Reading Response Eight

Bordwell

1. Both scenes deal with staging characters in crucial plot situations around meals using long lenses. In the scene with the intellectuals, the main characters are brightly lit in the center of the frame. The supporting cast is arranged in the shadows on the outside so that they frame up the main characters. Similarly, the main characters in the other scene are highlighted by the use of lighting and the framing of the supporting characters. Both scenes take place in tight spaces, but a window is opened up in the first one to allow for the inclusion of the rest of the nation, while the second involves gang activity that must be kept behind closed doors.

2. Hou uses deliberate constraints in Flowers of Shanghai by filming only in the brothel quarters. Anything happening outside of this location is only talked about. Every scene but one consists of only one shot which can make it much more difficult to stage, light and film. Hou says he does this because the story was derived fr
om a diary, and it makes if feel more natural for it to be filmed this way.

Willeman

1. He believes that just because something is complex does not mean that it is good. There is plenty of really bad work that is complex and full of interesting material if you pay attention to it enough.

2. He seems that think that Hou's films do not give Taiwan more of an identity that any other films made in and about Taiwan. There is too much importance placed on Hou giving Taiwan a "voice", when in actuality there is no way for an outsider to understand much of what is occurring in the films without any extra research.

3. He doesn't like the idea that he should appreciate Hou's work because others claim that he should. He doesn't like seeing films with a preconceived notion but would rather go into it with an open mind so that he can make his own opinions.

4. Hou is looking for answers as to how the past, both in a historical and personal context, influence present day and future Taiwan.

5. Hou uses Chinese aesthetics in his films which he rightfully should. The issue is not his use of these aesthetics but more about how he uses them to create his own style.

Reading Response Seven

1. After WWII, China took back control of Taiwan from the Japanese. Since Japan had controlled Taiwan for 50 years, there was a large social gap between the Chinese and Taiwanese, especially in regards to the language. The Chinese Nationalist government was very authoritarian and deprived native Taiwanese any share of political power. After a woman was caught smuggling cigarettes by government tobacco monopolists, a group of police officers beat her. The following day, February 28th, riots started breaking out all over the island but were eventually put to a stop. The army began arresting and executing people that they thought might be able to continuing the rebellion. A report released 45 years after the incident estimates that between 18,000 and 28,000 people were killed.

2. Certain people seem to think that Hou doesn't portray the February 28th incident quite like it should be. Instead of focusing on the larger story of the brutality by the Nationalist government, Hou focuses on smaller issues to make the film more universal.

3. One thing that comes to mind is the sudden age progression of Ah-ha. One moment he's a young boy and all of sudden he's a young man. There was never any explanation of how this happened, either through the use of editing or narration. The audience is left to figure this out on their own after some of the young men begin referring to this new character as Ah-ha. This was a very confusing moment in the film, and I don't think I would have caught on as fast if it had not been mentioned before we started watching.

Reading Response Four

1. Even though A Hero Never Dies is a Hong Kong crime film, I particularly liked the Western elements that were incorporated, especially the shootout at the hotel in Thailand. Moments of the soundtrack during that scene have a very western sound to it as Martin, wearing a cowboy hat, shoots and kills many of his enemies. Another memorable scene is of Jack and Martin in the bar when they keep breaking each other's wine glasses. It was a very tense moment among the two rivals, but it showed that there was a level of mutual respect among them. After watching The Mission then viewing this film, it seems that To likes to get straight into the action, guns blazing and all. I thought the soundtrack complemented the film very well and helped accentuate some of the key moments.



I wasn't able to get the book because it was sold out at both the on campus and off campus bookstore. I've ordered it online and am waiting for it to arrive.

Gabbeh

Even though I wasn't quite sure as to what was happening throughout Gabbeh, I found it to be a very visually appealing film. The landscapes used throughout the film were beautiful and contrasted very well with the bright, vibrant dress of the women. In practically every shot, a multitude of color flooded the screen that was very stimulating to watch. I thoroughly enjoyed the scene when the uncle was in the school and kept reaching out to different locations bringing back something from each place. I found it to be very simple, yet creative technique unlike any thing I've seen.

