Everyone will be choosing a film panel to participate on. It involves choosing an element of the three or four basic areas of a film or the director’s work: biography (their lives), filmography (their films), production, distribution of the film, critical reception (reviews) or something related to the food in the film.
Info for films is available either through books (highest points--ACPL has a strong film collection), magazine articles (equally high points--see Ebsco search) or Internet (this will likely be less useful for many of the films—fewer points). For contemporary reviews see rottentomatoes.com site; for information about the production (how it was made) and distribution (how it came to the public), see books, film magazines, and newspaper articles (high points).
These aspects are not the only possible topics for a paper. You may have other questions you want to pursue about particular actors, other food-related items. Don’t hesitate to do so. Coordinate the various sections with the various presenters.
Basically, you're trying to find points of interest to start us thinking about the film and to intrigue us.
Post your presentation to the blog BEFORE you present it to the class, especially any visuals (which can then be shown during your presentation. Be sure to tailor your posting to this format. In other words, you won't just plunk a chunk of text here, but some manageable portion with some links for further information and pertinent visuals.
Info for films is available either through books (highest points--ACPL has a strong film collection), magazine articles (equally high points--see Ebsco search) or Internet (this will likely be less useful for many of the films—fewer points). For contemporary reviews see rottentomatoes.com site; for information about the production (how it was made) and distribution (how it came to the public), see books, film magazines, and newspaper articles (high points).
These aspects are not the only possible topics for a paper. You may have other questions you want to pursue about particular actors, other food-related items. Don’t hesitate to do so. Coordinate the various sections with the various presenters.
Basically, you're trying to find points of interest to start us thinking about the film and to intrigue us.
Post your presentation to the blog BEFORE you present it to the class, especially any visuals (which can then be shown during your presentation. Be sure to tailor your posting to this format. In other words, you won't just plunk a chunk of text here, but some manageable portion with some links for further information and pertinent visuals.
Don't know who else is presenting on Pi, but I'm focusing on the visuals of the film.
ReplyDeleteStranger Than Paradise was a film produced by James Roberto Jarmusch or Jim as most people called him. Jim was born on January 22, 1953 in Cuyahoga Falls, Ohio. Jim was born to immigrant parents. His mom worked as a reviewer of film and theatre for the Akron Beacon Journal before marrying his father. Jim’s father was a businessman that worked for the B.F Goodrich Company. At a very young age Jim was introduced to films by his mother, Jim’s mom would drop him off at the local cinema while she ran errands. Jim stated that the first adult film he recalls having seen was the 1958 cult classic Thunder Road and that the violence and darkness left a very deep impression on him at seven years old. Another influence from his childhood was Ghoulardi, an eccentric Cleveland television show that featured horror films. After Graduating high school Jim moved to Chicago and enrolled in the Medill School of Journalism but Jim was kicked out for refusing to take any Journalism related classes. After this occurrence Jim transferred to Columbia University for the following year and wanted to become a poet. During his time at Columbia University Jim began to write short semi-narrative abstract pieces, and edited the undergraduate literary journal. Jarmusch's final year university project was completed in 1980 as Permanent Vacation, his first feature film. It had its premiere at the International Film festival Mannheim-Heidelberg and won the Josef von Sternberg Award. It was made on a very stringent budget of around $12,000 in misdirected scholarship funds and shot by cinematographer Tom DiCillo on 16 mm film. This film received positive reviews from critics and was the beginning of Jim’s career as a director.
ReplyDeleteHertzberg describes Jim’s style as a minimalistic filmmaker whose idiosyncratic films are unhurried. His films often avoid traditional narrative structure, lacking clear plot progression and focus more on mood and character development (Herzberg). Jim was interviewed early in his career, and Jim stated that his goal was to approximate real time for the audience. Jarmusch's early work is marked by a contemplative tone featuring extended silent scenes and long still shots. He has experimented with a vignette format in three films that were released in the early 1990s Mystery Train, Night on Earth and Coffee and Cigarettes. The Salt Lake Tribune critic Sean P. Means wrote that Jarmusch blends film styles and genres with sharp wit and dark humor. While Jim’s filmographic style is also defined by as deadpan comedic tone, the protagonists of Jarmusch's films are usually lone adventurers. Critic Jennie Yabroff has described the director’s male characters as three time losers, petty thief’s and inept con men, all eminently likeable, if not down right charming; while novelist Paul Auster described them as laconic, withdrawn, sorrowful mumblers. Jarmusch has revealed that his instinct is a greater influence during the filmmaking process than any cognitive processes. He explained: “I feel like I have to listen to the film and let it tell me what it wants. Sometimes it mumbles and it isn't very clear" (Canby). Films such as Dead Man and Limits of Control have polarized fans and general viewers alike, as Jarmusch stylistic instinct is embedded in his strong sense of independence. When asked if he was original in his production Jarsmusch stated “Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, and clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from – it’s where you take them to” (Jarsmusch).
ReplyDelete