First, I am happy to have had the opportunity to view this presentation outside of the normal class environment, I felt more obligated to the task of compartmentalizing what I viewed into a blog post. I had arrived JUST in time to view the introduction of the first clip. It seemed to all go by so fast, partially because all the subject matter was streamed through every possible nook and cranny of my peripheral on a dome screen, causing me to become sucked into a type of hypnotic visual trance. All the media viewed is connected with ambient music in a non-specific genre.
The first installment which consisted of a series of images concentrated onto one section of the dome as if it were a movie. I felt as if this clip was a type of brainwashing introduction. The reason I say “brainwashing” is because of the watermark or underling red, orbiting star like object present throughout the video spanned across several images, of which I can hardly recall. This strikes me as interesting as the star was not constantly present within the video, however it was the most prominent in the piece.
The next article of video footage was of, from what I could tell, clips of old Japanese children's shows, particularly of the giant monster kind. The collage panorama of video footage seemed to work in a strange conjunction with the music. Most of the crowd found this segment comical, yet, I saw it as a strange take on soft core horror/tragedy/action medley, as some of the rear images projected on the dome were of what looked like varying monster faces shot in a scary manner. While on the opposite end were images of children screaming in terror. The end was particularly amusing as the images of the turtle swinging on every screen seemed to dance in a type of synchronized acrobatic act.
This next video I found very interesting and intense. We are placed in the drivers seat of a vehicle that is, for the most part, solid in form throughout the video. The road ahead is clear, yet always changing as we progress through different scenery. However, the scenery around and ahead is anything but clear, yet all to clear at the same time. Its obvious when a tree is above, your head, or a field is to your right, or when you're directed down a curve; yet it all meshes together in a soup in front of you're eyes. The scenery changes with an afterimage effect, similar to as if one were intoxicated or had taken a hallucinogen such as LSD. The audio influenced the video to the point where the more intense the music became, the more distorted the image became, which added to the inebriated effect.
The overall experience tended to rely on audio-visual communication in an odd connected dance which work together. Not to tell a specific story or to come to any specific conclusion. It does however, offer an experience that not all have come to experience. The mere effect of having these images projected on a dome screen is sensational in itself.
Saturday, October 30, 2010
Medium Is The Message
Who put television in the emperors chair?
Since when did their schedule become mine as well.
Sure I know every move it makes.
Every day, non stop, never changing.
But who says I'm obligated to know.
Sure it has a lot to say.
And gives me a lot to work with.
It even lets me see what I missed, without even asking.
But I've been there and done that.
And I was doing just fine without it.
Since when did their schedule become mine as well.
Sure I know every move it makes.
Every day, non stop, never changing.
But who says I'm obligated to know.
Sure it has a lot to say.
And gives me a lot to work with.
It even lets me see what I missed, without even asking.
But I've been there and done that.
And I was doing just fine without it.
Friday, October 15, 2010
The Grifters Screenplay
I decided to do the screenplay to the same novel I had chosen to read. I thought it would be better to be consistent so I could elaborate further on the subject with different sources of media. After reading the screenplay I decided to view the actual 1990 flop of a film. The movie, unfortunately and predictably pales in comparison to the novel, as it jumps over many important parts in the novel and goes even further by including elements into the movie that were chronologically impossible. Not to mention the odd choice of main characters. The movie does the job of getting the point of what is happening across, but it looks to be so poorly written that the dialogue comes out flat and meaningless adding no mystery or suspense of any sort. This may just be a product of bad acting or bad directing.
