Weekly Twitter Round Up


What did you do with your extra hour today? I picked up a Gingerbread latte (too soon for Christmas I know, but who can resist? Go low-fat, no whip to save some calories) and headed out for a quick stroll along the ocean to enjoy the colours of fall before heading back to work. It is one week into November and about half way through the semester. Ideas are synthesizing, concepts are coming together, and hopefully deadlines will be met. Stop, pause, and enjoy a few of my favourites from around the Twitterverse from the past week.


PHOTOS: 17 Totally Bizarre Statues Around The World




Is history getting more photogenic?




"Do colleges really need 30,000 applications to find 1,500 great students?"




RT @frieze_magazine: Is it possible to sell out in 2010? Nice piece from the Village Voice from a few weeks back



Banksy vs Bristol Museum YouTube clip




What is dOCUMENTA (13) about?




'I'm interested in how sound can define space' Turner Prize nominee Susan Philipsz talks about her work

Guest Blog | Jenna Kirouac: No Funding? No Actors? No Problem. Canadian Filmmakers Overcome Big Obstacles

Guest Blogger Jenna Kirouac is Avant-Guardian Musings Vancouver Arts Correspondent. To see her previous posts, please click here.


Play With Fire (2009) A local independent film
featuring life in small town B.C. 
Watching a film where the actors play roles that are reflective of their “real life identities” (whatever that means) and who have no previous experience acting is pretty interesting. It’s hard to tell how much the actors are pretending to be their character, or if they are really just being themselves.

In the independent Canadian film Play With Fire (2009), a story about going nowhere in small town Canada, budget constraints caused the British Columbia born director Soren Johnstone to use people who had no previous acting experience from the communities of Trail and Castlegar. There is an authentic and intimate bond connecting the story’s characters and the people portraying them. And although the delivery of some lines in the film appear a bit forced, I was really impressed by the end result of the non-actor’s acting skills! When I asked the film’s producer Michael Babiarz about the casting decisions, his response was this: “We didn’t have the budget to pay people for their time and effort, it was all voluntary. In the end, it took a hell of a lot longer to get what we wanted but it feels more authentic. Shit is real.”

Indeed it is. My good friend and I walked into Pat’s Pub on East Hastings here in Vancouver during the first local screening of the film. I soon abandoned my initial plan of turning around and walking out the door after catching sight of a bar filled with silent and mesmerized spectators. The graphic language and all too familiar depiction of blue-collar town masculinity drew me in and I was compelled to stay and watch.

Winning a well-deserved award at the ReelHeART Film Festival in Toronto for best cinematography in 2009, the film’s portrayal of the community of Trail, British Columbia looks both breathtaking and heartbreaking with its juxtaposition of majestic mountains and omnipresent smokestacks. The backdrop to the story serves as a constant rhetoric: the vast potential of the wild suppressed by the insulating quality of the small town. The fact that this film was made without any financial aid, grants, or outside funding, and was shot over the course of thirteen months also makes Play With Fire an amazing feat in Canadian filmmaking. The film is currently touring the province, and I would highly recommend checking it out when it comes back to town on December 5th and screens at the Rickshaw Theatre

Official "Teaser" Trailer for Play With Fire found on the movie producer's YouTube Channel

Quick Compare| Long Tracking Shots in Film History

Weekend (1967) contains one of  the best  and most
conceptual long tracking shots in film history
This week I was lecturing in my film studies class about the use of long tracking shots in the work of many French New Wave filmmakers. A tracking shot is essentially any take where a camera moves alongside as if trailing or pursuing its subject, and the longer the shot is, the more it demands a kind of attention from the audience. Jean-Luc Godard's famous and unrelenting eight minute long tracking shot in Weekend (1967) of a surreal and horrifying traffic jam in the French countryside demonstrates perfectly how the means of filmic representation can impart a specific point of view and attitude of what is being shown. The slow-moving and methodical tracking of the trail of cars to the final accident unfolds with a kind of flatness and inevitability. The notion of not being able to look away at an accident takes on a new charge as the entire scene is brought to a kind of crawl. In Brian Henderson's classic essay on Godard's technique, "Toward a Non-Bourgeois Camera Style," he argues that Godard's use of his signature lateral tracking shot (with no forward camera movement at all and an exactly straight base line parallel to the scene) is "an admittedly synthetic single layered construct, which the viewer must examine critically, accept or reject. The viewer is not drawn into the image, nor does he make choices within in; he stands outside the image and judges it as a whole." In other words, the director is able to establish a kind of critical distance within an accident scene that would usually be presented as emotionally wrenching in other films. As Godard has famously stated, adding to the reading of the scene, "Tracking shots are a question of morality."



