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(04/24/06 4:00am)
The SoFA Gallery played host to the first group of graduating bachelor of fine arts students from the School of Fine Arts Friday night. \nBFA student and one of the five featured artists at the show Melissa Cwidak articulated the IU's BFA program's meaning: "The program is amazing. To have the opportunity to show work at an institution of this caliber, and with as much space as we have, it's a blessing. The work is hard, tedious and labor intensive, but completely worth it."\nThe exhibit displayed students' thesis projects ranging in a variety of styles and art mediums. Cwidak, who describes her field as metalsmithing and jewelry design, decided to explore working with different materials other than metal. For her thesis project, she presented 14 broaches carved out of wood. All were based on the female form and were carved out of 11 different types of wood. \n"My inspiration came when taking a bath that I had colored green. Only portions of my body were visible, which got me to thinking about the body and what we see when looking at the body," Cwidak said.\nFrom woodcarving to audio works, Friday's exhibit offered a unique display and offered many different perspectives. Jeremy Haid, a graphics arts designer in the BFA program, introduced a humorous look at a familiar subject and issue. His thesis project explored the communication quandaries that men and women face in their relationships. Haid explained men and women's differences in communication through a bright, lively display. Separate pieces hung on the wall informing and commenting on the topic by juxtaposing how men and women each think, act and ultimately communicate with the opposite sex. Haid gathered information by researching the subject, offering not only a visually stimulating display, but also a light-hearted picture of the issue.\nMeanwhile, BFA student Stephanie Anne Stanley introduced her exhibit, "Approaching Solace." Her work was a reaction to her grief about two tragic moments for her and her family over the past year. \n"Suddenly my sense of self was lost. After a few months, I picked up my camera and began to shoot," Stanley explained in her exhibit description. "'Approaching Solace' represents where my sisters and I stand today and also the importance of depending on each other."\nAndrew Mason, receiving his BFA in silk screening, presented his project titled "Windswept Pacific." Mason described the creation of his project as "using a system of selective and compulsive compilations that couples my collection of random thoughts with similarly collected and equally invaluable words and images gathered from the world around me." \nHe also described his project as "the seemingly inescapable naiveté thesis." Furthermore, he expressed his feelings on basic human \nemotions ranging from sexual frustration to general self-loathing. Mason voiced to his audience: "I hope you can relate."\nBrad Wicklund also had his thesis displayed at Friday night's show. However, he offered a slightly different element for the public and asked his audience to listen. \nWicklund's project, "Dreamache," is a recorded audio collection of people's dreams as they recall them. For the purposes of Friday's show, he recorded and edited the audio and presented the recordings in the gallery by using two large speakers. Wicklund explained that he was inspired by his lack of sleep and being unable to remember his dreams, and his desire to find some sort of connection between dreams and their connection to people.\n"I believe viewers will be both drawn to and repulsed by the sound coming from my piece," he said. "They will be drawn in to hear the dreams and follow them, but with the two channels of dreams going at once, they may become disoriented and feel the need to stop listening."\nMost of the pieces displayed in the exhibit were for sale. A list of prices for each piece was available for the public. Its availability for the public, however, did not take away from the personal aspects of each project. \n"I think that people should want to come to see what young, fresh artists are doing," Cwidak said. "Not only for their own sakes of seeing what's out there, but also to support the artists"
(12/01/05 7:04pm)
After filling my belly with a load of mashed potatoes and cranberry sauce, I took myself to the movies! Admittedly, I entered the theater with a bit of hesitation. This was one of my favorite musicals being brought to the big screen. I own the original cast recording, had seen the show live and have been known to randomly burst into "One Song Glory." I love film, and I love theater, but that does not mean I think they should always get together. Yet, one thing is for sure: "RENT," the movie, cannot help but still be loved. \nIt is the story of bohemians trying to just live life in the East Village, and a group of friends struggling with life, love, AIDS and the culture that boxes them in. It's a musical, so they definitely talk and sing about their problems and -- sometimes -- they even dance. The trailer claims that it defines a generation. Whatever that generation may be, each character does define a stereotype. There is the artist, the musician, the beauty, the rebel, the lesbian, the loner, and then there's Angel, the drag queen that ties them all together. \nFor fans, the film does aim to stay true to the original Broadway production. So true, in fact, that they even cast six of the original members. They did welcome two new members Tracie Thoms (Joanne) and Rosario Dawson (Mimi). Yet, Dawson was the only one without a musical theatre background. Her voice is not the strongest, but it's pretty and she does a noteworthy job of playing the sultry and reckless young Mimi. \nWhile "RENT" does hold onto its roots, director Chris Columbus' construction of the film tends to hold on a little too tight. There is a scuffle between being true to creator Jonathan Larson's vision and making it into a film. There is a tendency for it to feel one-dimensional, or like a stagnant camera capturing performers on a stage. Columbus has moments where he branches out by editing in flashbacks and dream sequences that would not be possible in a theater production, but it would have been nice to see more creativity. The strongest scenes are the Life Support meetings. Instead of feeling like an audience member in an auditorium, the camera movement helps bring the audience closer to the action. There is an intimate feeling created that allows viewers to feel like they are really in it. More experimentation with the transfer from stage to screen would have offered a new twist, but in the end it still presents the same message: There is no day but today!
