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

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

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:

• 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).

In addition to those instances that von Trier confessed to, there was music used in a couple of the scenes. Once it was definitely diegetic: it was coming from a boombox and everyone was dancing to it. However, another time music was used as a sort of transition. Von Trier maintains that the transitional music was captured on set and therefore did not violate the manifesto.

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

-Seth on En Kaerlighedshistorie or Kira's Reason: A Love Story

          

        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. 

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. 

  

        

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

Hello, My name is Seth and I am one of the moderators of the Dogme 95 blog. I am a sophomore Communication Arts major. I will be posting reviews and thoughts concerning a few films that are considered to be dogma 95.

http://movies.nytimes.com/movie/review?res=9C06E4DD123DF931A35753C1A9679C8B63

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:

http://movies.maxupdates.tv/wp-contents/uploads/2010/01/ItalianForBeginners.jpg


http://imgs.sfgate.com/c/pictures/2002/02/01/dd_italian.jpg




http://ia.media-imdb.com/images/M/MV5BMjA5MTQzMzQ0Nl5BMl5BanBnXkFtZTYwNzc5NDU3._V1._SX450_SY296_.jpg

The above is the trailer for the movie titled Italiensk for Begyndere (Italian for Beginners). It is considered part of the Dogme film collection and was made utilizing the Dogme 95 parameters (listed previously on the blog). Importantly, the film did not deviate from the rules of Dogme. 
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

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.