Saturday, April 14, 2012
Using Jack Stevenson's Dogme Uncut to gain a better understanding of Festen, by Robbie Vacik
A cold viewing of Festen offered a good amount of material upon which to reflect, but Dogme Uncut was an important source for gaining a deeper understanding of the film.
The intimate nature of Festen led me to get involved in the story, which caused me not to think outside of it and consider the broader context. Jack Stevenson's section on Festen offered context and details that greatly deepened my understanding and appreciation of the film.
An interesting piece of information is how the film's story came about. Vinterberg was made aware of a radio show where a man called in and confessed that he and his twin sister had been molested by their father as children. The man, who went by the name of Allan, claimed that he had revealed the abuse at his father's 60th birthday party. In case you are unfamiliar with Festen's story, the film's narrative mirrored that of the radio confession. Festen, it seemed, had a basis in reality. The interesting part of the story comes about when Allan was tracked down. Interviews revealed that the man who called into the radio had fabricated the story. His confession was a fiction, which in turn was used as the basis for yet another fiction in film form.
Beyond providing interesting facts, Stevenson's writing on Festen also contributes to a more sophisticated reading of the film's message. The characters are interesting in their own right, but the also serve as a critique of Danish society. In fact, the entire family is supposed to be a microcosm of Danish society. The conflict in the film represents the class struggle and stubborn tradition that Vinterberg identified in his homeland. His script also was a critique of Danish complacency with Nazi policies, an idea I would not have considered given the chronological separation between World War II and Festen. The film has a black character who is dating the protagonist's sister. This creates tension in the family because of deep racism. The character is not only used to show the families intolerance, but also represents the immigrant in Denmark. This points to globalization in the midst of an intimate family drama.
Dogme Uncut provided a great deal of context and analysis that helped me gain a much deeper understanding of Feston and the messages which it was used to convey.
Stevenson, Jack. Dogme Uncut: Lars von Trier, Thomas Vinterberg, and the Gang That Took on Hollywood. Santa Monica, CA: Santa Monica Press LLC, 2003.
Festen, a reaction by Robbie Vacik
Thomas Vinterberg took the first step in applying the ideas of Dogme95 to a large audience. His film about a family gathering where a man reveals his father's transgressions not only employs the technical elements of Dogme, but also the psychological tone that other films would model. There is a great deal to think about when considering the film. The film's decadent environment is interesting in that is captured through a simple hand-held camera. The acting is well-executed, but is raw and real at the same time.
What I found to be the most striking moment of the film comes when the central character, Christian, stands up at his father's 60th birthday party to expose his father's secret: that he had molested Christian and his twin sister, who had recently committed suicide because of her childhood trauma. While this kind of incendiary statement should cause a great stir and outrage among those present at the party, it does not. There is a muted moment, but it seems that the guests are more concerned with figuring out how to sustain the party's vibrance in the midst of such a heavy revelation. I was waiting for the scene to explode. When would the guests stand up in outrage, feeling ashamed they had been gathered for the sake of a man who had abused his own children and concealed it for so long?
It is only through several more efforts by Christian that the party begins to descend into a state of disruption. At first it seemed unusual to me, but then I had to reconsider. Is the behavior of the dinner guests that inconsistent with what we witness everyday? Are humans as quick to have their complacency disrupted as we would like to think? These were questions that the movie forced me to confront. Perhaps we have all had that moment where our concern is with restoring a level of comfort, rather than facing difficult truths that are laid bare before us. Festen takes that moment and makes it a launching point for a severe drama that challenges the viewers comfort level in profound ways.
Thomas Vinterberg took the first step in applying the ideas of Dogme95 to a large audience. His film about a family gathering where a man reveals his father's transgressions not only employs the technical elements of Dogme, but also the psychological tone that other films would model. There is a great deal to think about when considering the film. The film's decadent environment is interesting in that is captured through a simple hand-held camera. The acting is well-executed, but is raw and real at the same time.
What I found to be the most striking moment of the film comes when the central character, Christian, stands up at his father's 60th birthday party to expose his father's secret: that he had molested Christian and his twin sister, who had recently committed suicide because of her childhood trauma. While this kind of incendiary statement should cause a great stir and outrage among those present at the party, it does not. There is a muted moment, but it seems that the guests are more concerned with figuring out how to sustain the party's vibrance in the midst of such a heavy revelation. I was waiting for the scene to explode. When would the guests stand up in outrage, feeling ashamed they had been gathered for the sake of a man who had abused his own children and concealed it for so long?
