Citizen Murdoch

Citizen Kane lives! Rupert Murdoch and his conservative media machine make Randolph Hearst look like a fluffy kitten.

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Bordwell vs. Elsaesser

I'm Not There: Film as Poetry

In my research for the film I came across a bunch of really great videos and other links so I thought I would share.

The Ten Most Incomprehensible Bob Dylan Interviews of All Time

Pat Garret & Billy the Kid trailer (cowboy Dylan)

Hearts of Fire trailer (campy Dylan)

Life Force: the strangest logline since Gummo

Owen, son of Donal, a member of the Fore tribe of Papua New Guinea is struck with the fatal laughing disease Kuru after having reluctantly consumed portions of his father during a traditional cannibalistic “life force” ceremony.

definitely stranger than fiction

Improv Everywhere

Improv Everywhere causes scenes of chaos and joy in public places. Created in August of 2001 by Charlie Todd, Improv Everywhere has executed over 80 missions involving thousands of undercover agents. The group is based in New York City.

watch some of their missions

Before Sunrise: Precursor to Mumblecore?

One of my favorite movies ever! No time bombs, no chase scenes, no end of the world apocalypse, just a portrait of what its like to fall in love. There are a few cuts but the film is almost entirely one long steady cam walk and talk. I wonder how many young filmmakers this film has influenced, specifically the "Slackavettes".

view a clip from the movie

Gummo: Wake Up & Smell the Bacon On the Wall

I distinctly remember how powerful my first exposure to the work of Harmony Korine and Larry Clarks was with Kids. I felt like I had seen something radically new. I was left in shock and awe as to how something so intense and gritty could get produced and distributed. The potency of the explicit images of sex and drugs with actors at such a young age made for strange mixture of intrigue and disgust. The cinematography really stood out as this sort of non-flinching gaze, a portrait of what we as a society would rather choose to ignore of a uncivilized youth culture. The focus on the grotesque or the things that most of try to avoid is what connect Korine's work.

I was in New York a few years after this and got to see an exhibition of the Larry Clark's photography. It was every bit as explicit and the images had the same raw power. They had this sort of eerie resonance so that after leaving the gallery I couldn't shake them. This was the same sort of effect Kids and later Gummo would have on me. Clark deserves much of the credit for their work together. This is evident through looking at Clarks body of work prior to Korine and after understanding a bit of their history. I've read that Korine left his father, a documentary filmmaker, to live with his grandmother in NY. After a year of school/screenwriting, Korine dropped out and bumped into Clark in the skater scene. Clark had done a series of shockingly honest portraits of he and his friends in the eighties and had established his own style by this point. It's said that he approached Korine and asked him to wright the script for Kids and get his friends to play most of the parts. Korine and Clark eventually had a disagreement which ended their collaboration. Korine had a dry spell and there are reports that he was trying to team up with his friend David Blaine to make a movie that would consist of him going up to people and picking fights with them. Evidently he only lasted a few rounds and ended up in the hospital. This is just the tip of the iceberg into the strange world of Korine. To venture further into the rabbit hole have a look at the links at the bottom of this post.

Gummo doesn't seem so strange in the context of the filmmakers body of work. In fact, it is dense with interesting characters and situations, again very new to movie going audiences. This was Korine's intent. In an interview he said that he just wanted to make movies that he hadn't seen. He dreams up little moments, strange images and when he has enough he can make a movie.

Gummo holds that same power over its audience as Kids does. Long after they've left the theater they can't shake the story. There is the obvious shocking revulsion of certain parts of the story but I think its the layering of all these strange details that make the world seem so distinctly foreign. For all the films peculiarity it seems to be constructed by a number of classical techniques. The recurring motifs connect the seemingly disparate scenes. The gangster-like ritual of hunting for cats, the turf war, the struggle of children growing up without parents, trying to find their own identity and understand sexuality. There are a number of little moments in the film that I really like but there are also others that seem heavy handed, especially when the dialogue seems coached or forced. This is the case with the scene where Korine plays a character desperate for a black dwarfs affection. His persona and style don't seem to fit the rest of the characters that seem to have all been extras on the set of Deliverance. One of my favorite moments in class has been waiting for the collective puke noises of the audience during the bathroom scene. I was reading an article about Werner Herzog's first viewing of the film. I think his quote sums it up nicely, "When I saw a piece of fried bacon fixed to the bathroom wall in Gummo, it knocked me off my chair. [Korine's] a very clear voice of a generation of filmmakers that is taking a new position. It's not going to dominate world cinema, but so what?"

watch the clip: Harmony on Kids

Larry Clark (photographer/cinematographer)

view more Larry Clark Photographs

Harmony on Gummo

you have to read the comments on this post

Korine on Lonely Heart

Mumblecore

What has been the ongoing relationship between so-called mumblecore filmmakers and SXSW?
The 2005 SXSW Film Festival brought this group of filmmakers to out attention. The filmmakers cleverly built up their own promoting by co-creating a half dozen promotional shorts that screened before every film at SXSW. They shot the miniatures in the same format as their naturalistic movies and shared the co-creator credit with all involved, a testament to the DIY tradition of doing more with less and avoiding the trappings hierarchy. Many of the directors were on tour together during the festival circuit and so began to collaborate while on the road.


Broadly speaking, what characteristics define mumblecore?
I have to say I like "Slackavettes" way better! But "Non-jerk Films" also has a nice ring to it. Alecia Van describes this group of filmmakers as approaching film as a naturalistic portait of life and love of artistic twenty-somethings made popular by DV and the internet. I equate the movement to the cinematic equivalent of the indie rock scene. Scrappy young artists who care more about personal storytelling then polish, with a tendency for the sentimental and sincere. Although not all the films share the same stylistic traits, they generally include: improvisation and naturalistic performance by non-actors, tiny budgets, elements of technology, and otherwise ordinary plots.There is also another relationship to indie rock in that the fans of both the music and the films in question are sought out like flea market treasures, little upolished hidden gems that few people know about "or could possibly appreciate." A kind of snobbery that I must admit to being a part of. I think I'm definitely in the Slackavette club.

What have been the most common charges against mumblecore?
Some see the films as a way for the directors to figure themselves out, like a long love letter never sent and object to self-absorbed storytelling. Some go as far as calling the films/filmmakers pretentious, snobby well-to-do white kids pining about their petty lives.

How has the internet affected the DIY distribution of mumblecore films?
Filmmakers say distribution deals aren't really needed. They frequently get offers from garage-basement distributors and in many cases sell the movies directly from their website. Web posting of short and tv series spread the word about their work and drive fans to buy their feature length work.

IFC Films picked up Hannah Takes the Stairs for “day-and-date” distribution. What does this mean?
IFC Films would release the film, opening at the IFC Center series theatrically and at the same time/date deliver it on home video/broadcast on IFC on Demand. Movies like Soderbergh's Bubble (2006) did well in this release format. It was a scheme devised to make the greatest use of the marketing efforts for films that weren't expected to do well at the box office. Many forecasters predict that web releases will correspond with the theater release in the near future following the standard set forth in music by Apple.

The work of Trevor Van Meter

Trevor Van Meter is a fellow graduate from ECU who majored in illustration. He started out doing ecards in NY. He says that he locks himself in a dark room every single day and makes stuff on his computer. He is the co-owner, co-operator, & co-founder of Jamungo. 

He has his own company called TVM Studio Inc. 

For the past 4 years, he’s been working on web games, illustrations, and interactive design.

Check him out.

visit TVM Studio

some of his earlier work

Trev in the layer tennis battle

2D Animation Final: Dada Experiment

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