Entertainment (2019) by The Prattler

ISSUE III – ENTERTAINMENT – SP 2019

CULTURE &

THE PRATTLER | CULTURE & COMMUNITY

COMMUNITY

Illustration by Andi Porretta

When Activism Goes Viral Lexi Anderson In the age of social media, entertainment for the

Online activism began to shift after 2016’s Black

masses has shifted from the often intangible fantasy

Lives Matter movement, named after a 2013 tweet

of television and film to networking apps rooted in the

in regard to Trayvon Martin and George Zimmee-

act of presenting aspecific personal image. With

man, erupted across social media platforms. The fatal

the rise of social media activism and the millions of

shooting of Michael Brown by white police officer

justice-driven hashtags spreading like wildfire, it’s

Daren Wilson pushed impassioned people to take to

hard to tell what’s genuine and what’s not. Is anyone

the Internet to express their pain about race-related

actually making a difference? Previously, political movements that tried to gain traction online could never stir enough real

injustices. Since its first use, the hash-tag #BlackLivesMatter has been tweeted 30 million times, around 17,002 times a day, according to Pew Research.

action to get the ball rolling. The people who claim-

What makes movements like Black Lives Matter,

ed to be part of large-scale movements were essent-

and the more recent #MeToo, #TimesUp, #ImWithKap,

ially passive players. They overlayed pictures of

and #NoBanNoWall different is the relationship betw-

LGBT flags and shared sympathetic posts on Face

een the movements and the supporters. Whereas previ-

book, but no one made an effort outside of that. This

ous attempts at online social advocacy asked peo-

‘slacktivism,’ as it has been coined, has plagued social

ple to care about issues that they were often far

media foryears. 2011’s Occupy Wall Street move-

removed from, these movements ground themselves

ment and Kony 2012 are notable examples of this.

in the real and troubling realities of everyday people.

Occupy—a Twitter organized protest aimed at com-

People are jumping to social media because it is a

bating economic inequality—never gained the veloc-

quick and far-reaching way to get your voice heard

ity it needed. while the viral Kony video about the

and for people to follow in your footsteps. It’s real

Ugandan warlord riled up the masses but was never

people, raising real concerns, and getting real reac-

able to catalyze real change.

tions. A hashtag is no longer a funny tagline but a stamp of solidarity.

Art as Therapy: Shifting Views

Carly Tagen-Dye & Katie Vogel

Last November, The Smithsonian Maga-

zine published an article by Meilan Solly on an

initiative to increase the prescription of ther-

apeutic art or hobby-based treatments as a

form of medicine for mental health related is-

sues. As members of the Pratt community, this

prompted us to examine where art intersects

with our self-care and in which instances we look to art for entertainment..

How have you found yourself using art as a coping mechanism?

CARLY: I started playing guitar as a way to

assuage anxiety. Bass is my favorite; it’s a great distraction and gives my fingers something to do. Concert photography drew me out of my shell, and writing every day teaches me to revisit and reflect upon my thoughts. I find I can articulate my feelings easier than in person. KATIE: Writing lets me process and reflect on my emotions as I translate them onto the page. Learning that journaling, poetry, and prose give me access to different parts of myself has strengthened my ability to use that as a coping mechanism. I used to play violin, viola, and piano, and imagining the score to a piece of music—feeling all the layers—calms me. And solo dance parties are key!

“Learning that journaling, poetry, and prose give me access to different parts of myself has strengthened my ability to use that as a coping mechanism.” Illustration by Jane Demarest

Do you ever approach art purely as entertainment?

CARLY: Writing is what I study, but I started be-

cause it was something I loved doing. Music is the

same way. And while concert photography is techni-

cally my job, I love going to shows, so it never feels

like work. It is important to do creative things solely because they make you happy.

KATIE: I always approach art from a place of

wanting to learn and grow on some level, but there

are instances where I let it be passive. I have a stack of books I plan to read with the mindset of wanting to enjoy them. I also let myself write without specific

intention, and if something profound makes its way in, I let it happen on its own.

CULTURE & COMMUNITY | THE PRATTLER

The Smithsonian’s piece further articulated concerns about implementation of preventative practices for low-income and high-risk populations, emphasizing the need for accessibility. People in

arts-centered communities, regardless of class or

status, use creative practices as self-care. Moreover, art in any form cannot be overlooked in its power to

facilitate personal growth and healing. In this era especially, a social and infrastructural shift is needed

as much as a medical one regarding the way we consider art’s functions and its cultural abilities.

