Wednesday, November 28, 2012

Technology and Flow

  Intro:
    Albert Einstein once said "It has become appallingly obvious that our technology has exceeded our humanity." Although he stated this years ago before the boom in technology and he was referring to the atomic bomb, many people could feel he was foreseeing the future. Technology has completely changed the way information is exchanged. The internet, social media, and cell phones have connected us all and it's as simple as a click of a button. Although this surge in technology has made life easier, many people feel that Einstein may have been warning humans that although technology may be helpful at times, it may consumes us completely.
  
Body Paragraph 1:
   Internet- Pros vs. Cons

Body Paragraph 2:
   Social Media- gather information, connect with others

Body Paragraph 3:
   Cell Phones- connect/disconnect from others

Tuesday, November 20, 2012

Chapter 29

   I truly believe that words can have magic wrapped into them. I related to the part when Peter Elbow wrote about literature being an "escape route." I do believe that magic can be carried on through your words. Certain words on a paper can attract your attention and make it worth while to read it. And Elbow explains, with the example of blank checks, that this is what we all wish for as writers. In an entire sea full of essays and poems, we want our work to be sought through and interest the reader. With certain words and a little hint of magic, it's possible to make your work uniquely interesting amongst the rest. Elbow writes, "So maybe that's where the power in writing comes from that I want to call magic: context." Even if a paper has only one thoroughly written part, that short paragraph is enough to capture a readers attention. Elbow explains, "A passage long enough to carry a lot of context." Writing should be an experience and if you're not allowing the reader to join you on this journey, it won't keep their attention for long. Even if you're writing about something you've never experienced before, the magic of writing is that you could have already experienced it in your mind. But Elbow explains that by stressing too much about capturing the magic, you could very well find yourself stressing TOO much over it and not capture your true self or, anything for that matter, at all. I guess the concept of magic is perfectly written in the final sentence by Elbow: "Though you must believe in magic, then, often you must be willing to do without it." 

 

Monday, November 19, 2012

Chapter 25 & 26

   Peter Elbow explains that the one thing many students lack is voice in their papers. Looking up the definition of voice (in literature) is the author's style, the quality that makes his or her writing unique, and which conveys the author's attitude, personality, and character. When I think of voice in a paper, I always think of it as a conversation as I read it. The writer is suppose to communicate through their words and be able to relate to the reader, but in my opinion, be charismatic as well. I always try to write my paper as honest, but without being too blunt or offensive. There's nothing worse than reading a paper that feels obnoxious or even WORSE, a paper that has a nonexistent voice. I suppose there are people that are an absolute bore. But in literature, you can fake a voice and write what you wish you could say. Writing gives you that freedom so why not take it? My voice as a writer is one that tries to relate as much as possible with the reader. Some of my favorite pieces of literature have underdogs as their heroes or heroines because of how easy it is to relate to them. That's what I want to do. The greatest feeling would be to allow someone to find their own voice after reading my work because they know I'm just like them. My voice as a writer conveys that there is a unique and underdog story in all of us and writing allows us to share it with others.


Thursday, November 8, 2012

Outline

Thesis: In both The Stranger and One Thousand Gifts, the authors identify that death demonstrates how differently humans attempt to cope with the loss of a loved one.

Paragraph one:Death and Loss
  • spirituality
  • emotions
  • identity

Paragraph two: One Thousand Gift
-examples from the book
-explain how Ann Voskamp coped with death
  • her belief in a divine power allowed her to cope with death

Paragraph three: The Stranger
-examples from the book
-explain how Albert Camus' character coped with death
  • didn't believe in a higher power
  • emotionally numb
Conclusion

Tuesday, November 6, 2012

   Both of these texts explore the themes of life and death and the thin line that separates the two. Although they both seem drastically different, in each of the texts, they explain that our existence on this earth is the sole balance for the two. Life is the start, death is the end, and our life is the journey. Both of the authors are very sure to be vivid when describing their losses. Their word choice and imagery they convey in their texts, make sure it implants in our minds that death is a reality we will all face one day. It's frightening and devastating, but that's what life is.
   The texts repeat over and over the theme of love and loss and the vastly different ways humans attempt to cope with loss. But the similarity they share with this theme is that: we must move on and go forward in our lives. The death of a loved one may feel like the world has stopped, but the reality is the world won't stop time to allow you to mourn this devastating loss. It's a sad reality, but life is a journey and it's never going to be easy.

