Art Encouter 3

In Janet Biggs Predator and Prey Biggs states a commentary on the beauty of nature and contrasts it with the horror of captivity. She also draws lines comparing the captivity of animals to man's self created captivities, his own habitats. The film was place on a series of plasma screens in a grid pattern. The sound in this film seems ambient at times, while synthesized at others. This use of sound directly contrasts Mircea Cantor's Deeparture. In this silent piece a film is projected on the wall of a gallery enclosure in which a wolf and a deer are together. In this piece the viewer waits in anticipation of an attack that never comes. This piece relates to predator and prey in its natural subject matter, though I see it as more of a commentary on the spatial use of galleries. My favorite piece that can be found at the Haggerty Museum, was a series of cut telephone conversations from well known films. I liked this piece because it intersected so many different actor's performances together. It amazes me at the numerous different ways in which the conversation can be cut. However I felt that this piece effected me most through performance.

Filmmaking Today

Filmmaking today is Nostalgia. Filmmaking tomorrow will split. It will include remakes and revamping franchises, as well as a plateau of creative originals or literary concepts. As for the state of news media the late Michael Crichton states, "The American media produce a product of very poor quality. Its information is not reliable, it has too much chrome and glitz, its doors rattle, it breaks down almost immediately, and it's sold without warranty. It's flashy but it's basically junk. So people have begun to stop buying it."

Journal Survey 3

I chose Bernard’s article, “Life in Film”. In this article film makers describe films that heavily influenced them. Bernard states she had never seen “A film that could do something, rather than simply be about something”. This means that a film could actually change the course of media, rather than just tell a story. This idea was revolutionary to her. She also iterates the way in which Snow’s “Wavelength” made her think about sound, space, and time. Bernard also iterates films depth in terms of time, noting a films ability to cause anticipation of the future observation of the present, and the retaining of the past. She also iterates a documentaries ability to not tell the truth. Bernard is constantly examining the relationship between the form of a film as a portal between the actual and the imagined. The author in this article makes their points through example and explanation. I believe films as texts are blue prints into the workings of a single directors thought process. Each process can be reverse engineered, and taken into consideration as a means to be creatively reapplied. The difference between filmmakers is the way in which it is reapplied. If this is done correctly the result is often incomparable to the original. This permutation of the original is unrecognizable in its new context. In my opinion it is impossible to skew toward audience expectations and still maintain creative autonomy. Sacrificing creative autonomy means losing something unique to the film’s core. While the benefits of this action may lead to short term success or a “blockbuster” this does not secure a film’s artistic integrity. These films are occasionally discarded over the test of time while the legendary films rarely falter.

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