Revealing the scene, with a dynamic angle. Akin to nauseation.
Joe’s Critique – Too know the original intentions of the artist. Which is laboursome as it requires me watching more time on these individual films and cases, which eats away my procrastinating relaxation time I’m tried to.
Kim Sooja’s A Needle Woman’s is a performance piece where Sooja stands or sits still in different locations in the world. Sooja wants to explore the body’s vulnerability in spaces, the interaction/lack of interaction between the passer-byers. Sooja mentions “wearing [her] body” as we do not focus on her back. She wanted to be a medium.
A great shot film about a paranoid character witnessing the changing social landscape of his local streets. What this short as done is taken the reality of ‘social cleansing’ and placed it in a frame of a ridiculed trope of being a homeless-like insane character. The universality of knowing that gentrification is occurring helps this film place a feeling of outsiderness on the audience. We become the crazy character. At the end, our worst feelings are realised as a metaphorical literalism of turning poor people into coffee beans for the wealthy corporations.
What is Cinema Therapy? Dr Solomon trademarked the term cinematherapy as a model for patients to use a proxy review of one’s own afflictions. The advantage of pausing, rewatching, is furthered with the privacy and safety of one’s own home. Although the process of watching the actions of others provides a distance for the individual or to use empathetic understanding to release much-needed emotional evolution, there is a passivity of watching others go through chance. Cinematherapy provides a starting point or an alternative to therapy or self-development. It can only be partial in its goals.
Here are some good films to watch for childhood review and parental/child relationships. Interestingly the feel-good films label has resolves of characters that bring uplift and warmheartedness to the audience.
Disney’s The Kid (2000) written by Audrey Wells and directed by Jon Turteltaub starring Bruce Willis.
Pixar’s UP (2009) by Pete Docter, Bob Peterson.
Good Will Hunting (1997) directed by Gus Van Sant and written and starring Ben Affleck and Matt Damon.
What is different from my project. I plan to use elements of filmic tropics found in these cinematherapy films in the process of documentary filmmaking.
“Victoria, George, Edward and Thatcher” by Callum Cooper
There is a similarity oto Callum Cooper’s animation short with Jonathan Hodgson’s RUG. The textures and architecture shifts and changes as Callum moves closer to central districts of London.
Marc Isaac’s Lift – Interview in a lift.
Andrea Zimmerman – Estates a Reverie (2015)
City Talks: Is gentrification a bad thing?
Anna Minton’s discussion of gentrification
Penny Woolcock was discussed by Bunny.
Some interesting background to the place I called home. Although this will probably not be my final year animation, it’s good to understand what could be in the background of my film. I really want to be personal and real, I want to provide archetypes of my experience not stereotypes people see on the tv.
Funny and simple.
Simplicity and digestibility. A montage of the violent mediacy of America with sex, money and drugs – and winning!
I like the idea of in-depth storytelling. Clearly the director understood a lot about the topic, it seems simplistic yet profound. Its refreshing because it has a fictitious feeling to it. Addressing the Clitoris as a being or a metaphor for sexual release for women.
Tough seems a good way of portraying very personal messages which I really liked. I like some aspects of the animation itself. The lacking is the pace never really changes. It’s from slow to mid-paced to slow. Sometimes the animation itself seemed to be a little contradictory to the message or the feelings being portrayed.
Great style, appropriate, light hearted for a serious event. It makes us think, did this really happen? Its like those stories men like to boast about to make themselves mythical. The editing shots was amazing and to be honest I would like to keep up with that kind of idea.
I, Destini by Destini Riley
A great short, about the distractions a family makes to avoid the reality of loosing their son in the criminal court justice. The boy is compared to a lion or a predator in African Serengeti but in fact, he is a giraffe.
A story of how a losing horse was a metaphor for not giving up for the nation of Japan, its economic stagnation Haru Urara was a symbol of hope.
It took a turn I didn’t expect, plus I think the idea of using absurd elements like growing fingers as a way to show the feelings of otherness and body change, perhaps even medical conditions like dermatology. I loved it, it offered a new resolution that didn’t really provide positivity or negativity but utility.
As part of my research I will be discussing Marc Augé’s Non-Place and Anthropological Place differentiation. In this post I will be discussing primarily Anthropological Place and what it entails and why it matters for contemporary society. First a preliminary we must first discuss Michel de Certeau’s space and place from his book the Practice of Everyday Life (1984). Space is a frequented place or rather a “practice place”. It is a spontaneous configuration of geometric points in a given location. Place according to de Certeau is static and systematic, its built on rules and regulations. Which leads us to Anthropological Place, Augé’s definition of a common place with relative identity driven history. Although there is little contradiction between the works of de Certeau and Augé, Augé has elements of Certeau Space in his Anthropological Place such as not mentioning that Anthropological Place is not dependent on individuals co-existing and moving within its boundaries.
What is an Anthropological Place according to Augé? An anthropological place is a historically driven place in the combination of relations and identity, of the geometry of lines, intersections of lines and the points of intersection, its time bound, it does not merely record history through places of memories – it participates and reforms it as a gesture of tradition itself, history is not just a spectacle, its integrated and practised not just for the purpose of remembering but acknowledging the group’s identity, using “alternating sacrality” rituals and rites. Its the combination of the repeated semi-fantasy of the founded, the ethnologist’s illusion and indigenous fantasy combined, a world of particular identity, a shared identity, and a individual identity – of a territory founded long ago and re-founded repeatedly to adjust its identity from the external and internal conflicts. It has routes and itineraries to its monumental centre and connects with other frequented places – spaces and centres creating a network of commerce and relations. The monumental centre is the heart, its kept under deep supervision and protected by its autonomous institutional limbs.
Soon in recent times, this place is defusing itself, or pouring over its need for meaning and history over to the itineraries that guide itself to its spaces.