January 9, 2014

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R VOLUME 15, ISSUE 15

JANUARY 9, 2014

FEATURING FR0ZEN THE D ESOLATION OF SMAUG WALTER MITTY

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NEB R A S KA AM ERIC AN HU STLE

THE MOVIE ISSUE please silence your cell phones GRAPHIC BY ELIZA STRONG

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R recess editors FDOC thoughts...

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We live in a world where billions have come before us and where archetypes have been defined and redefined.

It started when I saw a painting, a work by Renaissance painter Correggio entitled “Jupiter and Io.” In the image, a naked woman lies in the embrace of a dark and consuming fog which has unfurled itself around her body and has the slight outline of a face gently kissing her on the mouth. It’s a beautiful but strange image and I couldn’t get it out of my head. I wanted to know the background story. Who was this woman?

And who or what was the beloved supernatural force that she held onto dearly? I bought Edith Campbell’s famous book, “Mythology,” a digestible compendium of Greek and Roman myths, and got reading.

Now, I see the archetypes of Greek and Roman mythology everywhere. They are everywhere. I can’t help but draw parallels between Katniss Everdeen of “The Hunger Games” and the “protectress of dewy youth,” fierce archer, huntress and goddess Artemis. I even hear it in day-to-day language. The word “panic” brings to mind Hermes’s son, the goat-hoofed god Pan to whom wandering travelers attributed the strange, wild sounds of the nighttime.

Why do these myths remain so relevant?

Though the prevalence of Greek and Roman mythologies in modern day art and media can be attributed partly to our society’s position in the grand flow of history, it still doesn’t explain why virtually indistinguishable archetypes re-

Lauren Feilich.............................................................................................grapefruits Eliza Strong.......................................................................................................hey ya MC Bousquette....................................................................................................rush Megan Rise.........................................................................................................tuba Kathy Zhou..................................................................................ham, onions, peppers Eliza Bray...........................................................................................bears and beets

peat in different societies across time or how certain stories continuously have such weight on our collective psyches.

Carl Jung, the famous psychoanalyst, argued that such archetypes are self-portraits of human instincts. Not only are these epic figures and symbols present in mythology, fairytales and religion, but also dreams and those inaccessible parts of ourselves. He claimed that archetypal images are older than mankind, belonging to the collective unconscious. Though perhaps his perspective is a bit extreme, stories and characters are often a way through which we understand ourselves and our world.

While reading Campbell’s “Mythology,” I started to hear a lot of familiar terms and names from one of my favorite TV shows, “Battlestar Galactica,” which draws heavily from Greek mythology (and which I would recommend to almost anyone, despite the “nerdy” stigma around it.) I’ve started to re-watch the whole series, excited that I now understand a whole host of references. One line that is repeated throughout the show and has emerged as significant to me is, “All of this has happened before and it will happen again.” Archetypes and myths are a part of the human condition, speaking to what makes us human, and thus will continue to emerge in art throughout history.

Unlike some other mythic idols throughout history, the Grecian gods were riddled through with flaws. They entertained the trivial and petty, blinded by all-consuming obsessions. Even Zeus himself, the king of Olympus, was adulterous and impulsive. His wife, Hera, violently jealous, wrathful and temperamental. Perhaps these flawed characters are in fact psychological projections, a means by which we can unconsciously reject those aspects of ourselves we find undesirable.

The lives of the Greek gods are simultaneously both human in nature, a mirror of man’s own psychological dramas, yet also part of a larger cosmological play made meaning-

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ful through their (literally) epic proportions.

Campbell writes in Mythology: “To the people who told these stories all the universe was alive with the same kind of life they knew in themselves. They were individual persons, so they personified everything which had the obvious marks of life, everything which moved and changed: earth in winter and summer; the sky with its shifting stars, the restless sea, and so on.

It was only a dim personification: something vague and immense which with its motion brought about change and was therefore alive.”

Artists isolate, reorganize, beautify, manipulate and compile the day-to-day of life, attempting to unearth some truth that’s been missed, to imbue it with humanity.

We live in a world where billions have come before us and where archetypes have been defined and redefined. As a human in the Internet age, I sometimes feel like everything has been said and all art created. In the face of such a legacy, it is easy to freeze and feel like nothing I could create would be original or as good as what has come before me. Tavi Gevinson, founder and editor of online magazine “Rookie,” explains the beautiful side of this in a talk at the Sydney Royal Opera; art helps “you feel connected to other people, and you realize these feelings pass through all of us, and they have for years and years and you’ll be okay.”

In a previous editor’s note, Kathy Zhou wrote that it has “never been easier to feel so discouraged and lost by your work: that it isn’t a real work of art, you aren’t a real artist and besides, everyone recycles the same material and technique, everyone shares in the same trite influences and wisdoms.”

