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Hollywood looks to The Mask and The Toxic Avenger for inspiration. It

Diposting oleh bunker on Jumat, 27 Desember 2013

Hollywood looks to The Mask and The Toxic Avenger for inspiration. It

This Image was ranked 6 by Bing.com for keyword avenger, You will find this result http://www.bing.com/images/search?q=avenger&qft=+filterui:imagesize-medium&count=100&format=xml.

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Let's Give Paris Jackson Some Privacy and Revisit Safe Reporting on Suicide (and Attempts)!

Diposting oleh good reading on Rabu, 05 Juni 2013

I always cringe when the announcement of a celebrity suicide or suicide attempt comes through my news feed.  First and foremost, because it is incredibly sad to learn that anyone is suffering enough to consider suicide.  Second, because the news coverage that will follow is often invasive and downright dangerous to the rest of us.  The way the media covers suicide can influence behavior negatively by contributing to contagion or positively by encouraging help-seeking.  I have often written on this topic for Pop Health and even as an op-ed for the Philadelphia Inquirer.  However, the message is so important that it bears repeating.

According to multiple news outlets, Paris Jackson (daughter of the late Michael Jackson) was hospitalized this morning after a suicide attempt.  The story was apparently confirmed by her biological mother Debbie Rowe- Paris was hospitalized with cuts on her wrists.  Now I was already concerned that a 15 year old girl was having these personal, medical details released to the media.  Then I saw the coverage on TMZ and just got plain angry.  I won't link to it here because (1) the irresponsible coverage could be dangerous to readers and (2) I refuse to drive traffic to their site.

As a journalist (or public health communication professional) working on this story, your first stop should be Recommendations for Reporting on Suicide.  Although the guide focuses on suicide, the recommendations are highly relevant for attempt stories as well. The recommendations were developed by leading experts in suicide prevention and in collaboration with several international suicide prevention and public health organizations, schools of journalism, media organizations and key journalists as well as Internet safety experts. The recommendations are based on more than 50 international studies on suicide contagion.  Based on their recommendations, here are some of my concerns with the Paris Jackson articles:

  • Sensational headlines:  E.g., "Paris Jackson Attempts Suicide, Rushed to Hospital" (US Weekly)
  • Oversimplification:  E.g., "A source close to the family tells Entertainment Tonight exclusively that the reason Paris attempted suicide is because she wasn't allowed to go to a Marilyn Manson concert".
  • Including photos of the method of death (or in this case attempt):  TMZ has published multiple pictures of Paris (some undated) that zoom in on her wrists to identify possible cutting scars.  This is bad for several reasons:

A lot can be learned in public health by monitoring this media coverage, highlighting mistakes, and reinforcing safe messaging.  The Paris Jackson articles should:
  • Inform without sensationalizing
  • Provide valuable education to readers (including suicide warning signs, ways to help a friend/family member, and resources like the National Suicide Prevention Lifeline)
  • Seek advice from suicide prevention experts before reporting on data or making assumptions about Paris' intentions or medical history
  • Be hopeful! Emphasize that mental illness is treatable and many local and national resources exist


What Do You Think?
  • What was your reaction to the media coverage of Paris Jackson's suicide attempt?
  • What other resources would you add to my list to support safe media reporting on suicide and attempts?
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"Call Me Crazy": Lifetime's New Movie That Champions Hope and Resilience Around Mental Illness

Diposting oleh good reading on Selasa, 23 April 2013

*Warning: it was difficult to write this post without including a few small spoilers, but I hope you'll watch the whole film anyway.

On Saturday April 20th, Lifetime debuted "Call Me Crazy: A Five Film".  The film (which boasts a star-studded cast and director list) includes five short stories that examine the impact of mental illness from various perspectives.  Each story is named after the main character: "Lucy", "Grace", "Allison", "Eddie", and "Maggie".

In the first story, we are introduced to Lucy (played by Brittany Snow).  Lucy, a law student, has recently been admitted to a psychiatric institution after experiencing a schizophrenic episode.  She is struggling to see how she can live a "normal" life that includes relationships and a career.  Her clinician encourages her to finish law school because she has insight into something very few people understand (mental illness)- so who knows how many people she could help?

