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so too burns on screen history and the physical tactile imprint of the past and now a return to the death of the author whilst it might be beyond accepted and indeed popular to call tarantino an auteur django marks a new distinctly new direction for the writer director to re examine his oeuvre is to discover a fascinating trajectory from voice to image rather than expressing a world view through his work tarantino presents re invents and interpolates from homage to self reflexivity postmodernist practice pastiche and back again tarantino presents images and ideas from the past present and future together blending aesthetics and history until it becomes a pulsating palimpsest on screen or at least that is how his films feel as though they are communicating but if viewed as myriad instead of tapestry tarantino ceases to be cinema s contemporary enfant terrible presenting instead of connecting and perhaps someone to be seem as a type of cinematic decouper tarantino details who where and when for the audience as if context were an object to be decorated these details are written in words rather than read through images that cinema s abilities to ellipse time and space has long been a central distinction between it and other art forms matters little to tarantino for him these details become the permanent unmovable object around which to create everything else within the picture is decoration fluid and itself subject to semiotic ellipse we begin 1858 2 years before the civil war somewhere in texas context firmly and as literally as digital can painted onto the screen the only thing we can be certain of in this establishing sequence is where and when we are what happens next is decorative addition through history myth legend collective memory and here too through the construction of popular mediums such as film where tarantino gives his audience a game of film reference bingo and of course aesthetics in fact it is largely in the aesthetic that tarantino s departure from pastiche and movement towards a more decorative mode of filmmaking can be located where some of his earlier films including jackie brown 1997 and inglourious basterds but most specifically here death proof 2007 went to great technical lengths to ensure they worked within historically specific aesthetic forms rendering the form a choice rather than a given and in doing so rescued themselves from postmodernism django not only ignores historically specific aesthetic form but goes out of its way to show how it is not important for the film for the most part django s aesthetic is contemporary mixing a range of styles to create a non specific look one that can simultaneously encompass the deep south and the far west there are too flashback images to the past within the narrative given a grainier quality and colour washed with a yellow hue the tint or taint of the past is intensified and heightened with intent to highlight artifice and to negate any quality of aesthetic historical authenticity moving away from pastiche tarantino demonstrates a very deliberate fluidity in style but also in story and one that might for some achieve a disharmony between visual spectacle and the narrative imaginary no doubt there are moments of historical truth in django but mine is not to discover what is and is not subject to that o erbearing harbinger my questions is if tarantino presents himself as absent from this linear causal narrative film and if everything except context is added decoration whose story is django story too changes and moves with fluidity throughout the film passed from character to director to viewer and back again until all ethical viewing becomes sutured into the story in really a most fascinating and arresting way the deep south afore the civil war a foreigner and a freed slave become our object decorated by tarantino with great effort and gusto gorgeous and gaudy at once the story then belongs to us all beyond pastiche we are presented with a burden and a beauty shared django unchained 2012 is released in australian cinemas thursday january 24 2013 written by tara judah for liminal vision posted by tara judah filed in film tags collage contemporary art drama ethics film liminal vision psychogeography leave a comment room 237 august 9 2012 stanley kubrick s the shining carried a tagline the wave of terror that swept across america interrogating just what that wave of terror might be room 237 consists of a series of off camera interviews offering a number of focused readings of kubrick s film unfortunately room 237 is unkind to its contributors in its clumsy assemblage and presentation of their ideas the disembodied voices whose observations are told are never seen leaving the viewer with no association for the words that spring forth but worse than that there is no presentation not even a quick title onscreen as to who these voices belong to at all no names or credentials are ever given which further undermines and betrays their readings by asking the viewer to take a huge leap of faith and trust the opinions given irregardless of their origins there is also little innovation in the visual style with many of the clips from the shining and indeed other kubrick films shown ad nauseum when one clear example from the text ought to suffice in illustrating the point coupled with the fact that the quality of the footage itself is visually poor makes it difficult to become immersed in the analysis interesting and provocative readings aside room 237 is like a first year film student attempting to give a third year lecture messy room 237 screens as a part of the 2012 melbourne international film festival with further sessions on friday august 17th at 9pm and on sunday august 19th at 11am posted by tara judah filed in festivals film tags analysis festivals film history horror liminal vision leave a comment killer joe august 8 2012 killer joe cooper suffers psychopathy he is a manipulative egocentric unempathetic guiltless symbol for the patriarch and the name of the law penal and later familial his character commands control and receives submission from both on screen characters and viewers alike therein is the problematic in enjoying killer joe there are five central characters after joe there is ansel the endearing but incompetent patriarch before joe enters and assumes the throne in their domestic domain and chris ansel s rogue harebrained son who comes up with central plot device of killing his own mother to collect on the life insurance whilst ansel and chris are depicted as unintelligent foolish and are often the subject of some particularly base jokes they are kept just barely on the right side of audience alignment by the film s further and more persecuting jokes aimed at the female characters of whom there is adele the absent mother mostly referred to as a bitch and only shown once where we see her dead or at least near dead body during the patriarch s removal of her impotent reign then there is sharla the deceitful scheming unfaithful woman who represents whore joining these two already glowing representations of women is dottie the virginal naive slightly affected and potentially mentally challenged daughter and ultimately little more than the retainer following a contract transaction between aforementioned patriarchal figures joe ansel and chris after the film removes the impotent it condemns the whore and finally rapes and damages its virgin dottie is almost the film s