Together with the Godard sequence, I have collected three other famous long tracking shots for your viewing pleasure (or displeasure as Godard would have it) and embedded them in chronological order. Each of course is engaged with a different reason for utilizing the long tracking shot and to very different ends. The first is taken from Orson Welles' Touch of Evil (1958); the second from Mikhail Kalatozov's I am Cuba (1964); and the last is the opening shot from Paul Thomas Anderson's Boogie Nights (1997) where the scene is accompanied by Anderson's own discussion of how he conceptualized the camera work (notice how he mentions French filmmaker Francois Truffaut among others in his discussion). I would love to have included the well known Martin Scorsese sequence from Goodfellas (1990), but every last clip is disabled from embedding in YouTube, so you can go to see it directly here. Enjoy and compare!





Focus on Research| What is a Thesis Statement?

One of the most frequent questions I am asked by students relates to defining a thesis statement for a research paper. Simply put, a thesis statement establishes your argument for your overall essay. The statement can be brief or several sentences long and appears in the introduction (i.e. opening paragraph of the essay).

Staring at the blank page doesn't help materialize a thesis statement

Staring at the blank page doesn't help materialize a thesis statement

Critically, what distinguishes a thesis statement from a regular statement is that it is OPINIONATED and ARGUMENTATIVE. I often tell students that they have to imagine that while they are researching and writing their paper that they are like lawyers developing a "case" for what they are ultimately saying. Imagine as you are researching and writing that someone (like your professor) is asking you the following questions: "What are you arguing in this paper?" "How do you know that to be true?" "Where and from whom did you get your evidence?" "Show me examples to prove your point." "Describe how you arrived at that argument." "Prove it."

In a previous Focus on Research post regarding how to identify and refine a research topic, I discussed the usefulness of developing a topic question to help guide the process of locating and assessing sources. I also emphasized the point that the answer to your topic question will often help create your thesis statement. This is important in order to avoid ending up with a vague and non-specific research paper.

  • Sample topic question: Why is Marcel Duchamp's Fountain (1917) important to the Dada movement?
  • Sample thesis statement“Marcel Duchamp’s work Fountain (1917) is a pivotal work of the Dada movement and establishes many of the important features associated with Dada art.”
Marcel Duchamp, Fountain (1917)

Marcel Duchamp, Fountain (1917)

In other words, do not make the deadly mistake of researching a topic and merely describing it (or stating the obvious) without stating an argument of some kind. Also avoid the mistake students often make of simply restating someone else's ideas and viewpoints without mapping out in the introduction what direction your paper will take through a thesis statement. Make sure that you establish what you will be arguing or setting out to show in your essay and use your sources to prove your points. Next week, I will be posting on the importance of outlining your paper before beginning the writing process to help map your argument. In the case of fine and performing art papers, you will also have the chance to add your own personal reading of the images/films/performances (in addition to the sources you find on the topic) to help prove your thesis through visual evidence.

You must state an argument about your topic in order to have a good thesis statement such as:

"Duchamp's Fountain (1917) is a pivotal work of the Dada movement and establishes many of its important features". 

Is this a thesis statement?:

“Marcel Duchamp is associated with the Dada movement and created Fountain (1917)”  

NO, it is simply a statement and not opinionated in any way

Is this a thesis statement?:

“Marcel Duchamp’s work Fountain (1917) is a pivotal work of the Dada movement and establishes many of the important features associated with Dada art.” 

YES, it is a statement that is opinionated and sets forth an argument