In "Grace", we meet a daughter who has been living with a bipolar mother for her entire life.  Grace is played beautifully by Sarah Hyland from "Modern Family"- I loved seeing her in a dramatic role.  We see the "highs" and "lows" of her mother's condition.  We also see the devastating impact that it has on Grace's life when it is not treated.  Grace often plays the role of caretaker- making sure her mother is safe.  We see her struggle to have her own life aside from her mother's illness.

"Allison" offers the viewers a twist.  She plays Lucy's younger sister.  So we step back from Lucy's view and we see how mental illness has affected her entire family.  Allison's childhood, her sense of safety, her relationship with her parents- were all changed as a result of her sister's illness.  She has bottled up a lot of anger and finds it difficult to support her sister through her recovery.

"Eddie" introduces the only male main character.  He is suffering from severe depression.  He has withdrawn from his wife and his friends.  He has stopped receiving help from his therapist.  We watch his wife intervene after discovering that he may be thinking about suicide.

Finally, "Maggie" introduces topics that (unfortunately) are all too common these days- post traumatic stress disorder (PTSD) and military sexual trauma among our returning veterans.  Maggie (played by Jennifer Hudson) was victimized during her time in the Army and its lasting impacts are threatening her ability to have a healthy relationship with her family.  Here we get another update on Lucy- she is now a lawyer and is representing Maggie in court.

While each story stands on its own, Lucy's story is woven throughout "Allison" and "Maggie" as well.  I really liked this strategy.  Not only because I became invested in her character during the first story...but also because seeing her evolve over time helped to demonstrate some key themes from this film- hope and resilience.

As Lucy says to Maggie: "I am living proof". [Of what?] "That there is hope".  In court, Lucy reminds Maggie's judge that having mental illness does not mean that you are a bad person or a bad mother.  She also reminds him about the importance of social support, "it is nearly impossible to get well alone".  Even though we see all of these characters at their lowest point- there is still hope that they can feel better, have strong relationships, and contribute positively to the world.

It seems fitting that Brittany Snow's character delivers these messages about hope and resilience, as she is a strong advocate for them in real life.  Together with the Jed Foundation and MTV, she founded Love is Louder.  Love is Louder is an inclusive movement that amplifies messages of love and support to combat negative messages resulting from bullying, loneliness, and stigma.  She has also publicly shared her own battles with anorexia, depression, and self harm.

As a health educator, I highly recommend this film as a resource for discussing mental illness, suicide, stigma, social support, and help-seeking.  Since each story is approximately 20 minutes, they can be broken down into segments or watched all together.  This film is a great example of Entertainment Education, which is an area of public health that acknowledges the strong impact that television and movies play in educating the public about health issues.

If you or someone you know is struggling with a mental illness, please reach out:
National Suicide Prevention Lifeline (1-800-273-8255)

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New SENSES OF CINEMA!

Diposting oleh good reading on Minggu, 17 Maret 2013

Frame grab from Sans Soleil/Sunless (Chris Marker, 1983)
Oooh! Film Studies For Free's Sunday is complete: a new issue of Senses of Cinema is out. It has some eye-wateringly good items. Just skim, scan and click below.


Senses of Cinema, Issue 66 , March 2013
Editorial Introduction

Features

Great Director:Albie Thoms Dossier – Contents 
Adrian Danks's Introduction to the Dossier
  1. The Ubu Moment and Australian Experimental Film: Interviews with Albie Thoms by Danni Zuvela for OtherFilm 
  2. Albie – A Well-Directed Life by Tina Kaufman 
  3. Albie Thoms (dissimilis aliqua alia) by Peter Mudie 
  4. Why Albie Thoms? – A Singular Commitment and a Figure Displaced by Barrett Hodsdon 
  5. Days of Future Past: Albie Thoms’ Polemics by Jake Wilson 
  6. Memoir of Albie by John Flaus 
  7. Albie Thoms as an Historian by Graham Shirley 
  8. Albie Thoms Refractions by Danni Zuvela for OtherFilm
Cinémathèque Annotations on Film
Book ReviewsFestival Reports
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"Girls" Tackles OCD: What I Hope IS NOT Happening In Our Emergency Departments

Diposting oleh good reading on Senin, 11 Maret 2013

This afternoon I had the pleasure of having some downtime- so I used it to catch up on the three recent "Girls" episodes sitting on my DVR.  Having avoided spoilers, I was surprised and saddened to see Hannah (Lena Dunham) being consumed by Obsessive Compulsive Disorder (OCD).  We learn that she had a serious bout with the condition once before- in high school.  It was so serious that she sought professional help and medication at that time.  Flash forward to her post-college life and we see her plagued again...perhaps triggered by the stress of a recent break-up and a looming book deadline.

