ISSUE SIX
INTERCUT ISSUE SIX
INTERCUT
EDITORS-IN-CHIEF
ART DIRECTOR
Julia Levine
Hannah Cooper
Annie Ning ILLUSTRATORS FINANCIAL MANAGER
Mary Ahlstrom
Sophia Dienstag
Joseph Cohen Maxine Go
EDITORS
Sam Hill
Arnaav Bhavanani
Sivan Piatigorsky-Roth
Clara Coggiano
Leslie Rosario-Olivo
Sophia Dienstag Sarah Lucente
PHOTOGRAPHERS
Theo Matza
Molly D’Arcy
Chase Mayo
Ginger Hollander
Olivia Miller
Eliza McKenna
Hannah Ratner
Lucie Plasse
Olive Wexler
Leon Ristov
Sherwin Yu
CONTENTS
I DON’T CARE HOW YOU FEEL ABOUT CALL ME BY YOUR NAME Daniel Osofsky
1
MEANING-MAKING IN A MEANINGLESS WORLD: SOLIPSISM AND MORTALITY IN KAUFMAN’S SYNECDOCHE, NEW YORK Hannah Ratner
7
PHOTOGRAPHY Ginger Hollander
14
THE RARE FEMALE PROTAGONIST: GENDER IN SCORSESE Olivia Miller
15
STREAMING AND THE VIEWING EXPERIENCE Thomas Hanes
21
PHOTOGRAPHY Leon Ristov
25
ATLANTA’S TRUTHFUL DEPICTION OF THE AMERICAN PENAL SYSTEM Inayah Bashir
27
JUDY GARLAND: AT LONG LAST LET THE LADY TALK Hannah Carroll
35
PHOTOGRAPHY Lucie Plasse
47
ANATOMY OF A SCENE: METICULOUS “MINIMALISM” AND DETAILED DRAWINGS OR, MY LOVE LETTER TO SHORT TERM 12 Hannah Gearan
43
PHOTOGRAPHY Eliza McKenna
49
NYMPHOMANIAC: VOLUME I—BODY VERSUS MIND Lucie Plasse
51
PHOTOGRAPHY Molly D’Arcy
59
THE DREAMER AND THE VAGABOND: UNPACKING THE REAL AND THE FANTASTICAL IN THE WORK OF THE 20TH CENTURY’S GREATEST POWER COUPLE Jack Warren
61
LETTER FROM THE EDITORS
DEAR READER, Thank you for taking the time to check out Issue 6 of Intercut. It’s an exciting period of transition for us as we welcome a new generation of artists and writers and take over leadership of the publication from our beloved predecessors who have graduated. Since the magazine first started our freshman year, Intercut has expanded and changed to reach its current iteration. And we’re proud to push this evolution forward. In Issue 6, we continue the small-format print and inclusion of artwork created by students. This time around, we searched for standalone images at the intersection of photography and
film, along with various pieces
around us. It seems like every
created to accompany the articles.
day, filmmakers and audiences
Intercut’s scope has broadened to
alike are in constant dialogue
encompass appreciation for film
about these changes and what
and television in a wide range
they might mean for the future
of forms. We encouraged our
of film, television, and beyond.
writers to let their personal voices
From streaming giants like Netflix
shine through, extending the
and Disney+ to the independent
focus of Intercut beyond academic
filmmakers attempting to work
analysis to the powerful impact
outside
this medium can have. There’s
current landscape raises many
so much more than just writing
questions:
those
systems,
our
on film, and we hope that you find this in the various ways
What gives art its worth? How
our contributors are working,
do the ways we consume media
conversing, and interacting across
change the media we consume?
these pages.
Why do we love what we love?