THE PRATTLER | CULTURE & COMMUNITY

The Social Network in 2019 Lawrence Scotti “The Social Network” was released to theaters in October of 2010. The biographical drama focusing on the strange genesis of Facebook received critical acclaim for its score by Trent Reznor, and screenplay by Aaron Sorkin. In the almost nine years since the movie’s release, much has changed about Facebook as a company, its public perception, and its creator and visionary Mark Zuckerberg.

Social Network” feels dated, but that isn’t necessarily the movie’s fault. While the award-winning original score, incredible screenplay, and strong acting performances all hold up, it’s the financial figures, perception of Facebook, and evolution of Zuckerberg that make the film feel like it was released a lifetime ago. An outdated moment in the f ilm is seen in a quote from Sean Parker, played by the handsome-as-ever Justin Timberlake, declaring, “A million dollars isn’t cool. You know what’s cool? A billion dollars.” As of 2018,

Illustration by Maura Kelly

Facebook’s net worth is estimated at $55 billion. Mark Zuckerberg is the fifth wealthiest human on Earth, with 71 billion dollars as 2018 came to a close. Although Facebook lost steam in terms of broad popularity, the multitude of scandals in 2018 placed the platform back in the national spotlight. Special counsel Robert Mueller’s indictment of Russian trolls showed the role Facebook played in Russia’s plans, Cambridge Analytica accessed upwards of 85 million Facebook users data, and Mark Zuckerberg testified in front of Congress, poorly (creating an avalanche of memes). Around this time, Zuckerberg was attempting to build name recognition in rural parts of America, potentially eyeing a 2020 Presidential bid. Videos of him talking to farmers in Iowa and

“The social media platform’s sustained popularity was unprecedented at the time, which is one facet of the movie that accurately portrays reality.”

feeding cows in Wisconsin were popping up, and in a blink of an eye were gone as scandals continued to waft over the company and Mark, leaving the thought of President Mark Zuckerberg as a bad joke. As 2019 progresses, Facebook has a lot to overcome. The revelation that Facebook makes money by selling access to users’ behavior to advertisers has broken trust with the brand and its users. “The Social

Rewind to 2010, a much simpler time, when Face-

Network” style of storytelling via claustrophobic ambi-

book was extremely cool and morally unquestioned.

ance and combative dialog mirrors the state in

The social media platform’s sustained popularity was

which the company finds itself in today, fighting for

unprecedented at the time, which is one facet of the

its relevance and existence. If only Mark just had a

movie that accurately portrays reality. Much of “The

few more friends.

5 CULTURE & COMMUNITY | THE PRATTLER

Do It For The Gram

Illustration by Olivia Kwiatkowski

Aliza Pelto Point, snap, post. When Instagram was released in

especially if you have fun while doing it. Anything

2010, it was designed to be instantaneous. However,

that becomes commodified, however, can grow to

as influencer culture takes over, Instagramming is

cause problems.

becoming more complex. Whether it’s finding the best mural in NYC or spending six dollars on a ridiculously cute ice cream cone to match your feed, more and more people are beginning to do things just for “The Gram.” Over the past few years, Made-For-Instagram

Fyre Fest is a good example of this phenomenon. The musical festival launched a clever ad campaign promising Instagram-worthy experiences. Persuaded by celebrities posting photos to promote the festival, thousands of people purchased tickets only to be scammed out of their money and left

museums have grown in popularity from the Mus-

without the Instagram clout they expected. Fuck-

eum of Ice Cream in Los Angeles to The Dream

Jerry, a notorious meme account that built an emp-

Machine in Brooklyn. These carefully designed exhi-

ire profiting from other people’s jokes, was even

bitions offer the ideal backdrop for a good Insta-

enlisted to promote the festival.

gram picture with eye-catching pastel colors, neon signs, and Boomerang-worthy activities. There is even a private jet available for rent in Russia that never leaves the runway so customers can take photos like their favorite Travel Blogger.

Influencer marketing is now big business. Instagram personalities make millions simply by showcasing a product. But the reality is, it’s not just the influencers who spend time, effort and money coming up with their Instagram posts. Prepping, shoot-

Is Instagram culture, therefore, a new form of

ing and posting that perfect shot has become the

entertainment? The app has led to a social move-

new obsession. True, we may not be raking it in like

ment in which people specifically engage in activities in order to create visually appealing photos. Brandbuilding has in turn become a new form of commerce as well. This new sensation has Millennials and

the Kardashians, but for many of the 800 million Insta users, living their best life means committing entirely to their online persona. And who knows, maybe one day we’ll even pull

Gen-Zers alike paying upwards of $40 for the per-

a Black Mirror and our entire currency will be

fect post. There is nothing wrong with wanting your

based on how many likes we got on that one fire

social media presence to be aesthetically pleasing,

Instagram post.