While there are several disturbing issues in the most recent episode "On All Fours" (you can see the comments in Alan Sepinwall's review for those details), I want to focus specifically on Hannah's trip to the local emergency department (ED).

I was very upset watching this scene and I'll tell you why:

We know that emergency room providers are key gatekeepers for those who are suicidal and/or suffering from mental illness.  Research tells us that 1 in 10 suicides are by people seen in an emergency department within 2 months of dying.  Acknowledging the importance of this gatekeeper role, leadership organizations in suicide prevention have created a variety of toolkits and resources to educate and train emergency department personnel to identify patient warning signs and assess their risk.

In "On All Fours", Hannah visits the ED after obsessively sticking a Q-tip in her ear, getting it stuck, and experiencing pain.  After lying to her parents by saying she has "12-15 good friends" to accompany her to the ED, she goes alone.  The scene opens with the doctor telling her, "Well, you must be feeling pretty silly."

As the doctor examines her injured ear, Hannah says:

"I've just been having a little trouble with my mental state."
"I have a lot of anxiety and I didn't think stress was affecting me but it actually is."
"I'm not saying this was an accident, but I was just trying to clean myself out."

At no point does the doctor respond to any of these statements.  He is all business, telling her to follow-up with a specialist if she is still experiencing pain in a few days.  As Hannah lays down so he can put antibiotic drops in her ear, she pleads with him to look at her other ear.  He snaps at her "there is nothing wrong with the other one."  Hannah cries on the bed because it (the drops? her situation?) hurts so bad.

He discharges her and she walks home alone.  In just a t-shirt and no pants.

Now I'm not saying that Hannah was acutely suicidal or verbalized such a threat in the ED.  However, I am saying that she made several clear statements about her mental health that should have been treated with concern and respect by a competent medical provider.  Her demeanor and her appearance deserved a kind ear, a social worker's visit, someone to ask if she was all right.

These recent episodes have been applauded for their accurate portrayal of OCD.  I hope that a future episode will show a portrayal of a caring and skilled provider using the public health prevention and education tools that are available to assist someone in desperate need of help.

For any readers that may need help:




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Seth MacFarlane: An Oscar Host who is Harmful to Comedy and the Public’s Health

Diposting oleh good reading on Selasa, 26 Februari 2013


This week’s post for Pop Health was co-written by Beth Grampetro, MPH, CHES. Beth has been working in college health promotion for 7 years and her interests include feminism online and in popular culture. You can follow her on twitter @bethg24

The role of society is important in public health.  Health is not just influenced by individual decisions and behaviors.  It is also influenced by our interactions with the world around us- our communities, our families, our workplaces, our schools, entertainment, celebrities, and the media.  These interactions can have a very strong influence (good or bad) on the public’s health.

With that in mind, we were horrified to witness host Seth MacFarlane’s monologue and ongoing commentary during Sunday night’s Oscars.  According to Nielsen ratings, approximately 40.3 million viewers tuned in to the Oscar telecast.  This broad audience watched MacFarlane, a widely known celebrity, make jokes about domestic violence, female actresses’ bodies, and various forms of discrimination.

In the opening number, MacFarlane sang a song entitled “We Saw Your Boobs”, about the scenes in various movies where actresses in the audience had appeared topless. While it has been reported that the actresses were in on the joke, it is nonetheless disturbing that this number passed muster- especially given that several of the scenes he referenced were from movies where the actresses he named portrayed rape victims.

