During the 1970s, a popularization of New Orleans sparked new mediums to use the unique culture as creative outlet for mediums of entertainment such as film. However, since its progression the use of documentation of New Orleans culture has utilized a far great significance in demonstrating a resolve to record history. In the documentary Always for Pleasure, directed by Les Blank, a colorful portrayal of culture in New Orleans reveals an unknown perspective that goes into making the parades and events happen. The footage shown, shows a array of the different types of practices that go on during Mardi Gras including: Mardi Gras Indians, Jazz Funeral, Second Line parades, and a crawfish broil. Contrasting, When the Levees Broke, directed by …show more content…
Lee, a tragic documentary of the aftermath of Hurricane Katrina elaborates on the physical and internal damage it had caused for the people of New Orleans. While both films utilize the people of New Orleans through interviews and first person accounts, the subjects used demonstrate different resolves. So what are the films essentially arguing? Both have an active stance on the culture of New Orleans but through their different subject materials: Hurricane Katrina and Mardi Gras. While most viewers would say that the films are arguing for the awareness of their respected subjects, I see these films as projecting a stance on the voices of New Orleans. In Always For Pleasure, the voices of New Orleans are diverse with an array of interviewing styles that showcase a personalized expose of the people who helped create the culture. The celebration of culture within the film explores elements of the tourism industry while also maintaining a firm voice of the people that live within the city, rather the tourists. In regards to the tourism industry of New Orleans, films on the popularization of the events such as Mardi gras and Saint Patrick’s Day, tend to commercialize the vernacular culture of New Orleans. This can be seen in films such as James Bond film Live and Let Die, which vilify and adds to the conspiracy of African diaspora, through featuring scenes such as a Jazz Funeral where a character is killed admits the processions. In Always For Always For Pleasure, the realism of New Orleans is brought into focus through featuring elements such as a second line parade, groups like the Mardi Gras Indians, as well as segments on how to make creole dishes to diversify its content and voice of New Orleans. For reference, other examples of documentary film that include Up From the Cradle of Jazz and The Black Indians of New Orleans which both focus on areas of music and performance traditions respecitviely. However, when viewing these two films, it is apparent of Always for Pleasures difference in voice where there is no linear storyline but a plot that encompasses the many different cultures of New Orleans. From the opening of the film, Blank uses various cuts of New Orleans culture that feature elements of people mixed in with nature that suggest a abstract and modern feeling to the film.
Within his structure of the film he uses various collages of images that tie consciously into the abstract narrative of the film. In Les Blanks interview style, he is careful in showcasing segments that explain and connect to the history of people that make up the events of New Orleans. This can be seen in the segments on the Mardi Gras Indians, where he features the organizations getting ready for parade events through preparing with song as well as sewing costumes. The intricate detail of the costumes is shown through blank featuring the costumers during the process, going over how extensive the labor of the detailing each costume receives. In showcasing the behind the scenes of the organization a deep appreciation of art form occurs, as the groups themselves is able to explain and elaborate on what they due. Cutting again to scenes of people dancing in the streets for second line parades, this appreciation is also intensified as Blank showcases brief segments of people performing and interacting with each other in a natural …show more content…
fashion. Specifically, when les Blank films people on the their porch steps a realization that people are what fuel the culture of new Orleans allows the audience to become aware that events such as second line parades and Mardi Gras are not just events but everyday activities that keep the culture alive. Lastly, the use of showing people demonstrating on how to make a crawfish bake and creole style food humanizes this concept of culture further, as the passion and love for the people is apparent in those that are interviewed. Paired with the casual style of filming in people’s homes and workplaces ads a casual element of the film that isn’t static or focused on the common shock value of New Orleans culture. While different in tone and subject material, Spike Lee’s When The Levees Broke humanizes the catastrophe of hurricane Katrina in 2005. Thematically, the film is about the peoples struggle. This “struggle” is explicitly shown in the title card of the film as it states it is: “…in remembrance of all the Hurricane Katrina victims in New Orleans and in the Gulf states of Louisiana…” and continuously references the “people” of New Orleans. In attempting to project the “daily struggle to rebuild”, the film adds a much-needed voice to the prior polarized documentation of New Orleans. The focus, while primary pertaining to the aftermath of a singular event, ultimately diversifies the content through interviewing and documenting a variety of people that connect to this tragedy; These voices include residents, government