Yes, you: members of the prestigious Film Institute. But the time has come to rise up and dare to portray the dystopian nightmare Oakcrest has become since the arrival of our great "protector," Big Brother.
Hopefully from reading 1984 and watching Metropolis, Blade Runner, The Matrix, V for Vendetta, and Children of Men,you have arrived at the conclusion that artistic expression is the enemy of totalitarian regimes.
Alas, we will combat Big Brother through the means of cinematic expression, a truly collaborative form of art.
"Artists use lies to tell the truth."
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Both classes of the Film Institute will be expected to complete a 7-10 minute short film depicting the effects of Big Brother here at Oakcrest High School.
The following is a list of questions that the short films should explore:
Define Big Brother: Who is (s)he? How did (s)he come to power? What does (s)he represent?
Who are the enemies of this newly, Big-Brothered Oakcrest? Do the alliances shift? Explain.
What are the hierarchical classes at Oakcrest? Are there proles? Upper party members? Explain.
How does Oakcrest control thought and expression?
How have the arts been affected? Sports? Curriculum?
What is the state of the Oakcrest media program?
Are students allowed to have interpersonal relationships?
The films must include/portray the following:
A 20 or more page script
A completed storyboard depicting the shots to be used in the film
A "2 Minute Hate"
Narration: Due to the short running time, this is key.
A character must cross Big Brother and pay the price. The consequences and ensuing reprogramming must be depicted.
Appropriate music (Radiohead encouraged. I'll lend you Hail to the Thief if you so desire!)
This project will consist of an on-going, collaborative effort. Each class must select members to fill the following roles:
Director - The director is in "charge" of the film. (S)he supervises the story and oversees the production, making creative decisions that ultimately shape the final product.
Production Designer - The production designer creates the "look" of the film. This job also includes wardrobe selection.
Screenwriter - Although the plot and concept for the film will be collaboratively inspired, these students will be responsible for composing the 20 page script. Improvised dialogue is permitted, but the film must be scripted!
Director of Photography - The DP is responsible for planning the shots used to compose the film. The DP must completed a detailed storyboard prior to filming.
Cameramen - To portray a world in which residents are constantly observed, the films will be shot solely with iPhones. Sideways only; don't forget!
Editor - The editor is responsible for compiling the footage into a smoothly transitioned film. This job also entails the task of creating credits.
Actors - Each member of the group must appear in the film in some way or the other. Don't look directly at the camera.
When is this due? I don't know. We will spend this week brainstorming: reading 1984, discussing the films we have watched, and working on concocting a plot.
The stark and impressive imagery of Fritz Lang's 1927 silent opus, Metropolis, serendipitously syncs with the music of British band, Radiohead. The version of the film we watched yesterday in class was assembled by a graphic designer from Arizona.
The above link will also allow you to watch the film at home if you so desire! Impress your friends! Convey the important message that the mediator between the head and the hands must always be the heart, an idea that directly correlates to your next assignment.
Metropolis is a film that portrays a terrifying imagined future, or in other words, a dystopia. The word dystopia refers to "an imagined place or state in which everything is unpleasant or bad, typically a totalitarian or environmentally degraded one."
In the 20th century, many writers and directors alike envisioned a future plagued by technology and advancement: worlds in which humanity suffered in the wake of new technological discoveries.
In some ways, this idea can be traced back to Mary Shelley's Frankenstein. Life, as created by technology, goes awry, and a demonic monster is birthed by the science of man.
The same thing happens in Metropolis: Rotwang makes a robot, a "maschinenmensch." Chaos ensues.
The scientists in 28 Days Later attempt to cure rage. They discover a "rage" virus, and thanks in part to the good intentions of some animal rights' activists, chaos ensues.
Both films explore the negative effects of intermingling nature and science, and ultimately, both films depict dystopias.
In my mind, both of the aforementioned films can be considered the progeny of Shelley's idea of the "Modern Day Promotheus": Frankenstein's monster.
We will finish our discussion of Frankenstein thusly:
Watch this succint but thorough summary courtesy of our man, Sparky Sweets.
Read an excerpt from Stephen King's "Danse Macabre" in which he explores the enduring legacy of Shelley's creation. He attributes the popularity of the monster to the brilliance of the idea and to the now classic film adaptations. I will distribute copies of the essay in class, today.
Your Task:
Compose a 500+ word essay (3 full, typed pages; double-spaced; size 12 Times New Roman) in which you explore the creature's continued omnipresence.
Support your response with
specific references to films we have watched in class (or films you have watched on your own),
references to the plot of Shelley's Frankenstein (the novel itself),
and references to Stephen King's essay.
Your completed, typed essay must be turned in by Friday, November 15th.
No complaints, please. After all, I could make you read the novel in its entirety, a novel Stephen King refers to as a "rather slow and talky melodrama."
I agree, Mr. King.
Wednesday, December 15, 2010
I kinda just saw this today. and finally realized what it was from. i think its amazing how much our current Tv refers to past great movies.
