Tuesday, May 25, 2010

SFF thoughts

There are plenty of other films I'm hoping to see at the SFF too.
Shirley Barett's new film, South Solitary. She directed Love Serenade which I watched earlier this semester.

Candy Darling also stands out for me.
And also, A Woman Under the Influence. One of the few 'retrospective' films. A John Cassavettes film.

It's great the government has pumped some money in the SFF.
I have seen at least five films for the last four or five years now and have really noticed the decline in audiences and in the films shown.
I'm not sure if the money promised will affect this year's festival, but hopefully from next year on, the festival just gets better.
Unfortunately, just like the SBS, there has been a decline in film content that I will enjoy from this film festival.
I have loved some of the old retrospective programmes. But they have diminished in the last couple of years.
I was a regular at Cinemateque at the Chauvel (learnt where that name came from during this semester) on a Monday evening, but it's a bit hard to back up after the tute to go at the moment.
A few months ago the 'curator' was fired, and since then the programme has improved significantly. The films are now not so experimental, and are more 'canonical'. Kurosawa, Sirk, Truffaut, Godard, etc.

The SFF is an interesting case study in terms of some of the issues that have come up in tutorial discussions in the last month or so.
This is an event which, until this promise from the government, was really dependent on market forces. Programme directors had to pick films that would attract crowds, yet still aimed to create challenging schedules that would cater for niche markets as well.
A balance must be struck; and now, with the government funding, the SFF will be able to really extend their creative vision. Great news. Thank god Howard's gone.

For those playing at home...
http://sff.org.au/cms/

SFF

Pretty excited to see this at SFF.
(P.S super proud that I figured out how to resize this video...thanks go to http://testing-blogger-beta.blogspot.com/2007/02/testing-embedding-video-in-blogger.html
AND http://bloggerfordummies.blogspot.com/2008/05/embed-youtube-video-in-blog-post.html)


Concept Analysis - Mythologies

I think a useful way to examine myths is to analyse the work of Roland Barthes, who began deconstructing some of the myths that he observed at work in French society in the 1950s. He published 'Mythologies' in 1957. In it he examines the tendency of contemporary social value systems to create modern myths.

In the first section of the book, Barthes describes a selection of myths. For instance, red wine; specifically, how red wine has been adopted as the national French drink; how it is seen as a social equaliser and the drink of the proletariat, partly due to the fact that it is seen as blood-like, yet nobody pays much attention to red wine's harmful side-effects.

In the second section of the book, Barthes addresses the question "what is a myth today?". He extends Ferdinand de Saussure's notion of the sign: with a word, the meaning and the sound together to make a sign. To make a myth, the sign itself is used as a signifier, and a new meaning is added, which is the signified. This addition is not arbitrary though; mythologies are formed to perpetuate an idea of society that adheres to the current ideologies of the ruling class and its media.

'Mythologies' constituted a significant milestone in cultural critique, not just as a proto-structuralist analysis, but also as a mode of practicing cultural studies before its more recent forms of actualisation.

For Lefebvre, mystification is not a process by which the innocent are duped by the devious, but rather a collective process by which social relations, including power relations are acted out in everyday life in the domain of ideology.
Lefebvre believed that mystification (or ideology) could be transcended by knowledge and action; and that Marxist philosophy provided the necessary critical knowledge to secure this transcendence.

It is possible to see processes of demythologising and re-mythologising occurring everyday. It is within this realm that I think we can see a connection to genre. Films and television programmes vary their formulae to make such genres as romantic comedies seem new. This can also be seen with schools, which attempt to include relevant curricula, and in reaction, conservative critics call for a return to older myths as eternal truths.

Monday, May 24, 2010

Week Twelve Response

Unfortunately, while I don't think there is any answer for this, it is an extremely interesting question, that is, whether the ABC should be totally dedicated to the pursuit of ratings, since it is spending tax dollars. Should utilitarianism be out the window? That is, should minorities and niche markets be disregarded in favour of populist progamming.
The appeal of the ABC to many, is that it avoids the over-commercial, superficial, racist, dogmatic programming of the commercial networks. But, those are often the shows that most Australians enjoy to watch.

Some interesting observations were made in the tutorial in regards to sitcoms, and the evolution of laugh-tracks in Australian shows. It is remarkable that 'Hey Dad!' was the only show to use them, and that Australia has indeed suffered from a fear of the sit-com.

Something that I want to raise, that should have been raised last week, in the discussion of the SBS is the idea of multiculturalism. Essentially, I think this can be quite a dangerous ideal. And unfortunately it is an unresolvable one. Obviously not all content on SBS is 'multicultural', however the term is present in the mandate, and so would be persistently in the minds of those who control content at the Special Broadcast Service.
Slavoj Zizek has convinced me that multiculturalism is hegemonic. The politically correct idea of respecting the 'others' difference is extremely dangerous and actually quite racist. For Zizek, there is no progressive form of multiculturalism. In fact, by marking it as the master signifier of politics, we end up with contemporary modes of liberal racism, sexism etc. The Other remains as an Other; someone to be tolerated, but deprived of their radical otherness.
Look at ethnic cuisines in Australia. They are heralded as a sign of progress, that we are a multicultural society. Essentially, the fact that you can get a curry in Paddington don't mean jack. These restaurants become novelty and indeed Australians are suspicious if the staff at these restaurants do not match their expectations. That is, if they find chefs of Vietnamese descent cooking in an Italian trattoria, they will be suspicious.
I experienced this first hand last week. I work at il Baretto, an Italian resturant in Surry Hills. A customer, who I could tell was Italian, asked me halfway through her meal if the chef was Italian. She was shocked when I said no; I suppose she would be even more shocked to hear that the head chef has spent much of his life cooking Thai and Chinese cuisines. At the end of the meal, she approached the chef, who was speaking to the owner (who is Italian), and said, "that was really great; especially for an Australian." Strange.