(12/01/05 5:00am)
After filling my belly with a load of mashed potatoes and cranberry sauce, I took myself to the movies! Admittedly, I entered the theater with a bit of hesitation. This was one of my favorite musicals being brought to the big screen. I own the original cast recording, had seen the show live and have been known to randomly burst into "One Song Glory." I love film, and I love theater, but that does not mean I think they should always get together. Yet, one thing is for sure: "RENT," the movie, cannot help but still be loved. \nIt is the story of bohemians trying to just live life in the East Village, and a group of friends struggling with life, love, AIDS and the culture that boxes them in. It's a musical, so they definitely talk and sing about their problems and -- sometimes -- they even dance. The trailer claims that it defines a generation. Whatever that generation may be, each character does define a stereotype. There is the artist, the musician, the beauty, the rebel, the lesbian, the loner, and then there's Angel, the drag queen that ties them all together. \nFor fans, the film does aim to stay true to the original Broadway production. So true, in fact, that they even cast six of the original members. They did welcome two new members Tracie Thoms (Joanne) and Rosario Dawson (Mimi). Yet, Dawson was the only one without a musical theatre background. Her voice is not the strongest, but it's pretty and she does a noteworthy job of playing the sultry and reckless young Mimi. \nWhile "RENT" does hold onto its roots, director Chris Columbus' construction of the film tends to hold on a little too tight. There is a scuffle between being true to creator Jonathan Larson's vision and making it into a film. There is a tendency for it to feel one-dimensional, or like a stagnant camera capturing performers on a stage. Columbus has moments where he branches out by editing in flashbacks and dream sequences that would not be possible in a theater production, but it would have been nice to see more creativity. The strongest scenes are the Life Support meetings. Instead of feeling like an audience member in an auditorium, the camera movement helps bring the audience closer to the action. There is an intimate feeling created that allows viewers to feel like they are really in it. More experimentation with the transfer from stage to screen would have offered a new twist, but in the end it still presents the same message: There is no day but today!
(11/10/05 5:00am)
There's a lot of pressure involved in remaking a film. There's probably an even greater pressure when trying to remake a film based off what has been called one of the best American novels of all time. \nIn the film "G," director Christopher Scott Cherot has taken F. Scott Fitzgerald's well-known novel "The Great Gatsby" and re-imagined it with a modern spin. "G," an independent film produced in 2002 and now playing at Kerasotes West, is most simply described as what happens when hip-hop meets the Hamptons. The film begins with Summer G (Richard T. Jones) stumbling along the shore bloody and obviously worn out. Suddenly, it cuts to a group of people gathering for what seems to be a funeral. The audience is then hurled to the beginning and there begins the unraveling of the events that set up the tragic ending. \nThe film is the story of Summer G, the creator of a powerful hip-hop empire, and his obsession with winning back his college girlfriend Sky. Sky (Chenoa Maxwell) left Summer in college for a more dependable social climber Chip Hightower (Blair Underwood). Ten years later Summer has built his empire all for Sky and his first aggressive step toward getting her back is to move down the street from her and her husband Chip in the Hamptons. When Sky's cousin Tre (Andre Royo) comes to town to visit his 'cuz and interview Summer for an article he's writing for a hip-hop magazine, the perfect world they thought existed begins to crumble. \nLike something out of a 1950s melodrama or last week's episode of "Days of our Lives," "G" is a mixture of jealousy, lies and deceit all in the name of love. It's unfortunate Cherot's innovative approach on such an old story is unable to hold its own. The story's original switch of races and comment on class roles is an interesting one, and there are definitely elements of entertainment. With ravishing parties, the film offers some funny events. Yet, while the film tries to speak to today's audience with modern situations, it ends up over-dramatizing the relationships and thus undercutting the interesting new twist on a classic story. Overall, "G" is a notable attempt but probably best kept for the mini-series.
