At-Home Project (Due Friday, 12 Dec 2014)

Young Kurosawa thinking...
...about media maybe?

Remember that the first at-home project is due on Friday, 12 Dec 2014. You will get a little bit of class time for this but not much so be sure to get working on it at home right now. Here are the instructions for said assignment:

Thinking About Media Choice Assignment

(Completed At Home)

Twice per term, once at midterm and once at the end of the class, a choice assignment will become due. For this assignment, simply choose to do one of the following and turn it in:

• Additional Kurosawa Movie: Watch a Kurosawa film we will not be watching in class and watch it at home. Write a one page response to the film where you talk about what you thought of the film. Check with the instructors to see what Kurosawa films we will not be watching in class.
• Watch a John Ford Film: Kurosawa was heavily influenced by John Ford. So, watch a John Ford film at home and write a one-page paper about elements you saw in the movie that you feel are also present in Kurosawa’s films.
• Read 100 Pages of a Dostoyevsky Novel: Kurosawa was heavily influenced by the Russian author, Fyodor Dostoyevsky. He even adapted one of Dostoyevsky’s books into his film, The Idiot. So, read 100 pages of a Dostoyevsky novel and write a one page paper about elements you saw in Dostoyevsky’s writings that you also see in Kurosawa’s films.
• Read a Shakespeare Play: Kurosawa loved Shakespeare and even adapted a few Shakespeare plays into Samurai movies. So, read a Sheakespeare play and then do one of the following:
• Write a one-page paper about elements of the play that struck you as being similar to Kurosawa’s style.
• Adapt one scene of the play into a script that is set in Samurai times. Make it as Kurosawa-like as possible.
• Write a “Kurosawaian” Script: Write a script for a 5-20 page short film that feels like something Kurosawa could have written.
• Film a “Kurosawaian” Scene: Film and edit a scene that feels like it could have been in a Kurosawa movie. You can do this in groups if you like.
• Give a Presentation: Do some research on Kurosawa’s life, movies, or style and learn things that go above and beyond what we learned in class. Present what you learned to the class. Include clips from Kurosawa’s films.
• Interview Someone from Japan: Do a 30 minute (or more) interview with someone from Japan. Ask them questions that you feel will help you appreciate Kurosawa’s films more. Write up a one page summary of what you learned. Turn it in.
• Another Teacher Approved Project: Do another project which you feel ties into the objectives of the class. Make sure one of the instructors approves it.

Kurosawa Week 2 (Drunken Angel, Research, and Stray Dog)

This week, we watched Drunken Angel (1948) and Stray Dog (1949) and also spent a couple of days doing research on Kurosawa's life and sharing it with each other. Here are all of the assignments that were due this week:

Essay (20 Points)

You need to write a 500 word essay that answers one of the following questions:

• How did what you learned about Kurosawa's life impact how you view his movies? In your essay, rite about how facts you've learned about Kurosawa as a person helped you better appreciate specific story elements or other aspects of the films. You can just talk about one of the films we've seen or more than one but, either way, be very specific about how the facts on Kurosawa helped you appreciate specific parts of the films. Do not be general. Be specific.
• What common themes have you seen in Kurosawa's movies so far? Write about one or more theme that you feel has come up in all or most of the films we've watched and how each film addresses the theme(s). You might also make reference to what you learned about Kurosawa's life and how that helps you understand why he would deal with that theme.
• How has what we've seen in Drunken Angel or Stray Dog or what you learned about Kurosawa's life influenced you personally? Write an essay about the themes or other elements of the films (or of Kurosawa's life) that were important to you and why they matter to you so deeply. You will probably want to include a little bit of personal life story/experience if you do this one.
• Pick another essay topic you would like to write about that relates to the films Drunken Angel and/or Stray Dog. It could also relate to what we learned about Kurosawa's life. Have Will or Josh approve the essay topic and then write the essay.

Turn your essay in via email. Who you turn the essay in to depends on the first letter of your last name:

• A-H: email your essay to Josh: jwagner@ehhs.us.
• I-Z: email your essay to Will: wmcallister@ehhs.us.