Monday, November 5, 2012

The Stranger

    Over time, we're force to face our real problems and reality sinks in that we were born to die one day. As I read The Strangers, I got the sense that the Albert Camus vividly sees this reality. Burying the one person that was always there to nurture you and devoted their life to unconditionally love you is a horrific reality many have to face. But on top of that, he describes the sinking fate that life will not freeze for you and allow you to grieve. You have to move on and go back to the real world and the author seems ready to do so the moment he speaks to his employer and explains he has to miss work due to his mother's passing.
    It's a sad fate, as he describes the long walks his mother and her special friend, Tomas Perez, would enjoy. To find something like a bond, or even a love towards one another at their age is devastating, because we know many take for granted what they didn't have: time. The old folks in the Home didn't have time to live life. They are sentenced to a morose path, where they now can try and live the few moments they have on this earth. Even the old woman who sobbed during his mother's funeral felt what many can relate to when they are grieving and attempting to cope with a loss. "She says your mother was her only friend in the world, and now she is all alone." the keeper explains. I guess it's a guaranteed fate for all of us. We are born alone, although we are surrounded by others. And we will die alone, even though we are surrounded by others. In the end, we'll be alone.
   As the author describes leaving his mother behind and never visiting her until now, that he had to bury her, I understand why he didn't chose to view her body. I believe he felt that he couldn't be able to redeem his actions of neglecting his mother. Many realize their faults and actions towards someone when they've passed. The author understands what he did wrong, but in a way feels that he gave his mother the greatest gift of all. Although she cried many days after he left her at the Home, he says he felt she would've been devastated if he would've teared her from her only love, her only friends, her only Home where she even found God and religion. Yes, he should've visited her, but deep down, he knows she was happy. On long walks to nowhere and long talks that only mattered at that certain moment, she finally was able to escape and find a sanctuary in this simple oasis. Although his mother was gone, he knows she was finally Home. 