As you read through this issue,
We may not have all the answers,
the world of film and media
but we hope these articles can be
is
a place to start.
continually
transforming
WITH LOVE, JULIA LEVINE + ANNIE NING
INTERCUT
I DON’T CARE HOW YOU FEEL ABOUT CALL ME BY YOUR NAME
WRITTEN BY DANIEL OSOFSKY ILLUSTRATED BY SIVAN PIATIGORSKY-ROTH
1
MY SOPHOMORE YEAR, I
“No no no no, I...” He finished
remember waiting behind another
writing his message and handed
ranking nor awarding best films; it’s not all that interesting to me.
student to get my copy of Call
me the book. “Well, thank you,”
Me by Your Name signed by the
I added. He gave me a warm
I’ve gotten into a lot of fights
author. I couldn’t believe my luck,
smile and took the next person’s
about Call Me by Your Name. In
that Aciman had been chosen to
book. I think he’s mocking me.
2017, When people asked what
deliver the Sonnenblick lecture at
Gently. Kindly. But mocking. I
my favorite film of the year was, I
Wesleyan the same year the film
returned to my seat, overjoyed
replied honestly, mentioning Luca
adaptation was released, a film
and embarrassed, and read what
Guadagnino’s adaptation. Though
that moved me more than any
he wrote: “For Daniel. Thanks
it garnered near-universal acclaim,
other I’d seen in years. When I was
for saying this was you! André
I’d often hear light criticism,
up, he turned to me with a smile
Aciman.” I was such a fool.
and I remained entirely quiet. “Is it better to speak or to die?” I
***
lingering shots are a huge part of what made me love the film so
considered. Realizing there were people behind me, I finally spoke.
mostly that it was kind of slow. This pissed me off because those
When we talk about how good
much. The pacing gave me time
a film is, at least when we’re a
to desire alongside the characters,
“I loved your book. It… You
major or just a snob, we often
time to breathe after an emotional
captured all the feelings I had. All
discuss its stylistic and narrative
scene. The problem is, I don’t
the little details. As I was figuring
merits, loosely asking the question,
think everyone could have felt
it all out…” I stammered. I felt my
“Did this film succeed in making
the same because not everyone is
skin crawl at my admission, but
the viewers feel as the director
a white gay man. I often blamed
Aciman listened intently. He asked
intended, and how innovative was
the film’s mixed reception on
my name, smiled, and began to
the filmmaker in this task?” The
that fact. If these critics were me,
write, “for Daniel.”
problem is, no matter how well
they’d understand how perfect it
made a film is, evaluating goodness
truly was.
“So you think this book is about
calls into question the viewer’s
you?” He smirked. Was he chiding
own subjectivity, so on some level,
Call Me by Your Name is a film
me? He continued to write.
I neither believe in the idea of
about the burgeoning desire of Elio,
2
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the 17-year old son of a professor, and Oliver, a 24-year old grad student who was invited by Elio’s father to live in his family’s home in northern Italy for the summer to study and work as an academic assistant. Over the course of the summer, the two of them share a once-in-a-lifetime love, a deep mutual desire that neither character will ever forget. This isn’t all to say that I liked the film because it depicted experiences similar to my own, it’s just that the film is so desiredriven that I believe attraction to the characters and queer concern can heighten one’s experience of the film. Call Me by Your Name has virtually no plot and is instead organized around episodes of attraction rather than a through line of cause and effect. The film is rife with sexual tension as Oliver and Elio flirt and frustrate each other in the warm Italian summer. Part of Guadagnino’s aim in filming Call Me by Your Name was to create a constant feeling of human observation. On a photographic level, Guadagnino chose to shoot the entirety of the film with the same 35mm lens—a focal length meant to approximate that of the human eye. The film’s
3
close-ups and wide shots are achieved solely through camera placement, so, when the frame is tighter, we feel physically closer to the subject than we would with a telephoto lens. The film is also characterized by many extended, continuous shots, especially in intimate moments. This film was full of bare flesh, but not always sexy as one might expect.
