The last few days have not been great. I did terribly on one of my exams and still have two more to take this week. I have also been getting annoying headaches. Not the greatest condition to be in when tests are session. Still, there are little things that made my week enjoyable; the weekly ice cream sundae I treat myself to on Fridays and read a letter from a friend. I love sending letters to people. Though only a few respond, I find that hearing back from them, that the stories I share with them make them smile, makes me feel a little accomplished inside.
Perhaps my favorite part of the week was seeing the tricycle parked outside my building actually being ridden around. I was walking behind the person pedaling away, the plastic tires scratching as they picked up speed. Everyone who saw him either smiled, laughed or looked on in disbelief. Though the rest of my week was terrible, every time I thought of that little tricycle being ridden by a guy at least my age, I just couldn't help but appreciate how something so simple could make me smile so much.
Sunday, February 22, 2009
Persepolis Revised Movie Review
While settling into a chair to watch a movie, many will comment on how unrealistic the story is, or how people in “real life” would never act like that. Still, the heart pumping fight scenes of the must-see blockbuster typically draw people in droves as they escape normalcy to live vicariously through the characters. However, the less celebrated ones that feature a coming-of-age story are the ones that many want to relate to. They can say that they have, at one point, gone through what the protagonist has experienced. Persepolis is no different, though the circumstances of her politically deteriorating country showcases more then what is pictured as black and white.
In the style of the graphic novels it was based on, Marjane Satrapi’s life plays out in animated form. As a warning, it may underwhelm those expecting the bells and whistles of today’s modern animated pictures. Jack Matthews of the New York Daily Times calls the animation “Saturday-morning cartoon quality at best.” Despite this, Matthews also says that if the film were done differently, “it would distract from its marvel of a story.” The simplicity of style should not fool anyone into thinking that this is a children’s movie; her story has many shades of grey. Fellow film critic Roger Ebert comments on the style as well, calling it “deliberately two dimensional, avoiding the illusion of depth in current animation.“
Beginning in color and returning to black and white, Satrapi delves into her memories when she cannot board a plane to return to Iran. Satrapi’s story certainly calls for attention to detail. Part of a middle class family in Iran, Satrapi is fumbling with the heavier consequences of the revolution around her. Iran is soon plunged into war with Iraq and the gravity of reality sets in for Satrapi. Fearing for her safety, her parents send her to Austria for schooling and freedom from the oppressive regime. There she finds broken promises of a better life. She returns to her roots eventually, only to depart from it again in the end as more complications arise.
Though one can expect the graphic novels to be more in depth, the film captured the essential details of Satrapi’s story. She herself helped write the screenplay, keeping the adaption true to her memories. Dialogue was an integral part of the movie and was spoken with such earnest in emotion that you almost forget that the film is in French. Though for English speakers subtitles are required, it is tolerable to enjoy such a movie. This means however, that we are robbed of our other senses while focusing on the words. I did not notice any memorable instrumentals during the film until it was brought to my attention later. Then again, that adds some realism to the film – I don’t walk around to a full orchestra playing in the background.
The pacing of the film matched the circumstances of the story as it progressed, making it almost feel like two movies in one. The visual style of the film sets it apart from other animated movies. It lacks such colorful, 3-D characters like Shrek or the cute animals from Over The Hedge, both wildly popular (and heavily marketed) animated films. A more obscure film, it is not a movie that one would choose just for a few laughs. There are some parts that seem to inject comedy into the movie, but for the most part, it is a serious film, heavy with internal and external conflict.
Persepolis focuses heavily on characterization, especially that of Satrapi. Ebert writes that “it is infinitely more interesting than the witless coming-of-age Western girls we meet in animated films.” Faced with the notion of growing up, Satrapi’s pull from her own history gives her story a dynamic, grittily realistic feel, unlike many of today’s modern stories that focus more on laughs and superficial beauty of the characters. Still, like any ordinary person lost in their daydreams, we see her fantasizing, floating out in space lost in her thoughts, until she is shocked out of that state when bombs drop around her. Packaged in an initially deceiving fashion, Persepolis delivers a mature, engaging story of a misunderstood population.