Short Movie Responses (5 Points Each)

Remember that you need to write a short answer to the question related to each movie. Here are the questions for this week:

Kurosawa hanging with Francis Ford Coppola and George Lucas.

• Drunken Angel: What is this film's perspective on life? Do you agree or disagree with that perspective? Why?
• Stray Dog: Which scene(s) of this film were most impactful for you? Why?

Research (5 points)

Pick a question that you would like to answer in relation to Kurosawa's life. Use the internet to do some research for about an hour in order to thoroughly answer the question. Present what you learned to the class (talk to Will or Josh about setting up a time when you can present this information).

Kurosawa Week 1 (Roshomon and Sanshiro Sugata)

In class this week, we watched Roshomon (1950) and Sanshiro Sugata (1943). Roshomon was Kurosawa's first film that was seen by Hollywood audiences. It was Kurosawa's debut to the world. Sanshiro Sugata was the first film that Kurosawa ever made at all.

FILM RESPONSES (5 POINTS EACH)

Here are the response questions you were expected to answer for each film. As long as you answer all the questions, these responses can be very short. You can handwrite these or email them to jwagner@ehhs.us:

ROSHOMON:

• What do you think really happened with the crime in the film? Why?
• What is this film's outlook on life? Do you agree or disagree with that outlook? Explain.
• After seeing this film, do you think you'll enjoy or not enjoy Kurosawa's films? Why?

SANSHIRO SUGATA:

• Name one moment when an axis cut was used in this film. Why do you think Kurosawa used it in that moment?

ESSAY (20 POINTS)

Then, on Friday, we wrote essays. The essay needs to be 500 words in length. It should follow the criteria found in this link. Email your essay to jwagner@ehhs.us. Your essay can be on one of the following topics:

• Consider ways that either Roshomon or Sanshiro Sugata touched you personally. Write an essay about the themes or other elements of the films that were important to you and why they matter to you so deeply. You will probably want to include a little bit of personal life story/experience if you do this one.
• In class, we learned that Akira Kurosawa was a painter at first. Write about how you feel his painter instincts come out in the films we've seen. Use specific examples from Roshomon and Sanshiro Sugata. Feel free to include screen shots from the films if it helps you make your point. (You can find screen shots on the internet.)
• Write a critical review of either Roshomon or Sanshiro Sugata. In your review, imagine that you are writing to a typical teenage audience. Without spoiling the ending, write about what your teenage audience might like or not like about the movie. Remember that this is a recommendation to help them decide if they should see it or not.
• Pick another essay topic you would like to write about that relates to the films Roshomon and/or Sanshiro Sugata. Have Will or Josh approve the essay topic and then write the essay.

Citizen Kane (1941)

Most versions of the AFI 100 list and many other best film lists put this as the most important film ever made. It was also Orson Welles' first movie (kind of sad that he made the best movie ever first and then had to make great but not-as-awesome films for the rest of his career—it's a strange thing to make your magnum opus first).

Hopefully you noticed as you watched Citizen Kane that it had a very different feel to it than the other films we've watched in this class. There are many ways in which this film is the first modern movie. For example, the J-cut and the L-cut, two techniques that are standard practice in every movie made now, were first used in Citizen Kane. Also, the technique of telling the story told through flashbacks had never been done before Cane but is often done now and not considered particularly groundbreaking anymore.

This shot is an example of the innovation used in this film. Cameras
at the time could not get both characters in focus but Welles
demanded that they both be in focus so they took each shot
separately and then put them together.

This film was used to end this class on purpose. It represents the culmination of the evolution of
cinema during the era that we've focused on in this class. We started with Lumiere and Edison films that were just moving images without sound or much of a story. Then we evolved to silent films that did tell a story and used the tools of cinematography in more-and-more innovative ways until they culminated with the high silent era.

Then came sound and more innovations that compensated for the weaknesses of sound. Eventually Hollywood reached the golden age and then the golden year. Lots of movies were made and filmmakers figured out better and better ways to tell stories until Citizen Kane came along. This film really is a culmination of everything that happened before and the film that brings us into the modern cinematic age. Watch films before and after Citizen Kane and you will notice a difference.