THE PRATTLER | ISSUE III FEATURE

CONFRONTATION IN THE

Photos by Samuel Herrera

Vivian Lee

DIGITAL AGE

t’s a regular Thursday at Pratt. You

Pratt Gossip revealed that, while they like

decide to fulfill your once-a-semes-

to post most submissions, they don’t publish

ter workout and head to the gym, only

items that contain delicate information: “There’s

to be traumatized by pornstar sex

been a few that’s like, ‘this person is awful

noises coming from the locker room.

and they’re trash,’ and I don’t post those. But

You call it a day and head to the stu-

there’s also been some calling people out for

dio instead, but it appears someone

some serious stuff and those don’t usually get

has stolen the Color-aid collage you spent a full

posted because this page isn’t looking to try

night making. You text a friend about your

people in the court of public opinion. It’s sup-

roller-coaster of a day, but wish there was a way

posed to be a fun page about the Pratt com-

to rant to everyone at Pratt about these expe-

munit y and infor ming people about t hings

riences. Look no further—Pratt Gossip is just

going on within Pratt campus.” From a tech-

a DM away. A n inter v iew w ith the student behind Pratt Gossip (@prattgossip), an anonymouslyoperated Instagram page recognizable by their trademark profile picture (Philip Grausman’s Leucantha) offers perspective on the usage of social media as entertainment and examines the boundaries in which confront -ation is deemed necessary. While gossip typically relates to negative connotations, Pratt Gossip is lively and inclusive. Browse their feed and you’ll find playful banter, inside jokes, lost-and-found inquiries, and club promotions. The page enriches our campus by providing an interactive space for all to contribute.

7 nical standpoint, it makes sense to hold off from live-posting every submission rereciate a little less spam in our lives. Earlier this year, Pratt Gossip received a series of reports concerning a man lingering and harassing women around Classon Station. The inf lux of accounts shared a similar timeline wherein students were first approached then cornered. Pratt Gossip said they “got a lot of messages from people asking to see the photo [of the man] so they can stay safe” from him. The page obtained a picture of the perpetrator from their followers and submissions. Since then, the school has taken action and he’s been banned from campus. This incident showcases a sense of unity in our school—and in a way, Pratt Gossip serving as a neighborhood watch. Pratt Gossip explains they started the page because they missed the sense of comrader y created by a now defunct Snapchat account, Pratt Snaps: “Like the jokes the entire school knew because everyone had seen the Pratt Snaps story. It sort of created a community that I think Pratt lacks—many people complain on our page about the lack of community at Pratt, for example.” Pratt Gossip has certainly achieved (dare I say, surpassed) Pratt Snaps’ legacy. The page often comes up in daily studio conversation, at the dinner table with family, or even as an icebreaker that Pratt students can actually make use of. Pratt Gossip is, after all, run by a student. A close circle of friends know their identity but all agree that the creator should remain anonymous. As Pratt Gossip adds, “[a page] that has a face really changes perception as well as who submits and comments on the page.” Eventually, Pratt Gossip will graduate. We discussed future plans and teased about what would happen if the institute took over the page: “Pratt Gossip would be a lot different if it was run by administration. You would know who runs it. People would be a lot less likely to submit or look at the page because it might seem like Pratt administration is trying to connect with the kids.” A lovely chat with Pratt Gossip makes it clear that their system of values revolves around the desire to help facilitate dialogue at our school: “I hear people talking about the page a decent amount. I hear of people who love the page and check it everyday. I’ll have to find someone to take over this page once I leave Pratt.” Without a doubt, Pratt Gossip makes college life more exciting (not to mention convenient), but we should be mindful of face-to-face communication as well. Confrontation doesn’t have to be aggressive, awkward, or hostile—especially when we have transformative outlets like Instagram that make connecting easier than ever before.

“Pratt Gossip would be a lot different if it was run by administration. You would know who runs it.”

