anthropology
Heroes and Icons
How do you choose your heroes and icons?
In 1977, I was 5 years old when my parents took me to my first movie but, it wasn’t just a movie, it was a drive-in movie. The movie? Star Wars. Needless to say, it flipped me right out.
Unlike most of my pals, who were drawn to Luke or Chewbacca or Han or whatever, I was obsessively drawn to R2-D2. I wasn’t just into R2, I wanted to BE R2. Something about his character, his utility, his outright usefulness in so many contexts and situations captivated and appealed to me. So, my room had models of R2 on the shelves, my bedside table had an R2 alarm clock, my watch was an homage to R2, and my birthday cakes were more than once adorned with his image in crystalline sugar.
The obsession continued throughout my elementary and middle school years. I might even say it never actually ended. I saw, and continue to see, his influence everywhere. In the functionality of tools, vehicles, and other simple machines, devices, industrial design, consumer gadgets, and systems theories.
Here’s the thing: R2′s sheer ability, willingness, and selflessness to adapt so readily, without fear or delay, to so many challenges on behalf of the goals of his peers inspired me as my family moved around. As a kid, I was constantly having to adapt to new environments, new geographic layouts, people, styles, vocabularies, dialects, the whole thing. Since that wasn’t easy, I often imagined what R2 would do, moving through situations as if I were him, though slightly taller and more maneuverable. Just the idea of him, imagining myself as having his chutzpah, gave me confidence when I needed it and, I admit, continues to influence me to this day. Silly? So what?
Imagination makes us powerful. As children we imagine ourselves as someone else, someone more capable of accomplishing what we feel we cannot. It is through these personas many of us are able to make our first, significant achievements. Whether faced with the adversity of a spelling bee, school play, or the playground rights of passage, we resort to the power of our imagination to envision ourselves accomplishing something seemingly beyond our reach. As we age, some of us seem to either pull back on this while others expand on it and, in some cases, become Jack Whites, Oprah Winfreys, and Michael Jordans.
Success pivots on something simple: the will to believe.
Dropped is in
This 10-minute short film is made up of clips found on YouTube by Chris Beckman, who collected clips of people dropping their video cameras and edited them together into this artful masterpiece:
Tabula Rasa
From Wikipedia:
Tabula rasa is the epistemological thesis that individuals are born without built-in mental content and that their knowledge comes from experience and perception. Generally proponents of the tabula rasa thesis favour the “nurture” side of the nature versus nurture debate, when it comes to aspects of one’s personality, social and emotional behaviour, and intelligence. The term in Latin equates to the English “blank slate” (which refers to writing on a slate sheet in chalk) but comes from the Roman tabula or wax tablet, used for notes, which was blanked by heating the wax and then smoothing it to give a tabula rasa.
Of course, this debate has since taken a different route as put forth here by the inimitable Evelyn Fox Keller. All quite interesting enough.
Pigs on the Wing
Part 1
If you didn’t care what happened to me,
And I didn’t care for you,
We would zig zag our way through the boredom and pain
Occasionally glancing up through the rain.
Wondering which of the buggars to blame
And watching for pigs on the wing.
Part 2
You know that I care what happens to you,
And I know that you care for me, too.
So I don’t feel alone,
Or the weight of the stone,
Now that I’ve found somewhere safe
To bury my bone.
And any fool knows a dog needs a home,
A shelter from pigs on the wing.
‘sticks’ at the 10 Second Film Festival
The crowd at the 10 Second Film Festival
“Lars can eat carrots really fast” was a crowd pleaser, too, and when i didn’t hear the call to claim the award for ‘sticks’ evidently they chose this as the next winner, which i didn’t go up for either because i STILL couldn’t hear anything! : P
The Man’s Guide to Love
All over the country, these folks have been asking men:
“If you had one piece of advice that you’d give another man about love, what would it be?â€
Click the photo to see and listen to their answers:
fate and the wall
A wall is accidentally knocked over leading to a discussion about the roles of choice and fate across cultures.
The Music of Conrad Praetzel and Clothesline Revival
The best music you may not have heard of comes from the imagination and inspiration of Conrad Praetzel, an archaeologist-turned-musician living in Northern California, who makes soulful music under the moniker Clothesline Revival.
Collaborating with great musical forces in the world, including Charlie Musselwhite, Sukhawat Ali Khan, Robert Powell, Rounder Records, the field recordings of John and Alan Lomax, among others, Praetzel continues to turn out a unique sound. With timeless qualities of a simpler era and yet also a contemporary tone, his music has a singular style making it hard to categorize. Cinematic and real, perhaps.
Long Gone, Of My Native Land, Receive, EnTrance, Myths and Memories, Between Previous and Past are each a different feel and distinct combination of players, instruments and styles.
They Came From Somewhere is Praetzel’s first collection of all original compositions in over ten years, featuring legendary blues artist Charlie Musselwhite and is being released soon.
Highly recommended listening – some samples and links to purchase available via Conrad’s record label, Paleo Music.
Goodbye Solo
Every now and then a film moves me, lifts and tosses about my sense of the world, of knowing myself and my own culture, let alone the cultures of others and where mine fits in. Then, it sets me down gently, back in the place I was to begin with. Only then, the place looks a whole lot different. Better? Not necessarily. Worse? Not necessarily. Just – different.