officials, news Anchors, and celebrities whom were involved with the aftermath of Hurricane Katrina. What is intriguing is the layering of the films plot, where interviews themselves help give a dimensional view of New Orleans. Prior to this film, voyarism of news coverage, as well as government statements created a question to the people not living in New Orleasn of why did they stay? While it appeared to be a easy answer that they should all just left, this answer is complexified by the measn that most people in new orleasn relied on public transportation and did not have the funds nor support to fly out of the catastrophe. The misunderstanding the general public regarding the issue fueled a miscommunication on the people of New Orelasn as lazy and not caring to the incoming storm which in turn contributed to the intial lack of the support after the storm. The gorund level voice of post Katirna in Lees film clearified the truth of this issue in showing the depependt distortion of the economic industry. The culture and polticis revealed within the film demonstrated the mnnotization that occurred after the 1970s, that was only intensified by Katrina. With a city depend of tourism. This exposing of truth is seen strongly when the critique of government officials is revealed in the film. Specifically, Mayor Negan in the first two parts of the film was evaluated by many different characters in the film and also by himself- as he was also interviewed to explain his experience during this time. Throughout the documentary, it was interesting how one interviewee would set up an event that occurred during the aftermath of Hurricane Katrina, while others who were both indirectly and directly involved would follow with their own commentary. Paired with the official interviews that happened within a studio and the ones on the street, a clear diversification in people was used to show a full-bodied understanding to the situation. The voices did not have a singular consensus, as there was a clear debate on the representation of the characters and events that happened days after the catastrophe. One the interesting parts of the film was the criticism of Mayor Negan, whom was highly critiqued by Governor Blanco whom though her contributed the “slow federal response” and under preparedness of the relief for the people of New Orleans. However, this is then contrasted with Mayor Negans own point of view and those that were also involved in the event. The mixed responses of Negan were intriguing as this was layered with video of him being inaugurated into his position as mayor and also showing footage again of the hurricane. Interviewee, Host of WWL Radio and Uptown Resident, Garland Robinetter, strongly defended Negan as he saw him as someone who attempted to do everything he could, ultimately blaming the larger governing body as the problem. The whose to blame was interesting as both the Mayor and governance tended to blame each other, which was then contrasted with a person stating that they dislike each other from Negan voting for a republican governing candidate rather than Blanco.
Negan's character within the film was strongly layered as he indirectly defended himself from other interviewees before him, as he exclaimed that he feared for the government but eventually “got over it” pushing for relief for his people. Again, Negan multiple times stated that the “ultimate problem” was those “who had the authority to make the final calls” which included the “federal government that was dancing around this whole issue” --- said “government wanted final control” and that is where the “dance” occurred. He also stated those involved in the “dance” was the governor, whom allowed “people to suffer” for her own personal reasons. In all, this mix transgression of political figures and on the street interviews to give a deep interactive thought to the film that embodied a congruent argument to the storyline. In all, this film understood that criticism of government alone was not the answer to getting the story across, but instead showed people simply talking about their problems to the issues helped address the real concerns of the Hurricane
Katrina. With both directors not from New Orleans, an important demonstration of respect for culture occurs as they inhabit a clear direction to display the people and not just the events that occur. As stated before, both feature an opening sequence that directs the audience that although their films are directed towards a certain an event it is the people within New Orleans that make the culture happen. The various cuts in both films are helpful in not directing the audience to only one picture of New Orleans and instead projects diverse options of the culture. In Les Blanks film, he focuses on a titillating images and sounds that abstractly provoke the audience to interpret and redefine their prior notions of New Orleans. There is no linear storyline in Les Blanks filming, yet he is able to tell an array/multitude of stories that touches on various cultural practices of New Orleans. For Spike Lee, he contrasts in having a primary goal of awareness of the tragedy that befell New Orleans, never allowing the audience to become un-conscious of this. Another primary difference is whom they choose to interview. Intentional or not, Les Blanks interviewing style is organic as if he randomly chose the first people he saw off of the street and simply followed them into their homes. For Spike Lee, everything is intentional; the celebrities mixed government officials create a firm dialogue within the film that provokes both serious and compassionate thought about New Orleans.