It is only through several more efforts by Christian that the party begins to descend into a state of disruption. At first it seemed unusual to me, but then I had to reconsider. Is the behavior of the dinner guests that inconsistent with what we witness everyday? Are humans as quick to have their complacency disrupted as we would like to think? These were questions that the movie forced me to confront. Perhaps we have all had that moment where our concern is with restoring a level of comfort, rather than facing difficult truths that are laid bare before us. Festen takes that moment and makes it a launching point for a severe drama that challenges the viewers comfort level in profound ways.
Wednesday, April 11, 2012
Sources of Conflict in Dogme Films by Robbie Vacik
Given the rule prohibiting superfluous action in Dogme95 films, tension cannot come from overtly violent encounters. Since elements in the film have to be real, murder and the like cannot be portrayed for obvious reasons. As an American viewer, this is contrary to what I am accustomed to. Growing up, my parents would help me process violent films by helping me understand that the things I was seeing were not real. Dogme95 films do the exact opposite. They do not want the viewer to find comfort in what is unreal-they want the viewer to confront what is real. Therefore graphic sex scenes and intense depictions of emotional struggle are the medium for showing extreme action. No bullets, no explosions, no epic war scenes. Only the conflicts that are born from the human experience that we all take part in. It can be disconcerting seeing people used to generate action and conflict. I think we are all so accustomed to witnessing numbing violence, but to see humans placed in situations where their suffering drives a movie is a different matter that I was not accustomed to. I am not talking about Saw suffering. I'm talking about an abusive father and incest (Julien Donkey Boy). Or a man who is trying to expose his molestation at his father's hands amidst a scene of bourgeoise revelry (Feston). These are the types of things that Western audiences are accustomed to seeing. Robots rampaging through a city are easier to stomach than raw human emotion born out of damaged relationships. I believe Dogme95 tries to lay bare this truth, and build films around it that restore that focus on what we can really know.
Given the rule prohibiting superfluous action in Dogme95 films, tension cannot come from overtly violent encounters. Since elements in the film have to be real, murder and the like cannot be portrayed for obvious reasons. As an American viewer, this is contrary to what I am accustomed to. Growing up, my parents would help me process violent films by helping me understand that the things I was seeing were not real. Dogme95 films do the exact opposite. They do not want the viewer to find comfort in what is unreal-they want the viewer to confront what is real. Therefore graphic sex scenes and intense depictions of emotional struggle are the medium for showing extreme action. No bullets, no explosions, no epic war scenes. Only the conflicts that are born from the human experience that we all take part in. It can be disconcerting seeing people used to generate action and conflict. I think we are all so accustomed to witnessing numbing violence, but to see humans placed in situations where their suffering drives a movie is a different matter that I was not accustomed to. I am not talking about Saw suffering. I'm talking about an abusive father and incest (Julien Donkey Boy). Or a man who is trying to expose his molestation at his father's hands amidst a scene of bourgeoise revelry (Feston). These are the types of things that Western audiences are accustomed to seeing. Robots rampaging through a city are easier to stomach than raw human emotion born out of damaged relationships. I believe Dogme95 tries to lay bare this truth, and build films around it that restore that focus on what we can really know.
Dias de Boda
Dias de Boda (Dogme #30)
Directed by Juan Pinzas, Dias de Boda is a Spanish stab at Dogme, with the films drama centered around the wedding of an aspiring, upwardly mobile young couple. Having seen my share of American Wedding films, where the conflict typically centers around madcap events that threaten to soil an idealized marriage ceremony, I was eager to see what the Dogme approach to a wedding would be. I certainly was not expecting a gazebo being burned down, or bridesmaids suffering from food poisoning. My expectations were not off the mark.
The film becomes an examination of the complex nature of human relationships. While the focus should be on the bride and groom, family enters into the scenario in an all to prominent way. The viewer is keenly aware that the real dilema lies in the fact fact that a wedding does not just bring together two lives, but two worlds.
Sonia, the bride, is caught between her manipulative and controlling mother and her adoring father who has always sought the best for his daughter-or so it seems. It turns out that the father of the bride is a cocaine addict who has a sexual relationship with his daughter's soon-to-be husband. This creates a mire into which all characters are drawn.
Dias de Boda takes the idea of the happy wedding story and completely strips it to a nightmare of human anxiety. While many Americans see weddings as happy occasions to celebrate the union of two individuals, Dias de Boda makes the wedding a communal event, dragging in all the baggage that comes with many flawed humans. It is hard to stomach the tension in the film, as the viewer wants so badly to see the happy couple that is seen at the beginning, and end of the movie escape all the turmoil. A slight note on that last sentence: Dias de Boda appears to break the here-and-now rule that was laid out as a guiding principle. The movie concludes with a scene of the couple enjoying a walk on a beach, a blissful scene that is a reprise of an earlier visual. Given the events that occur, it seems unlikely that this is a chronological development. Rather, it is an allusion to an earlier time. I found it odd that the film chose to end with this scene, despite the crushing suffering that is developed throughout the rest of Dia de Boda.