Through
contrasting
shooting and editing styles, the film emphasizes the intimacy felt in homosexual encounters over heterosexual ones. Straight sex is characterized by disruption in both staging and film form as in a scene between Marzia and Elio where jarring cuts indicate lapses in time as the pair move throughout the attic. Guadagnino depicts much of the uneventful set-up for the sex and brings us into a bland subjectivity of preparation: the two enter the space and wander; Elio checks his watch again, grabs a blanket, sets down the mattress, turns on a crackly radio that plays a pop song about love, and takes off Marzia’s shoes. The scene is too bumbling, disjointed, and matter-of-fact to be particularly exciting for any reason other than the visceral eroticism of seeing two naked bodies engage in sexual acts.
4
INTERCUT
The sex itself feels like observing
office, nature plays a big role in the
is its wholly accepting depiction of
process rather than intimacy. On
film (think Brokeback Mountain
homosexual desire – a veritable gay
the other hand, the gay sex relays
and God’s Own Country). However,
love story. Rather than eschewing
the intensity and closeness of the
rather than using the great
violence
characters’ affection. Throughout
outdoors as a getaway from an
drama manifests within the film
the film, Guadagnino builds an
intolerant world, Call Me by Your
from the coded flirting between
association
duration
Name uses it to create a hallowed
the two main characters and the
between
space of acceptance and for Oliver
agonizingly difficult process of
and
between
intimacy;
shots
condemnation,
Elio and Oliver become longer
and Elio’s growing connection.
indicating a surreptitious interest.
as their relationship progresses,
Part of what characterizes Call
Additionally, the film poetically
culminating in their long sex scene
Me by Your Name is its minimal
promotes the touching idea that
with a transcendent instrumental
reminders of external pressures
love and desire are special, and
moment created by Sufjan Steven’s
on Oliver and Elio’s relationship,
whatever form that desire takes
Visions of Gideon, which plays again
and part of this bliss is achieved
should be felt and never forgotten.
in the final, heartbreaking scene.
through the creation of nature
This is most evident in the father’s
There is a sense of unyielding
as a beautiful and ephemeral
speech, but I won’t give that away.
intimacy in scenes of gay desire, a
untouchable space – cocooned,
refusal to cut away and relinquish
but not from hatred.
the moment. We are meant to understand that the most
5
and
All that being said, Call Me by Your Name is not a gay film, but rather
Aside from the prolonged exposure
a film about homosexual desire.
passionate love within the film is
of Armie Hammer and Timothy
Neither of the main characters are
felt between Elio and Oliver.
Chalamet’s gorgeous bodies, the
gay—Aciman actually described
innovative experience offered by
them in his speech as “sexually
In a gay film trope that always
Call Me by Your Name, at least in
fluid”—and there isn’t a shred of
seems to lead to success in the box
the context of Hollywood cinema,
gay culture or history referenced
within the story. Even so, in terms
that many audience members had
explore each other during their
of incremental advancement from
relayed to him, that their loved
first night together, the nature
classic
ones would cry inexplicably during
they continually found themselves
of
the film. In response, he said,
wandering within, and the dad’s
homosexuality under Production
“Fiction isn’t interesting unless we
final speech – a monologue of
Code guidelines, Call Me by Your
learn about ourselves.” It sounded
acceptance of which only people
that
Hollywood banned
filmmaking
depictions
Name is a milestone in queer
like he was calling the masses
who have kept their intimate
cinema for its emphasis on queer
self-centered, but he elaborated,
desires secret can fully understand.
love. The film is so moving for the
explaining he writes about what
I can’t imagine how much I’d have
opposite reason that Brokeback
we all already know, have already
loved it if I had a similar love of the
Mountain
heart-wrenchingly
felt. Only then did I understand
classics.
sad. In Brokeback, the tragedy is
his reaction to my statement. Style
is
that desire, and ultimately love, is
and skill aside, Call Me by Your
met with hatred. In Call Me by Your
Name had struck a chord with me
***
Name, desire, and ultimately love,
in ways I couldn’t expect any other
I realized that unwittingly, at his
is met with love.