When you comment about Citizen Kane, you need to answer three of the following questions:

• Why do you think so many great film lists put this film at the top? Remember the four criteria the AFI list creators use to measure a great film.
• What would you say the theme of this film is? Justify your response with at least three specific examples from the film.
• We know what the critics say but what do you think? Do you personally think Citizen Kane is a good movie? Why or why not?
  
• I wrote above that Citizen Kane changed the way movies are made. As you watched the film, did you notice moments that seemed like more advanced filmmaking then the films we've watched earlier in this class? If so, please describe what you say and explain why you feel it is more advanced.
• Make your own top ten list of movies we've watched in this class and write it in your response. What criteria did you use to make the list? Which film gets the #1 spot on your list and why?
• How about "rosebud"?

Third Movie at Home

Now is the time to pick the final film from the AFI list that you haven't seen and will watch at home for this class. Then post about it here in the comments below this very post.

You need to have watched the film and posted about it by November 3.

If you have lost your AFI list, you can access it by clicking here.

Now, when you post about the film, you need to do the following:

1. State the name of the film you watched.
2. Write three full paragraphs about it.
3. Answer four of the following questions:

• Do you feel the film you watched is more like an Edison film or more like a Lumiere film? Why?
• Did anything we've learned in film history class so far help you appreciate the film more? If so, tell us which thing that we learned helped you and how it helped?
• Why do you feel the film you watched is on the AFI 100 list? Remember the four criteria the AFI used to make their list.
  
• Were any of the special effects invented by Melies used in the film? If so, state which Melies special effect was used and describe how it was used in one moment of the film.
• Were there any moments of the film that had particularly impressive cinematography, editing, acting, writing, lighting, sound, etc. If so, describe the moment to us and tell us what was so special about the use of the filmic element?
• Was this film made pre-Hays code, during the Hays code, or after the Hays code was over? If it was made during the Hays code, what moments did you notice that were obviously censored or "toned down" because of the Hays code? If it was made before or after the Hays code, what moments did you notice that would not have been allowed during the Hays code?
• Would you recommend this film to other members of the class? Why or why not?

The Golden Year

1939, Hollywood's Golden Year. So called because so many films were made that year and so many of them are remembered as classics. We watched two films from 1939 in class. They are listed below with questions about each:

Destry Rides Again (1939)

This was one of three films made in the Golden Year starring Jimmy Stewart. Perhaps that was why the year was golden: because Jimmy Stewart made a lot of movies! Destry is a Western and, prior to recent history, Westerns were a staple in Hollywood. You could always count on someone making a Western at any given time and they were successful (thus, they kept making them). But Destry is no ordinary Western. The generic gunslinging sheriff hero is replaced with a peaceful man.

Answer the following questions:

• How do you feel about the twist of having a peaceful sheriff? Did it work for you? Or would you prefer to have the typical sheriff that takes out the bad guys with his gun and grit? Why?
• This film is well remembered by many an intelligent person. You'll notice it is on the windows in the hallway by the studio. It's on some critic's lists of great films. Why do you think some smart film appreciators like it so much? Do you like it? Why or why not?
• If you were to remake this film, what would you do to improve it? (And don't just say, "add color".)

Gone With the Wind (1939)

There is one word that definitely, for sure, describes this film: long. Clocking in at 3 hours and 53 minutes, it is definitely an experience to watch the whole thing. For this reason, the post on this film will be worth twice as much a normal one.

Answer the following questions about this film:

• This film is included on the AFI 100 list. Why do you think that is?
• Did you like this film or not? Explain in detail.
• Do you feel this film needs to be as long as it is? Do you think it should be shorter? If you do think it's too long, explain what parts you think should be cut out and why. If you like the length, explain why you feel the story deserves this running time.

EXTRA CREDIT: Them (2006)

HAPPY HALLOWEEN!!!!


As a fun, internationally, Halloween treat, we watched Them, or in French, Ils.  I'm excited to know what you guys think.  This is just extra credit, so don't stress about getting it done, but if you want to share your thoughts about this and get some free bonus points, well, that'd be awesome!