Today's racism is precisely a racism of cultural difference. It no longer says, "I am more than you"; it says "I want my culture, but you have to keep yours." The notion of tolerance, under the liberal multiculturalist guise, masks its opposite: intolerance.

Julie Kristeva goes one step further to suggest that we cannot tolerate difference because we cannot tolerate difference in ourselves. But that is a story for another day.

Having said all this, I love the SBS. I don't love it as much as I did when I was younger; there are far fewer films, and far too much football and car shows (though I do love TopGear). The ads are annoying, but they still have Lee Lin Chin reading the 6.30pm news and that is great!
I also love the fact, that by accident, SBS executives may have stumbled upon a new format for television, and television advertising. I also love that SBS executives have the guts and foresight to pick-up shows like Queer as Folk, and OZ, even after all the other channels knock them back. Of course, as we have said, they are smarter with their advertising, and don't need the high ratings, however they still persist in showing risque content, and during the early naughties that was commendable considering the conservative guillotine which seemed to fell any attempts at subverting John Howard's 1950s values.

Tuesday, May 11, 2010

Another film I watched recently

Little Fish. Directed by Rowan Woods, 2005.
I love Cate Blanchett. Her ability to transform from quite an unusual but regular woman to a stunning beauty is remarkable. This film presents her as the former. She is everything Abbie Cornish was not in Candy (Neil Armfield, 2006). Even the suggestion of her past as a heroin junkie is frightening; her self-destructive tendencies are palpable. One watches helpless as she struggles, literally fights, her way through life; her past misgivings proving her major obstacle. She can't get a loan, she is often depressed, she struggles to trust anyone, most of all herself. Her relationships are strangled by the baggage of her misdoings.
This is quite a depressing film. Nobody seems to be satisfied. Even the successful drug dealer (Sam Neill), who is retiring seemingly unscathed by his lecherous, illegal career as a multi-milionaire seems totally unsatisfied, living two lives, unable to admit his homosexuality. There is essentially no light at the end of the tunnel for these characters. The only positive outcome seems to be that their life will continue on without being more negatively impacted on by their past.
youtube trailer: http://www.youtube.com/watch?v=wxenulh_JIU

Antony Gormley - Firmament IV

An article I recently had published on Concrete Playground.

In games of “would you rather?”, I was often asked “would you rather be blind of deaf?”; after seeing Antony Gormley’s Firmament IV, I wonder why the game never included “... or forego the ability to perceive space?” First installed in the below-ground gallery of White Cube Mason’s Yard in March 2008, this is the concepts’ fourth outing. 1030 steel balls, each the size of a shot put, and 1849 steel elements are welded together to create a non-regular, polygonal structure that meanders and struggles to fit within the white cube (the structure measures over 20 metres in height). Look away now if you don’t want the surprise to be ruined, but the structure is representative of a human in the foetal position. Duh!
Within the four walls of Anna Schwartz’s gallery space, the man-in-the-form-of-a-molecular-structure creates a “double space” that disturbs precisely because it proposes occupation before our own subject-inhabitation. The graphic outline of this figure is reminiscent of a shed snake skin; it even resembles a banana peel, with its insides consumed. One is reminded of Le Breton, who noted that in some societies the body does not form a boundary, but is open to flow and exchange with the environment. Most will not be able to resist the temptation to climb through the delineation of this figure.
The perceived expansive force of Gormley’s sculpture is undeniably impressive. One more push, and it would break through the embryonic white walls. Any why not indeed? Run down to Anna Schwartz before it does, because this work, if liberated, loses all its potency.

Some films I have watched recently.

Head On. Directed by Ana Kokkinos, 1998.
The story of a young Greek-Australian man, struggling to discover his identity as a bisexual/homosexual Greek-Australian. Interesting exploration of multicultural suburbia, and the cliques that occur with dyspora's like the Greeks arriving in Melbourne. The younger generation try to break free of their cultural heritage in some ways; or more specifically, incorporate certain elements, but not others into their identity.
This is a visually confronting films; surely one of the first to so graphically depict homosexual acts in Australian cinema.
youtube trailer: http://www.youtube.com/watch?v=2zAHie0ow0U

Love Serenade. Directed by Shirley Barrett, 1996.
A surrealistic, and at times quite disturbing story of two sisters, a small town and a rather odd radio personality. I found it difficult to really emphasise with any of the characters, yet the story was compelling nonetheless. At times, a purely superficial investigation into notions of sisterhood, relationships, suburbia; at others, quite a profound statement of the commercialisation of society, the lack of real affection and communication in our lives, and the importance of being true to yourself.
youtube clip: http://www.youtube.com/watch?v=l14-62SrhE8

Alexandra's Project. Directed by Rolf De Heer, 2003.
A film I think would be better suited to being a theatrical production. The production felt stunted and too blocked-out. The main relationship was not believable. A poor casting choice, I believe, was made in choosing Helen Buday. Having said that, quite an intriguing premise for a film; with some captivating twists and turns. Ultimately, an unsatisfying resolution to what was beginning to be quite an interesting film. The opening credits were really good at establishing an unsettling feeling within the manicured suburbs; yet not enough time was spent establishing a believable relationship between the family members. The most believable relationship was perhaps between the nextdoor neighbour and Alexandra.
youtube trailer: http://www.youtube.com/watch?v=Bzh3U-jYEXY