Robbie
Directed by Juan Pinzas, Dias de Boda is a Spanish stab at Dogme, with the films drama centered around the wedding of an aspiring, upwardly mobile young couple. Having seen my share of American Wedding films, where the conflict typically centers around madcap events that threaten to soil an idealized marriage ceremony, I was eager to see what the Dogme approach to a wedding would be. I certainly was not expecting a gazebo being burned down, or bridesmaids suffering from food poisoning. My expectations were not off the mark.
The film becomes an examination of the complex nature of human relationships. While the focus should be on the bride and groom, family enters into the scenario in an all to prominent way. The viewer is keenly aware that the real dilema lies in the fact fact that a wedding does not just bring together two lives, but two worlds.
Sonia, the bride, is caught between her manipulative and controlling mother and her adoring father who has always sought the best for his daughter-or so it seems. It turns out that the father of the bride is a cocaine addict who has a sexual relationship with his daughter's soon-to-be husband. This creates a mire into which all characters are drawn.
Dias de Boda takes the idea of the happy wedding story and completely strips it to a nightmare of human anxiety. While many Americans see weddings as happy occasions to celebrate the union of two individuals, Dias de Boda makes the wedding a communal event, dragging in all the baggage that comes with many flawed humans. It is hard to stomach the tension in the film, as the viewer wants so badly to see the happy couple that is seen at the beginning, and end of the movie escape all the turmoil. A slight note on that last sentence: Dias de Boda appears to break the here-and-now rule that was laid out as a guiding principle. The movie concludes with a scene of the couple enjoying a walk on a beach, a blissful scene that is a reprise of an earlier visual. Given the events that occur, it seems unlikely that this is a chronological development. Rather, it is an allusion to an earlier time. I found it odd that the film chose to end with this scene, despite the crushing suffering that is developed throughout the rest of Dia de Boda.
Robbie
Wednesday, April 4, 2012
Gypo review by Alex Hulisz
I chose to watch the first British Dogme 95 film called “Gypo”. This film followed all the Dogme 95 rules that you have read. This film centers on a working class British family that is struggling with various issues. The teenage daughter Kelly is trying to raise a baby, there is a very distant relationship between the parents, and Kelly is struggling to find work in order to support her child. Things turn for a change when a Czech refugee named Tasha enters their lives.
The purpose of this film was to show the story of how Helen befriended a Czech refugee, Tasha, through the eyes of three different characters, and the drama that unfolded at the end. I would describe this narrative pattern as a three-in-one type story. In Helen’s perspective, she would argue with Kelly about not being a responsible parent. She is tired of her monotonous life, and takes sculpture classes at night. This is where we first meet Tasha, and this relationship causes conflict in the family. At the end of her perspective, the director left the audience to interpret what happened to Tasha because she boarded a ferry and left without explanation. I thought this was an interesting way to end Helen’s perspective because it seemed that Tasha and Helen had a great relationship. Paul’s perspective was very depressing because of his melancholic and cynical character. The first time he meets Tasha, he explains why he hates refugees and throughout his perspective he constantly calls Tasha a “gypo”. At his job, he hires people off the street to help him roll carpets, and pays them cheap. He also sees a hooker, and this shows his disinterest towards his wife Helen. Tasha’s perspective fills in the missing parts of the story that were ambiguous in Helen and Paul’s perspective. Her perspective focuses on her daily struggles of harassment and her anxiety about her husband and father coming back to capture Tasha and her mother. She reveals the story of how she and Helen engaged in a lesbian romantic relationship. I suggest you watch “Gypo” to see how these three perspectives come together and how they unfold because it is unpredictable, interesting, and emotionally impacting.
"Gypo" is a great example of how Dogme 95 incorporates powerful movies without the use of special effects and non-diegetic sound. The over-the-top special effects can often tune out the meaning purpose behind a movie because people often get distracted my fancy graphics. This helped me focus on the characters’ body language and facial expressions. I thought all the actors/actresses put on great performances because I felt their anguish during specific scenes. I thought the constant banter between Helen and her daughter Kelly depicted an accurate portrayal of how teenage girls rely too heavily on their mothers to take care of their babies. She wanted to live her typical high school life of hanging out with friends, but we never say Kelly pay much attention to the baby.