Other jokes included a reference to Jennifer Aniston’s past as a stripper, a congratulatory statement about how great all the actresses who “gave themselves the flu” to lose weight looked in their dresses, and a comment about how Latino actors (in this case Javier Bardem, Salma Hayek, and Penelope Cruz) have difficult-to-understand accents “but we don’t care because they’re so attractive.”

MacFarlane also tried some jokes that had men as their targets but still managed to get mud on a few women in the process. He joked that Rex Reed was going to review Adele’s performance (a reference to Reed’s recent movie review in which he called Melissa McCarthy a “hippo”) and made a joke about 9-year-old nominee Quvenzhané Wallis dating George Clooney. Some defenders of MacFarlane’s performance argued that these jokes were meant to be about the men in question, but ignored the fact that they were made at the expense of women and girls.

The Oscars are billed as “Hollywood’s Biggest Night”, and it’s incredibly disappointing to see what is the biggest event for the entertainment industry turned into the worst office party in history, complete with a leering coworker who’s creating a hostile environment.  If MacFarlane succeeded at anything, it was reminding women that they’re expected to always be thin, be pretty, and be willing to shut up and take it, lest they spoil the whole evening.

There is evidence to show that (unfortunately) these types of jokes and messages that devalue women are believed and internalized within our communities.  For example, a 2009 study by the Boston Public Health Commission found that over half of teens surveyed blamed the singer Rihanna after she was beaten by her boyfriend Chris Brown.  In addition, research shows that a mere 3-5 minutes of listening to, or engaging in, fat talk can lead some women to feel bad about their appearance and experience heightened levels of body dissatisfaction.

Research also tells us that these internalized messages and social norms are correlated with serious public health outcomes.  For example, the CDC outlines the risk factors for sexual violence perpetration.  Under society level factors we find (among others):

Societal norms that support sexual violence
Societal norms that support male superiority and sexual entitlement
Societal norms that maintain women's inferiority and sexual submissiveness
Weak laws and policies related to gender equity

So the issue is much bigger than if Seth MacFarlane was funny or made a good Oscar host.  The issue is about the quality of the role models we choose to represent our communities and the messages they send.  These messages can have a broad and long lasting influence on public health.  We hope the Academy will choose wisely next year.

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New Issue of MEDIASCAPE Online on "History and Technology"

Diposting oleh good reading on Senin, 07 Januari 2013

Frame grab from Star Wars Episode V: The Empire Strikes Back (Irvin Kershner, 1980), one of the subjects of Film Studies For Free's author's latest videographic film study in her new article 'Déjà-Viewing? Videographic Experiments in Intertextual Film Studies', which you can find in the newly published issue of Mediascape.
The much awaited Winter 2013 issue of MEDIASCAPE, UCLA's Journal of Cinema and Media, has just been published. There are two very fine articles on historical film archives by Christina Petersen and Bryan Sebok, as well as two excellent columns on related historiographical themes. Meanwhile, the META section boasts some very good, new video essay work by Matthias Stork, Alexandra Schroeder, and Clifford James Galiher and reflections on videographic and other digital film studies practices by great luminaries, such as Yuri Tsivian and Daria Khitrova, alongside those of much more ordinary mortals! There's also a highly informative interview with filmmaker Thom Andersen and some very interesting reviews to catch up with.

All contents are listed and linked to below. But, also, do check out MEDIASCAPE's occasional, but very high quality blog which publishes between journal issue releases. A good place to start is this entry: 'Mastering "The Master"' by Vincent Brook

MEDIASCAPE, Winter 2013

Editorial by Andy Myers and Andrew Young

Features

Columns


META


Reviews

 

 

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New JUMP CUT: gender, globalization, Third Cinema, history, political activism, racial representation, cinematic form, melodrama, genre, new media, and media institutions

Diposting oleh good reading on Minggu, 07 Oktober 2012

Frame grab from La nación clandestina/The Hidden Nation (Jorge Sanjinés, 1989). Read a great selection of new and translated articles on this Bolivian filmmaker among the numerous essays just published in the latest issue of JUMP CUT
Film Studies For Free welcomes with wide open e-arms the fabulous new issue of JUMP CUT. Just look at all that high quality content, the links to which stretch out below, almost as far as the mouse can scroll.  