In the style of the graphic novels it was based on, Marjane Satrapi’s life plays out in animated form. As a warning, it may underwhelm those expecting the bells and whistles of today’s modern animated pictures. Jack Matthews of the New York Daily Times calls the animation “Saturday-morning cartoon quality at best.” Despite this, Matthews also says that if the film were done differently, “it would distract from its marvel of a story.” The simplicity of style should not fool anyone into thinking that this is a children’s movie; her story has many shades of grey. Fellow film critic Roger Ebert comments on the style as well, calling it “deliberately two dimensional, avoiding the illusion of depth in current animation.“
Beginning in color and returning to black and white, Satrapi delves into her memories when she cannot board a plane to return to Iran. Satrapi’s story certainly calls for attention to detail. Part of a middle class family in Iran, Satrapi is fumbling with the heavier consequences of the revolution around her. Iran is soon plunged into war with Iraq and the gravity of reality sets in for Satrapi. Fearing for her safety, her parents send her to Austria for schooling and freedom from the oppressive regime. There she finds broken promises of a better life. She returns to her roots eventually, only to depart from it again in the end as more complications arise.
Though one can expect the graphic novels to be more in depth, the film captured the essential details of Satrapi’s story. She herself helped write the screenplay, keeping the adaption true to her memories. Dialogue was an integral part of the movie and was spoken with such earnest in emotion that you almost forget that the film is in French. Though for English speakers subtitles are required, it is tolerable to enjoy such a movie. This means however, that we are robbed of our other senses while focusing on the words. I did not notice any memorable instrumentals during the film until it was brought to my attention later. Then again, that adds some realism to the film – I don’t walk around to a full orchestra playing in the background.
The pacing of the film matched the circumstances of the story as it progressed, making it almost feel like two movies in one. The visual style of the film sets it apart from other animated movies. It lacks such colorful, 3-D characters like Shrek or the cute animals from Over The Hedge, both wildly popular (and heavily marketed) animated films. A more obscure film, it is not a movie that one would choose just for a few laughs. There are some parts that seem to inject comedy into the movie, but for the most part, it is a serious film, heavy with internal and external conflict.
Persepolis focuses heavily on characterization, especially that of Satrapi. Ebert writes that “it is infinitely more interesting than the witless coming-of-age Western girls we meet in animated films.” Faced with the notion of growing up, Satrapi’s pull from her own history gives her story a dynamic, grittily realistic feel, unlike many of today’s modern stories that focus more on laughs and superficial beauty of the characters. Still, like any ordinary person lost in their daydreams, we see her fantasizing, floating out in space lost in her thoughts, until she is shocked out of that state when bombs drop around her. Packaged in an initially deceiving fashion, Persepolis delivers a mature, engaging story of a misunderstood population.
Wednesday, February 18, 2009
Draft of Movie Review for Persepolis
While settling into a chair to watch a movie, many will comment on how unrealistic the story is, or how people in “real life” would never act like that. Still, the heart pumping fight scenes of the must-see blockbuster typically draw people in droves as they escape normalcy to live vicariously through the characters. However, the less celebrated ones that feature a coming-of-age story are the ones that many want to relate to. They can say that they have, at one point, gone through what the protagonist has experienced. Persepolis is no different, though the circumstances of her politically deteriorating country showcases more then what is pictured as black and white.
In the style of the graphic novels it was based on, Marjane Satrapi’s life plays out in animated form. Beginning in color and returning to black and white, Satrapi delves into her memories when she cannot board a place to return to Iran. The simplicity of style should not fool anyone into thinking that this is a children’s movie; her story has many shades of grey. Part of a middle class family, Satrapi is fumbling with the heavier consequences of the changing society around her; while her parents protest against the Shah, she dreams of being a prophet. She grows to idolize her uncle Anoosh, a political prisoner having been arrested for ideas of communism. Though the Shah is eventually overturned, Islamic Fundamentalists soon force the rest of the population into their definition of freedom, which for the women meant veils.