There are elements of globalization in this film. The main element of globalization stems from the large amount of refugees in England. They are taking a lot of jobs away from people and taxes are increasing because of them. Globalization causes animosity between Tasha and Paul at the dinner table because he can’t stand the “gypos”. One particular scene that I find fascinating about globalization is when Tasha and her mother buy fish and chips. This shows that they are willing to adapt to the British culture because they know they would rather live here than be persecuted in their home country.
Overall, I feel that Dogme 95 movies are endearing to watch because the film displayed realism and I felt that I was a by-stander watching the events of this movie unfold. This was the first Dogme 95 film I have ever seen, so at first I had difficulty getting used to the style of filming. Once I became used to the style of film, I really enjoyed it because I could focus on each of the main characters’ habits, personalities, and how each of their stories related to each other. The first 15-20 minutes of the film I was bored because there wasn’t a developing plot, but once Tasha entered, the drama started to heighten. There are elements of this movie that might make you feel uncomfortable, but they add emotional intensity to the film.
The purpose of this film was to show the story of how Helen befriended a Czech refugee, Tasha, through the eyes of three different characters, and the drama that unfolded at the end. I would describe this narrative pattern as a three-in-one type story. In Helen’s perspective, she would argue with Kelly about not being a responsible parent. She is tired of her monotonous life, and takes sculpture classes at night. This is where we first meet Tasha, and this relationship causes conflict in the family. At the end of her perspective, the director left the audience to interpret what happened to Tasha because she boarded a ferry and left without explanation. I thought this was an interesting way to end Helen’s perspective because it seemed that Tasha and Helen had a great relationship. Paul’s perspective was very depressing because of his melancholic and cynical character. The first time he meets Tasha, he explains why he hates refugees and throughout his perspective he constantly calls Tasha a “gypo”. At his job, he hires people off the street to help him roll carpets, and pays them cheap. He also sees a hooker, and this shows his disinterest towards his wife Helen. Tasha’s perspective fills in the missing parts of the story that were ambiguous in Helen and Paul’s perspective. Her perspective focuses on her daily struggles of harassment and her anxiety about her husband and father coming back to capture Tasha and her mother. She reveals the story of how she and Helen engaged in a lesbian romantic relationship. I suggest you watch “Gypo” to see how these three perspectives come together and how they unfold because it is unpredictable, interesting, and emotionally impacting.
There are elements of globalization in this film. The main element of globalization stems from the large amount of refugees in England. They are taking a lot of jobs away from people and taxes are increasing because of them. Globalization causes animosity between Tasha and Paul at the dinner table because he can’t stand the “gypos”. One particular scene that I find fascinating about globalization is when Tasha and her mother buy fish and chips. This shows that they are willing to adapt to the British culture because they know they would rather live here than be persecuted in their home country.
Overall, I feel that Dogme 95 movies are endearing to watch because the film displayed realism and I felt that I was a by-stander watching the events of this movie unfold. This was the first Dogme 95 film I have ever seen, so at first I had difficulty getting used to the style of filming. Once I became used to the style of film, I really enjoyed it because I could focus on each of the main characters’ habits, personalities, and how each of their stories related to each other. The first 15-20 minutes of the film I was bored because there wasn’t a developing plot, but once Tasha entered, the drama started to heighten. There are elements of this movie that might make you feel uncomfortable, but they add emotional intensity to the film.
Sunday, April 1, 2012
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| Kresten and Liva |
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| Kresten Pretending to be "Mifune" |
Even though this film is rated R, I looked over the sex scenes and vulgar language in order to enjoy the film. One important message the movie portrays throughout is the fact that true love cannot be bought or packaged in a certain way and it will not last if . True love is as real as humans are. It has its ups and downs, but in the end, it will never be shaken nor broken. Both Liva and Kresten grew to love one another because of who they are not what they have done or where they live.
-Heather :)
Saturday, March 31, 2012
http://content.ebscohost.com/pdf14_16/pdf/2000/nrp/20mar00/2879563.pdf?T=P&P=AN&K=2879563&S=R&D=a9h&EbscoContent=dGJyMNHX8kSeqa84y9fwOLCmr0qep7NSr6a4SbGWxWXS&ContentCustomer=dGJyMPGusk%2B1q7NKuePfgeyx44Dt6fIA
The above link is an excellent read. Just skip to the section about "Mifune." It gives great background information about this film. (NOTE: One must be logged into EBSCOHost Database to view).
-Heather :)
The above link is an excellent read. Just skip to the section about "Mifune." It gives great background information about this film. (NOTE: One must be logged into EBSCOHost Database to view).