JUMP CUT truly goes from strength to strength with its focus on contemporary and international cinema, media, aesthetics, reception and politics. FSFF hasn't digested the entire issue yet, but so far particularly likes the dossier on Third Cinema filmmaker Jorge Sanjinés, Ian Murphy's article on two films by Claire Denis, and Diane Waldman's very thoughtful review of Vicki Callahan's important edited collection, Reclaiming the Archive: Feminism and Film History together with Suzanne Leonard's great study of Fatal Attraction.

Its brilliant and hardworking editors -- John Hess, Chuck Kleinhans and Julia Lesage -- deserve our admiration and sincere thanks for all the excellent, politically and ethically engaged research they help to bring into the public domain in our disciplines. Their stance and efforts are as crucial now as they have ever been.

Finally, in the week that brought the very sad news of the death of Octavio Getino, best known for co-founding, along with Fernando Solanas, the Grupo Cine Liberación as well as for elaborating with Solanas and others the notion of Third Cinema, and in memory of this great film theorist and practitioner, interested readers might like to be reminded of FSFF's earlier related entries (see below), which contain links to numerous, past JUMP CUT offerings, and also check out Michael Chanan's tribute to Getino and historian Eric Hobsbawm here.


THE FIRST WORD
ASIAN CINEMA AND TV DRAMA
  • “Family” in Li Yang’s Blind Shaft and Blind Mountain by Amanda Weiss. A look at globalization and the family in Li Yang's migrant films Blind Shaft (2003) and Blind Mountain (2007).
  • Migrant workers, women, and China’s modernization on screen 
by Jenny Kwok Wah Lau.
 Even though China's migrant workers constitute the biggest human migration in the world at this time the life circumstances of these workers receive little attention in Chinese cinema. This article explores how visual media, including installation arts, documentary films, and narrative films expose the often neglected issues of women migrants.
  • Defining the popular auteur, or what it means to be human within the machine 
by Caroline Guo.
 Review of Director in Action: Johnnie To and the Hong Kong Action Film by Stephen Teo. 
Stephen Teo tackles Johnnie To’s multifaceted role in the Hong Kong film industry: this review picks up where his monograph leaves off to grapple with the filmmaker’s ongoing evolution and rethink the notion of the “popular auteur.”
  • Negotiating censorship: Narrow Dwelling as social critique
 by Wing Shan Ho.
 Housing crisis and extra-marital affair—this essay explores how the TV drama Narrow Dwelling skillfully critiques social inequalities under the censor’s eye.
  • Digital pleasure palaces: Bollywood seduces the global Indian at the multiplex 
by Manjunath Pendakur. 
Malls, multiplexes and digital cinemas are symbols of the fast-modernizing, neoliberal India of the 21st century and, in these turbulent conditions, Bollywood is expanding its audiences at home and abroad while the political-economic-technological changes have resulted in new conflicts and a reshaping of the film industry's internal structure and operation.
  • Chokher Bali: a historico-cultural translation of Tagore
 by Srimati Mukherjee
. Bengali director Rituparno Ghosh challenges the moribund aspects of cultural tradition and shows that mobilization in and out of the “fixed” space of the widow is possible.
LATIN AMERICAN MEDIA
Articles on Bolivian filmmaker, Jorge Sanjinés
  • Andean realism and the integral sequence shot 
by David M.J. Wood. 
Bolivian filmmaker Jorge Sanjinés’ radical film theory and praxis: an Andean take on the critique of mainstream cinema and the redemptive power of realism.
  • The impossibility of mestizaje in The Hidden Nation: 
emblematic constructions in the cinema of Jorge Sanjinés
 by Alber Quispe Escobar, translated with explanatory notes by Keith John Richards.
  • The all-encompassing sequence shot
by Jorge Sanjinés, translated by Cecilia Cornejo and Dennis Hanlon.
Jorge Sanjinés' 1989 essay explains the development of the "Andean sequence shot" and why it is consonant with indigenous Andean concepts of community and time. A key piece of Third Cinema theory never before translated into English.
  • The “new” and the “old” in Bolivian cinema
 by Verónica Córdova S., translated by Amy L. Tibbitts. 
Verónica Córdova S. remarks on the motivations of the New Latin American Cinema movement of the 60s as contrasted with current trends and concerns of present-day Bolivian filmmakers. Using the films of Jorge Sanjinés as a model, Córdova explains how new technological advances in filmmaking are influencing Bolivian film production, while, hopefully, remaining in dialogue with the past generation of filmmakers.
  • A cinema of questions: a response to Verónica Córdova 
by Martín Boulocq, translated by Amy L. Tibbitts. 
Martín Boulocq responds to Verónica Córdova's comments regarding the motivation of past and present Bolivian filmmakers, offering an entirely unique perspective on what motivates filmmakers to make films.
  • Insurgentes: the slight return of Jorge Sanjinés 
by Keith John Richards.
 Jorge Sanjinés’ most recent film, Insurgentes, has aroused differences of opinion within Bolivia; this review examines the film in the context of recent developments in the country.
THEMES IN HOLLYWOOD AND OTHER CINEMAS
1. Race/ethnicity
2. The Mideast
3. History
4. Institutions: Law, Production, Exhibition
5. Queering the entertainment
DOCUMENTARY
EXPERIMENTAL and NEW MEDIA
CRITICAL ANALYSES
THE LAST WORD
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On 'Acid Aesthetics' and Contemporary Cinematic Stylistic 'Excess' - In Memory of Tony Scott (1944-2012)

