as below

Running head: ANSWERING FILM AND ART QUESTIONS 1

FILM AND ART QUESTIONS 4

FILM AND ART ANALYSIS

NAME

INSTITUTION AFFILIATION

Film and Art

Question one

The last scene of the film ‘Koyaanisqatsi’ is one that can be interpreted, to sum up, the main themes of the various scenes that the film alludes to, and its underlying message. The last scene opens up with an eerie silence, and then there is the appearance of a metropolis that is shot from the air. Pictures of circuit boards then follow it, and then there is a comparison of the circuit boards which resemble the city grids. Then there is the music commencement, followed by an increase of volume, and the choir’s content is about the three Hopi prophecies. However, the camera is more inclined to focus on the individual faces and views, and this could have a figurative meaning of the film as most people look sad, ravaged. The implication is that the people look lost and victimized, in a crowd that is very indifferent and does not care about the individual fates and situations that these people could be going through. Then there is a hospital bed with a hand, reaching out for some human contact. A man collapses out of a heart attack in the street, and the uniformed men try to deal with the ‘disruption’ just as people deal with traffic disruptions. The firemen are seen to walk beside a building that has been burned, and the children who are playing do not even seem to notice. Then the sequence turns to a rocket that is being launched to Saturn and then the debris returning to earth. It all alludes that the self-destruction of modern technological developments will always come to haunt the earth. It all serves as a reminder that, as the movie shows that there are no heroes or adversaries, it is a collective responsibility to take care of the environment, and if not, the consequences will be borne by all.

Question two

One of the things that need to be mentioned is that the shooting for dance has always been challenging. For instance, if one would take a wide shot, they are likely to miss out on what is taking place behind, and thus even some of the emotions that are expressed in dance. It is a problem that can be said to have affected the capturing of the dance movements because the 3D cameras have not come of age when it comes to depicting any rapid movements that take place when film shooting is taking place. A major point of Bausch was to make sure that caused a revolution by challenging the technicalities that defined dancing, by creating a range upon which the dancers could express themselves more. Bausch was able to fulfill this goal by ‘extending the possibilities of dance and embracing performative means outside of it’ (David & Kristin, 2004). In one of the tributes given to Bausch in the Pina is that people can overcome fear and let their bodies express themselves, rather than feel trapped. Another style is that performances drawn from dances characterized Bausch dances, but this does not mean that they were danced, repetitiveness that was almost compulsive and emotions such as cruelty, compassion, and panic. Her works were beautiful because of the alternation of all these emotions in her live dances. Thus, when talks of the archival and presentness, in Pina, there is a depiction of some technicalities of dance, but also there is the illustration of different emotions. In the film ‘Pina’ it is the ability to blend all, with the Sacre dance being one that shows the revolution that Bausch was able to cause. However, all these movements also show the development of 3D cameras, but it is the ability to get the audience involved that makes the film a masterpiece.

Question three

It has often been said that it is only after the film audience and reviewers realize that they have been fooled that they can come to an objective reflection on how documentaries that do not have any authenticity use deceit and revelation in their structural development. When the news came that the film ‘I’m Still Here’ was a hoax, different opinions were expressed, but one of the prevailing ideas was that Phoenix wanted to rebrand and salvage his acting career. It is a damnation of the persona of Phoenix, but also one that shows what has long been said about the documentary, a lack of acknowledgment by the film in the content of its fabrication, which does not lend the satirical argument that the filmmakers want to rely on for its justification. It is the performance in the film, such as the ‘rap’ that Phoenix performs, and the abusive language to others, that serves to reinforce the celebrity culture that has been used to get away with almost all that they do, even when such actions are superficial. On the other hand, in Mark Borchardt ‘American Movie’ Joachim is seen as a distortion of the social conventions that have come with the celebrity age. He is not only indecent, with unkempt hair, but is also indifferent to the questions that are asked, and the responses that are given are terse. It all leads to one aspect about the celebrity culture and the media role that they can be subverted, manipulated to become awkward, and put pleasant events to shame if there is a person who does not play their expected roles in documentaries. Therefore, with such a perspective, with the observation that ‘filmgoers have become more sensitive’ (David & Kristin, 2004) the movies leaves one questioning the very authenticity of most documentaries, and the role of media to diligently play its role.

Question four

If there is a film that one would choose is ‘Kids’ because of its authenticity and an ability to offer a social realism that has often been lacking in most films. While it is not in dispute that the film uses hyperbole to magnify its problem, it underscores an undeniable truth. It has been said that the film talks of the social disintegration and the adolescent selfishness that characterizes modernity, and at its extreme. It is a film that serves to show some of the forgotten issues such as the devaluation of sex and intimacy, which has left today’s youth with a license to roam and indulge themselves, without giving any caution to any arising consequences. In the film, characters such as Telly who has built a reputation at his sexual involvement, which the film uses the term ‘deflowering,’ perhaps to reflect its naturalism. However, an in-depth analysis of the film shows that the events are common in the streets of New York. One is likely to meet the same group of ‘Kids’ but their artistic representation is what shows how much the society has slid into one that glorifies immorality, and values have all but been neglected. The film is that the kids in the film are not liberal or stylish, or any other superficial terms that have been used, they are just social damnation. However, the film mainly reflects on what was going on with teens in the 1990s, but there is also a present theme; one of the social actions. The film is not a tangible form of art but rather an abstract, a social-artistic perception of how the society has been running away from its past. The film does not use the superficiality of Hollywood but rather it gives a chronological order of events, not the causation impact that most Hollywood films offer, and it does not offer any analysis or prognosis, just a social reality which makes the presence of the artist to be visible and even felt.

References

David, B., & Kristin, T. (2004). Film art: an introduction.