-Heather :)
Friday, March 30, 2012
http://movies.nytimes.com/movie/review?res=9D02E1D71130F936A15751C0A9669C8B63
The link above will take you to a movie review about the film "Mifune." It gives the reader a clear picture of what the film is about and what to expect. After I read this article, I now know what to anticipate before watching this film. I personally have never been partial to movies that contain sex scenes because I have the strong belief that intimacy is a private matter and cannot truly be recreated to express what true love really is. We, the viewers, cannot know what the couple is feeling when love is made. The couple only knows what this "close moment " feels like. The viewer can only imagine what they may be feeling, and making these assumptions destroys the secretiveness of sex. Regardless, the film does have a good message behind it- material things come and go but true love and relationships sustain us and last a lot longer.
-Heather :)
The link above will take you to a movie review about the film "Mifune." It gives the reader a clear picture of what the film is about and what to expect. After I read this article, I now know what to anticipate before watching this film. I personally have never been partial to movies that contain sex scenes because I have the strong belief that intimacy is a private matter and cannot truly be recreated to express what true love really is. We, the viewers, cannot know what the couple is feeling when love is made. The couple only knows what this "close moment " feels like. The viewer can only imagine what they may be feeling, and making these assumptions destroys the secretiveness of sex. Regardless, the film does have a good message behind it- material things come and go but true love and relationships sustain us and last a lot longer.
-Heather :)
The next film I will soon be watching is titled "Mifune." Here is the link to the trailer for the movie, but beware there are some suggestive scenes in it. Do not watch it if you may find it offensive.
http://www.youtube.com/watch?v=o6PsTbD8tZQ
The link below will take you to another trailer for this film that uses an English speaking narrator who better explains the movie than does the trailer above. Again, it has rated R scenes in it; therefore, do not view it if you care not to see them.
http://movies.nytimes.com/movie/176580/Mifune/trailers
-Heather :)
http://www.youtube.com/watch?v=o6PsTbD8tZQ
The link below will take you to another trailer for this film that uses an English speaking narrator who better explains the movie than does the trailer above. Again, it has rated R scenes in it; therefore, do not view it if you care not to see them.
http://movies.nytimes.com/movie/176580/Mifune/trailers
-Heather :)
Wednesday, March 14, 2012
The King is Alive-- A film by Kristian Levring
The following is a link to a theatrical trailer of the film, The King is Alive. http://www.youtube.com/watch?v=y1y2Ue5Vd98
The King is Alive is a film about a group of people who find themselves stranded in a desert after their bus takes a wrong turn and runs out of gas. Whilst trying to survive, the stranded group of people decide to put on a reproduction of William Shakespeare's King Lear in hopes of taking their minds off of their situation. The film focuses a great deal on dark human emotions. It seems as though every character has a "skeleton in the closet," if you will. Each character begins to change as they slowly become more aware that the possibility of never being rescued is a great one.
The film opens with the dogma 95 certificate/manifesto letting the viewer know that the film will abide by the rules set up by the framers of the dogma 95 movement. As with the previous film that I had posted about (Kira's Reason), the camera was often shaky, the film was clearly 35 mm, and so on. That which I appreciate the most about dogma films is that they are incredibly raw and basic. The framers of the dogma 95 movement recognized that mainstream film sought to "buy" their audience with over-the-top special effects and dramatic, non-diagetic musical scores. I often find myself asking, "Do I like this movie because it is aesthetically good, or am I more captivated by the music and the effects?" This could be something that the framers of the dogma movement thought themselves. Anyone can make a film that will sell if they have enough money in their budget (I use the term "anyone" loosely). Dogme seeks to break down film into it's purest forms; adjusting its focus away from flashy effects and moving towards camera work, cinematography, and storytelling. When this is done, the audience receives a better, more in-depth insight into the story and the characters.
This is why we are able to get such a deep, emotional image of the characters in this film. Not only are we seeing these films at their simplest, most basic form, but we are also seeing humanity in a basic form. We are gaining an awareness of what makes a character who they are and what makes them behave the way that they behave. The King is Alive captures this idea beautifully. We are introduced to characters, who we follow throughout the film, who we watch struggle for survival, and who we can relate to.
Aesthetically, there are a few choices that the director made that I would like to shed some light on. Throughout the film the camera was shaky. Normally, I would write this off as just being a convention of dogma films (tripods are not allowed; rule 3). For this film however, I feel as though the camera was shaky for a reason, which I will explain below. Something else that I noticed was that the director chose to use a lot of jump-cuts; quickly jumping sporadically from shot to shot. Often, these shots were unfocused during the quick jumps. I think both of the things that I noticed signified the same emotion. When I thought about what they could mean I just kept thinking about how chaotic the shots were and how confusing they were. Perhaps that's how the filmmaker wanted the movie to feel; chaotic and confusing. This could be because this was how the characters felt in the film.
