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Six-Weeks Examination
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Comm 150 H
Hagopian
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Documentaries: Paradigms of Truth
According to First Principles, Grierson believed that a documentary's primary
goal was to present information and allow viewers to formulate their own beliefs
without interference from the director or producers. Grierson's ideal may, to some
extent, explain preconceived notions of documentaries being of a bland or drab nature.
He believed that balance between "studio" and "documentary" could not be achieved, as
evident by Flaherty's separation and conversion from the studio to documentary. Public
perceptions aside, documentaries are paradigms of truth partly because of the different
perspectives presented and the components used to construct the film.
Obtaining the truth can involve acceptance and understanding of all views by
glimpsing the reasoning or thought processes behind a certain perspectives. The
principle holds true in deliberations and debates where opposing groups must establish
middle ground and reach an understanding of the others' reasoning or argument. In
this regard, a documentary with strongly voiced opinions can be just as useful as a true
documentary. These documentary types are especially valuable if they represent
minority views.
The necessary component of a true documentary is real-life fodder from natives
or originals. Examples of natives and originals that were evident in the documentary
about the Golden Gate Bridge were the eye-witness accounts and family interviews.
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These components all serve to further the realism of the film and in some cases, the
materials and stories were altered to increase the realism factor. An example of
modification is spontaneous gestures, which gives actors some flexibility in their acting
to allow some of their natural reactions to be reflected.
By using actual individuals with connections to the documentary topic, the
overall film becomes more powerful and meaningful. Since the consistent realistic
elements in the film are the impetus behind the power that holds the audience
entranced, it's no surprise that Grierson would roll over in his grave upon seeing
Michael Moore's documentaries. Moore muscles himself onto the set, constantly talks
into the camera to update the audience, and essentially force-feeds the viewers
information in a very subjective manner instead of allowing the audience to simply
soak in the progression of events.
In conclusion, documentaries that are highly opinionated can reveal the truth
through the perspectives they portray just as well as Grierson's method in his ideal
documentary. By implementing individuals who directly pertain to the documentary
topic, the realism effect on the audience is amplified as the audience acknowledges that
the people in the film were genuinely involved in the issues exposed by the
documentary.
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Enlightenment through Early Cinema
Modern audiences such as myself, looking back on early cinema may consider
the early form to be an archaic, simplistic version that is of little significance now.
However this shallow conclusion is far from the truth. Early cinema serves to show
modern audiences the extent of modernity in three of its major forms. A comparison of
the technology, culture, and cinema industry in the past and present serves to enlighten
modern audiences by offering a glimpse back through a metaphoric looking-glass.
Upon watching Hugo, a film about early film that clearly incorporates the four
major aspects of cinema: artistry, industry, technology, and culture, I was awe-struck by
the technological innovations used to create the film. Stunning CGI effects brought a flat
vista view of a slumbering London to life in a blur of motion and activity. One of the
scenes incorporated mise en scene very effectively through the use of CGI effects. The
scene in question is the one in which Hugo and Isabelle drop the box containing all the
drawings of Melies' work. Paper spirals, swirls, and dances through the air in an artful
display that expresses the childish wonderment evident upon the characters' faces. One
cannot help but to compare the cinema technology that Melies used in his films to the
technology used in Hugo, which included techniques such as film cutting and hand
painting each screen on the film.
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My reaction was comparable to those of the viewers upon first watching "Train
Arriving at a Station." William Bizzell noted in a post that "the audience ... [is] viewing ...
such a sensational and inexplicable experience ... during those times." Early cinema
fascinated viewers because film was a novel, experimental art form at the time, much
like toothpick art in current times. This is supported in "First Principles," which notes
that studio films ignored the possibilities that film had to offer because people believed
that it would be transient and purely for entertainment purposes.