The screenplay slightly jumbles the order in which the characters are introduced and how they end up running their lives. Lilly Dillon, is introduced at the tracks already doing what she does best, racking up the bets at the booth, which we don't actually learn of until later in the novel. Moria Langtry, whose name is actually changed to Myra for some reason, is shown entering a pawn shop in which she attempts at pawning a diamond, and to no avail, seduces the clerk, again without success. This encounter also takes place later on in the novel. Finally Roy Dillon is introduced entering a bar where he receives an injury that is actually fatal to his health yet he doesn't realize until later. This actually marks the beginning of the novel. From there several other occurrences are either left out or changed completely. For example, Myra Langtry describes her devious deeds with Farmer Langley involved computer work, however the book was published over twenty years before computers came to existence, which replaces an alternative story from the novel. Also, Dillon is never faced with the opportunity to take on a new job with Kaggs, which I would consider a pivotal point in the novel to include. Reason being that the offer of the job provides Roy with the option to consider giving up the grift, as he does in the novel, and his attempt at starting a new life. However a twisted tragic death befalls him before he can start making that change, which ends up providing the climactic “bad guy wins” type of ending. Another point the screenplay seemed to jump over was his entire affair with the nurse, who was barely even a character in the movie and was defined and dismissed early on in the movie. This would also be a prime point in the novel as Moria discovers Lilly's motives and this further drives her to attempt at killing her toward the end of the novel. The screenplay plays it out as if Myra is simply suspicious of Lilly's actions, and believes she is manipulating Roy in some way, probably sexually.
The actors chosen for the film were “close” to the true characters, but seriously underplayed or just plain horrible. The most intense scenes are almost laughable when viewed on screen. The role of Roy was a clear mistake having John Cusack in his early acting career play a pro con artist who actually has a serious and attractive angle to him. He is simply too timid. Roy would need someone who can play a slick role while keeping his attractive personality, like Johnny Depp. As for Lilly I feel as though she should be more like the mother in 2001 Heartbreakers played by Sigourney Weaver who plays a confident sneaky bitch in her own right. In fact, maybe Jennifer Love Hewitt, who plays her daughter in the movie, would be a perfect fit fro Myra in personality. The relationship the two share on screen in Heartbreakers is quite similar to how Lilly and Myra act toward one another. Another character I would indefinitely alter would have to be Bobo Justus, who was acted out by the elderly Pat Hingle. Sure he was in those great old-school batman movies, he just doesn't make the cut for woman handling hustler who just doesn't give any to anybody. Try Clint Eastwood for that role or even Samuel L. Jackson, someone who can give orders with some backbone be it calm or brutal, Bobo can swing both ways.
In general, the script could have been pushed a little bit more to add to the true flesh of the novel. Its not so much that I mind the alternative changes made to the script for modern references, however, the exclusion of “cause and effect” material is not conducive to the recreation of the story. After reading the screenplay and seeing the film, I would strongly request reading the book instead.
The screenplay slightly jumbles the order in which the characters are introduced and how they end up running their lives. Lilly Dillon, is introduced at the tracks already doing what she does best, racking up the bets at the booth, which we don't actually learn of until later in the novel. Moria Langtry, whose name is actually changed to Myra for some reason, is shown entering a pawn shop in which she attempts at pawning a diamond, and to no avail, seduces the clerk, again without success. This encounter also takes place later on in the novel. Finally Roy Dillon is introduced entering a bar where he receives an injury that is actually fatal to his health yet he doesn't realize until later. This actually marks the beginning of the novel. From there several other occurrences are either left out or changed completely. For example, Myra Langtry describes her devious deeds with Farmer Langley involved computer work, however the book was published over twenty years before computers came to existence, which replaces an alternative story from the novel. Also, Dillon is never faced with the opportunity to take on a new job with Kaggs, which I would consider a pivotal point in the novel to include. Reason being that the offer of the job provides Roy with the option to consider giving up the grift, as he does in the novel, and his attempt at starting a new life. However a twisted tragic death befalls him before he can start making that change, which ends up providing the climactic “bad guy wins” type of ending. Another point the screenplay seemed to jump over was his entire affair with the nurse, who was barely even a character in the movie and was defined and dismissed early on in the movie. This would also be a prime point in the novel as Moria discovers Lilly's motives and this further drives her to attempt at killing her toward the end of the novel. The screenplay plays it out as if Myra is simply suspicious of Lilly's actions, and believes she is manipulating Roy in some way, probably sexually.