ISSUE III FEATURE | THE PRATTLER

ceived because the page needs content to post religiously. Besides, we can all app-

THE PRATTLER | THOUGHTS

THOUGHTS

ion trat Illus ld ngo Fei ulia by J

The Age of Streaming Zach Landers As platforms of entertainment evolve, network

cut in half, due to the stagnation of NBC, CBS, and

television and large film studios are at risk of extinc-

ABC. Long time SNL producer Lorne Michaels has

tion. The last decade has seen the rise of several stream-

even signed a production deal with Netflix. While

ing services—Amazon Prime and Hulu to name

the big network players jump ship for Netflix, other

two, but it’s Netflix that is head and shoulders

major streaming services like Amazon Prime have

above the rest.

the opportunity to land talent and create competition.

Netflix began in the ‘90s as a mail order company, shipping DVDs out on a monthly subscrip-

This would increase the speed of streaming dominance as well as the decline of network TV.

tion. By 2007, Netflix started streaming content, a

To keep their edge, Netflix also began to produce

concept which did not gain popularity until 2010.

original movies. The first one to break through was

Through the 2010s, Netflix went from an outlet

last year’s thriller, “Bird Box.” Since its success, Net-

for binge-watching network classics, like AMC’s

flix has increased their number of film distribution

“Breaking Bad,” to releasing widely acclaimed origi-

contracts at an alarming rate. While traditional Hol-

nal material, such as “House of Cards,” “Black Mir-

lywood studios have always presented the image of

ror,” and “Stranger Things.” This jump into original

being “too big to fail,” the recent stagnation of box

programming coincided with the oversaturation

office numbers, due to spinoffs and reboot misfires,

of prestige television across the major networks.

have left Warner Bros., Paramount, and Universal in

Countless dramas tried to ride the coattails of

a vulnerable position. Despite success in the domes-

“The Sopranos” and “Mad Men,” which created a

tic market, Netflix has decided to expand its reach to

paradox of choice amongst network TV. Netflix

foreign audiences with the recent acquisition of Chi-

provides personally tailored suggestions which

nese blockbuster, “The Wandering Earth.” The con-

allow an easier and more efficient route for enter-

stantly shifting plain of entertainment is impossible

tainment. Late-night TV has also seen viewership

to predict, but right now, Netflix is leading the pack.

Media Matters A few weeks ago, I met with an old friend to

brand them as childish while also joking about

see a movie. We looked over the list of titles, and

the dirty references that ‘only the grown-ups

regarding one she said: “I heard it’s really good,

would understand.’

but I’m not really into cartoons.”

The pattern is seen again as Disney and

Within the last few months, numerous big-

other major studios work to create more live-ac-

name films have hit theaters with varying deg-

tion remakes, including “Beauty and the Beast,”

rees of success. One such film was the highly

“Jungle Book,” and the upcoming “The Lion King.”

anticipated “Spider-Man: Into the Spider-Verse,”

Of course, viewers are excited for a chance to

a movie that had been hyped up for its diverse

relive the joy of the stories they love with fresh

cast of characters, unique comic book hybrid

eyes, but why is it that animated movies’ only

aesthetics, and heartfelt storyline. It lived up

possible resurgence is on with human actors or

to these expectations, too, receiving a whop-

hyper-realistic aesthetics?

ping 97 percent critic rating on Rotten Tomatoes and even winning awards for Best Animated Feature. Yet, I keep hearing the same comment: “I’m just not into cartoons.”

People fall into the belief that once you hit a certain age it’s time to ‘grow up.’ You have to be more serious, more cynical, and more complex. This philosophy creates a generalization that for-

There is no accounting for taste, but this feed-

ces animated media into the “For Kids” peg since

back is also relevant to a larger, recurring trend.

many shows made for children take advantage

Animated films, no matter how well received,

of the attention-grabbing designs. If it’s simple

don’t seem to fare as well in the box office com-

enough to please kids, then it can’t be mature

pared to their live-action counterparts. When

enough for adults, right? The truth is, if every-

most people see a poster for an animated film,

one were to give animated voices further consider-

their minds immediately jump to family features

ation, they would realize that they are more than

or stories created for younger audiences. They

worth the time as they show us fresh perspect-

miss similarly complex narratives and univers-

ives we might not have noticed outside of this

ally meaningful messages that often hide beh-

innovative medium.

ind a brightly colored facade, and hypocritically

THOUGHTS | THE PRATTLER

Ander Linzey

Illustration by Harper McVey

THE ANIME INFLUENCE

THE PRATTLER | PHOTO ESSAY

Shan Runge, Drawing major. Favorite series: “Hunter x Hunter,” “Inuyasha,” “He-Man.” “When I was a kid I’d only draw anime. Anime often makes people start drawing. . .I draw a lot of angular people and I love diagonal lines.”