Iran is soon plunged into war with Iraq and the gravity of reality sets in for Satrapi. Anoosh is rearrested. Authorities corner her and her family. Having spoken against the teacher in school, Satrapi is sent away by her parents to Austria for safety. Unfortunately, there she finds lackluster friendship, love and shame. Though she returns to Iran, she doesn’t seem to belong.
Though one can expect the graphic novels to be more in depth, the film did capture the essential details of Satrapi’s story. She helped write the screenplay as well, keeping the adaption true to her memories. The pacing of the film matched the circumstances of the story as it progressed; with her childhood memories, events seemed more sporadic and disjointed, though all interconnected at the same time. The visual style of the film sets it apart from other animated movies; though black and white, I could relate to the clear-cut characters. Their voices were earnest in emotion and though for English speakers that means having to read subtitles, it does not take away from the movie.
For those with casual knowledge of the Iranian Revolution, the storyline will be easier to follow. However, portions of the movie do depict who is really in power of Iran at the time by employing the style of shadow puppets, implying that authorities were just pawns. Surprisingly, the simple lines of the characters display such emotion that you can sympathize with them. When the explosions of bombs terrorize the country, there is a notable panic in the air, with the stark style deteriorating to sketchier lines. Packaged in an initially deceiving fashion, Persepolis delivers a mature, engaging story of a misunderstood population.
In the style of the graphic novels it was based on, Marjane Satrapi’s life plays out in animated form. Beginning in color and returning to black and white, Satrapi delves into her memories when she cannot board a place to return to Iran. The simplicity of style should not fool anyone into thinking that this is a children’s movie; her story has many shades of grey. Part of a middle class family, Satrapi is fumbling with the heavier consequences of the changing society around her; while her parents protest against the Shah, she dreams of being a prophet. She grows to idolize her uncle Anoosh, a political prisoner having been arrested for ideas of communism. Though the Shah is eventually overturned, Islamic Fundamentalists soon force the rest of the population into their definition of freedom, which for the women meant veils.
Iran is soon plunged into war with Iraq and the gravity of reality sets in for Satrapi. Anoosh is rearrested. Authorities corner her and her family. Having spoken against the teacher in school, Satrapi is sent away by her parents to Austria for safety. Unfortunately, there she finds lackluster friendship, love and shame. Though she returns to Iran, she doesn’t seem to belong.
Though one can expect the graphic novels to be more in depth, the film did capture the essential details of Satrapi’s story. She helped write the screenplay as well, keeping the adaption true to her memories. The pacing of the film matched the circumstances of the story as it progressed; with her childhood memories, events seemed more sporadic and disjointed, though all interconnected at the same time. The visual style of the film sets it apart from other animated movies; though black and white, I could relate to the clear-cut characters. Their voices were earnest in emotion and though for English speakers that means having to read subtitles, it does not take away from the movie.
For those with casual knowledge of the Iranian Revolution, the storyline will be easier to follow. However, portions of the movie do depict who is really in power of Iran at the time by employing the style of shadow puppets, implying that authorities were just pawns. Surprisingly, the simple lines of the characters display such emotion that you can sympathize with them. When the explosions of bombs terrorize the country, there is a notable panic in the air, with the stark style deteriorating to sketchier lines. Packaged in an initially deceiving fashion, Persepolis delivers a mature, engaging story of a misunderstood population.
Sunday, February 15, 2009
Spider-Man 2 Reviews
In most movie reviews, these included, a short synopsis of the film is typical. Todd Gilchrist calls Spider-Man 2 a “captivating narrative tapestry,” but despite this, he seems ever critical to the intricacies of the story. Holding Spider-Man 2 to its prequel, Gilchrist seems to think that director Sam Raimi falls short in reproducing the same success. Roger Ebert however, thinks differently; he believes that Spider-Man 2 is the “best superhero movie since the 1978 Superman. Gilchrist seems caught up in the technical aspects of the movie, how certain scenes should have been cut to make the story “flow” better. With the addition of such scenes, he believes that the audience was left “without a comfortable sense of focus as the film hurtles towards its dramatic conclusion.”