The actors chosen for the film were “close” to the true characters, but seriously underplayed or just plain horrible. The most intense scenes are almost laughable when viewed on screen. The role of Roy was a clear mistake having John Cusack in his early acting career play a pro con artist who actually has a serious and attractive angle to him. He is simply too timid. Roy would need someone who can play a slick role while keeping his attractive personality, like Johnny Depp. As for Lilly I feel as though she should be more like the mother in 2001 Heartbreakers played by Sigourney Weaver who plays a confident sneaky bitch in her own right. In fact, maybe Jennifer Love Hewitt, who plays her daughter in the movie, would be a perfect fit fro Myra in personality. The relationship the two share on screen in Heartbreakers is quite similar to how Lilly and Myra act toward one another. Another character I would indefinitely alter would have to be Bobo Justus, who was acted out by the elderly Pat Hingle. Sure he was in those great old-school batman movies, he just doesn't make the cut for woman handling hustler who just doesn't give any to anybody. Try Clint Eastwood for that role or even Samuel L. Jackson, someone who can give orders with some backbone be it calm or brutal, Bobo can swing both ways.
In general, the script could have been pushed a little bit more to add to the true flesh of the novel. Its not so much that I mind the alternative changes made to the script for modern references, however, the exclusion of “cause and effect” material is not conducive to the recreation of the story. After reading the screenplay and seeing the film, I would strongly request reading the book instead.
Lolity Moralita
When speaking of the morality of the novel Lolita by Vladimir Nabokov, one should establish and keep in mind that the it is a Tragicomedy told from a criminal point of view who either has no morals, a lack there of, or invalid morals. Humbert Humbert, a pedofile and murderer, places himself as the victim, because the accounts of the novel are meant to be recited to an audience much like a jury, as her refers to the reader as “ladies and gentlemen of the jury” in the opening portion of the novel and similar accounts throughout. The case being about the murder of Clare Quilty as he tries to justify the reason for his actions, he reveals an oblong affair with a young girl by the name of Dolores Haze.
Throughout the novel Humbert descirbes in exqusiste and elaborate detail the numerous accounts of his unconventional love with this twelve year old child whom he believes to be a Nymphet. The use of extraordianry detail in a poetic fashion lends the reader some form of consolence for his losses, as he traces his attributes to a previous loss of Annabel Leigh. He uses this event along with past scandelous relationships in other civilizations to make his perdicament appear justified in some fashion. By simply giving a name to the “class” of children that Dolores (Lo, Lola, Dolly, or simply Lolita) is theorized to be appart of gives Humbert some form of validity. However, while he does explain his motive of thinking, he expresses that he realizes that what he is feeling and acting upon is wrong in the sense that society does not approve, which in turn makes himself feel ashamed. “...and soon I found myself maturing amid a civilization which allows a man of twenty-five to court a girl of sixteen but not a girl of twelve.” Humbert, also attempts to realize that all children aren't nymphets, and even states how he would steadfastly refrain from corrupting the innosence of a child. He even goes as far to say that Lola was the one who instigated the initial intercourse with Humbert, which even further places him as the victim in this situation.“Humbert Humbert tried hard to be good. Really and truly, he did.” In this comically ironic sence we are believed to be pittying Humbert.
Not only is he morally corrupt in the sexual sence, but in the empathical sence as well. From the day that he lost his dear Annabel Leigh, he began to grow cold in his emotions toward other women, particularly women of his age at the time. He constantly thinks of his obsession with discovering another like Annabel, but doesn't come to fruition until he is destiny brings him to Lo, who is at the same nymphet age as Annabel, however Annabel was not a nymphet herself, as Humbert was her equal then. This in no way means the sexual actions attempted by them were any better than with an older man. As a murderer he also briefly contemplates killing Charlotte Haze by drowning her, but never executes it because of an interuption, yet doesn't think of the ramifications it could reflect on Dolly. Even after her unfortunate death, he feels only a slight remorse for her loss, but is overcome by his desire to be close to Lolita.