This movie was selected to be in oodles of festivals.  It was nominated for oodles of awards at these festivals, including best picture at the Neuchatel International Film Festival and at the Sitges-Catalonian International Film Festival.   

Different types of horror resonate with different people - some people are deeply terrified of creepy clowns.  Others are deeply affected by monsters.  Others are terrified of ghosts.  For me, the scariest thing are intruders - real people with twisted desires to hurt others.  Man, that gets to me...  And Ils executes this kind of terror expertly, and thus it succeeds in reaching deep into my soul and giving me the chills!  Two thumbs up from me. 

• What'd you think?  Did you think it deserves the praise it got?  Why or why not?
• Did you enjoy the movie?
• If you are a horror movie fan, how does this one rank in your opinion?

Later Talkies (late 1930's, early 1940's)

In this post, you'll respond to the three films listed below. As you respond, you will want to remember what we discussed in class regarding the Hayes Code, the Great Depression, and the Hollywood Golden Era.

The Great Dictator (1940)

This is Charlie Chaplin's first true talkie. Before this, he occasionally put dialogue in his films (e.g. the silly talking at the beginning of City Lights) but this was the first film where there was dialogue throughout the entire movie.

This film is also a great example of Chaplin's social consciousness. At this time, World War II was about the start (and most could see the signs) but it hadn't started yet. Chaplin was using the power of cinema to raise awareness of Hitler's true colors. In so doing, he made of fun of the most dangerous man on earth. Well done, Chaplin. Well done.

Here are the questions to answer in regards to The Great Dictator:

• What do you make of Chaplin's use of dialogue? What was it like for you to hear Chaplin's voice throughout the film? In what ways was this film still silent-film-like in spite of the presence of dialogue?
• What moment of the film do you feel had the most powerful message in regards to World War II? What made this moment so powerful?
• Do you feel this film still has messages for us today? Explain.

It Happened One Night (1934)

This film was directed by Frank Capra. Capra was the first director to become a star. Before him, people went to see films made by certain studios or by certain actors but no one would go to see films made by certain directors (the three silent greats are exceptions in that they also acted in their films). But Capra would put his name in large font on his films and on their posters and people would go to see films just because Capra made them.

Capra was known for making films that were incredibly optimistic. They would deal with the problems of the time but they would always end at the most hopeful moment possible. This appealed to audiences during the Great Depression.

It is also important to note that this film won five Academy Awards:

Award	Result	Winner
Best Picture	Won	Columbia Pictures (Frank Capra and Harry Cohn)
Best Director	Won	Frank Capra
Best Actor	Won	Clark Gable
Best Actress	Won	Claudette Colbert
Best Writing, Adaptation	Won	Robert Riskin

Answer the following questions about It Happened One Night:

• Why do you feel that audiences during the Great Depression liked Frank Capra's films so much? Why might they like this film?
• Did you like or dislike this film? Why? Please explain in detail.
• Pick one of the five Academy Awards that this film won and write about why you feel it earned that award.

The Wolf Man (1941)

This is an example of the kind of monster movies that were rampant during the Hollywood Golden Era. It was a fun treat for Halloween as well as an important example of a genre that dominated an era. As we talked about in class, the monster movie was to the Hollywood Golden Era (1930's and early 40's) as the superhero movie is to use today. 

As you respond to this film, please answer the following questions:

• Why do you think people in 1941 liked this sort of film?
• Did you like or dislike this film? Why? Explain in detail.
• Did you notice any moments in the film that you think were toned down because of the Hayes Code? Tell us more.
• How do you feel the special effects of this film compare to the Melies films made 29 years earlier? Were they better? Worse? The same? Please explain in detail and provide examples.

Hong Kong Cinema! Sweet!

Oh Hong Kong cinema, how I love thee.

I hope you've enjoyed this week we've spent enjoying Hong Kong and what it has to offer to the world of cinema!