Reading Response Three

2. What were the general restrictions of the “Rule of Modesty”? How does this relate to some of the stylistic decisions we saw in A Moment of Innocence? How did this lead to problems of realism for Iranian audiences when watching domestic interior scenes?

- The rule mostly dealt with women and their behavior on screen. They had to wear appropriate clothing such as scarves, veils, and tunics. The had to act appropriately and morally and were not allowed to engage in activities that would show off the shapes of their bodies. They had to refrain from physical contact with men, as well as looking lustfully at them. In A Moment of Innocence, all the women are dressed in dark, loose fitting tunics. When the young director and the girl were talking, she would hold part of her tunic up by her face and look straight ahead. Most of their conversations took place as they walked through alleyways using long steadycam shots which make it seem more realistic for them to not have to look at each other while talking. Normally, women do not veil themselves inside when with their husbands, but in cinema, they were required to keep their veils on. This seemed odd and unrealistic for Iranian viewers.

4. What have been some of the key feminist objections to the representation of women under the rule of modesty in Iranian cinema. If these films are claiming a degree of realism, what broad tendencies in the representation of women complicate those claims?

- Feminists seem to think that the rule of modesty has led to stereotyping Iranian women. The restrictions put limitations on women and make it seem that all they can do is domestic work. As for the realism, there are so many instances where women have to act a certain way on film that is completely contradicting to the way they have to act in real life, mainly with rules regarding dress in certain situations.

A Moment of Innocence

Watching A Moment of Innoncence was like nothing I have ever seen in the way that the story was told. The whole concept of the men training the younger versions of themselves was quite intriguing because it allows for us to see the story from two very different perspectives. It was hard not to feel sorrow for the policemen when he discovers that he's been living in a lie for the past 20 years. All he wanted to do was to become an actor, and in his efforts to do so, he finds out what appears to be one the most shocking moments in his life.

I thought the cinematography, particularly the tracking/steadycam shots, were exceptionally well done. Most of the time, they were filmed in confined alleyways but the cinematographer was able to utilize good framing, lead room, and pace. The film tended to rely on the conversation among the characters to advance the story, and the use of the long tracking/steadycam shots seemed to help keep me more engaged in what was being said as opposed to cutting back and forth from different angles.

You can't mention A Moment of Innocence without talking about the ending. I didn't understand it at first, but after thinking about it, it was quite powerful. Instead of shooting like he was informed, the young policeman disobeyed and did what the policeman should have done along time ago, give the girl the flower. The young director also realized that he did not need to stab the young policeman, but give the bread up as a peace offering. While you cannot change the past, you can always find a way to better it, and in my opinion, that is exactly what happened through this film.

Reading Response One

1. What are the 5 areas in which art cinema generally distinguishes itself from Hollywood Cinema?

-Art cinema distinguishes from Hollywood cinema in that it "addresses issues of cinematic aesthetics and practices; display formal innovations; include social and psychological realms; affirm certain directors as auteurs; disturb classic realist narrative codes and conventions, as well as temporal and spatial constructions."

3. What was Ayatollah Khomeini’s attitude towards the cinema?

-Ayatollah Khomeini believed cinema to be a good thing if used for educating people even though he felt its initial introduction to Iran brought the people into "barbarism."

4. Name two significant policy changes after the appointment of Mohammed Khatami as the head of the Ministry of Culture and Islamic Orientation.

-Khatami banned the distribution of videocassettes and put a stop to the importing of foreign films.

6. What was the significance of cutting the soundtrack during the school prayer in Homework?

-Religious factions complained about the children's behavior while reciting the prayer so Kiarostami decided to spare viewers from having to listen to it performed in such a poor manner.

7. Which film festival appearance was a turning point for Kiarostami’s career?

-Locarno Festival