audience member to appreciate;
speech, I’d paid André Aciman
the perceptual subjectivity that
more than a compliment about
So, was Call Me by Your Name a
captured precisely where I would
his novel; I’d admitted that
good film? I don’t care. That’s not
have stared at Oliver if I were Elio,
we
why I loved it. During Aciman’s
the simultaneously disgusting and
that, about desire, we felt the
speech—witty, empathetic, and
intimate gestures like Elio’s lick
same. And in art, I believe that’s
loaded with wisdom—he discussed
or the peach scene, the way they
the most powerful experience of
the adaptation and an observation
touched their toes together to
all.
shared
queer
fantasies,
6
MEANING-MAKING IN A MEANINGLESS WORLD: SOLIPSISM AND MORTALITY IN KAUFMAN’S SYNECDOCHE, NEW YORK
WRITTEN BY HANNAH RATNER
SYNECDOCHE, NEW YORK,
opens as Caden lies in bed and
the 2008 directorial debut of
listens to the morning radio: It is
Charlie Kaufman, is a movie that
September 22nd, the first day of
must be watched more than once.
fall, and the announcer recites an
In fact, I’d be impressed if anyone who isn’t Kaufman himself was
excerpt from Rainer Maria Rilke’s “Autumn Day”:
able to tell me precisely what the film is about—let alone after only
“Whoever has no house now,
one watch. After watching it, I felt
will never have one.
that I was teetering on the edge
Whoever is alone will stay alone,
of understanding something big
will sit, read, write long letters
that Kaufman was trying to say
through the evening,
about the absurdity of humanity
and wander the boulevards, up
and consciousness but never quite
and down,
getting there. Like watchers of
restlessly, while the dry leaves are
the movie, Kaufman’s protagonist,
blowing.”
playwright
Caden
Cotard,
struggles to construct meaning
The poem drips of hopelessness
where he cannot find it. The film
and stagnation, the psychology
8
INTERCUT
of late middle-age, of one who has passed their prime and plods on towards old-age—in essence, a person in the autumn of their life. We quickly see that Caden is a perfect representation of this mentality. Instead of helping his wife Adele raise their four-yearold daughter, Olive, he obsessively reads the obituaries and visits doctors about strange physical symptoms that he is sure indicate terminal illness. He immerses himself
in
theater,
ignoring
real-world responsibilities, in an attempt to construct meaning from the aimlessness of an existence leading to inevitable death. As Caden distances himself from his family life, Adele becomes more and more disinterested in Caden’s work as a playwright. His work lacks inspiration: he restages existing plays and seems unable to find his own creative voice. Tensions in their marriage grow, and Caden and his box office woman, Hazel, maintain an explicit flirtation that seems to exist in some grey area of infidelity. Finally, Adele leaves Caden and moves with Olive to Berlin, where she quickly finds success as a miniature portrait artist. With Adele out of the picture, Caden and Hazel try to sleep together, but
9
Caden cannot go through with it without breaking into tears. But just as Caden reaches a low point in his life, he gets miraculous news: he has been awarded a MacArthur Genius Grant. He becomes determined to use the money to stage a masterpiece, and, though his relationship with Hazel is strained by their failed attempt at intimacy, he convinces her to join the crew. Caden envisions a piece of theater that will reveal the gritty truth of humanity, that will break the boundaries of writer, actor, and audience,
fiction
and
reality.
(“Here’s what I think theater is,” he tells Hazel, “it’s the beginning of thought. The truth not yet spoken. It’s a blackbird in winter. The moment before death. It’s what a man feels after he’s been clocked in the jaw. It’s love... in all its messiness. And I want all of us, players and audience alike, to soak in the communal bath of it, the mikvah, as the Jews call it. We’re all in the same water, after all, soaking in our very menstrual blood and nocturnal emissions. This is what I want to try to give people.”) He hires actors to portray himself and significant people from his life. Claire, one of his most devoted actors from previous
10
INTERCUT
productions, joins the cast playing
significant (Adele, Olive, Hazel,
“nearly thirteen million,” implying
herself, and they eventually marry.
