1. The two dimensions of symbolic violence that Teo are symbolic violence of ritual and the violence of male domination. The first manifests itself in the use of swords as well as the baton that everyone wants. The swords harken back to the Chinese ritual of sword use especially in Triads. The second manifests itself in the way that each man is indoctrinated into the Triad to follow their rules and treat others a certain way. The men eat at a table and discuss business as the women play mai jong and the children play.
2. Teo states that Tos depiction of the Triads is more localized because he shows them as more progressive and logical compared to their Italian counterparts. In real life, however, triads do not elect their leaders as much as there is a ruthless free for all and who ever is left standing is the winner. It was just recently that Government officials became democratically elected as pointed out by the police officers quote in the film. In both senses the elections were started to modernize the organization (HK and the Triads).
3. Teo argues that Election 2 is more political of a film because in the end the actual government of China is involved in perpetuating the violent ideals of the triads. This reflects the socio-economical issues of the time in the way that China refuses democracy in HK under the pretexts of peace and order just as the Triads refuse democracy amongst themselves.
4. I think the Tos depiction of violence without guns is violence in service to a greater cause; whether it be respect or in search of peace. I think that in election this is taking it a step further by being shown in an urban environment (where guns are easily available) to show the higher meaning. Anyone can pick up a gun and shoot someone but to stab someone is to get close to them and physically cause the act of death.
5. This question is tough, im gonna come back to it before monday
Sunday, September 27, 2009
Monday, September 21, 2009
2. Teo claims that To is an active agent in genre evolution because he is taking an auteur approach to genre films. On one hand To examines social values such as heroism and a criticism of it but he also experiments with his films in terms of style too. So even though the characters may not seem as warm and inviting the gunfight sequence in the mall is a perfect example of his style as an auteur within genre films.
4. I think what Teo means by that statement is that throughout Tos films there are moments that fall into the idea of genre film and then there are moments that stick out at “Jhonnie To” moments. These “Johnnie To” moments are the ones that we associate with To being an auteur. However, these moments are varied throughout all of his films in terms of where they appear and the subject matter they cover and thus create the “inconsistencies” that Teo speaks of. Teo considers these a value rather than a fault because if they were consistent they would become a part of the genre as a whole rather than be attributed to To as a director.
5. A. One method To uses in overcoming the constraints of genre film structure is the idea of plurality. Instead of having the film stay in one genre in films like “Running on Karma” he explores various different genres. He also shakes up the genre in films like “Throwdown” where Judo replaces gunplay as the standard means of settling dispute. This plurality carries over into the overall messages of the film where one film will cover Christian ideals where the other will cover Buddhist ideals.
B. During the time these films were made was a time when the market and the entire area were in constant flux. Since auteurs generally start making films during a certain time period that then go on to define director, To hasn’t really had that chance because there have been numerous changes in “time-period” since To started making films. Also, since filmmakers generally try to capture what’s going on at that time in their films this “flux” will definitely show through in each film.
C. Since Tos films are generally inconsistent there is going to be some thing’s that hit and some thing’s that miss. Since post-modernism is an idea that celebrates the bad with the good it also implies that we should embrace the flawed films if they show signs of auteurship from the director.
D. Since the time-period that all these films came out in was a period of constant change and ups and downs the audience receptiveness will change as often as the economic and political status does. The directors would also have to respond to these changes not only as people experiencing them (just as the audience) but also they would have to respond to the changing audience ideals. This broad church comes from the widening of the genre over time due to the constant re-tooling from directors like To.
4. I think what Teo means by that statement is that throughout Tos films there are moments that fall into the idea of genre film and then there are moments that stick out at “Jhonnie To” moments. These “Johnnie To” moments are the ones that we associate with To being an auteur. However, these moments are varied throughout all of his films in terms of where they appear and the subject matter they cover and thus create the “inconsistencies” that Teo speaks of. Teo considers these a value rather than a fault because if they were consistent they would become a part of the genre as a whole rather than be attributed to To as a director.
5. A. One method To uses in overcoming the constraints of genre film structure is the idea of plurality. Instead of having the film stay in one genre in films like “Running on Karma” he explores various different genres. He also shakes up the genre in films like “Throwdown” where Judo replaces gunplay as the standard means of settling dispute. This plurality carries over into the overall messages of the film where one film will cover Christian ideals where the other will cover Buddhist ideals.