Yesterday a good pal showed up and had brought me Goodbye Solo. I watched it not once but twice before falling to sleep with images of Souléymane Sy Savané, Red West and the road ahead of all of us, wherever or whatever our situation.
One of the most beautiful things about this film is how Ramin Bahrani chose to tell it visually. The cinema of the whole thing is masterful. The relationship between these two unlikely characters is developed elegantly without a hint of muscle-y force.
I could rant on and on about the reasons why I love it, why this is a film to be celebrated but for two reasons I will leave you in peace: 1) I do not wish to dilute it for anyone reading this who has not yet taken it in, and 2) I already did so at length to my pal who brought it to me, thanking him for the gift of spending 91 minutes of my life watching the work of a truly gifted filmmaker who should be an inspiration to generations of filmmakers to come.
Thank you, Ramin.
Cinematography: We’ve come a long way?
We don’t have to ask why we love videos and movies, visual literacy is becoming more important as time goes on.
Produced by Thomas Edison and directed and filmed by Edwin S. Porter, The Great Train Robbery was the first narrative movie ever made.
Thinking about today’s conventions I see in contrast to the silent films of the early years of cinema, the first thing is obvious: there are a lot of talking heads. The cinematic elements that make me love movies, especially silent movies, are mostly lacking, having given way to VFX and complicated dialogue. Cool effects work well in the right places but, as we learned from the great, early filmmakers, a story is best told with a visual, artful use of the tools to lead us to make connections on our own. This is what cinematography is. The American Society of Cinematographers defines cinematography as:
a creative and interpretive process that culminates in the authorship of an original work of art rather than the simple recording of a physical event.
The difference between a good film and a great one is that even with the audio removed a great film stands on its own. The audience can still make sense of the action because the cinematic elements keep moving the story forward.
Silent films didn’t have the luxury of audio tracks to bolster what was happening on the screen. Directors worked feverishly to keep the inclusion of cards with words on them to a minimum as audiences often found them distracting because they broke a certain rhythm to the visual story that was unfolding before them. The fundamentals of editing were more than enough for directors in those early days as they saw a seemingly infinite number of conventions that could be used to craft atmospheres, psychological experiences that led audiences to emotional heights and dramatic lows in response to the visual sequences taking place in front of them.
In contrast to now, when a majority of popular films have so many stylistic choices in common, produced with technology that can shoot high and low, inside and out, leave no stone unturned, no thought of a character unknown, possessing perhaps a similar cultural rhythm about them, too, that can at times make them feel almost like the same movie. Technology has certainly opened up many more options for modern day shooters, myself included. Shooting with a Canon 5D Mark II allows us to shoot cinema quality footage at 24p at a fraction of the cost. However, as in design, there is a time and place for whitespace, which is to say, to not exploit the tools for all they’re worth just for the sake of exploiting the tools for all they’re worth. Does it add to the story? Yes? Keep it. Does it not add to the story? Lose it.
I surely don’t mean to discount the work of the great cinematographers of our age, only to suggest that limitations are what create the opportunities for innovation, not a lack of them. The life pursuits and soaring accomplishments of a legion of great screen directors in the early days of cinema stand testament to it.
So how has the rapid deployment of these new tools impacted our ability to tell a story cinematically? Surely it’s both helped and hindered. A great story is still a great story, regardless of what tools are used to tell it.
Neil Postman: Education as a Cure for Stupidity (Part I)
Who is Neil Postman?
Wanna watch more? I sure did. Click here.
Ken Burns on filmmaking
If you wanted to be a doctor or a lawyer or a feature film I could tell you the steps to take to do that, but every working documentary filmmaker I know has gotten there through their own unique path. There is no career path.
Asleep
This is just the fat trimmed off a project I’m working on: a multimedia installation about people asleep in public spaces called, appropriately, “Asleep”:
10secondfilms.org
Some think content will keep getting longer and longer until movies are 3 and 4 hours long. That’s fine. OK with us. We also like the idea of not spending 3 or 4 hours to get something out of it.
Like music, there is a time and place for a long song and a short one. We like them both. We do listen to waaay more short songs than long ones, though. This is the reason we love still images more than films. If our house was on fire and we had to save still images or films, we would have to save the stills. We know. Sounds surprising! We work in motion but, like most of our favorite filmmakers, we think in stills. Moments. In a moment, a still image can change our lives. Films take a little longer.
Which is one reason we created and curate 10secondfilms.org. In 10 moments, a film can pack quite a wallop. Some maybe not so much, but are still worthy as friendly exercises in media literacy.
Howard Rheingold called this site “genius, funny, and yes, friendly expression of participation media literacy” via his Twitter account.
Gever Tulley also commented on it using the most appropriate phrase ever: “oddly compelling” – also via Twitter.
Compliments coming from fellas like these make us feel pretty darn swell, to say the least. Thank you, Gever and Howard. You both have our most humble admiration and deepest respect.
This is all just to say that we believe the experience of producing media should be a friendly one for all ages, especially as technology can still be an obstacle to the creative process for many of us. As an exercise in media and visual literacies, the 10-second format is vital. It minimizes the need for complex tools. These moments as movies are gratifying and occasionally inspire larger, more ambitious projects.
Make a 10 second film with any device that captures motion pictures.
No editing — One take — 10 seconds maximum length — Sound is optional.
Have a 10 second film you like?
We’d love to hear about it and perhaps even feature it on the site – click here to tell us more.
Meanwhile, thanks for reading and — keep playing.