Overall, I enjoyed The King is Alive. It was a very dark film about survival and coping with tragedy. It is a great representation of the goal that the creators of the dogme movement wanted to strive towards.
The following is a link to a theatrical trailer of the film, The King is Alive. http://www.youtube.com/watch?v=y1y2Ue5Vd98
The King is Alive is a film about a group of people who find themselves stranded in a desert after their bus takes a wrong turn and runs out of gas. Whilst trying to survive, the stranded group of people decide to put on a reproduction of William Shakespeare's King Lear in hopes of taking their minds off of their situation. The film focuses a great deal on dark human emotions. It seems as though every character has a "skeleton in the closet," if you will. Each character begins to change as they slowly become more aware that the possibility of never being rescued is a great one.
The film opens with the dogma 95 certificate/manifesto letting the viewer know that the film will abide by the rules set up by the framers of the dogma 95 movement. As with the previous film that I had posted about (Kira's Reason), the camera was often shaky, the film was clearly 35 mm, and so on. That which I appreciate the most about dogma films is that they are incredibly raw and basic. The framers of the dogma 95 movement recognized that mainstream film sought to "buy" their audience with over-the-top special effects and dramatic, non-diagetic musical scores. I often find myself asking, "Do I like this movie because it is aesthetically good, or am I more captivated by the music and the effects?" This could be something that the framers of the dogma movement thought themselves. Anyone can make a film that will sell if they have enough money in their budget (I use the term "anyone" loosely). Dogme seeks to break down film into it's purest forms; adjusting its focus away from flashy effects and moving towards camera work, cinematography, and storytelling. When this is done, the audience receives a better, more in-depth insight into the story and the characters.This is why we are able to get such a deep, emotional image of the characters in this film. Not only are we seeing these films at their simplest, most basic form, but we are also seeing humanity in a basic form. We are gaining an awareness of what makes a character who they are and what makes them behave the way that they behave. The King is Alive captures this idea beautifully. We are introduced to characters, who we follow throughout the film, who we watch struggle for survival, and who we can relate to.
Aesthetically, there are a few choices that the director made that I would like to shed some light on. Throughout the film the camera was shaky. Normally, I would write this off as just being a convention of dogma films (tripods are not allowed; rule 3). For this film however, I feel as though the camera was shaky for a reason, which I will explain below. Something else that I noticed was that the director chose to use a lot of jump-cuts; quickly jumping sporadically from shot to shot. Often, these shots were unfocused during the quick jumps. I think both of the things that I noticed signified the same emotion. When I thought about what they could mean I just kept thinking about how chaotic the shots were and how confusing they were. Perhaps that's how the filmmaker wanted the movie to feel; chaotic and confusing. This could be because this was how the characters felt in the film.
Overall, I enjoyed The King is Alive. It was a very dark film about survival and coping with tragedy. It is a great representation of the goal that the creators of the dogme movement wanted to strive towards.
Thursday, February 23, 2012
A late introduction...
My name is Robbie Vacik. I am a junior history major at Malone. I will be posting on Dogme95 films and readings that concern the movement
Alex Hulisz's Introduction
Hello everyone, my name is Alex Hulisz. I'm a senior exercise science major with a concentration in pre-physical therapy. I'm looking forward to posting exciting reviews about the movies we are watching about dogme95. Hope you enjoy reading our reviews and ideas that are portrayed on our blog.
-Alex
-Alex
Tuesday, February 21, 2012
Artistic and intellectual confusion in Lars von Trier's The Idiots
Artistic and intellectual confusion in Lars von Trier's The Idiots
I thought this was a pretty interesting review of Idioterne. I think it would have been beneficial if I had read this review before I wrote my post on the film. I did make some similar-ish points (I don't necessarily agree with everything he writes in the review) but Stefan Steinberg (the author of this review) makes his points a bit more concisely than I did (and without all of the rambling).
-Nate
I thought this was a pretty interesting review of Idioterne. I think it would have been beneficial if I had read this review before I wrote my post on the film. I did make some similar-ish points (I don't necessarily agree with everything he writes in the review) but Stefan Steinberg (the author of this review) makes his points a bit more concisely than I did (and without all of the rambling).
