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Friday, 24 September 2021

Limestone by Fiona Farrell

We are studying the unfamiliar text in class for the level 3 exam.

Compare and contrast the attitude to departure and arrival presented in each text. Give details from the texts to support your answer.

The text “Limestone” by Fiona Farrell displays contrasting ideas on Clare’s departure from Europe and arrival to their home town in NZ. Clare (the POV Character) seemed to have loved Europe as even when she is leaving she is describing the beauties of the mountains and rivers as well as the forests and hills “a pristine place of forested hills and snow-topped mountains through which wind the rivers that are named for the old goddesses – Rhine and Danube and Volga – legendary and beautiful from 30,0000 feet, shorn of their clutter of rusted cargo boats and effluents and chemical spills and millennia of quarrelsome human history.” The author does this to create imagery of what Europe meant to Clare, however, when Clare is thinking of home the mood shifts a little “She has a sudden longing for home: that dream of primaeval beaches scattered with driftwood, and dark forests, and plains burned to a tawny hide in late summer. That dream she knows to be corrupted by reality: the beach is already threatened with subdivision and the trees with clear-felling, and the tawny plains are bordered by the dry beds of intricate vanished trees.” It seems that Clare has a sour feeling about her home where she doesn’t see the beauty in the beaches or the dry beds and even claims that the “dream of primaeval beaches… is corrupt by reality” However, later on, she acknowledges that perfection isn’t something that can be achieved and the line “we are all just trying for happiness” seems to humble her a little. “she was born on, that funny little semicolon where all the big continental statements finally stutter to silence.” By the end of the poem, Clare doesn’t seem to have a longing for a better place anymore but instead is content with what she is given. 


Friday, 28 May 2021

Mad Max Fury Road -Hero's Journey: Furiosa

 

This is the hero's journey of Imperator Furiosa from the movie Mad Max Fury Road.



Thursday, 18 February 2021

Auteur Theory

 For English, we are learning about Auteur theory and about directors who are auteurs

What is Auteur Theory?

There are three circles to the auteur theory, the first one is about the film techniques that are used to create a film. He states that this is not that important as “Technique is simply the ability to put a film together with some clarity and coherence. Nowadays, it is possible to become a director without knowing too much about the technical side, even the crucial functions of photography and editing. An expert production crew could probably cover-up for a chimpanzee in the director’s chair” (Sarris, 1962)  and in his opinion, the way to tell if there is a chimpanzee in the director’s seat or a human being is watching more than one film that they have made and seeing the similarities between the movies and that leads us to the second circle. 

The second circle is about the style of the director, this can be seen through all his movies. The idea of this is you can watch one movie and draw parallels to other movies the director has done in talking about the film Every Night at Eight Sarris states “if I had not been aware if Walsh in Every night at Eight, the crucial link to High Serra would have passed unnoticed. Such are the joys of the auteur theory.” (Sarris, 1962) any director can have recurring themes in his movies but it takes an auteur to put himself in the movie and use his life experiences to influence decisions and this leads us to the third and final circle of the auteur theory.

The third circle is -as Sarris mentions- interior meaning. “The corresponding role of the director may be designated as those of a technician, a stylist, and an auteur … In fact, the auteur theory itself is a pattern theory in constant flux. I would never endorse a Ptolemaic constellation of directors in a fixed orbit.” (Sarris, 1962) This shows that without the interior meaning, auteur theory isn’t complete. It’s to say that without putting your soul into the movie you have not become an auteur.

Sarris, A. (1962). Notes on the auteur theory in 1962. The Film Artist, 561-564. 

This is a collaborative essay with Rosa Cameron of 13Ca. 

The information shown above is from this site: https://dramaandfilm.qwriting.qc.cuny.edu/files/2011/06/Sarris-Notes-on-the-Auteur-Theory.pdf