I adore films from this part of the world.  They are so unique, so confident in what they are, and so enjoyable!  They made their movies for their people, and gave them all the emotion, humor, and action they could for the price of a ticket!  Because of that, we get some pretty cool, crazy, awesome stuff!

We started with a classic Jackie Chan, Operation Condor (1991), a classic Chan filled with humor
and insane, non-wire fighting stunts all done by himself.  This film was also dubbed, the Hong Kong non-dubbed version impossible to find (unless you're from Europe, or, like, um, Hong Kong).  It is how I first saw it, and despite the dubbing, I fell in love with Jackie Chan.

• Did you like this movie?  Why or why not?
• Did the english dubbing bother you, or were you ok with it?

Next, we watched some SWEET Jet Li, and it was in Chinese, no dubbing.  Tai-Chi Master (1993) was through and through an Hong Kong film, kept in tact, down to the over the top, not quite so realistic punching noises, and crazy awesome wire-work stunts.  Different from Jackie Chan, in that Chan's fighting was wire-free, how did you:

• Enjoy this film in comparison to Operation Condor?  Did you like it better in the actual language, no dubbing, but with subtitles, or not?  
• Did you like the wire-fu fighting or Jackie's no-wire fighting better?  Why?

Forbidden Kingdom (2008)!  An American made Kung Fu movie, but one where you can tell the Pacific Rim was a love letter to Japanese monster movies.
filmmakers LOVE Hong Kong cinema.  This movie is essentially a big love letter to Kung Fu movies, like Mexican director Guillermo Del Toro's Pacific Rim is a love letter to Japanese monster movies.

• Do you think it is cool that people from other countries try to mimic another country's style?  Why or why not?
• How did you like this movie?  Did you feel like the American writer and director did a good job making a Hong Kong film?
• Of the three films we watched for our week in Hong Kong, which one did you like best?

FILM HISTORY: Second Movie at Home

Now is the time to pick another film from the AFI list that you haven't seen and watch it at home and then post about it here in the comments below this very post.

You need to have watched the film and posted about it by November 3.

If you have lost your AFI list, you can access it by clicking here.

Now, when you post about the film, you need to do the following:

1. State the name of the film you watched.
2. Write three full paragraphs about it.
3. Answer four of the following questions:

• Do you feel the film you watched is more like an Edison film or more like a Lumiere film? Why?
• Did anything we've learned in film history class so far help you appreciate the film more? If so, tell us which thing that we learned helped you and how it helped?
• Why do you feel the film you watched is on the AFI 100 list? Remember the four criteria the AFI used to make their list.
  
• Were any of the special effects invented by Melies used in the film? If so, state which Melies special effect was used and describe how it was used in one moment of the film.
• Were there any moments of the film that had particularly impressive cinematography, editing, acting, writing, lighting, sound, etc. If so, describe the moment to us and tell us what was so special about the use of the filmic element?
• Was this film made pre-Hays code, during the Hays code, or after the Hays code was over? If it was made during the Hays code, what moments did you notice that were obviously censored or "toned down" because of the Hays code? If it was made before or after the Hays code, what moments did you notice that would not have been allowed during the Hays code?
• Would you recommend this film to other members of the class? Why or why not?

TALKIES!!! (The Early 1930s)

Talkies, eh!!!!  1927's The Jazz Singer totally punched silent films in the face.  Every studio knew they had to shift to "talking pictures"!  The talkies were all the rage.  Shifting into this new kind of filmmaking totally changed the way movies were made for a while - instead of slapstick visual gags, we got wordplay.  And, for a while, instead of sweeping beautiful camera movements, we got static, non-moving images, the loud camera put behind class and microphones hidden everywhere.  Sound was tricky to record well, silent film stars lost their jobs, the movies dipped in quality, and things were looking kinda grim for cinema... but cinema is a resilient beast, and it was only a few years later when enough tweaks were made to cameras to make them quieter and inventions put in place to make the microphones better and cinema was having its fair share of masterpieces yet again!  Huzzah!!!