Considering modern cinema now, it is clear that, as Professor Hagopian has
stated, cinema has evolved from a "curiosity to [an] artistic medium." People in the past
valued film because it captured motion, which was a novelty. Now, considering how
the movie industry has lucratively expanded from little scattered arcades to theaters, it
is clear that cinema has become a powerful media with limitless potential.
In conclusion, early cinema serves to enlighten the modern audience through
comparisons in the technology present then and now. In addition, the cinema industry
has significantly consolidated itself from little side stall entertainment to the billiondollar corporations that it is today which is a lucrative outcome that few predicted. The
metamorphosis of cinema as a powerful medium is also evident through its progression
over time and we can surely expect more to come in the future.
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The Life of a College Student
Considering the profound impact that cinema has over viewers as a powerful
communication tool, I would jump at the opportunity to represent my scant nineteen
years of life through a feat of great cinematic achievement. The question then would be
choosing the film type to base my life off: documentary, experimental, or narrative. In
the given situation, I would choose a narrative form since it is more relatable, realistic,
and lacks the negative connotations that other forms carry.
As noted in the very first lecture, narrative films are easier for modern audiences
to comprehend. The viewer simply allows the flow of events to wash over them and
carry them along the story line with the main character. Considering the effect that
Hugo had on me, I would like my audience to be equally fascinated with my story.
Narrative films also tend to lack a degree of subtlety, which would suit my purposes. I
would be averse to putting my life experiences and beliefs up to the viewer.
My aversion to free interpretation is a personal preference, as is my immense
dislike of experimental films such as The Sisters of Belleville. One of the most aggravating
parts of the movie included the absurd body proportions of the characters. I felt as
though the art work, while deliberately planned to reflect the characters themselves,
both detracted and contributed to that particular story. On the one hand, the art was
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hardly aesthetically pleasing and was frankly a distraction. On the other hand, the
outrageous quality supported the outlandish story line involving human race horses.
From my criticism of The Sisters of Belleville, it may appear as though my qualm
lies with the fantastic impulse and that I favor the documentary impulse, which is, to
some degree, true. However I disapprove of the negative connotations that
documentaries carry as the comparatively unimaginative and monotonous black sheep
in the cinema family. Since I tend to think highly of my own life, from an industrial
standpoint, a documentary would not be suitable as it would attract a mere fraction of
the potential consumer group that would gather for the narrative form.
In reality, I favor a narrative impulse, which contains characteristics of the
fantastic and documentary impulses. By following such a format, a larger portion of the
public would express interest, as audiences now tend to favor narrative films due to the
ease with which they can relate to characters. In addition, by veering away from an
experimental form, the film is seen as more realistic without seeming tediously banal.
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Film Criticism
Gattaca: Perfecting Discrimination
Sally S. Li
Comm. 150 H
Hagopian
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I'm ashamed to say that I'm a fervent fan of thrillers of all types. I watch them with great
gusto and eagerly urge others to convert to my brand of fandom. My interest, however, wanes
at an alarming rate and when asked later about the specifics of the movie, I find it difficult to
recall menial details such as names and the plot. Gattaca may be one of the few science fiction
thrillers that I can recall with great alacrity. I remember everything from the movie.
I remember the fog rolling in during a late-night swim laden with hopes and threats in
equal measure, as a man fights his way into a society that wants nothing to do with him. I
remember the medallion clasped in a broken man's hand as he leaves a world that was made for
him but that he'll have no more of any longer. In short, Gattaca is a captivating film that grips
the hearts of viewers and makes them question their ideals and dreams of the future.
Gattaca is set in the near future where superb health and longevity is no longer a wispy,
intangible goal. Hopeful parents are presented with the opportunity to ensure that their
children will live to the fullest of their predetermined potential. Nature and chance has been
replaced by an almighty Build-A-Bear equivalent that spits out perfect babies instead of custommade stuffed animals. And who amongst us can say that they wouldn't interfere to ensure their
own child's health and future security?