Claire) to the insignificant (Adele’s
that some sort of cataclysmic
As the play develops, it becomes
cleaning woman Ellen, neighbors,
extinction has occurred. Residents
more
convoluted.
and pedestrians). Caden’s attempt
of real New York camp outside
Caden’s actors begin to become
to portray “truth not yet spoken”
Caden’s life-sized recreation of
significant themselves in Caden’s
is ultimately a portrayal of his
New York seeking safety; in his
and
more
life, requiring new actors to
own truth. His attitude toward
egotistical delusion Caden assumes
play the actors. The boundaries
the world is representative of the
they are fans waiting to see his play.
between the play and reality, and
philosophy of solipsism– the belief
Kaufman suggests that we live in
between actor and character, blur
that one’s own perception of reality
denial of our mortality—“each of
to near nonexistence. Claire and
is the only reality. Caden can only
us knowing that we will die, each of
Caden’s marriage dissolves over a
know his own mind, thus his mind
us secretly believing that we won’t.”
fight instigated by the fake Caden.
must be the only one that exists.
Towards the beginning of the film,
Yearning for Hazel, Caden sleeps with the actress who portrays her.
11
Hazel tours a house for sale which Similarly, Caden fixates on his
is entirely engulfed in flames. “I
ailing body and impending death,
like it, I do,” she says to the realtor,
Through his play, Caden reaches
while remaining absurdly oblivious
“but I’m really concerned about
the epitome of self-absorption.
to the death and destruction that
dying in the fire.” Yet Hazel buys
He recreates New York City
surrounds him. We gradually see
the house, and lives there until
with himself at the center. Every
that the real world is devolving
she dies of smoke inhalation in
character is defined by how they
into chaos—at one point, Caden
her sleep beside Caden on their
fit into his narrative, from the
refers to the world’s population as
first night finally together as a
couple, after decades of failed connections
and
unrequited
feelings. Hazel’s decision to ignore the fire that ultimately kills her is a powerful metaphor for the human condition—we love knowing that we will get hurt, we live knowing that we will die. Ultimately, Caden’s search for truth through theater leads to the disintegration of his insular, solipsistic view of the world. After the actor who played Caden dies, the part is taken on by Millicent, an actress who previously played Ellen, the cleaning lady. Caden, in turn, takes on the part of Ellen. As Caden embodies Ellen, the boundary between his identity and hers begins to collapse, and Ellen, previously an insignificant background character, is suddenly allowed complexity. The collapse of the external world mirrors the collapse of the inner: New York continues to disintegrate as Caden lives according to Millicent’s instructions through an earpiece and attempts to accept his fastapproaching confrontation with mortality. “You have struggled into existence,” Millicent narrates, “and are now slipping silently out of it. This is everyone’s experience. Every
12
INTERCUT
13
single one. The specifics hardly
shared by every nameless face that
individual. The scale of the work
matter. Everyone’s everyone.”
passes on the street. Thus we are
is
Kaufman shows us that Caden is
synecdoches of the human race—
miniscule portraits to Caden’s
Ellen is Hazel is Adele is Claire
parts which are made to represent
life-sized recreation of New York.
is every one of the 13 million—
the whole. Caden’s attempt at
The concept of the synecdoche
is the watcher. As the saying
meaning-making through theater
suggests that the smallest part
goes, we are all main characters
falls short because of the scale of
can represent the whole; in some
in our own stories. Kaufman
the piece: he wanted to portray the
cases, this whole is impossible
insignificant—Adele
creates
suggests that there is only one
human condition by portraying
to represent except through the
main character: humanity. The
everyone, when in fact he should
part. Kaufman’s Synecdoche, New
individual is one manifestation of
have focused on the individual as
York is thus a strong argument not
the shared human condition, and
the representation of the whole.
only for doing away with the idea
each instance of suffering and joy
For this same reason, Adele is
of the “other” and the self as the
a mere stand-in for the suffering
successful in her art where Caden
center of the universe, but also for
and joy of humanity. What the
is not—she recognizes from the
narrowing the scope of one’s art to
individual experiences as unique
beginning that the window to
access the meaning hidden in the
and personal suffering is in fact
universal truths is through the
small, mundane, and individual.
