Month: April 2016

Week 5 – Reading: The Problem Of Conflating Ideas With Morality

Posted on by ryanrosenberg

I’ve been thinking about Alan McKee’s ideas on ‘interpretation’ on a broader scale. While he was talking in the context of ’text’, it can easily be applied to ideas in general.

The current culture has a seriously problem of conflating morals with ideas. Since they consider morality to be absolute, they use this to judge notions from a ‘right vs wrong’ standpoint. Reducing a conversation to a simple ‘yes or no’ answer prevents any type of discourse to be had.

Purely in the context of ‘texts’, many forget that a ‘text’ is usually art, and art is exempt from morality. Criticism is separate entity, but when your criticisms come from a moral place, well, you are the one who is wrong.

Nothing is sacred.

Week 4 – Workshop: Sound Exercise

Posted on by ryanrosenberg

The only problem I had with this task was creating interesting content. As someone who reguarly records lo-fi music and listens to lo-fi sound (whether that be music or a podcast), I don’t really notice or care about its quality. If the task was to record sound, a separate video, and sync it, then it would be a different story. To me, sound quality only matters when it’s used in a visual format.

For the interview, I mixed our sounds on Logic Pro, a program I use everyday. Along with adjusting the levels of each track, I added an echo to Michael yelling “hey” and lowered the pitch on my track by -1. I used three atmospheric tracks that we recorded; inside an escalator, inside a tram, and general corridor noise.

Cover your ears:

Thoughts – Best And Worst Films Of 2016 (So Far)

Posted on by ryanrosenberg

2015 was a horrible year for film, the worst in its existence. Sentimental victim narratives have taken over the industry, providing the sanctimonious with even more reason to congratulate themselves, and denying film to be the boundary-pushing medium it once was. In saying that, 2016 so far has been decent, but it won’t be long before the PC films of the year are released, polluting the industry once again.

As I feel quite passionate about film, I thought I’d write about what films I have seen this year that have had an effect (positive or negative) on me. I feel more strongly about the worst than the best, so I’ll keep the latter brief and use the former as an exercise in hatred.

The best:

5) Hail Caesar
The fact that people didn’t get and/or like this film proves cinema is dying.

4) 45 Years
I’ve been waiting years for that “great drama” – and 45 Years is certainly that. Andrew Haigh’s subtle direction and tight-knit script allows for Rampling and Courtenay to deliver truly incredible performances. But what really steals the show is the atmospheric backdrop of Norfolk. Haigh is probably Britain’s most interesting filmmaker right now, and I can’t wait to see what he creates next.

3) The Hateful Eight
This film is everything that the culture desperately needs right now. Warm Black Dingus is probably the scene of the year (so far). And what a score!

2) Anomalisa
How the hell was this film made? Not the technique (though it is extraordinary), rather the fact that a production company would produce such a thing. Putting money into a Charlie Kaufman stop-motion film is not a wise investment. But who cares! Thank god for this film. 

1) Son Of Saul
Winner of Best Foreign Film at this years Oscar’s (the only category with any integrity), Son Of Saul is the directorial debut of Laszlo Nemes. Directorial debut. How? Quite extraordinary. I don’t remember seeing a recent film that was as captivating, gritty and realistic as this.

And the worst:

5) Spotlight
How to win an Oscar:
1) Write a script that prioritises victimhood as it will naturally elevate the film’s importance
2) Cast actors who excel in self-righteous roles (a la Mark Ruffalo and Michael Keaton)
3) Hire any director, doesn’t matter who it is, it’s a victim film, if you don’t like there is something wrong with you
4) Submit to the academy who suffer from guilt and will do anything to prove to the world that they are progressive
Also, this film looked like TV. And if there is one thing that is completely unacceptable in cinema, it is a film that looks like TV.

4) Steve Jobs
I’ve never been a Danny Boyle fan, so coming into this, I wasn’t expecting much. And my expectations were met. Wow this was boring. Yes, the performances were decent, but who cares? I also found it hard to engage with Aaron Sorkin’s script; his dialogue becomes too much of a distraction. And that crowd-pleasing ending? Gross. I don’t care about you or your daughter, Steve.

3) Room
**See Spotlight above** (except this did’t win (thankfully) – though it was still nominated)
This film was laughably awful. If you’re going to play the victim narrative, don’t play it so safe.

2) The Big Short
I hated absolutely everything about this film. It was so poorly directed; the intended ‘balance’ of the comedy and drama was about as successful as ’The Room’; the only times I laughed were the more ‘dramatic’ moments because they were so jaw-droppingly bad. Everything was so contrived; it tried so desperately to be outrageous that the film was begging me to be impressed by it. The breaking of the fourth wall failed miserably. But the cutting to ‘celebrities’ to explain things was the absolute worst; when a film is so pathetic that it will do literally anything for mainstream relevance, well, it becomes completely irredeemable.

1) Trumbo
Bryan Cranston, I love you, but what the hell were you thinking? I probably hate the above films more (for their message) but this was just really bad cinema. I doubt this year will witness a worse script.

Most Anticipated Release: The Neon Demon

If you’ve read this far, feel free to comment any opinion(s) you may have, recommendations, etc.

FULL LIST: http://letterboxd.com/francisroz/list/2016-ranked/