicarious and future.
Nostaligia isn’t always accurate, you remember things how you want to remember them, not necessarily how it actually was, you think back through rose tinted glasses.
Nostalgia is a cultural response whereas hauntology is a technical response.
Film and media is a time based medium.
Hauntology is the idea of how the past comes back to influence the present; the present is haunted by lost futures, echos of the past reflecting what might have been.
Adaptation - to make something suitable for new use, re-purpose or modify. A way of evolving something to keep up with the times. e.g. The Killers; originally a book by Hemingway, was adapted to a film. Hemingway's writing style was clear, concise, dialogue heavy and easy ti adapt to the screen. The film went on to be adapted several times throughout the years, there were changes to the time period, place, setting, location etc... The Hollywood version added more action, extended the story and created more backstory.
Also - Yojimbo and Fist full of dollars lawsuit
Appropriation - re presenting something as the same thing but in a different way. e.g. Andy Warhol soup cans and Van Gogh paintings the original has worth and value whereas copies are next to worthless because they can be made of the same materials but aren’t the original piece.
Homage - to honour or pay respect/tribute to something to acknowledge something/event. e.g. Psycho 1994 version was adapted shot by shot from the Alfred Hitchcock version in 1960 to pay homage to him and his work.
Plagiarism - Taking someone elses work or ideas and passing it off as your own. DON’T DO THIS!
What is a Utopia? - “A utopia is an imagined community or society that possesses highly desirable or nearly perfect qualities for its citizens. The opposite of a utopia is a dystopia.”
What is a dystopia? - “An imagined state or society in which there is great suffering or injustice, typically one that is totalitarian or post-apocalyptic.”
How are Utopias and Dystopias seen in film?
A Utopia is painted as being a place with unlimited and sustainable resources, peaceful, clean (most films depict it as minimalist and white), close to nature/in harmony, high tech and super advanced.
Dystopias are dirty, violent, often post war or apocalyptic, little freedom, knowledge is restricted, poverty is rife, everything is highly urbanised, cities are built up on top of each other, technology may be advanced but is not available to all and is not regulated.
There is a lot of overlap; they both have a sense of a collective, lack of diversity and recurring themes of government control and surveillance states.
THE CLOWN ( 8th Oct 2019 )
Moravia’s novel interpretive task.
The Death of Milone
“ Lo portarono al Verano e io fui il solo ad accompagnarlo, senza chitarra questa volta. La sarta ci rimise lo specchio ma si consolò vendendo, a un tanto il pezzo, la corda.”
“They brought him to the Verano, and I was the only one to accompany him without the guitar this time. The seamstress we put the mirror, but consoled himself by selling, at a much of the piece, the rope.”
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The debate about which, in case there is only one, the purpose of cinema is still open if on the one hand there are people convinced that it is possible to create a different reality for their viewers there are others who think the opposite.
At the basis of this debate, however, there is a universal meeting point, that is to say, that it is the man who benefits from this form of art.
Bearing this particular detail in mind, it is not insignificant that it is easy to come to the conclusion that if men create films for men, the theme that can most easily be developed is precisely that of being human.
Being human is a complex concept if we move away from the scientific definition provided by books if we enter into the philosophical sphere the number of variables present is countless.
Focusing, however, on the debate mentioned above, it can be seen that the films stage the most hidden scenarios of man and therefore explore in depth what are the desires of man.
This entering into this theme is not, of course, an award that should be attributed only to cinema as an art form; there are countless examples of literature that deal with the same subject.
Whether it is a film about the creation of a dystopian universe as a result of man's reckless actions, whether it is a film that deals with family dynamics, or whether it is about reaching an agreement with one's own identity, anyone who has worked on the making of the film can partly understand the theme addressed.
A film like "Being Human" ( by Bill Forsyth, 1994 ) is a clear representation of this will or if you want to enter into an even more philosophical sphere, just think of "2001 Space Odyssey" ( by Stanley Kubrick, 1968).
Production, value, and taste are three things that are closely related to art.
In our contemporary society, which has always happened, the dialogue on the value of art still remains open.
In a way, most people reject the possibility that what they like may be objectively ugly, precisely because of this they tend to judge their taste as good taste.
Trying to find a cinematic correlation about it, a tangent example is the one related to the "genre", if it can be called that, of the movies "So Bad It's Good".
The parody movies of the '50s or more recent "B Movies" that take themselves too seriously and at the same time present great gaps from a production point of view are movies that many people appreciate.
They certainly don't like them for their artistic value, but still, in their uniqueness, they manage to capture people who appreciate them.
Unfortunately, however, there is this tendency not to admit the possibility that within the sphere of one's personal tastes there is room for something that is fundamentally wrong.
In case someone is honest enough to admit such a possibility there would still be the excuse of the ironic view of the content.
The fact that something is enriched by a purely personal value does not change the value of the format.
So admitting that what interests us is not exponentially high in value and that it is not, in fact, something of value does not make us less worthy of pursuing our own interests.
This need to feel obliged to justify the value of our interests is partly due to the fact that in modern society the "price" of art is not subject to the decision of the individual.
Whether it's fashion, cinema or painting, what is called a "trend" is something that is welcomed by the public and not chosen.
Most of the time we talk about materiality we do it using a purely negative connotation.
And the great maxim that books and philosophy want to teach man is the importance of not simply being tied to material objects.
In fact, there are many examples that show how wrong this is and how, in a world governed by justice, these people dominated by a reckless material yearning end up slaves to it.
Without, however, considering the most extreme version of the question and, always at the same time, without denying how much there is a fund of just reality behind this teaching.
It is right to bear in mind that objects are the most accessible form of inheritance that man can leave to future generations and that they, therefore, hold their own importance.
Everything that becomes part of contemporary society, however bleak or insignificant it may be, represents a distinct passage in time.
Right now, while man lives in the peak of the hour period of plastic and hyper-industrialization, creating art from the objects that surround us every day has usefulness.
Faced with the question that binds materials and the value of art and then trying to answer the question "Can materials change the value of the piece of art?" As complex as the question is, I think the answer is yes.
When one takes into account an object and its value one cannot simply take into account the ideology behind it.
The commitment to the creation of a certain piece of art changes its value as well as the materials that have been chosen for it.
At a time when art is becoming more and more experimental or when, as it should be, no one has the right to discredit the will to experiment, I think that in any case, we should not only appreciate art in its purely conceptual form.
