Up Close and Impersonal
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Prokofiev comes to mind. Hartley's intelligent blend of the trends I've mentioned and probably others I've missed gives his films a credible originality within contemporary cinema. Hartley's commitment to close views, depth compositions, and partial revelation of a scene's space have led him toward a delicacy of staging which his contemporaries, mainstream or indie, seldom undertake.
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The first shot of Simple Men , a second take showing a robbery, is arranged with a flagrant precision Fig. Another early scene affords us a chance to see how Hartley creatively revises some pictorial schemas circulating in both European and American cinema. In a coffee shop, Bill meets his ex-wife Mary after the holdup and gives her the money which Vera and her double-crossing paramour have tossed at him. In the course of the scene, Bill learns that his father has been arrested and that Mary has found a new lover. Hartley provides no establishing shot, and he packs his frame with close views of his players.
Across its four shots, three of them quite long takes, the scene unfolds as a series of deflected glances, with Bill and Mary persistently looking away from one another. In addition, the tight framings allow Hartley to create a rhyming choreography of frame entrances and exits, along with a few small spatial surprises. At the outset Mary is seen in medium-shot; as she turns, Bill slides in behind her Fig. We are at a counter by a window. As in Godard's films, no long shot lays out the space, and Bill's arrival in the frame is not primed by a shot of him entering the coffee shop.
The shot activates greater depth as a waitress's face appears in a new layer of space and Bill orders coffee Fig. Mary shows Bill the newspaper story about his father's capture, looking at him for the first time Fig. Bill had entered Mary's shot, but now she enters his, as he stands reading the paper near the offscreen front counter Fig. The frame placements are reversed from the first shot; Bill in the foreground turns away from her insistently as Mary talks to the offscreen waitress, who praises "William McCabe, the radical shortstop" Figs.
And as Bill had left Mary's shot, now she leaves his, giving him time to peel off the money he will give her for his child Fig. As in the Intensified Continuity style, hand movements and props must be brought up to the actor's face if we are to see them. Track back with Bill to the window counter, where he rejoins Mary in a slightly more distant framing than the first shot had afforded. Throughout that earlier shot, a man had been sitting at the counter in the background out of focus, and the new framing makes him somewhat more prominent.
At this point Mary refers to her new man, gesturing Fig.
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But Bill's look activates a quite different offscreen zone Fig. Using the Kuleshov effect, Hartley cuts to a glowering man in a bandanna at the pinball machine Fig. Coming after prolonged shots of the couple, this single phlegmatic cutaway has an almost comic effect, as if a new piece of Mary's situation were striking Bill with a thud. The fourth shot continues the setup of Bill and Mary at the counter, replaying the turned-away postures that have dominated the scene.
Bill passes Mary the money, saying it should go to their boy Fig. After he glares at her for an instant, she throws his bad conscience back at him, and he grabs her Fig. Now, for significantly longer than just before, they are facing each other and exchanging direct looks.
Then Mary tears herself away Fig.
Where can the shot go now? One possibility is a dialogue with the now-curious man in the background, cued once more as Bill gestures vainly with the plate on which a doughnut sits Fig.
Instead Hartley springs another quiet surprise. As Bill ponders the doughnut, Mary and her boyfriend are visible outside the window, talking to a figure seen from the rear Fig. Eventually Dennis enters. In a compressed replay of the Bill-Mary exchange, Bill launches an oblique dialogue with Dennis, at first indifferent Fig.
It is on this note that the shot ends. The rhythmic entrances and exits of figures recall Antonioni's s films, as does the avoidance of shared looks. Beneath their indifference to one another, the characters guardedly probe each other's feelings, and these states of mind are expressed through crisscrossing patterns of movement. But I remember I was always struck by work of that kind of artfully constructed blocking, the interaction of the actors' movements with the camera movement.
For one thing, the proximity of the characters to the camera accords with the premises of intensified continuity; not for Hartley the distant, often opaque landscapes and interiors of Antonioni's work.
Yet while mainstream US filmmakers use the close framings in order to show characters' eyes locking onto one another, Hartley shows us fleeting eye contacts. Each of these comes as a distinct beat, marking a moment in the drama. Now he sits down in a chair, angled slightly away from her Fig.
Up close and impersonal
At first she resolutely won't return his look. Then, for nearly seconds, they stare mesmerically at each other as they talk about who's seducing whom Fig. Asked about this blocking, Hartley replies: "The logic I used had to do with the flirting they were involved in, almost two animals circling each other. Immediately, however, Kate leaves the frame Fig. In a film where characters tell each other that there is only "trouble and desire," we see a dance of attraction, hesitation, and abrupt breakoff. It is played out in the way bodies and faces, often cast adrift from their wider surroundings, warily shift in and out of view.
Up Close and Impersonal: Locative Media and the Changing - Western University
As lines of loyality are drawn and crossed, there is no question that Givens is a cold-blooded killer who has become a pawn in a complex game of corporate psychological chess. Skriv anmeldelse. Om Up Close and Impersonal Phillip Givens is one of the few who possess the unique psychological skills to take human life without remorse. ARKs anbefalinger. Det finnes ingen vurderinger av dette produktet. Well, reader response has been really grown, and I think that is to some extent self-selecting.
And that was what I really cared about doing in it. What you are feeling is real! What happens to women is real and terrible and we can overcome it and heal from it and be who we are meant to be after all. I feel like there's been this influx of writing about female friendship lately, and I wanted to do an extension of that that covers what it means and feels like to be a sister among sisters. And the readers who relate are glad that someone is finally giving voice to this experience which is so profound in our early lives and to how we relate to the world.
Did you consider interviewing any of the women you were writing about, or did you want to make it more about your relationship to them and their work than the person herself? I very intentionally avoided them in the writing process. I wanted to be sure that I wrote entirely as a fan rather than as someone who might be privy to their realities. It will ruin everything.
So I was reading in another article about how your first published personal essay was this XOJane orgasms piece. Have you struggled with deciding how much you want to reveal about yourself over the years? Or if you want a public persona to be different than your personal self? I think we make women feel self-conscious for the wrong things.
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