Ebert focuses more on the growth and development of the characters themselves, such as the chemistry between the awkward Tobey Maguire and the “valuable” Kirsten Dunst, who invokes the continuity of the series with the upside-down kiss. Gilchrist calls attention also to the screenwriting, which, for him, is repetitive. While some might agree, others might say that the reinforcement of the story’s key themes keeps the story focused. Gilchrist says that writer Michael Chabon is “over-attentive” yet Ebert interprets him differently, praising him for understanding “in his bones what comic books are.” Still, both of them praise the weight of conflicts that are more complicated and serious that ultimately makes Spider-Man 2 a cut above others.
Ebert focuses more on the growth and development of the characters themselves, such as the chemistry between the awkward Tobey Maguire and the “valuable” Kirsten Dunst, who invokes the continuity of the series with the upside-down kiss. Gilchrist calls attention also to the screenwriting, which, for him, is repetitive. While some might agree, others might say that the reinforcement of the story’s key themes keeps the story focused. Gilchrist says that writer Michael Chabon is “over-attentive” yet Ebert interprets him differently, praising him for understanding “in his bones what comic books are.” Still, both of them praise the weight of conflicts that are more complicated and serious that ultimately makes Spider-Man 2 a cut above others.
Persepolis
With film adaptations of book becoming quite commonplace nowadays, I always try to read the book before watching the movie. In nearly every case, I have enjoyed the book much more. The movie Persepolis however, has seemed to capture Marjane’s Satrapi’s memories relatively well, though with certain liberties taken for fleeting screen time. Still, characters were easily recognizable and the essence of the plot still lived on.
I would have liked to see the scene when Satrapi first experiments with smoking, a pivotal point in the comic as it shows that she is no longer a child. Seeing the animated motions of the characters on screen drew me; for something as simple as the puffs of smoke disappearing in swirling trails, only to reappear a second later made it clear that though derived from the graphic novels, film had a life of its own. In a visual sense, though staying true to the graphic novel, the filmmakers were clever with certain aspects of the film. One instance was with the shadow puppets, used when it was obvious that people were just pawns of an outside player.
Lacking a soundtrack throughout the movie made it seem so much more realistic; I for one, don’t have the luxury of running down the stairs to an orchestra playing. It kept me grounded to the story and dialogue. Speaking of dialogue, hearing the voices of the characters was something that was powerful. Anger, happiness, worry – you could hear it in the inflections of the voice actors. When reading anything, though there seems to be an internal monologue playing, you really are not actually hearing anything. Though the movie was subtitled, I almost preferred it that way – not everyone speaks English after all.
Though the same language is something that is not universal in our world, the ideas of Satrapi’s graphic novel are. Film makes them more easily accessible; the graphic novel preserves their spirit.
I would have liked to see the scene when Satrapi first experiments with smoking, a pivotal point in the comic as it shows that she is no longer a child. Seeing the animated motions of the characters on screen drew me; for something as simple as the puffs of smoke disappearing in swirling trails, only to reappear a second later made it clear that though derived from the graphic novels, film had a life of its own. In a visual sense, though staying true to the graphic novel, the filmmakers were clever with certain aspects of the film. One instance was with the shadow puppets, used when it was obvious that people were just pawns of an outside player.
Lacking a soundtrack throughout the movie made it seem so much more realistic; I for one, don’t have the luxury of running down the stairs to an orchestra playing. It kept me grounded to the story and dialogue. Speaking of dialogue, hearing the voices of the characters was something that was powerful. Anger, happiness, worry – you could hear it in the inflections of the voice actors. When reading anything, though there seems to be an internal monologue playing, you really are not actually hearing anything. Though the movie was subtitled, I almost preferred it that way – not everyone speaks English after all.