Monday, October 29, 2012

S. Kubrick



Stanley Kubrick

Audiences everywhere would agree that Stanley Kubrick's The Shining is a masterpiece. Its striking cinematography, eerie music, but most importantly, the spectacular directing by Kubrick cemented his status as a visionary innovator. He was a genius, yet never felt that he needed to live up to any expectations. He did once say, "Never put me on a pedestal. When someone's on a pedestal, there's no creativity. “And I believe his films reflected that ideology. Each of his films had puzzling endings that he felt never had to be explained; you could interpret them any way you wanted to. His perfectionism was, at times, intimidating, but his attention to details and most of all, imagery, is why his directing set the bar so high for films. He is one of the most respected directors of all time and I feel that not only did Stanley Kubrick pave the way for other directors wanted to capture life the way he did, his films also changed the way many people interpret life today.
From an early age, Stanley was more fascinated with filmmaking and photography than school. Stanley Kubrick was born on July 26, 1928 in Manhattan, New York. He performed poorly academic-wise, but everything changed when his father, Jack, taught him how to play chess. His father hoped it “would stimulate him mentally and spur him on to greater intellectual achievement.” His father was right. Stanley became a skillful player and competed in clubs all around Manhattan and earned money playing. 
On his thirteenth birthday, his father presented him with a Graflex camera, which further stimulated his fascination with photography.  In 1946, he graduated from William Taft High School, but due to low grades, was unsuccessful getting into college.  With the camera his father had gifted him; he set out to the streets of New York City and began his career as a freelance photographer. He sold many of his photographs to Look magazine and everyone with talent. Much of his skills were learned through self-teaching and the hands-on experience he gained working as an apprentice photographer for the magazine.  As the hype surrounding his photos grew stronger, Stanley began setting his sights on filmmaking. And by 1951, Stanley made that dream a reality when he began making short films.
By the early 50s, Stanley was financing many of his short films, including Day of the Flight and Flying Padre. In Day of the Flight, Stanley was notable for using reversing tracking shots which was one of Kubrick’s signature directing styles that he later on used in many of his films. Also, during the filming of all these short films, Stanley served as the director, editor, cameraman, even sound effects man which he later stated served as an “invaluable experience, because being forced to do everything myself I gained a sound and comprehensive grasp of all the technical aspects of filmmaking.” Stanley soon filmed his first feature film called Fear and Desire. Film historian James Naremore noted that Kubrick was “especially interested in how rational, militaristic planning spins out of control and becomes irrational." This theme is later seen in his other films including Paths of Glory, Dr. Strangelove, and Full Metal Jacket.  
His first film that was met with critical and commercial success was Spartacus, which Kubrick wasn’t originally picked to direct in the first place. He replaced director Anthony Mann after a week of filming but consistently budded heads with producer and actor Kirk Douglas. The film was the first and last time when he didn’t have complete control or freedom as a director, so soon after he moved to England and vowed to never allow anyone to stifle his creative freedom. 
In 1962, his dark comedy, Lolita, was his first film that generated controversy due to the films material, which was adapted from Vladimir Nabokov’s novel of the same name. The movie would serve as the beginning of Kubrick’s devotion of adapting novels into screenplays and also choosing risqué material over “safer” ones. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, adapted from the novel Red Alert by Peter George, followed and was first meant to be a serious drama. But as Kubrick, George, and co-writer Terry Southern began developing a script, Kubrick realized that the more and more they wrote, the more he realized the film would work if it was scripted as a satire.  It was a hit and is regarded as one of his many masterpieces. 
Kubrick then turned his sights on a short story by Arthur C. Clarke, called The Sentinel. He spent the next five years developing 2001: A Space Odyssey. Released in 1968, it’s regarded as one of the best sci-fi film ever made and even Steven Spielberg called it “his generation’s big bang.” The film explored the existence of man and the possibility of life beyond Earth. The film’s breathtaking special effect stunned audiences and critics everywhere, and the film was nominated for many Academy Awards. Stanley won his only Oscar for special effects that year.  After 2001, Kubrick continued developing more scripts and after financing for Napoleon, fell through, he began work on a new project, A Clockwork Orange. The novel, by Anthony Burgess, is an exploration of human nature. It follows main character, Alex, whose interests includes classical music and violence. He is later captured by authorities and forcefully entered into rehabilitation for his horrific crime sprees. Just like his film Lolita, A Clockwork Orange was met with controversy due to the graphic nature it depicted. It was said that Kubrick and his family received threats and even had protesters outside their home. Kubrick was forced to withdraw his film from Britain due to many copycat crimes that authorities said where influenced by the film. 
After the controversy died down, Kubrick followed up with Barry Lyndon and The Shining, my personal favorite. The Shining was adapted from t Stephen King novel of the same name. The use of the newly invented Steadicam proved to be effective, with its smooth gliding across the vast, long hallways. It’s eerie music and at times, puzzling story, grasped audiences and left many questions unanswered. Many theories about the film can be seen in the movie Room 237, which explores many of the assumptions towards The Shining. Like many of his films, Kubrick felt that his movies could and should be interpreted in many ways and that the audience should leave the theatre still wondering and yearning for what the film means.  Many stories from the film are legendary today, including that being the perfectionist he was, Kubrick made actress Shelley Duvall, who played Wendy Torrance in the film, had to perform 127 takes of the baseball bat scene until Kubrick was fully satisfied he got it. Kubrick’s The Shining, is regarded as one of the best horror films of all time and one of my inspirations for filmmaking as well. Kubrick then followed up seven years later, with the film Full Metal Jacket. It was an adaptation of Gustav Hasford’s novel The Short-Timers. In an interview with film critic Steven Hall Kubrick stated that his attraction to Gustav Hasford's book was because it was "neither antiwar or pro-war", held "no moral or political position", and was primarily concerned with "the way things are".  The film was nominated for eleven Academy Awards. 
Kubrick’s final film took almost five years to develop. It was conceived after Stanley read Arthur Schnitzler novella Traumnovelle. The film stars Tom Cruise and Nicole Kidman as a couple whose home life is rocked when both character’s dark secrets are revealed.  It was met with critical praise and many friends of Kubrick stated that he believed it was his “greatest contribution to the art of cinema.” However on March 7, 1999, he died of a sudden heart attack in his sleep. Kubrick was able to finish edited prior to his death, but he was never able to see the final version of his film that was released to the public.
Of all the contributions Stanley Kubrick was able to achieve, I believe his greatest was establishing a new faith in cinema. Although many believed his films lacked heart, Kubrick understood that by choosing material that at times was unsettling, Stanley showed audiences the raw and biting truth to human emotion. If all of his films would’ve ended in a predictable and optimistic manner, we wouldn’t be regarding him as one of the greatest directors of all time. Many other directors chose safer paths, whereas Stanley chose to leave many questions unanswered and chose a style that differed from everyone. Those long, smooth takes and the attention to the smallest of details proved extraordinarily important to cinema. Even the subject matter he chose to film was forward and beyond his time. Today we can see his work everywhere, especially in other directors’ films. Martin Scorsese, Steven Spielberg, Christopher Nolan, Gaspar Noe, James Cameron, Woody Allen, the Coen brothers, and George A. Romero cite Kubrick as inspiration and a forefather of filmmaking. Stanley Kubrick has also influenced a generation of young, ambitious filmmakers; wanting and hoping for a chance to match the success and genius that is Stanley Kubrick. But there will always be just one Stanley Kubrick. He was one man that always demanded perfection, knowing that it would bring out the best in everyone. Many can regard his films as reason to believe than there is no hope for humanity and even fear our existence in the universe. But his films embodied a discreet ray of light that could be seen if you looked persistently enough. As he once said, “However vast the darkness, we must supply our light.” and I believe that’s enough hope for all of us.