This is a question mirrored by the main character, Vincent Freeman, whose parents
allowed nature to take its course with devastating results. Upon being born, the nurse rattles off
a list of afflictions that Vincent may face in the future, much to his parents' chagrin and dismay.
One side effect that the nurse did not mention was one which is a given in this dystopian
society: discrimination. The first form of discrimination that Vincent experiences comes in the
form of his name. Upon hearing of the many hereditary issues that his child has, Vincent's
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father, Anton, interjects when the mother announces that the baby will be named "Anton."
The discrimination and subtle abuse that Vincent experiences only exacerbates as his
genetically perfect little brother, Anton, is born and Vincent feels the added sting when he
pursues his dreams of exploring space. Every interview he attends ends as quickly as it begins,
as employer after employer turns him down on the basis that his genetic report is riddled with
foibles and, as such, he's a massive liability. When he finally does manage to get into Gattaca
Aerospace Corporation, his position is far less glamorous as a janitor instead of a navigator.
However through an illicit contract, Vincent manages to impersonate a foreign swimmer,
Jerome Morrow, who became paralyzed in the country. Despite his physical and mental state of
being, Jerome is a perfect genetic specimen. And so the plot thickens as Vincent infiltrates a
high-security corporation where suspicions rise after the death of a high-ranking official and an
inadvertent mistake in which Vincent's DNA sample is found on the premises. As the criminal
investigation, led in part by Vincent's brother continues, we begin to see the toll taken upon
Vincent, henceforth known as "Jerome," and Jerome, rechristened "Eugene." Gattaca is an
exceedingly exceptional movie in the sense that is reflects a brand of discrimination with great
skill through the four aspects of film, of which only three will be discussed: culture, technology,
and artistry.
Considering the extent of technology now, with its 3-D printers, unreleased
virtual reality headsets, and the completion of the human genome, eugenics isn't too far off.
Gene manipulation isn't exactly a new concept, as shown by the advent of Dolly the Sheep. We
have already had our fair share of tweaking nature's code in our genetically modified foods
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such as chicken and vital crops that have been altered to yield larger and sturdier crops. At the
moment we're just toeing the line by stopping short of human research due to ethical concerns.
Outside of the potential behind technology, parallels between Gattaca and Hugo exist in
the way that technology is a huge driving force, comparable to a force of nature. In Hugo,
technology is the impetus that propels Hugo into an air of belongingness and a warm, loving
family. After all, Hugo's obsession with the mysterious automaton is what leads him to Melies'
toy stand, which in turn sets off a chain of events that lead to a cheerful ending where all is right
with the world. In Gattaca, however, technology seems to drag back any progress Vincent
makes, and at the end of the movie, society is just as damaged as it was at the beginning.
One of the most nerve-racking aspects of the movie involved the many identity checks
that occurred through the film. It seemed as though at every turn there were authorities with
DNA scanners, demanding urine, blood, hair, and more urine. The final, and therefore most
important check, was at the end, when the investigation has ended and suspicions have died
down, which is, naturally, when Vincent is, for the first time, unprepared for a urine sample
check right before boarding the vessel bound to Titan.
From a cursory, shallow perspective, the basis of this dystopian society may seem farfetched and downright absurd, however that is far from the truth, which boils down to a
parent's love for his or her child, which is universal. Gattaca presents a utilitarian version of the
future that we expect, which is a society (culture)? that is dictated and ruled by technology. In
this dystopian society, the underlying belief is one that is exceedingly difficult to debate against
in a logical manner. As individuals who all understand the merits of the world's future world
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leaders being in the peak of their health, it's irrational to speak against parents who decide to
genetically engineer their children to ensure their health and longevity.
While Gattaca is set in such an environment, the film's focus is, at its core, discrimination.