In a sense, Humbert is constucting and integrating himself into a moral light to try and persuade the reader in seeing another side of moral views, however, the social standards of that time and current trends produce a moral that is generally frowned upon. The sexual corruption of a child by another adult, whether she had experienced it before or not, is immoral especially in Humbert's case where he has gained parental right and uses it to keep Dolores from escaping his grasp. Through the use of lies and deception, Humbert has fabricated a moral to the story.
Throughout the novel Humbert descirbes in exqusiste and elaborate detail the numerous accounts of his unconventional love with this twelve year old child whom he believes to be a Nymphet. The use of extraordianry detail in a poetic fashion lends the reader some form of consolence for his losses, as he traces his attributes to a previous loss of Annabel Leigh. He uses this event along with past scandelous relationships in other civilizations to make his perdicament appear justified in some fashion. By simply giving a name to the “class” of children that Dolores (Lo, Lola, Dolly, or simply Lolita) is theorized to be appart of gives Humbert some form of validity. However, while he does explain his motive of thinking, he expresses that he realizes that what he is feeling and acting upon is wrong in the sense that society does not approve, which in turn makes himself feel ashamed. “...and soon I found myself maturing amid a civilization which allows a man of twenty-five to court a girl of sixteen but not a girl of twelve.” Humbert, also attempts to realize that all children aren't nymphets, and even states how he would steadfastly refrain from corrupting the innosence of a child. He even goes as far to say that Lola was the one who instigated the initial intercourse with Humbert, which even further places him as the victim in this situation.“Humbert Humbert tried hard to be good. Really and truly, he did.” In this comically ironic sence we are believed to be pittying Humbert.
Not only is he morally corrupt in the sexual sence, but in the empathical sence as well. From the day that he lost his dear Annabel Leigh, he began to grow cold in his emotions toward other women, particularly women of his age at the time. He constantly thinks of his obsession with discovering another like Annabel, but doesn't come to fruition until he is destiny brings him to Lo, who is at the same nymphet age as Annabel, however Annabel was not a nymphet herself, as Humbert was her equal then. This in no way means the sexual actions attempted by them were any better than with an older man. As a murderer he also briefly contemplates killing Charlotte Haze by drowning her, but never executes it because of an interuption, yet doesn't think of the ramifications it could reflect on Dolly. Even after her unfortunate death, he feels only a slight remorse for her loss, but is overcome by his desire to be close to Lolita.
In a sense, Humbert is constucting and integrating himself into a moral light to try and persuade the reader in seeing another side of moral views, however, the social standards of that time and current trends produce a moral that is generally frowned upon. The sexual corruption of a child by another adult, whether she had experienced it before or not, is immoral especially in Humbert's case where he has gained parental right and uses it to keep Dolores from escaping his grasp. Through the use of lies and deception, Humbert has fabricated a moral to the story.
The Grifters
Of all the “Pulp Fiction” novels listed, I chose The Grifters by Jim Thompson. How I came upon this decision out of the more popular novels is beyond me, however I am thoroughly satisfied with my selection. Although the quality of media may differ, I had the opportunity of reading the original novel and the opportunity to view the cinema-graphic rendition of the novel. The novel itself reveals how twisted and crazy the life of a con man, or woman, can become in some strange “love triangle” in which the mother con raises a son con who makes love with a “sister” (meaning fellow) con who despises the mother con. A type of three way deadlock which ends with a dark irony, leading the mother to her own insanity.
At first I had no idea what to expect from this novel, published in 1963, with hardly any indication of the time period, I assumed it was within that decade if not earlier. The settings lend themselves to the imagination within the boundaries of Los Angeles and other surrounding areas. However the way in which the story is told provides a clear and definitive placement of characters around different parts of Los Angeles. Also, the language adds a “sophisticated” slang to it, which helps set the shifty mood of the grift. I was even humored by some lines in the novel as some dialogue is used even today by our younger generation. “But--she shook herself mentally--to hell with that noise.”