innocent charmer until the final scene where she too forgoes any previous sense of morality ethics empathy compassion heck humanity and callously kills the only people she supposedly loves and cares for the final sting being that all the concern for the weak and seemingly innocent version of the feminine was still a waste of male time and energy as she like all women was only to turn on the males in the end but what s most concerning about killer joe is the guise that it is a black comedy the entire smith family are depicted as pathetic and parasitic to society although the focus is never on joe as an officer of the law we are always aware that he represents the penal code societal structure and of course the name of the law here with a family that are willing and eager to turn upon themselves leaving one another out to dry joe is the only character with whom the audience are even close to aligned are we to take then that psychopathy is preferable to those who are depicted here as the economic dregs of society certainly it is possible to take controversial uncomfortable subject matter and satirise it in a way that is bleak and comedic depictions of depravity that leave the viewer with feelings of uncomfortable self reflection on their ability to find such material amusing or films that expose their protagonists as weak unstable happiness is a great example of such an achievement but killer joe does none of these things it may well be true that matthew mcconaughey s performance is brilliant and even that the character of joe captures onscreen the displays of psychopathy to perfection but enabling that character control over the audience and their responses is a curious and pivotal choice for the film s ultimate success the result unfortunately is a room full of laughter not at the suggestion of a misogynist act but at the humiliation of the act carried out there are further issues in the film and certainly this is a gloss in terms of examples but what s problematic about killer joe isn t that its lead character suffers psychopathy nor that it employs humour in a tale of such subject matter but that it uses the psychopathy as a tool for seduction through which it repeatedly revels in the successful delivering of dangerous ideology posted by tara judah filed in festivals film tags comedy ethics festivals film gender horror liminal vision mental illness sexism leave a comment amour august 6 2012 from silent credits to abrasively intruding through the front doors of an affluent french home haneke immediately instructs his audience that their position is one of outsider intruding upon a personal space and by beginning with the film s end allows the viewer an uncharacteristically kind act of mercy by letting us know from the outset that this will not be a film of causal narrative structure negating any possibility of a sublime experience by removing the potential anticipation of when will it happen then haneke allows the audience one more opportunity to choose to leave should our disposition be too weak to take on what he is about to uncover a seemingly lengthy view of an audience sat in a theatre waiting for a performance to begin announces that we are about to look very much at ourselves through someone else s story the camera is stationary unflinching in its observation long takes and carefully composed often still frames with real time movement ensure there is no escape for the audience from the film s steady pace or the at times painfully tedious details of the story surmising plot is a fruitless exercise here as haneke s voices tells us that we don t recall the reaction or the film but the emotion that the vehicle and response don t matter it is the feeling that remains this is his own synopsis of amour he further lets us know that imagination and reality have very little in common and gives us only eva a minor role here for isabelle huppert as a possible stand in for the failed viewer s anticipated insolent response what happens now a question met with simplicity what s happened up until now another achievement in truly affecting and intellectual cinema haneke s amour is confronting inescapable devastatingly brilliant amour screens as a part of the 2012 melbourne international film festival with another session on monday august 13th at 6 30pm posted by tara judah filed in festivals film tags drama festivals film leave a comment correspondence jonas mekas jl guerin august 6 2012 jonas mekas regarded as the godfather of the american avant garde and josé luis guerín an accomplished documentary and narrative filmmaker embark upon a series of film correspondence as part of an ongoing project funded by barcelona s centre of contemporary culture though commissioned rather than found the correspondence between the two is clearly the result of genuine friendship and a very earnest passion for visual representations of the moments and thoughts that construct life the two styles are almost polar opposites and as such compliment one another by creating an almost natural wave like ebbing to and fro guerín s videos to mekas in black and white perceiving the cities people and spaces with the eye of an auteur expressing a reflective world view filming never taping whilst mekas videos to guerin are like home videos up from the underground blending the public and the personal with innocent ease from revolving doors with stunning reflections in guerín s examination of the people he records and their supposed inability to put down roots in expansive public spaces to mekas following an unaware ken jacobs down the street and occasionally filming his own feet in the wake of stopping to speak and smell lavendar correspondence is paced naturally with an intuitive rhythm that carries the viewer safely between a personal conversation and filmic endeavour from beginning to end the natural passing of time through recording of seasons gives the film its temporal structure effortlessly as our narrators release their perspectives on the world through honest nuggets i react to life and gentle reassurances that we are not intruding on their personal diaries it s only part of a game an experience akin to being a very welcome guest in someone else s home correspondence is a citric delight in a varied feast of a festival correspondence jonas mekas jl guerin screens as a part of the 2012 melbourne international film festival with another session on saturday august 18th at 11am posted by tara judah filed in festivals film tags comedy experimental festivals film underground leave a comment headshot august 6 2012 questioning the societal infrastructure built to dispense justice and morality is not restricted to any single nation headshot a thai french co production concerned with these themes does so predominantly through perspective and physicality opening with striking pov cinematography introducing its protagonist through first person perspective and then a mirrored image sets up the film s intent to explore interiority positing then the viewer as existing somewhere between aligned with and yet distanced from protagonist tul headshot continues to play brain against braun in what is essentially a decent enough but far from innovative dramatic thriller through a physical metamorphosis we see tul transform from rogue individual to a modest monk performing the physical attributes of a monk however has no bearing on saving his soul just as it becomes apparent that tul is an assassin carrying out a hit he is shot in the head fa...