Diposting oleh good reading on Selasa, 21 Agustus 2012

Last updated August 30, 2012
A video tribute to Tony Scott, "[A] vigorous and energetic filmmaker extraordinaire"
 
Filmmaking is like painting…Every stroke or every color impacts another and you build film on the canvas and you get ideas from the last stroke.
 [Tony Scott, audio commentary, Domino DVD]
[T]he minute a viewer begins to notice style for its own sake or watch works which do not provide such thorough motivation, excess comes forward and must affect narrative meaning. Style is the use of repeated techniques which become characteristic of the work; these techniques are foregrounded so that the spectator will notice them and create connections between their individual uses. Excess does not equal style, but the two are closely linked because they both involve the material aspects of the film. Excess forms no specific patterns which we could say are characteristic of the work. But the formal organization provided by style does not exhaust the material of the filmic techniques, and a spectator's attention to style might well lead to a noticing of excess as well. [...] Probably no one ever watches only these non-diegetic aspects [...] through an entire film. Nevertheless, they are constantly present, a whole "film" existing in some sense alongside the narrative film we tend to think of ourselves as watching. [Kristin Thompson, 'The Concept of Cinematic Excess', Ciné-Tracts, 1.2, Summer 1977, pp. 55-56]
Hollywood action scenes became ‘impressionistic,’ rendering a combat or pursuit as a blurred confusion. We got a flurry of cuts calibrated not in relation to each other or to the action, but instead suggesting a vast busyness. Here camerawork and editing didn’t serve the specificity of the action but overwhelmed, even buried it. [David Bordwell, 'A Glance at Blows', Observations on Film Art, September 28, 2008]
In classical continuity styles, space is a fixed and rigid container, which remains the same no matter what goes on in the narrative; and time flows linearly, and at a uniform rate, even when the film’s chronology is scrambled by flashbacks. But in post-continuity films, this is not necessarily the case. We enter into the spacetime of modern physics; or better, into the “space of flows”, and the time of microintervals and speed-of-light transformations, that are characteristic of globalized, high-tech financial capital.  [Steven Shaviro, 'Post-Cinematic Affect: On Grace Jones, Boarding Gate and Southland Tales', Film-Philosophy, 14.1, 2010]
The essential characteristic of the acid aesthetic is the employment of early twentieth century hand-crank cameras. Loaded with high-speed reversal film, they are manually cranked forwards and backwards during the shooting, and afterwards cross-processed in an inappropriate developer. The results are quite extreme and fairly unpredictable: multiple exposures within one or more images, high contrasts and de-saturated colors, abrupt visual jolts of overexposed lighting, increased grain activity and discernible smears, cracks and trails on the frame, which add an air of physical authenticity. Film becomes tangible in this aesthetic equation. The analogue form, generally masked in the classical continuity style, is revealed, indeed placed in the foreground. Footage from digital cameras further provides an occasional visual counterpoint to the stylized primitivism of the hand-crank aesthetic, presenting crisp, overly saturated images, which seem, by contrast, manufactured and purely synthetic. The result is a dialectic of control and chaos, with the latter as the defining crux. [...] What becomes clear here is that Scott’s acid aesthetics put on display the cinematic apparatus itself, the process of constructing moving images, both in analogue and digital form. The resulting casualty is the concept of filmic realism. The gained impression is not the order of continuity but the chaos of stylistic transparency, an illustration of the formal potentialities of film, unrestrained by storytelling conventions.