We've had a chance to watch some really interesting early sound movies, each one different, unique, and important in their own right.  So, let's "talk" about them, shall we?  (See what I did there, since this blog is about "talkies"?  Eh?...well I guess you're actually writing about them...)... Um, so let's write about talkies!!!

For each of the following films, write thoughtful answers to each question.  Give us at least three good, solid paragraphs for EACH movie.  THANKS!

The Artist (2011)

We watched this movie as a goodbye to the silent film era.  Interestingly enough, it was made a century after that time period.  But, what a perfect way to say goodbye!  A silent movie about the coming of sound cinema, and how it totally devastated the life of a silent film star at the top of his game, and brought fame and fortune to another no-name actress.

This movie is such a painfully accurate representation of that time in history, and it is told so uniquely.

Here are your questions:

• Did the way this story was told (done as a silent film) work for you, or do you wish they'd just made it a sound film about that time period?  Why?
• What did you learn about the shifting from the "silent film" era to "talkies" that you hadn't thought of before, thanks to this film?
• What was the overall message or theme to you?

King Kong (1933)

This movie was so important historically, I can't even stand it!  This movie was the first creature adventure film of this scale.  Yes, we had monsters and creatures and dinosaurs before in earlier movies, but never such a huge creature!  

And, sound wise, this movie is the father of Sound Engineering, the first movie to have such a long, original score instead of library music or sparse music.  Yeah King Kong!  

OK friends, time to answer the following questions!

• How'd you like this movie?
• Why do you think that, even when people were dirt poor and could barely afford to eat, they still went to see this movie about a giant Ape?  
• Did the music and sound design enhance your movie going experience?  Why or why not?

Freaks (1932)   

What a cool, interesting, and less flashy movie than King Kong.  This one is quieter, but not less interesting.  Just different.  Horror director Tod Browing brought to this world a movie that after the Hayes' Code just a year or so later, couldn't have been made.

• Did you like this movie?  Why or why not?
• What was the message of this movie, in your opinion?
• Did you like the use of real circus people instead of actors in this movie?  Why or why not?

Gold Diggers of 1933 (1933)

Musicals from the '30s are definitely something else!  We're all used to the kind of musicals we get today.  But, movie musicals have had a very long tradition of catchy tunes and interesting visuals.  A tradition that started long ago.  In a galaxy far, far away... and by that, I mean here, in the USA.
Like I mentioned in class, this film is an important piece of film history for several different reasons.  It is a representation of the early musicals, a place where people don't just burst into song, but there is plenty of singing to do as they get ready to put on a play.  It is a movie made during The Depression about The Depression.  It is the last of the Pre-Hayes code movies.  And, it has choreography by legendary Busby Berkeley, someone who anyone who cares about dance and musicals should know about.

• So, what did you think?  Did you like this movie?  Why or why not?
• What Pre-Hayes code content did you notice?
• Why do you think musicals like this were so gosh darn popular during the Great Depression?

Japan! Akira Kurosawa and Sanjuro; Miyazaki; Six String Samurai; and Samurai Fiction

Sanjuro! (1962)

Well, we begin our trip to Japan with this wonderful little Samurai movie made by the man who made Samurai movies famous in these here parts.  Seriously, Kurosawa and Samurai movies go hand in hand, even the Barenaked Ladies sing about it: just click this link, I'll prove it to you.

Kurosawa means more to me than I can explain.  His films have influenced me so much, and I've seen more movies by him than almost by any other director.  I love the composition of his shots, I love his interesting characters, I love his passion for the craft.  Sanjuro is one of my favorite Samurai films.  It is authentic and classic.  It is full of Japanese culture, tradition, costumes, and it has sweet Samurai fighting.  I think what I love most about it is Toshiro Mifune's character, Sanjuro himself.  Ronin, on his own, scruffy, a man with an intensely violent and selfish past, a washed-up Samurai who still, even though older wayward, learns something about who he is, what he's become, and he grows, changes, and even does somethings selflessly.  I think that's cool.  It is a theme I hold near and dear to me.

Plus, this movie has sweet sword fights!  And I love sword fights!

Anywho, as you know I love the director, I love the main actor, I love the era the movie is set in, I love the movie!