(11/10/05 1:18am)
There's a lot of pressure involved in remaking a film. There's probably an even greater pressure when trying to remake a film based off what has been called one of the best American novels of all time. \nIn the film "G," director Christopher Scott Cherot has taken F. Scott Fitzgerald's well-known novel "The Great Gatsby" and re-imagined it with a modern spin. "G," an independent film produced in 2002 and now playing at Kerasotes West, is most simply described as what happens when hip-hop meets the Hamptons. The film begins with Summer G (Richard T. Jones) stumbling along the shore bloody and obviously worn out. Suddenly, it cuts to a group of people gathering for what seems to be a funeral. The audience is then hurled to the beginning and there begins the unraveling of the events that set up the tragic ending. \nThe film is the story of Summer G, the creator of a powerful hip-hop empire, and his obsession with winning back his college girlfriend Sky. Sky (Chenoa Maxwell) left Summer in college for a more dependable social climber Chip Hightower (Blair Underwood). Ten years later Summer has built his empire all for Sky and his first aggressive step toward getting her back is to move down the street from her and her husband Chip in the Hamptons. When Sky's cousin Tre (Andre Royo) comes to town to visit his 'cuz and interview Summer for an article he's writing for a hip-hop magazine, the perfect world they thought existed begins to crumble. \nLike something out of a 1950s melodrama or last week's episode of "Days of our Lives," "G" is a mixture of jealousy, lies and deceit all in the name of love. It's unfortunate Cherot's innovative approach on such an old story is unable to hold its own. The story's original switch of races and comment on class roles is an interesting one, and there are definitely elements of entertainment. With ravishing parties, the film offers some funny events. Yet, while the film tries to speak to today's audience with modern situations, it ends up over-dramatizing the relationships and thus undercutting the interesting new twist on a classic story. Overall, "G" is a notable attempt but probably best kept for the mini-series.
(07/07/05 4:00am)
When I was young, I drove from California to Kentucky five times with my family. We took the southern route through Texas, and the northern route to see Mount Rushmore and the glaciers in Montana. I can still close my eyes and picture our old, tan Cadillac passing the icy tops of the Rockies. My dad usually drove non-stop through the night, so I was left to imagine what each state offered. Every state had its own personality setting it apart from what lied next door. Fortunately, there is one man that is exploring their stories until I get control of the wheel. \nSufjan Stevens, Michigan born singer-songwriter is working on a conquest consisting of epic proportions. What began with Greetings from Michigan, an intimate album that took listeners up north, Come on Feel the Illinoise is the second stop for the artist's lofty quest. Come on Feel the Illinois is part of a goal to create an album for all fifty states. Imagine visiting a state but in preparation for the trip you read up on history and local news to fully understand all of its secrets, and then leave with 22 tracks to share. \nFor Come on Feel the Illinois, Stevens takes listeners on an audible road trip. Piano and flutes gracefully begin the album and carry Stevens' lyrics about alien encounters, young stories of John Wayne and rejoicing stepmothers in Decatur. Come on Feel the Illinois definitely sounds much more grand than previous albums, so much that it sets its course with trumpets and chorus voices rising. However, through hums of string ensembles and thoughtful percussion, there still lies a boy from Michigan sharing poetic thoughts over wholesome banjo strumming. \nBefore entering "Chicago," a joyous track that recaps memories of trips to the windy city, Stevens inserts instrumental interludes. This theme repeats itself throughout the album easing listeners from one part of the state to another. Each song has a distinct feeling and mood, just like each town has its own identifiable character. Stevens explores his harder side with "The Man Of Metropolis Steals Our Hearts," with stronger drums and electric guitar intertwined with the same calming vocals. Then there are tear-worthy songs like "The Predatory Wasp Of The Palisades Is Out To Get Us!" that sing of tragic loss, but their sweetness allows for hope.\nStevens is definitely taking on a lot, fifty to be exact, but already on his way to state three he has created an album that should reach well beyond natives of Illinois. It is an album that touches much further than main roads, and still never forgets its roots. So I say take his advice, and no time to be shy, Come On And Feel The Illinoise.