[...] A blend of analogue and digital filmmaking lays bare the inner mechanics of cinema, its texture, emphasizing the process of manipulating and creating moving images. Film, in this regard, can be conceptualized as an enormous canvas, to be filled with color. It is not a coincidence that Tony Scott was trained as a visual artist and generally views himself as such, a cinematic painter. Thus, he constructs rather than documents images, both in the camera and on a post-production computer setup. In Scott’s hands, cinema rediscovers its ability for overt stylization, not eroding, but at least de-privileging what Christian Metz calls the realistic cinema-effect, in favor of a display of cinematic technique. In the words of Lev Manovich, cinema is then “no longer a kino-eye, but a kino-brush”. And indeed Scott’s filmmaking transcends the mere realm of visual representation. Wielding the camera like a brush, and similar to Alexandre Astruc’s pen, the caméra-stylo, he sprays, splashes and splatters paint onto the canvas, producing an expressionistic chaos, reminiscent of paintings by Jackson Pollock. Notwithstanding the overt experimentalism, all this activity is framed by the generic conventions of Hollywood story material. The margins of Scott’s canvas are defined by the tenets of traditional and, with regard to Man on Fire and Domino, arguably quite clichéd narrative. In this regard, Scott’s cinematic paintings become more than just a display of style, namely an unrestrained sensory assault of visual abstraction that, in a postmodern twist of meta-textual discourse, exposes the process of moving image construction, and thereby reconfigures the traditional notion of what mainstream cinema should look like. [Excerpts from Matthias Stork, 'Acid Aesthetics: Tony Scott's Cinema of Chaos', SWTX Popular and American Culture Conference, Albuquerque, New Mexico, February 2012]
I have cautiously championed Tony Scott’s recent work because at least he’s willing to go all the way, however misguided the direction. From Spy Games on, he has stuck to the credo that too much is never enough. His technique is swaggering and undisciplined, mannered to the nth degree. Yet I find his fevered visuals more genuinely arresting than the safe noodlings of most of today’s mainstream cinema. Man on Fire and Déja Vu reheat their genre leftovers into something spicy, if not nourishing, while Domino, the cinematic equivalent of hophead graffiti, wraps its sleazy characters in a visual design apparently inspired by the glowing interior of a peepshow booth.  [David Bordwell, '50 Days of Summer Movies Part 2', Observations on Film Art, September 12, 2009, hyperlink added by FSFF]
Tony Scott’s need to push the boundaries of the postclassical into the classical-plus and the hyperclassical with Man on Fire and Domino suggests a growing impatience with intensified continuity and the postmodern condition. In Top Gun and even True Romance the audience can easily float with the surface structure and identify with the fantasy of transcending both physical space and cultural time. But in Man on Fire and Domino the audience cannot ignore the deaths of Denzel Washington, Edgar Ramirez, and Mickey Rourke, the irrevocable loss of continuity, and the status of the image not as synergistic decoration or digital simulacrum, but as a symptom and agent of cultural flux and despair. Even in Deja Vu, which retreats somewhat from the volatile aesthetic of Man on Fire and Domino, Scott makes postclassical narrative hyperclassical by allowing Denzel Washington to inhabit the past and present simultaneously. Deja Vu, with its post-Katrina New Orleans, opening terrorist attack, and urgent desire to traverse time and prevent the death of Paula Patton, suggests a shell-shocked United States unable to understand the past or ponder the future — Denzel, in a Butterfly Effect-like matrix of temporal frequency and repetition, dies in one narrative thread even as he emerges unscathed in another. Scott pushes the boundaries of narrative time and space so far he doesn’t need the vomit comet or Domino-Vision to achieve the same measure of indeterminacy. Man on Fire, Domino, and Deja Vu suggest that the only sin Tony Scott has committed is not to anticipate the hyperclassical and the classical-plus sooner. [Larry Knapp, 'Tony Scott and Domino — Say hello (and goodbye) to the postclassical', Jump Cut, 50, 2008]