Dave Eggers events of looting are an accurate portrayal of Spike Lee’s documentary When the Levees Broke. Works Cited Eggers, Dave. Zeitoun. San Francisco: McSweeney's, 2009. Print.
Tap dancing, an art grounded in African American culture, has moved from an upbeat style with its collection of steps that characterize the Jazz Age, such as the Charleston and the Stomp Time Step, to a style that better mirrors rap’s explosive rhythms and tendency towards synchronization. Much like African American music, tap- dancing’s evolution has been closely aligned with social progress and the slow breaking-down of stereotypes developed in the minstrel shows of the late 1800’s. The direct effects of racist stereotyping on tap-dancing are best observed in pre- 1960’s Hollywood films because these films reached a wide, mostly white, audience and were financed and directed by Whites. Tap legend, Bill ‘Bojangles’ Robinson, the star of Stormy Weather (1943), was forced to funnel his talent through a colander of social prejudices set to White Hollywood’s liking, and these social confines are visible in his dancing in this film. It was not until the 1980’s that modern tap emerged in Hollywood as an energetic battle cry from young African American dancers who demanded respect for their art form by refusing to conform to stereotypes. The film Bamboozled (2000), directed by Spike Lee, contrasts modern-day tap to the old-school style. In it, Savion Glover performs both the funky, urban style in street scenes and the smiley, traditional style in modern-day minstrel shows recreated for the film. In order to demonstrate how early conformity with and later break away from stereotypes have fueled the formation of two different generations of tap dancing, I will discuss historical context, and specifically the influence of minstrel shows on Stormy Weather and the 80’s tap revival on Bamboozled, before isolating and analyzing a scene from each film as representative of the two styles of tap-dancing.
The use of cinematography throughout this film helps to get the point of the film across to the audience. One of the most iconic scenes in this film features near the ending, in the background there is sound of an ongoing war which represents the war against the indigenous culture, while ‘Dave’ and ‘Gail’ are in a tent together holding hands. The camera zooms in on their hands, and the audience can see the difference between the skin colours, it shows how close they are regardless of what has happened in the past.
Norman Mclean’s A River Runs Through It explores many feelings and experiences of one “turn of the century” family in Missoula, Montana. In both the movie, directed by Robert Redford, and the original work of fiction we follow the Mcleans through their joys and sorrows. However, the names of the characters and places are not purely coincidental. These are the same people and places known by Norman Mclean as he was growing up. In a sense, A River Runs Through It is Mclean’s autobiography. Although these autobiographical influences are quite evident throughout the course of the story they have deeper roots in the later life of the author as he copes with his life’s hardships.
Reel Injun is a compelling, thought-provoking documentary that shows how movies have stereotyped Native Americans, and has shaped how society in general viewed Natives. The film seeks to show how Natives really are, and ultimately seeks to correct the Native stereotypes created through the Hollywood Native films. Neil Diamond discusses why films about Natives were originally created and how Natives were portrayed in the early years of film. Through the documentary he continues to show how Natives and their culture changed in the eyes of society.
Anything from a police man leaning on a wall that gets lost in the crowd on busy days to a cleaning lady next to a garbage can. Duane creates life like art pieces that you can lose the fact that they are fake. The amount of detail along with the expressions on the figures’ faces tells the tale. The spectator creates a relationship to the piece because its the familiar look or feeling they receive from the experience. Duane uses the figures’ as they are portrayed to accomplish an everyday ordinary person moreover with that technique displays the ability to relate the viewers to the art
In a quest for family entertainment, many seek an educational experience as well. With so many choices, no one wants to waste their leisure time and money on a disappointing venture. The Chickasaw Nation Cultural Center achieves what few other venues can. Here, Native Americans envelope you on a journey of the Chickasaw people, both past and present day. From the moment you step on the impeccably landscaped grounds, you begin to feel as one with their people. Expect to be immersed into the cultures of the Chickasaw Nation, through expressive storytelling, traditional song and dance, native arts, recreated customary villages, native cuisine and historical movies in the jaw dropping, two story Anoli
Edelstein, David. "'Trouble The Water' Captures Katrina On Camcorder." NPR. NPR, 29 Aug. 2008. Web. 30 Nov. 2013.