What do you think?

• Was this your first Samurai movie?  If so, what kind of experience was it for you?  If not, what was your first, and how did you like this one in comparison? 
• What is the message of the film?
• What did you learn about Japanese history or culture from watching this movie?

The Castle of Cagliostro (1979)

Hayao Miyazaki's first film!  Beloved by so many for his Studio Ghibli masterpieces, it is always fun and important to see an iconic director's first work.  And, starring Lupin III, a character famous in Japanese Manga, it is cool to get a bit of the Japanese pop-culture that way, too!

• Did you like the film?  Why or why not?
• Have you seen other Miyazaki and/or Studio Ghibli films?  How did this one rank in your opinion?
• Often for American audiences, films from Ghibli are dubbed over.  I made it a point to show you the film with its original Japanese dialogue.  Have you ever seen a Japanese anime in its original language before?  If not, how was your experience seeing this one in Japanese?  How was it different to see one in Japanese vs. in English?

Six-String Samurai (1998)

An independent American-made Samurai movie with an interesting rock 'n roll twist.  This movie is definitely something else!

• Did you like it?  Why or why not?
• How did knowing a bit about Samurai history and seeing a classic Samurai film before seeing this one affect your viewing experience?

Samurai Fiction (1998)

Yeah!  A classic Samurai movie made in modern times, with a twist!

• Did you like it?  Why or why not?
• Did having watched a truly classic samurai movie before enhance your viewing experience of this movie?  How so?

Gunless: A Canadian Western that Knows it's a Canadian Western (EXTRA CREDIT)

Gunless (2010)

Is almost an old timey western with all the elements of the genre - a lone gunman who has a dark and less than perfect past wanders into a small town, and even though he's running from his past, he needs to use his skills as a gunman one more time to defend the innocent people of the town from bad dudes.

We've seen this plot a bagillion times... but, that's not all that's going on here, because this movie also happens to be Canadian, set in Canada, made by Canadians, funded by Canada; a movie that celebrates Canada while making fun of and laughing at itself.

It is a movie that understands the western genre it is, one made by filmmakers you can tell love American Westerns; but it is still unique in its Canadian-ness.  One that is as proud to be Canadian as it is proud to be a Western.  I love this blend, this slant on a classic genre.


I completely enjoyed this film.  The question of the day is, did you?

Answer these questions about Gunless, and remember to be thoughtful in your answers:

• What, in your opinion, was the main message of the movie?
• Did you like the movie?  Why or why not?
• Remember the four points the National Film Board likes covered.  Which one, or ones, did this movie fulfill?
• Preserve Canadian Culture.
• Promote a Social Cause.
• Educate.
• Promote Tourism.

Have a good day, eh!

FOR INTERNATIONAL CINEMA ONLY! (All you film historians, keep away!)

CANADIAN WEEK!!!
Hey, you hosers, take to look deeper into the movies we watched from the Great White North, you knobs!  Answer all the questions you see below.  Give me some thoughtful answers, and may the force be with you.


STRANGE BREW (1983)

Well, you know how I feel about this movie.  I gave you my entire life story about why I love it so much.  And, in my mind, as silly as it is, it is secretly brilliant.  But, that's my opinion.  Maybe you hated every second of this, and, it being a re-telling of Shakespeare's Hamlet or not, maybe you thought it was dumb.  So the first question:

• Did you like this movie?  Why or why not (again, I want thoughtful answers here, you rink rats)?
• Did the film follow any of the things the National Film Board of Canada asked films to fulfill?
• What lessons did you learn from this film about life and the world?

LARS AND THE REAL GIRL (2007)

Yes!  This movie is so good!  And, I tell you, a quirky, cute, cathartic movie as unique as this would have a hard time getting made in the U.S. of A., but that's to the National Film Board of Canada, it had the help it needed to come to pass up north.

It is stories like this that we can have the wonderful opportunity of experiencing thanks to the whole wide world of cinema being out there!

Ok, answer the following questions about Lars and the Real Girl:

• Did you like this movie?  Why or why not?
• What was the message of this film, in your opinion?
• Which purpose or purposes of the Canadian Film Board do you think this fulfills?
• How is this film different from typical Hollywood movies?  How is it different?