Art is and has always been a form of recycling, taking those things we know and reordering them in new combinations, using what is shared to emote something individual. Maybe your new combination of the old will speak to someone in a beautiful and new way. The parts may be finite but the combinations are endless.

--Eliza Bray

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inside llewyn davis CBS Films Directed by Ethan Coen, Joel Coen

by Katie Fernelius THE CHRONICLE

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HER Warner Brothers Directed by Spike Jonze

by Adam Schutzman THE CHRONICLE

“Her” is a cinematic exploration of love, isolation and interconnectedness.

It explores the depths of our deepest fears from loneliness to heartbreak, without shying away from inner thoughts along the way.

Director Spike Jonze (“Adaptation,” “Being John Malkovich” and, oddly enough, the “Jackass” franchise) makes a risky first attempt at screenwriting with his screenplay centering on a recently divorced and withdrawn card writer, Theodore (Joaquin Phoenix), who falls in love with his computer operating system Samantha (Scarlett Johansson). The premise is a bit farfetched, but Jonze does not waste time focusing on the logic behind this futuristic world; instead, he focuses on emotional connection and what we define simply enough as love.

Amy Adams, as Theodore’s friend, phrases it best when she tells him, “Love is socially acceptable insanity.”

The film asks the audience what it truly means to be in love, even when the circumstances are quite extreme.

It uses a science fiction premise and turns it into a futuristic love story: one full of livelihood, romance and tragedy.

Joaquin Phoenix is at the top of his game, showing off Theodore’s odd quirks and inner desperation. He does not shy away from his character’s vulnerability, but instead embraces it to reveal a humanity that hits close to home for all. More impressively, though, is Scarlett Johansson’s tour de force performance as an evolving artificial intelligence system. In an Oscarworthy performance that relies solely on her voice, Johansson takes us from the innocence of birth to the clingy feelings of first love, gradually maturing to a state of understanding. It is unique and touching.

The only issue that I can truly place with the film is the heavy focus on

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FROZEN Disney Directed by Chris Buck and Jennifer Lee

by Katie Fernelius THE CHRONICLE

Congratulations, Disney, on finally making a semi-interesting movie concerning female relationships that would make Walt proud. “Frozen,” the latest animated feature from Walt Disney Animation Studios, is a reworking of the Snow Queen narrative from Hans Christian Andersen. As with most Disney adaptations, it is a watereddown, more digestible version of the original tale, generally avoiding any risk of child mortality and substituting Christian overtones for songs about snowmen instead. The release of “Frozen” marks a historical moment as screenwriter and codirector Jennifer Lee has become the first woman to direct a fulllength animated motion picture for Walt Disney Animation Studios. With the film’s careful balance of humor, sincerity and kid-friendly grit, I can’t help but wonder why Disney doesn’t put women in charge more often.

The story follows the relationship between Princess Anna (Kristen Bell) and her sister, newly crowned Queen Elsa (Idina Menzel). The

sexuality. Some of the humor derived from online dating and phone sex jokes feels out of place due to the heavy material of the subject matter as the film progresses. On the other hand, Chris Pratt’s small cameo role as Theodore’s boss adds a lighthearted touch of humor that stays true to the film’s messages of acceptance and going with the flow. In this way, the film falls into the category of romantic dramedy also occupied by “Silver Linings Playbook.”

“Her” is the most moving study of humanism that I have seen in a long time. Transcending its mere premise of love between man and machine, the film questions what constitutes love in the first place. By the end of the movie, there is no definitive answer but rather a philosophical weight on your shoulder which forces you to question the relationships you hold closest. Any film that can do that has accomplished wonders.

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relationship is severely fractured on account of Elsa’s hidden ice powers and deep fear of hurting others. Both Bell and Menzel are perfect fits for their roles. Bell embodies adolescent goofiness and awkwardness in the voice of Anna, making us all forget that she ever was the voice behind Gossip Girl, while Menzel flaunts her seasoned vocals in a showstopping number reminiscent of her stint in Broadway’s “Wicked.”

The supporting cast of mountain man Kristoff (Jonathan Groff), his reindeer Sven and ridiculous snowman Olaf (Josh Gad) also serve the story well, providing Lifetimequality romance and needed comedic relief.

The music of “Frozen” is catchy and clever, which is unsurprising given that the music was composed by Christopher Becke (known for “Paperman”) with lyrics by Kristen An-

derson-Lopez and Christopher Lopez (known for “Avenue Q” and “The Book of Mormon”). The songs are funny and sweet, plus easy to quickly memorize and sing in the car (not that I am speaking from experience here…). It is not difficult to imagine certain numbers like “Fixer-Upper” and “Let It Go” in the musical canon of Disney alongside “Circle of Life” and “Part of Your World.”