Though the same language is something that is not universal in our world, the ideas of Satrapi’s graphic novel are. Film makes them more easily accessible; the graphic novel preserves their spirit.
Wanting to Follow Bread Crumbs
With the stress of school piling up, I find it difficult to find time to just relax. Thankfully, my family surprised me by visiting on Valentine’s Day to have lunch with me. My dad told me that I needed to chill out. Easily my favorite part of the weekend, though a close second would have to be the gigantic stuffed dogs they bought for my roommate and I. They are affectionately dubbed Wilbur and Bones and though they can’t replace our real dogs, hugging them makes us feel a little closer to home.
I also signed a lease with my friends for an apartment in the area so I do have a place to live next year. When we went to finalize the lease, we all noticed that there were bowls of candy everywhere in the apartment’s office. I felt a bit like Hansel and Gretel, indulging in the simply joys of processed and artificially colored candy while the landlady made copies of everything for us in the next room. She doesn’t seem like a witch, but to end this lightheartedly, I’ll share a joke found on a laffy taffy wrapper.
Why did the witch fly on a broom?
The vacuum cleaner was too heavy.
I also signed a lease with my friends for an apartment in the area so I do have a place to live next year. When we went to finalize the lease, we all noticed that there were bowls of candy everywhere in the apartment’s office. I felt a bit like Hansel and Gretel, indulging in the simply joys of processed and artificially colored candy while the landlady made copies of everything for us in the next room. She doesn’t seem like a witch, but to end this lightheartedly, I’ll share a joke found on a laffy taffy wrapper.
Why did the witch fly on a broom?
The vacuum cleaner was too heavy.
Saturday, February 7, 2009
Apartment Hunt
After not receiving a housing contract to live on-campus next year, I have to say that I was at a loss for words. In past years, they had offered 85-95% of applicants housing contracts. This year, I just happen to be one of the 15% who didn't get lucky. I really didn't know what to do; everyone I know had gotten a contract. However, my roommate and two good friends were willing to get an apartment with me. It wasn't my choice but living off campus is my only option since a second housing lottery is highly unlikely.
As a result, in a few hours, one of our good friends will be taking us on a road trip, soul searching for that perfect apartment. And by perfect, I mean cheap. I'll probably have to get another job in the summer in addition to the one that I have lined up in order to pay for everything next year but I don't mind working hard. Everything happens for a reason.
As a result, in a few hours, one of our good friends will be taking us on a road trip, soul searching for that perfect apartment. And by perfect, I mean cheap. I'll probably have to get another job in the summer in addition to the one that I have lined up in order to pay for everything next year but I don't mind working hard. Everything happens for a reason.
Thursday, February 5, 2009
Graff, Chapter 1, Excerise 1 & Template Practice
a. Our experiments suggest that there are dangerous levels of Chemical X in the Ohio groundwater.
Findings suggest that the Ohio groundwater contains dangerous levels of Chemical X.
b. My own view is that this novel has certain flaws.
Many may agree that this novel has certain flaws.
c. Football is so boring.
Some say that football is not the most exciting sport.
d. Male students often dominate class discussions.
Observations seem to support that male students tend to dominate class discussions.
e. In my view the film is really about the problems of romantic relationships.
Critics have pointed out that many films like this have underlying themes about the difficulties of romantic relationships.
f. I’m afraid that templates like the ones in this book will stifle my creativity.
Some might say that templates similar to ones found in this book will limit their creativity.
The common perception of comics is that they are just simple pictures. McCloud explains how through the usage of icons, many mistake the icon for what it is rather than what it represents. For example, Marjane Satrapi draws tears on her face in several panels of Persepolis to represent sadness. Even though there are no physical tears, it is generally understood that she is sad.
Findings suggest that the Ohio groundwater contains dangerous levels of Chemical X.
b. My own view is that this novel has certain flaws.
