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.
Tuesday, September 15, 2009
Thursday, September 10, 2009
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.
Tuesday, September 8, 2009
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.
- 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.
Wednesday, September 2, 2009
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.
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.
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