Film Studies for Free was shocked, like everyone else, by the news of Tony Scott's death yesterday. Following the news, much of the day was spent reading online assessments of his important filmmaking career.

These frequently centered, of course, on the role of 'excessive style' in his work, and its (some would say, concomitant) lack of narrative motivation. The ground was thus laid for today's tribute list of more than fifty links to academic studies centering on the debates about cinematic 'excess', as well as on issues of intensified (or 'post'-, or 'Chaos') continuity in contemporary film aesthetics.

Rather incredibly, at the weekend, Matthias Stork, talented author of the video essay series on Chaos Cinema, had sent FSFF a link to a draft version of a new video essay featuring Tony Scott's work, which explored some related issues regarding contemporary film aesthetics. Following yesterday's awful news, Stork worked around the clock to develop that essay to provide an important tribute to Scott's work. You can see the video at the top of this entry, and also at Stork's Vimeo page Cine-Essais.

For more tributes to Scott, an essential round up is given at David Hudson's post devoted to 'Tony Scott, 1944 – 2012' at Fandor's Keyframe Daily website.

A very big Danke schön goes to Matthias Stork for all his essential contributions to this entry. 
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Cameron Diaz: The Next Celebrity Nutritionist?

Diposting oleh good reading on Rabu, 13 Juni 2012

Cameron Diaz is busy with her next project.  Her rep confirms her interest in writing a nutrition book to help young girls.  She wants to use her celebrity for good- to encourage girls not to fixate on being thin but instead just to make healthy choices.

A few thoughts:

Of all the celebrities that I see pitching these types of projects (I'm looking at you Gwyneth Paltrow), Cameron actually seems to model a healthy lifestyle.  She is not too thin, but instead looks muscular and strong.  We always see her keeping active with surfing and regular gym workouts.

It is reported that (in preparation for the book) Cameron will be visiting high schools to talk to teenagers about their food choices and what is important to them.  She wants to get their input, e.g., how do they decide what to eat? Although this work will not be a formal "Needs Assessment", I like that Cameron will be out in the community and talking to the teenagers who are the focus of her book.  Doing formative work before a project that engages your audience is incredibly important in public health.  Hearing and seeing what the health problem/s look like first hand allow us to craft more effective interventions.  So I applaud Cameron for planning to do this outreach versus just planning to write a book that may or may not address the challenges faced out in communities. For example, Cameron can discuss the importance of choosing fruit over potato chips, but if a teenager does not have access to affordable fresh fruit in their neighborhood, then the recommendation is not helpful.

One challenge to this effort is that even though Cameron appears to model a healthy lifestyle, she is still a member of the Hollywood community that has contributed to setting an unrealistic standard for beauty.  We have seen her on numerous magazine covers looking very thin and of course airbrushed.  In public health, we always have to think- "is this the right spokesperson"?  It is important to know how teenage girls view Cameron.  Do they see her as part of the problem?  Or part of the solution?

Another challenge is that (from my perspective), celebrity "nutritionists" do not have the best track record for safety and accuracy.  Take Cameron's friend Gwyneth Paltrow.  She has regularly promoted nutrition strategies like detox cleanses and gluten-free diets.  Her extreme choices do not send a message of moderation to teenage girls.  In addition, Gwyneth's cover photos also contribute to the unrealistic standard for beauty.

As I've discussed many times on this blog, celebrities can be an incredible resource for public health.  They have a visible platform and extensive reach to many of our audiences.  However, that can work for us or against us based on the accuracy and relevancy of their messages.  It is imperative that they work closely with clinicians (e.g., physicians, nutritionists) and public health practitioners to craft the messages and design outreach programs.

What do you think about Cameron writing a nutrition book?
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