zenpundit.com » movies

Archive for the ‘movies’ Category

Warriors with and without Wagner

Thursday, December 18th, 2014

[ by Charles Cameron — pursuant to my continuing interest in haka and other arts of intimidation ]
.

Air Cav:

Aztec:

**

Just so you know, here’s a close-up of a jade Death Whistle (click image for more video):

close up of  a jade death whistle

Hat tip to Bryan Alexander of Infocult: Uncanny Incormatics

Brief brief: religion and story

Thursday, December 4th, 2014

[ by Charles Cameron — the bookstore in a church, spirituality in the movies, and the church in a mosque ]
.

Selexyz Dominicanen bookstore 602

**

There’s a recent post in the New Statesman titled The books of revelations: why are novelists turning back to religion?.

It seems to me that’s a difficult topic to prove or disprove, since it depends on which novelists you read before debating it, and perhaps even what your criteria for excellence in writing might be. I read very few novels these days, and tend to confine myself to those whose language, sentence by sentence, gives me joy to equal that of a topic I enjoy. John Fowles did that for me, John Le Carré, and most recently Ann Patchett with Bel Canto.

Are they turning back to religion? If they are, I haven’t noticed.

But then the novel isn’t where I go for story in any case, and if I suspect there’s a better medium to check in on, film would be my next choice up — and yes, Tarkovsky‘s The Sacrifice, even his Nostalghia — not to mention his Andrei Roublev — definitely yes. Kurosawa? Not so much: in his films it’s more a case of “all human life is there”.

**

This quote, from Adrei Tarkovsky’s Cinema of Spirituality, may be helpful:

In the entire history of cinema there has never been a director, who has made such a dramatic stand for the human spirit as did Andrei Tarkovsky. Today, when cinema seems to have drowned in a sea of glamorized triviality, when human relationships on screen have been reduced to sexual intrigue or sloppy sentimentality, and baseness rules the day – this man appears as a lone warrior standing in the midst of this cinematic catastrophe, holding up the banner for human spirituality.

What puts this director in a class all his own and catapults his films onto a height inaccessible to other filmmakers? It is, first and foremost, his uncompromising stance that man is a SPIRITUAL being. This may appear to be self-evident to some, and yet it is just on this very point that 99% of cinema fails. Man’s spirituality is quickly and conveniently pushed aside in favor of other more “exciting” topics: man’s sexuality, man’s psychology, sociology and so on. In today’s cinema, if spirituality is dealt with at all, it is never treated as the foundation of our existence, but is there as an appendage, something the characters concern themselves with in their spare time. In other words, while in other films spirituality may be PART of the plot, in Tarkovsky’s films it IS the plot; it permeates the very fabric of his films. It can be said that his films vibrate with his own spirituality. As he himself states, in all of his films the main characters undergo a SPIRITUAL crisis.

**

Whether sticking a stylish set of bookshelves and other trimmings in a beautiful old church should have won the Lensvelt de Architect prize in 2007 to the designers who added the bookshelves to an already stunning edifice is an interesting question. Is the beauty theirs, or borrowed? Have they incorporated the old church into “their” bookshop?

I think, too, of the Mezquita in Cordoba, with a cathedral dropped into the heart of it:

Mezquita_de_Córdoba aerial view

His Catholic Majesty King Charles V of Castile and Aragon said of this:

They have taken something unique in all the world and destroyed it to build something you can find in any city.

**

Is there an aesthetic principle we might consider here?

The Japanese haiku master Basho was once approached by his pupil Kikaku, who showed him this verse:

Dragonfly
I remove the wings
A pea pod!

Quickly Basho wrote in response and mild correction:

A pea pod
I place wings on it
A dragonfly!

Poetry, in Basho’s view, should lift us from the lesser to the greater, not bring the greater down to a lesser level. It’s an interesting concept, and one with wide potential application beyond the sphere of the arts.

**

Or — let’s cut the architects, Merkx+Girod, some slack, because the bookstore is indeed quite stunning! I love bookstores, yes, and I love cathedrals.

Is the whole thing, perhaps, a DoubleQuote in stone and stories?

The Art of Future War?

Sunday, November 23rd, 2014

[ by Charles Cameron — coloring outside the lines of the challenge ]
.

http://www.desura.com/mods/dune-wars/images/new-soldier-and-infantry-units
Civ4 Dune mod, “Worm attack”, from Desura

**

I’m all in favor of the Atlantic Council‘s Art of Future War Project:

It is a moment to seek out new voices and ideas from artists who can range much farther out into the future. Artists are adept at making sense of disorder while also having the ability to introduce a compelling chaos into the status quo. In other words, they are ideally suited to exploring the future of warfare. Writers, directors and producers and other artists bring to bear observations derived from wholly different experiences in the creative world. They can ask different kinds of questions that will challenge assumptions and conventional ways of tackling some of today’s toughest national security problems. Importantly, they can also help forge connections with some of most creative people in the public and private sectors who otherwise struggle to find avenues for their best ideas.