B. During the time these films were made was a time when the market and the entire area were in constant flux. Since auteurs generally start making films during a certain time period that then go on to define director, To hasn’t really had that chance because there have been numerous changes in “time-period” since To started making films. Also, since filmmakers generally try to capture what’s going on at that time in their films this “flux” will definitely show through in each film.
C. Since Tos films are generally inconsistent there is going to be some thing’s that hit and some thing’s that miss. Since post-modernism is an idea that celebrates the bad with the good it also implies that we should embrace the flawed films if they show signs of auteurship from the director.
D. Since the time-period that all these films came out in was a period of constant change and ups and downs the audience receptiveness will change as often as the economic and political status does. The directors would also have to respond to these changes not only as people experiencing them (just as the audience) but also they would have to respond to the changing audience ideals. This broad church comes from the widening of the genre over time due to the constant re-tooling from directors like To.
Wednesday, September 16, 2009
2. Jianghu is a world in which the criminals and police officers all answer to a higher code. It is this code that determines the action of the film. This term applies to martial arts films as well as the films that To has made that don’t fit all the criteria for an “Urban Western”; the ones that are still based on the concept of loyalty.
3. To feels that the gun is the key element of the Western/Urban western and is supported by Robert Warsow who says that the two most successful types of film involve men with guns. The gun is important in the physical sense as it represents violence but also in it’s use. This “infrastructure of violence” is also supported by Tos gun-slinging cast who operate in the city which is an area known for its propensity towards violence. The relationships that are involved in the gunfire also denote the nature of the violence.
4. Mythical Violence is the idea that all that is going on in the film is controlled by Jianghu, a mythical element. This violence isn’t about petty crimes but about honor and duty. While people are dieing and there is blood being shed it’s all happening for a higher reason which makes it more acceptable and also carry more weight. In To films this comes out in the stylization of the violence as the characters do not act as if in a real gunfight but rather in a choreographed sword fight.
5. To feels that auteurship should be looked at in terms of narrative intelligence rather than genre. That is to say: The way a story is told is more important (and thus where To gets his autership) rather than the genre of a story. Steve Neale believes that autership can only exist in a group of films from one director that seem to stand alone regardless of genre.
6. Kowloon noir (named after Kowloon city) is an idea that dark forces always seem to be at work. This dark force, the destiny machine, seems to constantly be bearing down on the characters influencing their decisions and actions.
3. To feels that the gun is the key element of the Western/Urban western and is supported by Robert Warsow who says that the two most successful types of film involve men with guns. The gun is important in the physical sense as it represents violence but also in it’s use. This “infrastructure of violence” is also supported by Tos gun-slinging cast who operate in the city which is an area known for its propensity towards violence. The relationships that are involved in the gunfire also denote the nature of the violence.
4. Mythical Violence is the idea that all that is going on in the film is controlled by Jianghu, a mythical element. This violence isn’t about petty crimes but about honor and duty. While people are dieing and there is blood being shed it’s all happening for a higher reason which makes it more acceptable and also carry more weight. In To films this comes out in the stylization of the violence as the characters do not act as if in a real gunfight but rather in a choreographed sword fight.
5. To feels that auteurship should be looked at in terms of narrative intelligence rather than genre. That is to say: The way a story is told is more important (and thus where To gets his autership) rather than the genre of a story. Steve Neale believes that autership can only exist in a group of films from one director that seem to stand alone regardless of genre.
6. Kowloon noir (named after Kowloon city) is an idea that dark forces always seem to be at work. This dark force, the destiny machine, seems to constantly be bearing down on the characters influencing their decisions and actions.
Thursday, September 10, 2009
Gabbeh
For some reason I felt like I had seen this film before but I think that is because of the colors of the costumes (I think Im confusing it with that film about Afghanistan whose name escapes me). This film was difficult to follow in a fun way. When the film first begins to transition between the story being told in the film and those who are telling/watching it there isn't much warning and it is quite jarring. After that one gets an idea of how we are being shown everything but it still maintains a surreal quality when switching back and forth. The old mans performance was really good, he pulled the "sad old man" thing off perfectly.