What I received from the novel as it places itself in the generation it was published, and a book in itself, was that this opened up a whole new genre of action. A type of gritty twisted set of events that has a sense of suspense with a modern appeal. Its not like the usual story where the good guy gets the girl and changes the world. Which is far from the conclusion of the novel. It offers a new pathway for written work in which the “predictability” of all novels is somewhat eliminated, which really heightens the interest in the novel.
At first I had no idea what to expect from this novel, published in 1963, with hardly any indication of the time period, I assumed it was within that decade if not earlier. The settings lend themselves to the imagination within the boundaries of Los Angeles and other surrounding areas. However the way in which the story is told provides a clear and definitive placement of characters around different parts of Los Angeles. Also, the language adds a “sophisticated” slang to it, which helps set the shifty mood of the grift. I was even humored by some lines in the novel as some dialogue is used even today by our younger generation. “But--she shook herself mentally--to hell with that noise.”
What I received from the novel as it places itself in the generation it was published, and a book in itself, was that this opened up a whole new genre of action. A type of gritty twisted set of events that has a sense of suspense with a modern appeal. Its not like the usual story where the good guy gets the girl and changes the world. Which is far from the conclusion of the novel. It offers a new pathway for written work in which the “predictability” of all novels is somewhat eliminated, which really heightens the interest in the novel.
Tuesday, October 5, 2010
The Angel and The Mermaid
In the time of old, there once lived a mermaid who resided in the of the lost city of Atlantis. There she lived freely in her mermaids grotto close to the palace where she served as Poseidon's personal singer. She was well known for her enchanting voice, beauty, and vibrant golden hair.
Far off in a new world high in the heavens, hidden among the clouds of Mount Olympus exists an Angel deemed the guardian of Aphrodite's mystical treasures, of which include her personal beauty mirror. The mirror amplifies and rejuvenates ones beauty with the glorious suns rays, however, when in darkness the mirror has a reversed effect by stealing ones beauty and youth.
Psyche approaches Aphrodite to request the use of her mirror, and for her own amusement, allows her knowing wheat the result would be. Psyche uses the mirror, yet the reflection she sees is not of herself, but of Aphrodite. Disgusted by the tasteful curse she tosses the mirror off the edge of the heavens plunging into the dark depths of the ocean, where sunlight fell ill. The only light came from the ancient crystals used to power the Atlantean technology.
Aphrodite is upset by this and orders the angel to retrieve her precious treasure back from where it had fallen. Loyally the angel promptly propels himself through the clouds gliding across the land and sea searching for a solar reflection from the mirror before nightfall.
The mirror ended up floating down into a hole in the mermaids grotto. The mermaid awakens from her slumber as if drawn out of her sleep. The mirror catches the glimmer on the several crystals along the inner cave wall, which also catches the mermaid's attention. She approaches as if a fish to an angler, and can't resist looking at herself in this heavenly mirror. She gazes into the mirror transfixed by her beauty, and just as a leach would, the mystical mirror saps the youth from her eyes, the sheen of her hair, and her radiance in her sculptured face. Appalled by her hideous appearance she then tosses the mirror down an undersea crevasse, and attempts to rejuvenate her features with various forms of kelp and seaweed, but to no avail. She then cloaks herself in a coat of kelp, and swims off to sing for Poseidon and his company.
When the mermaid arrives at the palace, she retains her mysterious garb as she plans to use it in her act. When she starts singing, her voice retains her luring tone, yet its muffled by the layers of kelp, which Poseidon demands she remove from the act. Reluctantly she reveals her grim state, to which Poseidon reacts with aggression, demanding the impostor be removed from his sights immediately, to which his guards swiftly react, expelling the mermaid from the palace. She sadly swims back to her home, crying freshwater tears.