That’s excellent, and as a poet and game designer with a keen interest in war and peace, I hope to contribute.

**

Funny, though, their first challenge looks, to my eyes, just a little bit back to the future:

The Art of Future Warfare project’s first challenge seeks journalistic written accounts akin to a front-page news story describing the outbreak of a future great-power conflict.

Why would we want to produce something “akin to a front-page news story” at a time when news stories are already more web-page than front-page, and perhaps even tweet before they’re breaking news?

In any case, the good people at Art of Future War offered some clues to those who might want to take up their challenge, and I took their encouragement seriously —

The historical creative cues included below are intended to inspire, not bound, creativity.

**

Their first clue did indeed inspire me, though not to write anything akin to a front-page news story, “between 1,500 and 2,500 words long”. The clue they gave was the Washington Times lede I’ve reproduced in the upper panel below —

SPEC DQ slomo death

while the lower panel contains the quote their clue led me to, by an associative leap of the kind artists are prone to — drawing on the vivid imagery of Peter Brook‘s play, The Mahabharata, which I had the good fortune to see in Los Angeles, a decade or three ago.

**

My own leap backwards — to an ancient and indeed originally oral epic, the Mahabharata, rather than to century-old newsprint — won’t win me the challenge, since it doesn’t answer to the rules, nor will it provide useful hints as to what war will look like a decade from now.

The sage Vyasa, who wrote the Mahabharata at the dictation of the god Ganesh, might have been able to predict the future of war — I certainly cannot.

What I can do, and hope to have done, is to suggest that the whole of human culture has a bearing on war and how we understand it.

James Aho‘s Religious Mythology and the Art of War should be on every strategist’s reading list, as should Frank Herbert‘s Dune (see gamer’s mod image at the top of this page), JAB van Buitenen‘s Bhagavadigita in the Mahabharata and Brigadier SK Malik‘s The Qur’anic Concept of War — and Akira Kurasawa‘s Kagemusha on the DVD shelf, too:

There, I have managed to contribute something useful after all.

DoubleQuote: Genocide Memorial Church before and after

Saturday, September 27th, 2014

[ by Charles Cameron — a quick note on the DQ format used to illustrate church “before and after” attack, montage in Pudovkin / Eisenstein, and cognition ]
.

**

Pondering these images, I see that while they do clearly represent “before and after” when juxtaposed, they do not represent “cause and effect” as such. The cause of the visible changes is not itself present, although implied. Even so, the viewer is liable to jump from a non-causal double image via the implied causal connection to an emotional response — “the bastards!” or something of that sort.

I’ve been interested in the intellectual and emotional responses generated by juxtapositions at least since I first read about montage, Pudovkin and Eisenstein in a class on film directing at UCLA some decades back. It is one of the great issues in film — Eisenstein wrote:

to determine the nature of montage is to solve the specific problem of cinema

It’s more than that, though — it’s one of the great issues in cognition and metacognition.

We’d do well to put some bright minds on the task of understanding it.

Sunday surprise 14: G&S Effect

Sunday, February 2nd, 2014

[ by Charles Cameron — like father, like son — Gilbert & Sullivan, Shakespeare and the video game Mass Effect ]
.

Some of our readers will no doubt recognize the “model of a modern Major-General” from Gilbert & Sullivan‘s “Savoy Opera” The Pirates of Penzance. He’s definitively British, and it’s a sign of the strength of the “special relationship” between the US and UK that the G&S operas have now won a place in many American hearts.

For those of you who don’t know your G&S, or do and would like to be reminded, here’s a Joseph Papp presentation of Pirates, with George Rose playing the Major-General, Kevin Kline as the Pirate King, and Linda Ronstadt as Mabel, from NYC’s Delacorte Theater in Central Park [available on DVD]:

And here for your convenience, since the words fly past at quite a lick, are the lyrics —

I am the very model of a modern Major-General,
I’ve information vegetable, animal, and mineral,
I know the kings of England, and I quote the fights historical
From Marathon to Waterloo, in order categorical;a
I’m very well acquainted, too, with matters mathematical,
I understand equations, both the simple and quadratical,
About binomial theorem I’m teeming with a lot o’ news, (bothered for a rhyme)
With many cheerful facts about the square of the hypotenuse.

