Reading Questions #8

First, respond to Tribulation 99 in relation to Zryd's description of student responses in his own classes.
- According to Michael Zryd's classroom observations, "students reported feeling lost, overwhelmed, and confused" when responding to the screening of Tribulation 99. When viewing the film as a whole product in it's entirety, I would totally agree. However, the humor infused throughout this surreal found footage film made for a completely enjoyable experience. I admit that it is a lot of information to take in. Luckily this was my second viewing of Tribulation 99 and I must say that repeated viewings are a necessity in order to fully enjoy this film. Since it all flies by so quickly, I was able to notice subtle humor and nuances that I did not notice the first time. I derived the most enjoyment from the over-the-top humor, such as when the narrorator reveals that the United States government realize about Fidel Castro, "that you can't kill something that isn't alive". On the other hand, with the film being so long, there was a lot of humor that moved so quickly and/or was so complicated that it seemed to go in one ear and out the other. With the exception of the length and sometimes puzzling humor, I was able to thoroughly enjoy Tribulation 99 the second time around.

Michael Zryd, “Found Footage Film as Discursive Metahistory: Craig Baldwin’s Tribulation 99”

1. Explain Paul Arthur's distinction between the "realist" use of found footage and the "figurative" use of found footage. Which becomes important in Tribulation 99 and why?
- Arthur distinguishes between two types of films using found footage. The "realist' ideology uses the found footage to illustrate a point, such as information about history. These are more likely to be realistic in narrative and subjective matter. The "figurative" ideology seeks to present things metaphorically or through symbolic representation. This will use narration, not to reveal facts, but to steer the audience in the direction of the filmmaker.

Marc Masters, “The Offenders: No Wave Cinema”

2. Name at least three similarities between the punk music scene and the punk/no-wave filmmaking scene, in terms of technology, style, and community.
- There are many similarities between the punk music scene and the punk/no-wave filmmaking. Both scenes are made up of people who want to be outside of mainstream society. Another one of these similarities would be the desire to simply create art. To make as much/many music/films as possible no matter the quality. Also, the low, gritty quality to the sound or picture is reminiscent of the punk movement on both ends.

William Wees, “Peggy’s Playhouse: Contesting the Modernist Paradigm”

3. According to Wees, what are the 5 characteristics of the modernist paradigm dominating North American avant-garde filmmaking before the 1980s?
- The characteristics that describe the modernest paradigm of North American filmmaking before the 1980's are: 1) the concept of the autonomy of art 2) the urge to discover and exploit as many properties of art as possible 3) the moral and aesthetic superiority of "high" art over pop culture 4) the imperative to create innovative works that express the maker's unique sensibility, but also have universal significance.

4. Given the 5 characteristics above, how does Awhesh reject or question each of them (give examples from throughout the article).
- She often doesn't like to plan her films fully before she shoots them. She doesn't want to discover any properties, she simply wants to run the camera and see what happens. She doesn't accept the superiority of "high" art, seeing as how her films don't have any significance towards herself or anyone else.

5. What does Ahwesh mean by rejecting the “aesthetics of mastery” and how is this related to punk filmmaking?
- First of all, she used very low quality film equipment (super 8) and rejected most other professional filmmaking practices, such as using experienced actors and crew. She says that she enjoy not knowing what she is going to do when she makes her films, rejecting the notion of pre-visualization. The spontaneity of her films took on the qualities of home movies.

6. Why does Wees argue that The Color of Love subverts conventional wisdom about mainstream pornography?
- Apparently, in mainstream pornography, the males erection is the center of attention, Seeing how it is mostly viewed by men, the porn film centers around the males dominance and achievement of his sexual desires. In The Color of Love the man is instead lifeless and flaccid. Even the aggressive sexual attempts of two women do nothing to arouse him. In this film there is no dominant male, therefore it breaks the convention of mainstream porn.

7. In what ways does Awhesh transform images from Tomb Raider in She Puppet?
- By manipulating the material she had at hand, Awhesh was able to make a very intriguing film with footage from the videogame Tomb Raider. She didn't use any footage of Lara Croft doing what she is know for, shooting bad guys or confronting imminent doom. She deconstructs and defamiliarizes the icon of Tomb Raider and creates a "revisionist, postmodernist, and, arguably, postfeminist" film that questions the influence of popular culture on feminism and other issues at hand.