When she arrives she immediately notices the mirror has returned to its original resting spot. Her sadness quickly turns to shock and shifts to anger. She grabs the mirror and furiously swims to the surface, so as to expel it from the ocean. Above the surface, the angel soars high over the clear blue ocean, resembling diamonds strewn across a blue blanket. As the mirror comes closer to the surface, it glimmers the suns rays, getting stronger and stronger with the accession. Soon the shine outshines the other glimmers on the surface which catches the angels eye, who darts toward the sight of this phenomena. The angel arrives just above the surface, yet dares not enter the water for if his wings were to get wet he would be unable to return to the heavens. The mermaid draws closer to the surface, the shine is almost blinding at this point. The mermaid sees that what is above is an angel, however the blinding light from the mirror along with her goulash appearance misleads the angel to believe that she is a sea witch. In an attempt to rescue the mirror, the angel swoops down into the ocean to slay the sea witch. The mermaid defends herself with the mirror while the angel struggles to obtain it. While the angel slowly kills the mermaid, she drowns the angel, as the both sink into the depths. They eventually turn to sea foam, which rises to the surface, carrying the mirror along with it.
Far off in a new world high in the heavens, hidden among the clouds of Mount Olympus exists an Angel deemed the guardian of Aphrodite's mystical treasures, of which include her personal beauty mirror. The mirror amplifies and rejuvenates ones beauty with the glorious suns rays, however, when in darkness the mirror has a reversed effect by stealing ones beauty and youth.
Psyche approaches Aphrodite to request the use of her mirror, and for her own amusement, allows her knowing wheat the result would be. Psyche uses the mirror, yet the reflection she sees is not of herself, but of Aphrodite. Disgusted by the tasteful curse she tosses the mirror off the edge of the heavens plunging into the dark depths of the ocean, where sunlight fell ill. The only light came from the ancient crystals used to power the Atlantean technology.
Aphrodite is upset by this and orders the angel to retrieve her precious treasure back from where it had fallen. Loyally the angel promptly propels himself through the clouds gliding across the land and sea searching for a solar reflection from the mirror before nightfall.
The mirror ended up floating down into a hole in the mermaids grotto. The mermaid awakens from her slumber as if drawn out of her sleep. The mirror catches the glimmer on the several crystals along the inner cave wall, which also catches the mermaid's attention. She approaches as if a fish to an angler, and can't resist looking at herself in this heavenly mirror. She gazes into the mirror transfixed by her beauty, and just as a leach would, the mystical mirror saps the youth from her eyes, the sheen of her hair, and her radiance in her sculptured face. Appalled by her hideous appearance she then tosses the mirror down an undersea crevasse, and attempts to rejuvenate her features with various forms of kelp and seaweed, but to no avail. She then cloaks herself in a coat of kelp, and swims off to sing for Poseidon and his company.
When the mermaid arrives at the palace, she retains her mysterious garb as she plans to use it in her act. When she starts singing, her voice retains her luring tone, yet its muffled by the layers of kelp, which Poseidon demands she remove from the act. Reluctantly she reveals her grim state, to which Poseidon reacts with aggression, demanding the impostor be removed from his sights immediately, to which his guards swiftly react, expelling the mermaid from the palace. She sadly swims back to her home, crying freshwater tears.
When she arrives she immediately notices the mirror has returned to its original resting spot. Her sadness quickly turns to shock and shifts to anger. She grabs the mirror and furiously swims to the surface, so as to expel it from the ocean. Above the surface, the angel soars high over the clear blue ocean, resembling diamonds strewn across a blue blanket. As the mirror comes closer to the surface, it glimmers the suns rays, getting stronger and stronger with the accession. Soon the shine outshines the other glimmers on the surface which catches the angels eye, who darts toward the sight of this phenomena. The angel arrives just above the surface, yet dares not enter the water for if his wings were to get wet he would be unable to return to the heavens. The mermaid draws closer to the surface, the shine is almost blinding at this point. The mermaid sees that what is above is an angel, however the blinding light from the mirror along with her goulash appearance misleads the angel to believe that she is a sea witch. In an attempt to rescue the mirror, the angel swoops down into the ocean to slay the sea witch. The mermaid defends herself with the mirror while the angel struggles to obtain it. While the angel slowly kills the mermaid, she drowns the angel, as the both sink into the depths. They eventually turn to sea foam, which rises to the surface, carrying the mirror along with it.
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