I’m very good at integral and differential calculus;
I know the scientific names of beings animalculous:
In short, in matters vegetable, animal, and mineral,
I am the very model of a modern Major-General.

I know our mythic history, King Arthur’s and Sir Caradoc’s;
I answer hard acrostics, I’ve a pretty taste for paradox,
I quote in elegiacs all the crimes of Heliogabalus,
In conics I can floor peculiarities parabolous;
I can tell undoubted Raphaels from Gerard Dows and Zoffanies,
I know the croaking chorus from The Frogs of Aristophanes!
Then I can hum a fugue of which I’ve heard the music’s din afore, (bothered for a rhyme)
And whistle all the airs from that infernal nonsense Pinafore.

Then I can write a washing bill in Babylonic cuneiform,
And tell you ev’ry detail of Caractacus’s uniform:c
In short, in matters vegetable, animal, and mineral,
I am the very model of a modern Major-General.

In fact, when I know what is meant by “mamelon” and “ravelin”,
When I can tell at sight a Mauser rifle from a Javelin,d
When such affairs as sorties and surprises I’m more wary at,
And when I know precisely what is meant by “commissariat”,
When I have learnt what progress has been made in modern gunnery,
When I know more of tactics than a novice in a nunnery –
In short, when I’ve a smattering of elemental strategy – (bothered for a rhyme)
You’ll say a better Major-General has never sat a gee.e

For my military knowledge, though I’m plucky and adventury,
Has only been brought down to the beginning of the century;
But still, in matters vegetable, animal, and mineral,
I am the very model of a modern Major-General.

**

Now for the fun part.

My son David, who had never heard of the “modern Major-General”, was visiting me yesterday, and very proudly played me the ring-tone on his cell-phone.

It turns out he’d taken it from a video game called Mass Effact 2, which is his current favorite — and when I asked, he showed me a video of the game character called Mordin singing it:

Zing! His favorite game has a character who sings a variant on the G&S song! Like father, like son!

Here are the (revised) lyrics:

I am the very model of a scientist Salarian!
I’ve studied species, Turian, Asari, and Batarian.
I’m quite good at genetics (as a subset of biology),
because I am an expert (which I know is a tautology).

My xenoscience studies range from urban to agrarian –
I am the very model of a scientist Salarian!

Too cool!

**

So we got to talking about games, and Shakespeare — David has been studying Romeo and Juliet — and it turns out that although David feels Shakespeare is very skillful with words, and brings the human emotions out very directly in his plays, he’s more deeply gripped by Mass Effect 2 than by Romeo and Juliet, because it felt more “natural” to him, at least partly because he could navigate it at his own pace.

So this issue wasn’t that Shakespeare was boring or old, but that some games have developed new ways in which narrative can be enjoyed that can take one deeper into the story.

As an admirer of my friend Bryan Alexander‘s work on new narrative forms in his book, The New Digital Storytelling, this gave me a refreshing new perspective on games: that the pacing and interactivity themselves potentially take the narrative experience to a new level.

David made another observation: that he can learn from the little details of a game as much as he learns from the same game’s major plot points — and he used the Scientist Salarian song as his example. When it’s sung, standing alone in Mass effect 2, it’s a minor incident in the game. And whereas in Romeo and Juliet, each speech is intended, word for Shakespearean word, to create a powerful impact, Mordin’s song in Mass Effect 2 is like many other aspects of the game, there only to build a slow familiarity with a character.

It is not until Mass Effect 3, in fact, that the full impact of Mordin’s song hits home.

**

In Mass Effect 3, the character Mordin decides to sacrifice his own life to end the genophage sterility plague which has been aflicting the Krogan, one of the other races in the game. We know he is sad to relinquish his life in this way, because he had earlier expressed a desire to retire to a beach somewhere and “perform tests on sea shells.”

Explaining why he is going to sacrifice his life — and his dreams of retirement — in this way, he says:

My project. My work. My cure. My responsibility.

Sadly — terrified yet proud, then — having made his decision, he sings again the “Scientist Salarian” song:

That, says David, is why I have invested so much time in playing this series of games.

Mordin singing this song in each of two separate scenes doesn’t mean much until we have seen both in sequence. And although the lyrics of the song he’s singing doen’t directly tell us what he’s feeling, experiencing the entire story with him across two games reveals that he is in fact terrified — and reveals it in a disturbingly more intimate way than if he had simply stated it as a fact: it’s his intonation as he sings the song that second time that shows us his terror and his determination.

The second time around, because players have grown to know Mordin through dozens of hours of gameplay, his decision and death scene are truly heart-wrenching.

As I watch that second song for the third time, I see what David means.


Switch to our mobile site