THE GATE (1987)

"You've got demons."

I love this film.  With all my HEART.  It is a true example of many creative forces working together, most people doing multiple jobs for not a lot of money, to tell a story they all care about.  This movie is a true gem.  It's a horror movie for children, thus the happy ending and children protagonists, but one that has the "guts" (pun intended) to put some seriously scary stuff in.  One that respects the fact that children can handle fear, that they are braver than adults often give them credit for.  Plus, it makes for a horror film that you can still love every bit of as an adult (I'm going to be watching this one as a growed-up person with my own kiddos one day, that's for darn sure).  I don't think scary movies made for kids have the same bravado anymore. (Do they even make scary movies for children anymore?)

• What did you think of The Gate?  
• And, how does this Canadian horror film differ from Hollywood horror films?  How is it similar?

Nosferatu (1922)

I hope Nosferatu was a special German Expressionist visceral treat for you! I am curious to know what you thought about the film, its German Expressionist style, and the music used. The cut of the film we watched in class features a score by Brandon Arnold, a film instructor who used to teach at our school. I think it is interesting how he used very modern music (relative to 1922) to add mood to a film that was made so long ago.

Some people feel like these kind of scores are an insult to the original silent film because they do not feature music that existed then. I personally disagree because the original films did not have scores at this time. I don't have a problem with people today mixing their art with the art of the original film to create a new experience for the audience. I think that's pretty cool. But you might feel otherwise and will have the chance to articulate such feelings below.

Now that you've seen Nosferatu, you might start noticing homages to this film in modern media. For example, this.

When you comment below on Nosferatu, be sure to write a full three paragraphs and to follow these instructions:

1) Answer both of the of the following questions:

• What aspects of German Expressionism did you see in this movie? Please provide three concrete examples from the film to back up your point.
• Did you or did you not enjoy this film? Why?

Brandon Arnold—former EHHS teacher and the man who
arranged the score of the cut you watched.
Look at those eyes and creepy smile. Of course he'd score
a German Expressionist vampire movie.

2) Answer two of the following questions:

• Do you think this movie was scary or creepy? Why or why not? Do you think it would have been scary or creepy for its original audience? Why or why not?
• Did you like Brandon Arnold's score for the film? Why or why not?
• What did you make of the acting style of this film? Did you like it or not like it? Why?
• If you were going to show this film to one of your friends, what would you tell them ahead of time to prepare them for it?
• ... or ... respond to a comment someone made above. When you respond, either agree or disagree in a civil and respectful manner. Be sure to back up your opinion with three bits of solid evidence/examples.

First Movie at Home

This assignment is due on Monday, October 20. This assignment is worth twice the number of points as a normal blog comment so be sure to do it and do it on time!

This is what you have to do: pick a movie from the AFI 100 list and then comment about it here. Have fun with this! There are probably titles you saw on the AFI list the first day that caused you to think, "I wonder what that is," or, "I've been meaning check that out." Or maybe there's a film that was mentioned in class or elsewhere that sounded interesting to you. This is your chance to finally see that film and get class points for doing so!

When you comment, be sure to follow these instructions:

• Your comment needs to be a full 3 PARAGRAPHS long.
• Your comment needs to include the name of the film you watched.
• Your comment should answer four of the following questions:

• Did anything we've learned in film history class so far help you appreciate the film more? If so, tell us which thing that we learned helped you and how it helped?
• Do you feel the film you watched is more like an Edison film or more like a Lumiere film? Why?
• Why do you feel the film you watched is on the AFI 100 list? Remember the four criteria the AFI used to make their list.
  
• Were any of the special effects invented by Melies used in the film? If so, state which Melies special effect was used and describe how it was used in one moment of the film.
• Were there any moments of the film that had particularly impressive cinematography, editing, acting, writing, lighting, sound, etc. If so, describe the moment to us and tell us what was so special about the use of the filmic element?
• Would you recommend this film to other members of the class? Why or why not?