-Nate
Sunday, February 19, 2012
Dogme #2: Idioterne (The Idiots)
I'm going to start my first legit blog post with a couple of disclaimers:
- Trigger warning: discussion of ableism and sexual violence
- Spoiler alert: don't read if knowing a lot about specific events in the film will be hazardous to your enjoyment of viewing the film in question (but if you're not planning on watching it or you don't care about spoilers read on, my friend)
-Nate
Dogme #2: Idioterne (The Idiots) Confession
This post will seek to explore the ways that Dogme #2: "Idioterne" deviated from the rules of the Dogme 95 manifesto. After the making of Dogme #1: "Festen," Thomas Vinterberg established "the confession" in which a filmmaker had the opportunity to confess to all of the instances where (s)he knowingly violated one of the manifesto rules. Lars von Trier confessed to the following:
Most of these deviations are not painfully obvious to the viewer, so it definitely helped that Lars von Trier confessed.
-Nate
- During the group sex scene, a stand-in was used for the unsimulated act of penetration (which was blacked out in the version I own, so I definitely didn't realise this).
- von Trier moved some candles around to achieve exposure (a violation of rule 4).
- He leased a car for use in the film.
- And he paid the actors so that they could buy food (that I assume was used in the film).
Most of these deviations are not painfully obvious to the viewer, so it definitely helped that Lars von Trier confessed.
-Nate
An(other) introduction
I seemed to have forgotten that I was meant to introduce myself to our reader(s) (if you're reading this, that's you). My name is Nate and I'm one of the many (there's only five) contributors to this blog. I
am a second year communication arts major with a concentration in film and a
gender studies minor at Malone University. My posts will often be very stream-of-consciousness and slightly confusing (they may even seem like they lack editing, but that's probably because they pretty much will). I'm currently working on my first major short film, "Welcome to the Mind of Calpurnia Jones" which will premiere in April at the Open Frame Film Festival (Seth [who you met earlier] is one of my producers). My responsibilities for the blog are pretty similar to everyone else's. Thanks for taking the time to visit our blog. :)
Dogme #2: "Idioterne (The Idiots)" trailer
Warning: the trailer for "Idioterne" is not suitable for all people. It contains some "off-colour language" and nudity (and if that's not for you, please don't watch it). Also, the subtitles in this video are kind of "mehhh" but you'll get the gist.
-Nate
Wednesday, February 15, 2012
-Seth on En Kaerlighedshistorie or Kira's Reason: A Love Story
The film centers around a woman by the name of Kira who has just left a mental institute and has rejoined her family. The movie focuses on the tension between Kira and her husband, Mads, as they try and work out their marriage. Throughout the film, this becomes increasingly difficult as we are shown that Kira is not completely psychologically well. At one point, Kira has a meltdown at a public pool where she took her children to swim. This is the first time that we are shown outright that Kira still has some issues that have not been dealt with.
Warning! Trailer includes Nudity. If that offends you, do not press play!
Above is the link to the trailer for the film Kira's Reason: A Love Story (En Kaerlighedshistorie).
Kira's Reason is Dogme 95 in every sense of the term. At the opening of the film, a Dogme 95 certificate is shown that is a signed, sworn statement by the director, which states that the film will adhere to all of the rules and guidelines set up in the Dogme 95 manifesto (Dogme manifesto above). The film was shot in the Academy ratio on 35 mm film. Also, the entire film was shot hand-held, making each shot shaky. The director did not use any artificial lighting, props, etc. and every sound that was heard in the film was diagetic (within the scene).
The film centers around a woman by the name of Kira who has just left a mental institute and has rejoined her family. The movie focuses on the tension between Kira and her husband, Mads, as they try and work out their marriage. Throughout the film, this becomes increasingly difficult as we are shown that Kira is not completely psychologically well. At one point, Kira has a meltdown at a public pool where she took her children to swim. This is the first time that we are shown outright that Kira still has some issues that have not been dealt with.
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Much of the film builds on the tension of not knowing what Kira is going to do next. One of the main conflicts in the film was not only Kira's madness but her husband Mads' unwillingness to get Kira the help she desperately needed. I found myself rooting for Mads; hoping that Kira would finally adjust to being
back on the outside. That way, Kira and Mads could live a normal life. Mads tells Kira, "I just want a normal life." He loved his wife very much and the thought of what she used to be kept him holding on. There were quit a few close-up shots of Mads holding his wife tight, suggesting that he did not want to "let go." Both characters, Kira and Mads, always spoke about the past; about how things used to be before Kira was sent to the institution. On a few occasions we see Mads looking out of his bedroom window. I saw the window as a sort of allegory for the "on the outside looking in" perspective. Mads is constantly looking from the "outside" onto what used to be his life, but now everything is different. I always got a sense of helplessness from Mads. Throughout the film he gave me a sense that he felt as though he was incapable of helping his wife.