(07/07/05 12:18am)
When I was young, I drove from California to Kentucky five times with my family. We took the southern route through Texas, and the northern route to see Mount Rushmore and the glaciers in Montana. I can still close my eyes and picture our old, tan Cadillac passing the icy tops of the Rockies. My dad usually drove non-stop through the night, so I was left to imagine what each state offered. Every state had its own personality setting it apart from what lied next door. Fortunately, there is one man that is exploring their stories until I get control of the wheel. \nSufjan Stevens, Michigan born singer-songwriter is working on a conquest consisting of epic proportions. What began with Greetings from Michigan, an intimate album that took listeners up north, Come on Feel the Illinoise is the second stop for the artist's lofty quest. Come on Feel the Illinois is part of a goal to create an album for all fifty states. Imagine visiting a state but in preparation for the trip you read up on history and local news to fully understand all of its secrets, and then leave with 22 tracks to share. \nFor Come on Feel the Illinois, Stevens takes listeners on an audible road trip. Piano and flutes gracefully begin the album and carry Stevens' lyrics about alien encounters, young stories of John Wayne and rejoicing stepmothers in Decatur. Come on Feel the Illinois definitely sounds much more grand than previous albums, so much that it sets its course with trumpets and chorus voices rising. However, through hums of string ensembles and thoughtful percussion, there still lies a boy from Michigan sharing poetic thoughts over wholesome banjo strumming. \nBefore entering "Chicago," a joyous track that recaps memories of trips to the windy city, Stevens inserts instrumental interludes. This theme repeats itself throughout the album easing listeners from one part of the state to another. Each song has a distinct feeling and mood, just like each town has its own identifiable character. Stevens explores his harder side with "The Man Of Metropolis Steals Our Hearts," with stronger drums and electric guitar intertwined with the same calming vocals. Then there are tear-worthy songs like "The Predatory Wasp Of The Palisades Is Out To Get Us!" that sing of tragic loss, but their sweetness allows for hope.\nStevens is definitely taking on a lot, fifty to be exact, but already on his way to state three he has created an album that should reach well beyond natives of Illinois. It is an album that touches much further than main roads, and still never forgets its roots. So I say take his advice, and no time to be shy, Come On And Feel The Illinoise.
(06/02/05 4:00am)
Oh the Saturday matinee in the summer... It is always nice to take a break from the sun in an over air conditioned room with a cool beverage the size of your head and watch a film that does not ask you to think. I thought I was going to watch some cute, fuzzy animals gallop around on an exotic island and have a message about true friendship, and mostly that is what happens. However, "Madagascar" tries, unsuccessfully, to make us care.\n"Madagascar" is about a lion (Ben Stiller), a zebra (Chris Rock), a hippo (Jada Pinkett Smith) and a giraffe (David Schwimmer) that are all friends in the Central Park Zoo. Marty, the zebra, is unhappy with his current habitat, and finds himself constantly daydreaming about living in the wild. However, the rest of his friends do not understand and believe living in a place where they are groomed, fed and adored by people everyday is great! After Marty has an interaction with some crazy penguins that are building a tunnel out of the zoo to their freedom in Antartica, he decides to break free. When his friends realize what he has done they take it upon themselves to save their friend from his big mistake. Unfortunately for them, their intervention plan backfires and gets them all shipped to Africa. The ship is taken over and the four friends are suddenly sent flying into the Atlantic, only to be tossed to the sandy shores of Madagascar. Before we know it the wild begins to bring out the "real" animal in the characters and their once strong friendship may meet disaster before they ever get off the island.\nIt would be nice to write about these characters as if I felt close to their sad stories and their beautiful friendships, but "Madagascar" never reaches that point. We have to enter the film caring about Marty's depression because the characters do not offer the audience a reason for sympathy. The film does have an all-star cast with voices all ages should recognize, but the two leads, Chris Rock and Ben Stiller, play the same characters we usually see. Rock is still yelling every line like he is doing stand-up and Stiller is all big eyes and lots of hand motions.\nMaybe I am being too harsh on this film. I mean, the children in the theater definitely laughed a few times behind me. Also, the film does offer a couple interesting sequences that play on famous scenes from movies like "American Beauty" that adults will definitely pick up. In the end, "Madagascar" is a simple animated film failing to be more, but it works for a cheap summer matinee.