In this aspect, the film is similar to other films such as Man Push Cart, Devil in a Blue Dress, and
Hugo. In all of these films, there is a group of individuals that faces great adversity from the rest
of the population. In Man Push Cart, there are two types of discrimination, in the form of racism
and a clear divide between classes. Ahmad, who has been reduced to a food cart owner is
treated with contempt and very little genuine respect from a fellow Pakistani employer. In
addition to the difficulties that come with a scarcity of money, Middle Easterners are treated
with hostility from the public and face acts of violence. The idea of racism is reflected in Devil in
a Blue Dress, which is set before the Civil Rights Movement. The discrimination in Hugo is a bit
more subtle however, as to make it more suitable for younger ages. However the train guard
appears to have an irrational hatred of orphans in particular, as seen when he locks up an
orphan and proceeds to embellish the crimes the boy committed to his commanding officer.
[insert Transition]
The film aspect that lends more complexity to the film Gattaca is artistry, through which
many deeper meanings and metaphors can be seen. To begin with, the names given to the
characters were not assigned thoughtlessly. Vincent is based off the Latin word vincere, which
translates into "to conquer." Eugene is derived from eugenes which is a Greek word, meaning
"well-born." Considering the circumstances that Eugene was born in with a genetic code scoring
a 9.7 out of ten, he was truly well born. In addition, the closing scene shows Vincent on the way
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to Titan, so in a sense, he has conquered not only the system of the society, but has yet to
conquer space.
Parallels can be drawn between the element of suspense in the Gattaca to Taxi Driver and
Triplets of Belleville . If a spectrum consisting of the three movies was made, The Triplets of
Belleville would be at the lowest end while the Taxi Driver would be at the highest end. Triplets of
Belleville is an animated film that displays very little suspense despite the grandmother's quest
to reclaim her grandchild, Champion. Taxi Driver, on the other hand, practically permeates the
air with suspense as the audience is left on its toes, wondering what the main character will do.
On the spectrum, Gattaca would fall closer to Taxi Driver since the majority of the time, it's
believed that Vincent's deception will be discovered and his goals hindered.
There is even a brief hint of neo-noir in the film, during the restaurant escape scene
which uses dark lighting and an ominous mood when Vincent and Irene are hiding out in an
alley way. This neo-noir sense is reinforced throughout the film when the murderer has yet to
be found. From the audience's perspective, Irene, herself, appears, to be a potential suspect, as
she snoops around, collecting Vincent's planted hair sample. Her actions make her seem like
killer, factor in the romantic relations that she has with Vincent and she's the femme fatale
character that neo-noir films are known for.
Another example of a metaphor that presented status changes in the film occurs
as Vincent undergoes surgery to elongate his legs using bone grafts. The metaphor lies
in the idea behind Vincent rising about his status and in Eugene being restricted to
sitting in a wheelchair and thus lowered. The metaphor is further reinforced as Eugene
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is seen as a cripple by a guard who happens to see him outside in public and in the
DNA analyst congratulating Irene on finding a 9.7 in Vincent.
The epic climb up the monolithic staircase when Eugene has to drag himself up
to a higher level of the house is also representative of him rising above the society in
which he was born for. Prior to the climb, Eugene's actions still indicated his beliefs of
superiority just from having better genes. He became a heavy drinker, went to
extravagant restaurants, critiqued the service and wine in a supercilious manner, and
often hired escorts. It's clear that it wasn't until after the event that he decided to plan
for his death by setting aside a large stock of necessary body samples for Vincent to use
after his suicide.
While Eugene had his moment of great physical prowess, Vincent also had a
metaphor that was shown through a feat of physical achievement. After Anton finally
accosts his brother, they decided to play one last game of "Chicken," in which they
swim as far away from shore until one of them becomes afraid or tired. During the final
swim, which Vincent wins, Anton demands to know how Vincent wins despite having
a worse heart condition. Vincent responds by saying that he simply doesn't think about
the shore that he leaves behind, he just continually throws himself forwards, which is
what he essentially does throughout the duration of the movie.