Personally, I really enjoyed this film. Because it is Dogme and cannot maintain a certain genre, Kira's Reason is not your average love story. This film kept me engaged because I wanted Mads and Kira to be happy together. I wanted Kira to be well again. This film kept me engaged, not because of over-the-top effects and stunning visuals, but because of great writing, great camera work, excellent acting, and exceptional directing. This being the first Dogme 95 film I have seen, I am excited for the ones I will see in the future. This is storytelling in it's most raw form.
Tuesday, February 14, 2012
Sorry for not introducing myself. I just have been posting things like crazy without telling you who this "Heather" is. Well, I am one of five bloggers who contribute to this blog. It is a joint effort to successfully display to the public what Dogme 95 is. To be honest, this blog was created for an assigned group project. However, I see this assignment as a pastime and not an obligation. I hope you enjoy learning about Dogme 95 from the information that I and my fellow bloggers post. I know I certainly will! :) To add, I am a Nursing major, and it has been my dream to do missionary work. Because of this, I have arranged to go on a missions trip this summer!
-Heather
-Heather
The above link will take you to a movie review written in the New York Times. It explains the movie in terms of its characters and gives a brief synopsis. The article also speaks briefly about the director. It is important for me to mention as well that Italian for Beginners was shown at the New York Film Festival in 2001, which this article eludes to.
Here are pictures of scenes from the film too:
Monday, February 13, 2012
This is the first movie I have watched in the Dogme 95 format. To be honest, I loved the realistic and simplistic nature of the film. While watching the movie, I felt as though I was "spying" (not in a stalkerish kind of way) on the character's lives. The use of the handheld cameras, the angles at which the producers shot the frames and the widescreen gave me, the viewer, this "illusion." Also, Italian for Beginners discloses many truths about the human nature, which include: the desire to have that special someone, the fact that grief afflicts any and all and, at times, the journey of life brings disappointments and relief. For me, this film was a heartwarming experience. I was touched by the insight I observed in all the different life scenarios within the movie. Seeing and watching their lives unfold helped me realize I am not much different from them even though they maybe from a different culture or background.
-Heather
Sunday, February 12, 2012
Rules of Dogme95, in Other Words
1. Natural locations only, with sets being barred from use. Location is dependent on whatever props may be necessary, meaning that space is determined by the needs of the devices that might be employed.
2. Images and sound are interconnected. Diagetic sound only, with no audio created outside of the filming environment.
3. The film determines where shooting occurs, meaning that handheld cameras are used so that camera placement does not dictate the course of the film. The body becomes the means through which action is captured, rather than fixed camera placement.
4. Lighting present in the environment may be the only light, aside from a light on the camera in cases of darkness. Black and white filming is barred in favor of color exposure.
5. The lens must not be altered by application of any filters, and no special effects are to be present in the films, making all visuals an honest portrayal of what actually was in the scene at the time the shoot took place.
6. Scenes of violence are considered "superficial action," and are therefore prohibited from being depicted directly.
7. Fantasy and history are forbidden as subjects of the story, for the films must take place in the present, rather than in an alienated temporal/physical space.
8. Dogme films cannot be patterned around genres, but must reject these Western categories.
9. The same ratio that was employed for silent films is to be used for Dogme films, putting quality ahead of technological change.
10. There is no auteur, for the director of the film is not to be credited.
1. Natural locations only, with sets being barred from use. Location is dependent on whatever props may be necessary, meaning that space is determined by the needs of the devices that might be employed.
2. Images and sound are interconnected. Diagetic sound only, with no audio created outside of the filming environment.
3. The film determines where shooting occurs, meaning that handheld cameras are used so that camera placement does not dictate the course of the film. The body becomes the means through which action is captured, rather than fixed camera placement.
4. Lighting present in the environment may be the only light, aside from a light on the camera in cases of darkness. Black and white filming is barred in favor of color exposure.
5. The lens must not be altered by application of any filters, and no special effects are to be present in the films, making all visuals an honest portrayal of what actually was in the scene at the time the shoot took place.
6. Scenes of violence are considered "superficial action," and are therefore prohibited from being depicted directly.
7. Fantasy and history are forbidden as subjects of the story, for the films must take place in the present, rather than in an alienated temporal/physical space.
8. Dogme films cannot be patterned around genres, but must reject these Western categories.
9. The same ratio that was employed for silent films is to be used for Dogme films, putting quality ahead of technological change.
10. There is no auteur, for the director of the film is not to be credited.
Wednesday, January 25, 2012
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