Monthly Archives: September 2014
JENSEN You have meddled with the primal forces of nature, Mr. Beale, and I won't have it, is that clear?! You think you have merely stopped a business deal -- that is not the case! The Arabs have taken billions of dollars out of this country, and now they must put it back. It is ebb and flow, tidal gravity, it is ecological balance! You are an old man who thinks in terms of nations and peoples. There are no nations! There are no peoples! There are no Russians. There are no Arabs! There are no third worlds! There is no West! There is only one holistic system of systems, one vast and immane, interwoven, interacting, multi-variate, multi-national dominion of dollars! petro-dollars, electro-dollars, multi-dollars!, Reichmarks, rubles, rin, pounds and shekels! It is the international system of currency that determines the totality of life on this planet! That is the natural order of things today! That is the atomic, subatomic and galactic structure of things today! And you have meddled with the primal forces of nature, and you will atone! Am I getting through to you, Mr. Beale? (pause)
Long Take/ Following Shot (HUM303)
From True Detective. Begins at the 4 sec mark.
From the Yale Film Analysis Guide, which you should be consulting by now:
Unless shot at a fixed angle, with a fixed camera and no movement, long takes are extremely hard to shoot. They have to be choreographed and rehearsed to the last detail, since any error would make it necessary to start all over again from scratch. Sophisticated long takes such as this one from The Player, which includes all kinds of camera movements and zooms, are often seen as auteuristic marks of virtuosity. Aside from the challenge of shooting in real time, long takes decisively influence a film’s rhythm. Depending on how much movement is included, a long take can make a film tense, stagnant and spell-binding, or daring, flowing and carefree.Indeed, directors like Altman, Welles, Renoir, Angelopoulos, Tarkovski or Mizoguchi have made long takes (usually in combination with deep focus and deep space) an essential part of their film styles.
Rough Notes on Methods (HUM415)
I’m trying to formulate a list of critical methods Hawkes employs in Ideology. If you have any suggestions I’d welcome them.
1. “X has become so pervasive it has effectively ceased to exist.”
This formulation ought to evoke paradox, the interpenetration of opposites, the dialectic.
9 Muses (HUM415)
Thanks to Danika for the link:
The Dialectic According to Gosling (HUM415)
I’ve not seen this film but it’s pretty clear the screenwriters (who are both from the Bay Area) have read some Marx and Engels. Though I’m not entirely comfortable with the trope of the earnest white savior, on the other hand nothing matters except getting free.
Always Follow the Money
Geopolitical instability has left many global corporations jittery.
But the world’s biggest arms producers are doing well, with shares of the top 12 publicly listed firms – based on a list by the Stockholm International Peace Research Institute – rising by almost 30 per cent on average in the last year.
Stock price data on the 12 companies reveal most have benefitted in a year in which the number of conflict zones in Europe, the Middle East and Africa has risen.
Hellfire missile maker Lockheed-Martin has been among the defence companies to experience share price gains.
While some companies have under-performed during the period, many have risen by more than 50 per cent.
The average share rise of 30 per cent compares to a 9.3 per cent gain by the Dow Jones Industrial Average.
The top 12 listed arms producers include companies such as Boeing, which makes commercial aircraft as well as defence and missile systems. It does not include Chinese companies.
Nine out of the top 12 companies are based in the United States.
The remaining three – Thales, Finmeccanica and BAE Systems – are based in France, Italy and the UK respectively.
The Copper Beeches (HUM303)
We’ll watch this tomorrow. With a quiz afterwards.
Entartete Kunst (HUM425)
A documentary on the infamous Degenerate Art Exhibition in 1937, which gathered artworks considered by Nazi authorities to be indecent– many of them examples of Expressionism– and ridiculed them.