Watching films from far away places, in both the cultural and legitimate sense, puts a lot of our social practices in perspective. With this film it focused around marriage and how different generations were treating it. I realize that there is some artistic input but the basic principles of how it is viewed by the characters remains the same.
The costumes clash against the background is also something that I noticed throughout the films. It's not that the location wasn't colorful, it was gorgeous, it's just that the colors on their outfits are so vivid it mutes the background colors by comparison.
Watching films from far away places, in both the cultural and legitimate sense, puts a lot of our social practices in perspective. With this film it focused around marriage and how different generations were treating it. I realize that there is some artistic input but the basic principles of how it is viewed by the characters remains the same.
The costumes clash against the background is also something that I noticed throughout the films. It's not that the location wasn't colorful, it was gorgeous, it's just that the colors on their outfits are so vivid it mutes the background colors by comparison.
Tuesday, September 8, 2009
Response part dos
2. In A Moment of Innocence the "rule of modesty" is obvious in that fact that we very rarely see any women at all, much less in close up or unveiled. We are shown the mother of the actress only in long shot. It's something that's supposed to be respectful of women but it only seems to make them look like sheep.
The problem that would arise is that women in the home can act and be relatively normal. Having the woman veiled and distant inside the home would make it tough for the audience to see love between the two; if love is the idea of course.
3. In the quote he talks about how the overall meaning of a film is spoken through various parts of the image, whether it be in the subject matter, mis en scene etc. What he says after that is that sometimes the way that a filmmaker chooses to speak this language is sometimes lost on the viewer because they don't bring enough knowledge to the table. In the quote he doesn't state outright that he is speaking about his own particular film style but I feel that it has something to do with it. Mottadeh says that the filmmakers must learn to change the language of the cinema to have a universal meaning.
The problem that would arise is that women in the home can act and be relatively normal. Having the woman veiled and distant inside the home would make it tough for the audience to see love between the two; if love is the idea of course.
3. In the quote he talks about how the overall meaning of a film is spoken through various parts of the image, whether it be in the subject matter, mis en scene etc. What he says after that is that sometimes the way that a filmmaker chooses to speak this language is sometimes lost on the viewer because they don't bring enough knowledge to the table. In the quote he doesn't state outright that he is speaking about his own particular film style but I feel that it has something to do with it. Mottadeh says that the filmmakers must learn to change the language of the cinema to have a universal meaning.
Thursday, September 3, 2009
A Moment of innocence
This was the second time that I've seen the film and I will admit I was pretty excited to see it again. I was anticipating the parts that I remembered but I was surprised numerous times about the funny bits I'd forgotten.
I had forgotten about the parts where it seems to switch back and forth between the film we are actually watching and the one that's being made in the film. That 2-film element is also part of the films overall appeal to me. It keeps the audience guessing through the blurring of realities as well as adds many awkward opportunities.
Makhmalbalf has a wonderful sense of humor: it's family friendly but not so much to where it still draws good laughs. The nervous guy with the unibrow had a face that was comical even though the timing of a lot of the jokes is off because of the reading-the-subtitle delay. Most of the memorable gags were visual and much easier to absorb quickly.
Knowing that the story of the police man is actually true gave the movie a much more emotional feel. I like knowing that a movie is based on something that happened in the filmmakers life since I feel they would have a much deeper vision in this over any other subject.
I had forgotten about the parts where it seems to switch back and forth between the film we are actually watching and the one that's being made in the film. That 2-film element is also part of the films overall appeal to me. It keeps the audience guessing through the blurring of realities as well as adds many awkward opportunities.
Makhmalbalf has a wonderful sense of humor: it's family friendly but not so much to where it still draws good laughs. The nervous guy with the unibrow had a face that was comical even though the timing of a lot of the jokes is off because of the reading-the-subtitle delay. Most of the memorable gags were visual and much easier to absorb quickly.
Knowing that the story of the police man is actually true gave the movie a much more emotional feel. I like knowing that a movie is based on something that happened in the filmmakers life since I feel they would have a much deeper vision in this over any other subject.
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