Usually, I scoff at such mass production and consumption of sentimentality, but surprisingly, I enjoyed this movie in a non-guilty pleasure way. Better yet, my six-yearold niece LOVED this movie and has been singing its songs on a daily basis. Granted, the feminist-on-myshoulder is quick to note that the princesses still embody unrealistic beauty standards and Disney yet again put out another white princess, but the core of the movie concerns the friendship and love between two sisters. True, it’s no “Frances Ha” and cute boys still get in the way, but any fairy tale where the true love is based on a sisterly bond and not on a romantic infatuation is a movie that I can stand behind.

Almost is the saddest word in the English language, yet it is the word that plagues our protagonist in the latest Coen Brothers film “Inside Llewyn Davis.” The Sisyphean film loops around one hell of a miserable week in the life of folk musician Llewyn Davis, beginning and ending in the Gaslight Cafe in 1961. Throughout the week, he endures countless instances of rejection and self-doubt as he couchsurfs throughout New York City and Chicago.

The story is reminiscent of “David Swan,” a short story from Nathaniel Hawthorne in which a man sleeps through possibilities of wealth, true love and death.

Hawthorne’s story concludes with these lines: “He knew not that a phantom of Wealth had thrown a golden hue upon its waters—nor that one of Love had sighed softly to their murmured—nor that one of Death had threatened to crimson them with his blood—all, in the brief hour since he lay down to sleep. Sleeping or waking, we hear not the airy footsteps of the strange things that almost happen.”

Similarly, Llewyn Davis’s tale exists in narrative purgatory, at the crossroads of almost and lethargy. The narrative drifts from waking to sleeping; each of Llewyn’s days feel half-realized, never quite reaching the purpose to which they aspire. It is difficult to decipher whether his current state is a result of bad decisions or unfortunate circumstances.

Or bad decisions influenced by his unfortunate circumstances. Or unfortunate circumstances created by his bad decisions. Chicken. Egg. The debate is never solved.

It is inconceivable to discuss the existential struggle of Llewyn Davis without discussing the black comedy that emerges from such tragedy. In any Coen Brothers film, it is always tough to decipher when it is okay to laugh and when it is more appropriate to cringe, such as when a sentimental rendition of “The Shoals of Herring” moves his father not to tears, but rather to some other bodily excretions, or when someone unknowingly suggests that he gets back together with his music partner who has committed suicide.

The acting of the entire ensemble was impeccable. The Coen Brothers are famous for crafting characters that straddle the fine line between fierce normalcy and absurdist farce. The frankness with which Carey Mulligan’s Jean repeatedly says “asshole” is worthy of being its own ringtone. Justin Timberlake’s Jim is so earnest that it is impossible not to hate him just a little bit for how likable he is. The full cast includes Coen Brothers favorite John Goodman, as well as millennial starlets like Adam Driver and Alex Karpovsky, among others. The film is carried by Oscar Isaac, who gives us what the title of the film promises, the inside of Llewyn Davis. Isaac portrays a man who cannot decide whether to relish in success or failure, because while success is validation, failure is authentic.

Is “Inside Llewyn Davis” the magnum opus of the Coen Brothers, as many have suggested? Measured against their previous hits such as cult film “The Big Lebowski,” commercial success “O Brother Where Art Thou” or the classic “Fargo,” it is probably the most cohesive, structured and well-acted film of the Coen Brothers to date. I believe this film is almost their best, but not quite.

Nonetheless, it’s an almost I’m willing to savor for now.

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The Secret Life of Walter Mitty Twentieth Century Fox Directed By Ben Stiller

by Michael Bleggi THE CHRONICLE

Ben Stiller’s “The Secret Life of Walter Mitty,” a refinishing of James Thurber’s short story, opens in the slate gray world of corporate LIFE magazine where imaginative Walter Mitty (Ben Stiller) works. Mitty, a standout only because of his sand-colored jacket in a sea of deep navy worker bees, is a negative assets manager for the company.

His passion, apart from his penchant for impeccably maintaining thousands of photos, lies in daydreaming about his lovely coworker Cheryl (Kristen Wiig). Although too shy to talk to her in the office, he subsequently creates and fails to correctly use an eHarmony

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account to ask her on a date. Still, he finds himself content with his boring but tranquil life.

However, he soon finds himself in a rut searching for “Negative 25,” the photograph intended to be the last cover photo of the magazine taken by the world-renowned Sean O’Connell (Sean Penn). Mitty starts off his quest for the negative, only to escape the monotony of retreat by embracing a far more colorful fantasy. As he traverses the world to find the elusive photographer, Mitty finds that life becomes just as vibrant as his imagination if he is willing to break out of his shell.