(06/02/05 1:23am)
Oh the Saturday matinee in the summer... It is always nice to take a break from the sun in an over air conditioned room with a cool beverage the size of your head and watch a film that does not ask you to think. I thought I was going to watch some cute, fuzzy animals gallop around on an exotic island and have a message about true friendship, and mostly that is what happens. However, "Madagascar" tries, unsuccessfully, to make us care.\n"Madagascar" is about a lion (Ben Stiller), a zebra (Chris Rock), a hippo (Jada Pinkett Smith) and a giraffe (David Schwimmer) that are all friends in the Central Park Zoo. Marty, the zebra, is unhappy with his current habitat, and finds himself constantly daydreaming about living in the wild. However, the rest of his friends do not understand and believe living in a place where they are groomed, fed and adored by people everyday is great! After Marty has an interaction with some crazy penguins that are building a tunnel out of the zoo to their freedom in Antartica, he decides to break free. When his friends realize what he has done they take it upon themselves to save their friend from his big mistake. Unfortunately for them, their intervention plan backfires and gets them all shipped to Africa. The ship is taken over and the four friends are suddenly sent flying into the Atlantic, only to be tossed to the sandy shores of Madagascar. Before we know it the wild begins to bring out the "real" animal in the characters and their once strong friendship may meet disaster before they ever get off the island.\nIt would be nice to write about these characters as if I felt close to their sad stories and their beautiful friendships, but "Madagascar" never reaches that point. We have to enter the film caring about Marty's depression because the characters do not offer the audience a reason for sympathy. The film does have an all-star cast with voices all ages should recognize, but the two leads, Chris Rock and Ben Stiller, play the same characters we usually see. Rock is still yelling every line like he is doing stand-up and Stiller is all big eyes and lots of hand motions.\nMaybe I am being too harsh on this film. I mean, the children in the theater definitely laughed a few times behind me. Also, the film does offer a couple interesting sequences that play on famous scenes from movies like "American Beauty" that adults will definitely pick up. In the end, "Madagascar" is a simple animated film failing to be more, but it works for a cheap summer matinee.
(05/12/05 4:00am)
In my high school I was involved in theatre, so I knew a lot of kids in the drama department. During lunch period, they enjoyed the occasional, impromptu play and performing the usual off-Broadway show tune. However, the drama kids I knew tended to have conversations turn into movie quotes. The only reason I knew that the quote conversation had turned on was because they would switch to their version of a British accent. They liked to quote "Monty Python and the Holy Grail." I had only seen the television show, so I was never able to participate. \nHowever, my problem was not that I wanted to join in, but more that I thought they needed to use these quotes in a way that is more effective, especially since they took all that time to memorize them. Additionally, I always felt isolated, since I had no idea what they were talking about. It was not like I could add to the conversation with a different movie's quote. I think movie quotes are great. They have the potential to be funny and perfect for the moment in question. However, sometimes they can become superfluous and tend to drown out the real situation, instead of adding to the conversation. \nAs a result, I propose two rules for the use movie quotes in everyday life: 1) practice/show off knowledge through the correct use of the quote and 2) implement the quotes into their corresponding meanings. Of course, I am only proposing these rules to be followed, but to make them easier to understand I will explain with an example.\nFor instance, lets start with the classic Hollywood film "Scarface" (that is, the second classic version from 1983). At the end of the film, Tony Montana, played by the lovable Al Pacino, stands up with his machine gun, and with a fierce look in his eye he yells, "Say hello to my little friend!" More than likely, the average college student is not going to be standing in a similar situation. Well, at least I have not found myself holding too many machine guns in my life, so this quote seems difficult to reenact. However, there are ways to present this quote successfully without buying a super-soaker water gun. Lets look at the rules ... \nFirst, we have to make sure we say the words in the correct order. A movie quote loses all its power when someone forgets the actual quote and it gets even worse when they continue trying to fix the quote. So, we want to memorize the words found in the quote in the exact order that Montana yells them. Repeat after me: "Say hello to my little friend!" Good job. It is after we have the words down that we can begin to bring them into conversations. This is where things can become tricky or even a bit confusing. We want to use the quote in a situation where we can show off our knowledge in front off people who enjoy the film. Yet, the key here is striving to also keep those folks who have no idea who Montana is, and may have not met his "friend," feeling like they can be part of the conversation. \nThus, this is what I propose for this quote. Imagine working this summer at a children's day camp where you are in charge of walking your cabin to a campfire event. When you enter the event raise your hands with the children standing beside you and say, "Say hello to my little friends!" Not only will the "Scarface" fans catch the crucial phrase, but also the line fits perfectly in the situation. The children are certainly not machine guns, but they sure are little. \nI understand not everyone will be working with the children this summer, but I am asking people to look at the function of their chosen movie quote and the important role it plays in conversations. They are fun to say, but try not to make people who lack the previous knowledge feel like idiots because they did not see the film. \nMy last name, for example, is Hansell. Until I saw "Zoolander," I was completely stumped on why people kept talking about my modeling work and how hot I was. Accordingly, I think these rules could change the critical role of everyone's favorite movie quotes. No longer will we misunderstand when someone is quoting David Bowie in the "Labyrinth" or Amy Sedaris' hilariousness in "Strangers With Candy." The quotes will begin to make sense. Moreover, I think it is possible to effectively implement movie quotes in everyday life. The key is looking at the situation and casting the quote into its correct role. So, next time you are about to quote Arnold Schwarzenegger or "Napoleon Dynamite" just think about the rules and you may notice a greater response from your audience.
(05/12/05 1:58am)
In my high school I was involved in theatre, so I knew a lot of kids in the drama department. During lunch period, they enjoyed the occasional, impromptu play and performing the usual off-Broadway show tune. However, the drama kids I knew tended to have conversations turn into movie quotes. The only reason I knew that the quote conversation had turned on was because they would switch to their version of a British accent. They liked to quote "Monty Python and the Holy Grail." I had only seen the television show, so I was never able to participate. \nHowever, my problem was not that I wanted to join in, but more that I thought they needed to use these quotes in a way that is more effective, especially since they took all that time to memorize them. Additionally, I always felt isolated, since I had no idea what they were talking about. It was not like I could add to the conversation with a different movie's quote. I think movie quotes are great. They have the potential to be funny and perfect for the moment in question. However, sometimes they can become superfluous and tend to drown out the real situation, instead of adding to the conversation. \nAs a result, I propose two rules for the use movie quotes in everyday life: 1) practice/show off knowledge through the correct use of the quote and 2) implement the quotes into their corresponding meanings. Of course, I am only proposing these rules to be followed, but to make them easier to understand I will explain with an example.\nFor instance, lets start with the classic Hollywood film "Scarface" (that is, the second classic version from 1983). At the end of the film, Tony Montana, played by the lovable Al Pacino, stands up with his machine gun, and with a fierce look in his eye he yells, "Say hello to my little friend!" More than likely, the average college student is not going to be standing in a similar situation. Well, at least I have not found myself holding too many machine guns in my life, so this quote seems difficult to reenact. However, there are ways to present this quote successfully without buying a super-soaker water gun. Lets look at the rules ... \nFirst, we have to make sure we say the words in the correct order. A movie quote loses all its power when someone forgets the actual quote and it gets even worse when they continue trying to fix the quote. So, we want to memorize the words found in the quote in the exact order that Montana yells them. Repeat after me: "Say hello to my little friend!" Good job. It is after we have the words down that we can begin to bring them into conversations. This is where things can become tricky or even a bit confusing. We want to use the quote in a situation where we can show off our knowledge in front off people who enjoy the film. Yet, the key here is striving to also keep those folks who have no idea who Montana is, and may have not met his "friend," feeling like they can be part of the conversation. \nThus, this is what I propose for this quote. Imagine working this summer at a children's day camp where you are in charge of walking your cabin to a campfire event. When you enter the event raise your hands with the children standing beside you and say, "Say hello to my little friends!" Not only will the "Scarface" fans catch the crucial phrase, but also the line fits perfectly in the situation. The children are certainly not machine guns, but they sure are little. \nI understand not everyone will be working with the children this summer, but I am asking people to look at the function of their chosen movie quote and the important role it plays in conversations. They are fun to say, but try not to make people who lack the previous knowledge feel like idiots because they did not see the film. \nMy last name, for example, is Hansell. Until I saw "Zoolander," I was completely stumped on why people kept talking about my modeling work and how hot I was. Accordingly, I think these rules could change the critical role of everyone's favorite movie quotes. No longer will we misunderstand when someone is quoting David Bowie in the "Labyrinth" or Amy Sedaris' hilariousness in "Strangers With Candy." The quotes will begin to make sense. Moreover, I think it is possible to effectively implement movie quotes in everyday life. The key is looking at the situation and casting the quote into its correct role. So, next time you are about to quote Arnold Schwarzenegger or "Napoleon Dynamite" just think about the rules and you may notice a greater response from your audience.