Elizabeth Wing When I arrived at Pratt this fall, I noticed that anime and manga seemed to be a shared cultural reservoir. I talked to seven different Pratt students about how these forms of artistry have impacted their creative practices. While most of the students could easily rattle off their favorite series, many said they feel a disconnect between the world of pop culture and fine art that makes it difficult to articulate the relationship between what they’d watched growing up and what they create now in an academic setting. A common thread among all the students I talked to was the power of Japanese media to catalyze interest in art.

Joey Bourgeois, 2-D Animation major. Favorite series: “Neon Genesis Evangelion,” “Hunter x Hunter,” “Fooly Cooly.” “Channels like Funimation on cable, and the Westernization of the anime aesthetic with shows like ‘Boondocks,’ ‘Teen Titans,’ and ‘Avatar,’ as well as the broadcasting of anime movies on late-night ‘Cartoon Network’ helped shaped my developing visual aesthetic. Japanese animation tackles a greater range of material than Western animation, which is mostly used for children’s shows of slapstick. The kind of work I want to do, which is more characterdriven and internal, is found more in anime.”

11 Favorite series: “Drifters,” “Fullmetal Alchemist,” “Hellsing.” “Anime has shown me that in analyzing the exaggerated animated movements of actions, one can create space that is at the same time fluid and acuminous.”

PHOTO ESSAY | THE PRATTLER

Vicky Lao, Architecture major.

Xiwen Chen, ComD major.

Alexa Pitt, Painting major. Favorite series: “Anohana,” Sunday Without God. “What really influences my art is the commonly known large-ish eye shape and a petite nose. It also has the same soft flowing hair. Anime style influences my sketches a lot because it’s an easy and quick way to draw without thinking too hard about proper anatomy.” Hannah Weghorst, Fashion major.

Ezra Davulchu, Illustration major Favorite series: “Madoka Magica,” “Paprika.” “It’s shown me that things can have emotional effect without looking typically realistic.”

LETTERS FROM US Prattlers,

CULTURE & COMMUNITY 02

We are living in a truly strange time. ‘Entertaining’

Lexi Anderson explains the benefits, limitations, and social implications of hashtag activism.

might be the last word to use when describing the state of humanity in 2019, and yet, there is seemingly a stronger emphasis on entertainment in this era than ever before. Simply in our pockets, more content

absorb. Politics and performativity fiercely collide as a reality TV figure sits in the Oval Office.

to create thoughtfully. I am endlessly inspired by our contributors who prove that entertainment is more build communities, develop ideas, and grow together.

another is an act of generosity.

ISSUE III FEATURE

Aaron Cohen Editor-in-Chief

CREATIVE DIRECTORS

DESIGN ASSISTANCE

Pamela Wang

Madeline McKowen

Jooyoung Park

Josh Weinstein Maura Kelly

EDITOR-IN-CHIEF

THOUGHTS 08

EDITORIAL ASSISTANCE

Janie Peacock

Aliza Pelto

MEDIA MATTERS Ander Linzey defends animated cinema, questioning our reluctance to consider the format seriously.

WEB DESIGNERS Noah Semus Nicholas Lucaccioni

THE AGE OF STREAMING Zach Landers tracks the history of the movie, from mailed DVDs to Netflix originals.

Danielle Wilson

MANAGING EDITOR

CONFRONTATION IN THE DIGITAL AGE Vivian Lee interviews the anonymous Pratt Gossip, discussing media’s intersection with community and entertainment.

PRATTLER STAFF

Aaron Cohen

DO IT FOR THE GRAM Aliza Pelto explores social media and the influencer culture growing within our generation.

Each moment we share a part of ourselves with one

With gratitude,

THE SOCIAL NETWORK IN 2019 Lawrence Scotti presents Facebook’s trajectory through scandal and success since its film interpretation.

can impact society, and we carry a real responsibility

than consumption, but a craft with the potential to

ART AS THERAPY: SHIFTING VIEWS Carly Tagen-Dye and Katie Vogel examine where art meets self-care in their personal lives.

spills from our phones than we could ever hope to

As artists, we learn to anticipate how certain media

WHEN ACTIVISM GOES VIRAL

PHOTO ESSAY

ADVISORS Christopher Calderhead Eric Rosenblum

EMAIL US AT THEPRATTLER@GMAIL.COM OR VISIT US AT PRATTLERONLINE.COM

THE ANIME INFLUENCE Elizabeth Wing gathers insight from Pratt students who find artistic inspiration in anime and manga. COVER BY MOLLY DAUPHIN