The film adapted a unique approach to comedy. Its jokes were embedded in a seemingly monochromatic world. That landscape only made the laughter an even more amazing flavor to a well-prepared work. While there were grandiose moments, such as his imaginings and exciting, real-life encounters, Walter Mitty remained an individual with whom most people could relate. He was not terribly outspoken, and he understood his limitations and lived safely within them. Yet, he acted upon his potential with a force that many would assume to be beyond accessible. However, I must say that the film captures a moment of realization that can go beyond the norm. Considering that most people have the capacity to free themselves from their preconceived notions, the film demonstrates what can occur when someone breaks the mold. It is for this reason that, as people recognize their potential and their ability to act on it, “The Secret Life of Walter Mitty” will likely continue to grow into a staple of what it means to have a little bravery—and color—in life.

Courses with openings for Spring 2014 AMI 201 – Intro To Film Studies M 4:40 PM-8:30 PM & W 4:40 PM-5:55 PM, Carr 103; Instructor: Elizabeth Landesberg

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nebraska Paramount Vantage Directed by Alexander Payne

by Brad Lenz THE CHRONICLE

Filmed in black and white in the Midwest, “Nebraska” is about an elderly man, Woody (Bruce Dern), who believes that he won a million dollars due to a mailing sweepstakes card. His insistence on collecting his obviously fictitious winnings eventually leads one of his sons, David (Will Forte), to drive him from Billings, Montana to Lincoln, Nebraska. Unfortunately, while almost all of the individual aspects of the film are well done, a lack of coherence and complexity ultimately prevents it from being a great film.

In appearance, content and tone, the film harks back to many American films made around the 1970s, notably Peter Bogdonavich’s 1971 “The Last Picture Show.” Like many of these older films, “Nebraska” is able to depict the loneliness, morally corrupt underbelly and deteriorating powers of small towns, in part due to the appropriate decision to film the movie in black and white.

While many of the 1970s era films focus on younger characters such as high school students, “Nebraska”

focuses on much older characters.

This discrepancy could have led to an interesting conversation between “Nebraska” and the older films, but that is prevented by seemingly narrow characterizations, with almost all of the characters appearing as stereotypes.

When David and Woody stop in Woody’s small, deteriorating home town, the old men are all depicted as creatures with hardly any life left in them. In one of the most poignant scenes, a group of men is sitting around the television, with any questions answered after uncomfortably long silences with curt, disinterested and not always relevant answers. The women spend all of their time gossiping about the past, and of the two younger residents shown, one has recently been charged with sexual assault, and both are both are depicted as lazy and cruel. When the various residents find out about Woody’s “winnings,” the apathy fades and the claws come out. On the other hand, David appears almost too benevolent, doing everything his father wants regardless of the cost, how he is treated or what he thinks is best.

Due to the way these characters are portrayed, the film oscillates between excessively bleak pessimism and arguably equally excessive optimism.

While these types of characters can sometimes be useful, here they seem to mitigate the points attempting to be made.

That being said, some elements of the film were noteworthy. Many of the performances were very well done, especially Bruce Dern who has already won the Best Actor prize at the Cannes Film Festival as well as numerous other awards for his role.

Likewise, the music and the cinematography were both great on their own but became greater than their individual parts when combined.

NEXT WEEK IN RECESS...

“I Love My Hair When It’s good: And Then Again When It Looks Defiant and Impressive” returns to Manbites Dog Theater starting January 16.

A thematic approach to the history, technology, art, and theory of cinema. Looking at cinema through various lenses, including its relationships to other disciplines and practices, such as politics, religion, and literature, we will attempt to illuminate what makes it distinct.

AMI 208S – Silent Film

M 1:25 PM-4:25 PM Soc/Psych 128; Instructor: Michael Morton

The founding generation of cinema: 30-40 years in which the art form emerges, matures, and produces many of its enduring masterworks. For many--both practitioners and observers--still the quintessential realization of cinematic art.

AMI 210 – Film Genres

TuTh 03:05 PM-04:20 PM Smith 271; Instructor: Talena Sanders

A historical survey of motion picture genre as a stylistic and narrative device, including comedy, horror, the musical, the western, and science fiction.

AMI 215 – Animated Film

MW 10:05 AM-11:20 AM East Duke 108; Instructor: Casey Herbert

Evolution of animation from the philosophical “toys” of the late eighteenth century to the major international entertainment form of today. Special focus on American animation as it evolved from inspired individuals like Emile Cohl and Winsor McCay to a full-blown industrial model allowing for the creation of the animated feature and contemporary special effects.

AMI 359S – 3d Cinema: Theory & Practice M 01:40 PM-04:40 PM Perkins 2-088; Instructor: Ted Bogosian

Provides combined opportunity to establish foundation for telling stories with stereoscopic tools and receive basic technical experience using 3D equipment. Beyond an informative introduction to concepts and principles of stereography, students will learn terminology, explore the notion of what makes “good” vs. “bad” 3D, and compare and contrast 2D vs. 3D media and production techniques.

http://ami.duke.edu

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