Many may agree that this novel has certain flaws.
c. Football is so boring.
Some say that football is not the most exciting sport.
d. Male students often dominate class discussions.
Observations seem to support that male students tend to dominate class discussions.
e. In my view the film is really about the problems of romantic relationships.
Critics have pointed out that many films like this have underlying themes about the difficulties of romantic relationships.
f. I’m afraid that templates like the ones in this book will stifle my creativity.
Some might say that templates similar to ones found in this book will limit their creativity.
The common perception of comics is that they are just simple pictures. McCloud explains how through the usage of icons, many mistake the icon for what it is rather than what it represents. For example, Marjane Satrapi draws tears on her face in several panels of Persepolis to represent sadness. Even though there are no physical tears, it is generally understood that she is sad.
Tuesday, February 3, 2009
Graff, Exercise 1
This is an excerpt of an op-ed piece by John R. Bolton for the New York Times entitled Iraq's Victory, Iran's Loss.
First, they were not entirely dominated by Shiite voters. After mostly boycotting the 2005 Iraq elections, Sunnis participated on Saturday in large numbers. Many of them seem to recognize that their abstention had been a mistake. If they follow through in the general elections that should be held later this year, the composition of Iraq’s Parliament will change substantially.
Moreover, it’s unfair to assume that Tehran calls the shots among Iraqi Shiites. This gives too much credit to Iranian propaganda, and too little to the good sense of the Shiites themselves. Now they must decide whether taking orders from mullahs in Tehran is really more attractive than electing their own representatives in Baghdad.
Sunday, February 1, 2009
Response to Eisner and McCloud
Both Eisner and McCloud obviously seem to have profound thoughts on how comics can affect the human mind and why they are so appealing. Before when I thought of comics, I thought of classics such as Calvin and Hobbes, Garfield and Peanuts and how silly everything looked. All of them have very stylized characters, a clear departure from reality, but as McCloud points out, “when you enter the world of the cartoon – you see yourself.”
I agree that we as humans are incredibly self-centered, as he said. Otherwise, how would we be able to interpret two dots and a straight line as a face? I thought that an interesting point that McCloud made was how by simplifying images, cartoons focus on specific details that you recognize to be part of yourself. Like he says, when I am talking to someone, I focus on them and I am not aware of what I look like though I know that I am also doing the same things – talking, smiling, laughing. When I see them, I see a clear face in very real detail. When I think of myself, I don't quite know what I see.
Also, Eisner points out how effectively comics can be used to convey a sense of time. When I’m reading comics, I feel that the separated panels do in fact, set the pace for the action happening within them. Personally, I struggle to read graphic novels because when I read novels, I visualize all the events. With graphic novels, I tend to dissect the images more for clues that would be revealed in words. Eisner makes an excellent point in quoting Tom Wolf when he states “reading […] can be thought of as a form of perceptual activity.” After all, in general, we as humans do try to read everything – words, pictures and even people.
I agree that we as humans are incredibly self-centered, as he said. Otherwise, how would we be able to interpret two dots and a straight line as a face? I thought that an interesting point that McCloud made was how by simplifying images, cartoons focus on specific details that you recognize to be part of yourself. Like he says, when I am talking to someone, I focus on them and I am not aware of what I look like though I know that I am also doing the same things – talking, smiling, laughing. When I see them, I see a clear face in very real detail. When I think of myself, I don't quite know what I see.
Also, Eisner points out how effectively comics can be used to convey a sense of time. When I’m reading comics, I feel that the separated panels do in fact, set the pace for the action happening within them. Personally, I struggle to read graphic novels because when I read novels, I visualize all the events. With graphic novels, I tend to dissect the images more for clues that would be revealed in words. Eisner makes an excellent point in quoting Tom Wolf when he states “reading […] can be thought of as a form of perceptual activity.” After all, in general, we as humans do try to read everything – words, pictures and even people.
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