Film Society of Lincoln Center , ND/NF Q&A: "Stories We Tell", Sarah Polley, online video, May 10 2013, viewed May 5 2014,
History usually forces itself into the present in Juan Jose Campanella’s film “El Secreto De Sus Ojos” (The Secret in Their Eyes). Although it was filmed in 2009, the story is an attempted memorization of the violent reality in 1970-1980s Argentina, an era in which the country was rapidly sinking into military rule-ship. Campanella offers flashbacks into Argentina’s dark days, a period where violence homicide, rape and injustices ruled. Through memory, the film narrate a era in which it was impossible to be an innocent person as the innocents were falsely accused, tortured and even murdered for crimes they never committed, all these for the whims of those in power. Even though, the film is set in the 1970s, it does not call immediate attention to the animosity, the hopeless feeling and the constant struggle between the desire to forget vs. the attempts to remember the chaos and confusion of these years. However, through the use of memory Campanella allow the views to portray an almost perfect picture of what happened in Argentina.
By placing himself in this role, he creates the impression that as the father figure he is also in a position to give advice and serve as an educator. Obama then goes on to soothe and insure his nation that questioning and reflecting is natural, stating that “When a tragedy like this strikes, it is part of our nature to demand explanations –to try to impose some order on the chaos, and make sense out of that which seems senseless,” and then goes into the role of an educator by telling the story of each of the victims of the shooting. By telling each victim’s story, Obama further elicits an emotional response from the audience by effectively humanizing each person. This further creates a sense of unity, making it seem as if Obama really knew the victims, and making each person more relatable to the audience so that each member of the audience might feel as though any one of the victims could have been their neighbor or beloved family
Jacquelyin Kilpatrick , Celluloid Indians. Native Americans and Film. Lincoln and London: University of Nebraska Press, 1999
News of the devastating hurricane Katrina and its economic, political, social, and humanitarian consequences dominated global headlines in an unprecedented manner when this natural catastrophe struck the region of New Orleans in mid August 2005 (Katrinacoverage.com). As a tradition, large-scale disasters like Katrina, inevitably, bring out a combination of the best and the worst news media instincts. As such, during the height of Hurricane Katrina’s rage, many journalists for once located their gag reflex and refused to swallow shallow and misleading excuses and explanations from public officials. Nevertheless, the media’s eagerness to report thinly substantiated rumors may have played a key role in bringing about cultural wreckage that may take the American society years to clean up.
There is no doubt that Louis Malle while making the movie Lacombe Lucien wanted the eyewitness to feel uncomfortable when watching it. In the film we have to judge for ourselves but at the same time try to understand what leads people to do things that they choose to do. Louis Malle attempted to tell a 'real' story of 'real' people, rather than the good vs evil caricature. Possibly Malle wanted us to feel discomfort while watching the movie so that we identify with the individuals more and in some way, very minor, experience the feelings they experienced which due to the times they lived were very complex and uneasy. He wanted to manipulate the medium of film in order to make the audience reconsider their preconceptions and because the film acts upon the conscious mind far more than any other form of art he managed to achieve his goal effectively. In the movie there are many scenes in which the audience can feel uncomfortable. Whilst it begins we see Lucien cleaning the floors in a hospital. As he walks towards the window, he sees a singing bird. Making sure that nobody is looking he takes out his slingshot and shoots the bird dead. When we see a close up shot of his face, Lucien seems rather proud of himself. << We don’t know whether to laugh at boy’s mischief or to be horrified by a cold blooded killing. >> Despite the fact that the bird is dead, Django Reinhardt’s joyful music is starting to play in the background. This is one of the first times when the audience gets a feeling of discomfort as we wonder why this music was chosen for the particular scene. At the same time we are aware it definitely was not a coincidence. Despite Lucien’s previous reaction, few scenes later he is shown as moved by stroking a dead horse whic...
New Orleans has always been a big music town, for there has always been brass bands that played in the streets for parades, or for families to give comfort during a funeral.... ... middle of paper ... ... (The Influence of Jazz & Blues on Modern Music.”).