(04/07/05 4:00am)
With all these fine films to go see currently, like "Beauty Shop" and "Constantine," it can be quite a difficult task to choose a film. Which is why it can be even more strenuous when they throw a documentary into the mix. Yet, it must be a problem in Bloomington because apparently no one chose the documentary over "The Pacifier" Friday night at 10 p.m. \nThis past Friday I saw "Born Into Brothels," which had won the Oscar this year for Best Documentary (Feature). The film was directed by Ross Kauffman and Zana Briski. Kauffman has been making documentaries since 1992, and Zana Briski is an award-winning photojournalist. The two teamed up to share the story of children who live in the red-light district of Calcutta. Briski had been living in this district for a few years hoping to learn more about the lives of women who live and work as prostitutes, but throughout her time there she continued to interact with the children of these women. After being asked questions incessantly by the children about her camera, she decided to offer them a photography class. For about two years, Briski taught them how to catch the world through a photographic eye. \nThe documentary is a combination of intimate interviews, film footage following Briski and the children in the brothels and extraordinary photographs by Briski's students of the unbelievable world in which they live. We see life in the brothels through the children's eyes rather than a visitor's because the children's photos are used to frame the story. We meet their families, hear stories about lack of hope and are invited into their hearts through personal pictures. \nThe film also captures Briski's journey to find her new friends a proper education so they have a chance to get out of the brothels. With an education, the young girls may not have to go down the road of prostitution, like their mothers, and the boys may not see drug abuse in their futures. Briski struggles to gather all of the papers and persuade schools to take children of criminals. The filming is raw, rich and brings hope to a world where dreams seem like a waste of time. \nSo even though I thoroughly enjoyed my private screening this past weekend, I hope that more people go out on the documentary limb and take a look at "Born Into Brothels." I suggest sticking around for the credits to listen, and maybe even dance, to the Indian pop song at the end.
(04/06/05 4:41am)
With all these fine films to go see currently, like "Beauty Shop" and "Constantine," it can be quite a difficult task to choose a film. Which is why it can be even more strenuous when they throw a documentary into the mix. Yet, it must be a problem in Bloomington because apparently no one chose the documentary over "The Pacifier" Friday night at 10 p.m. \nThis past Friday I saw "Born Into Brothels," which had won the Oscar this year for Best Documentary (Feature). The film was directed by Ross Kauffman and Zana Briski. Kauffman has been making documentaries since 1992, and Zana Briski is an award-winning photojournalist. The two teamed up to share the story of children who live in the red-light district of Calcutta. Briski had been living in this district for a few years hoping to learn more about the lives of women who live and work as prostitutes, but throughout her time there she continued to interact with the children of these women. After being asked questions incessantly by the children about her camera, she decided to offer them a photography class. For about two years, Briski taught them how to catch the world through a photographic eye. \nThe documentary is a combination of intimate interviews, film footage following Briski and the children in the brothels and extraordinary photographs by Briski's students of the unbelievable world in which they live. We see life in the brothels through the children's eyes rather than a visitor's because the children's photos are used to frame the story. We meet their families, hear stories about lack of hope and are invited into their hearts through personal pictures. \nThe film also captures Briski's journey to find her new friends a proper education so they have a chance to get out of the brothels. With an education, the young girls may not have to go down the road of prostitution, like their mothers, and the boys may not see drug abuse in their futures. Briski struggles to gather all of the papers and persuade schools to take children of criminals. The filming is raw, rich and brings hope to a world where dreams seem like a waste of time. \nSo even though I thoroughly enjoyed my private screening this past weekend, I hope that more people go out on the documentary limb and take a look at "Born Into Brothels." I suggest sticking around for the credits to listen, and maybe even dance, to the Indian pop song at the end.