GINGER HOLLANDER 14
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ALICE PEEKS her head into
indicating the emotional distance
It was also his first film with a
the bedroom and tenderly calls,
that separates his disgruntled
female protagonist and arguably
character from Alice.
“Honey, dinner will be ready in
his last. The plot, characters, and location of Alice Doesn’t Live Here
about 30 minutes.” The camera cuts to her husband, Donald, lying
The described scene is from
Anymore
from Scorsese’s highly acclaimed,
are
starkly
different
motionless on the bed and flipping
the film, Alice Doesn’t Live Here
through a magazine. He replies
Anymore, a 1974 comedy-drama
classic works, such as Taxi Driver,
coldly, “Whatever you say, you’re
directed by Martin Scorsese. It
Raging Bull and Goodfellas, all of
the cook.” His face, covered by
was his third feature length film
which grapple with masculinity,
a door, is omitted from the shot,
and first Hollywood production.
violence, and Italian American
THE RARE FEMALE PROTAGONIST: GENDER IN SCORSESE WRITTEN BY OLIVIA MILLER
identity in the gritty streets of New
rather limiting to bypass female
his lack of female leads, and
York. The conspicuous absence of
protagonists solely out of affection
Scorsese responded: “If the story
female leads in Scorsese’s work
for select male actors or genre
doesn’t call for it… It’s a waste of
could stem from his gravitation
preference.
everybody’s time. If the story calls
With his new film, The Irishman,
not?” Online media reported on
towards characters that resonate with him personally, the nature
15
for a female character lead, why
of the crime-mafia genre, or his
arriving on Netflix in November
this statement, which essentially
fondness for working with actors
2019, there has been an influx
claims women can distract from
such as Robert De Niro and
of press featuring and criticizing
narratives, with headlines like
Harvey Keitel. However that might
Scorsese. One journalist at the
“Martin Scorsese Shoots Down
be too simplistic. It would seem
2019 Rome Film Fest questioned
Accusation His Films Lack Female
Characters”
(IndieWire)
or
in 1970s New York. In Goodfellas,
female characters they played
“Martin Scorsese Rejects Question
1990, Lorraine Bracco captivated
may not have been tokens of
Over Lack of Female Characters”
audiences as a mob wife who
independence or feminist thought,
(Deadline).
exemplifies
vulnerability,
but Scorsese directed phenomenal
madness and wealth that a life
the
acting equivalent to his male leads
It is important to note that Scorsese
of crime entails. However, all
in depth and skill.
has directed many memorable and
of these female characters were
masterful female supporting roles.
inflicted with drug problems,
In Alice Doesn’t Live Here Anymore,
In Casino, 1995, Sharon Stone gave
prostitution, or superficiality, and
Scorsese
a riveting performance as an ex-
ultimately were dependent on
constructing a film featuring a
hustler wife. In Taxi Driver, 1976,
their male leads. That being said,
strong female lead and imbued
Jodie Foster played a teenage sex
Scorsese enabled actresses like
it with ample commentary on
worker in an iconic, controversial
Stone, Foster, and Bracco to give
gender roles—although that may
performances
proved
capable
of
role that captures the intricacies
powerful
which
be attributed to the screenwriter,
of youth plagued by corruption
were pivotal to their careers. The
Robert Getchell. Ellen Burstyn,
16
INTERCUT
who played Alice Hyatt, was even
Eating dinner, Alice hopelessly
a household fraught with tension.
awarded the Best Actress Oscar
seeks
Donald’s
Scorsese’s use of a shaky camera
for her performance. Perhaps the
approval on the quality of the lamb
while the family sits around the
absence of more female leads in
and only receives emotionless
table eating dessert further reflects
Scorsese’s work is a product of
nods in response to her attempts at
the instability and messy nature of
his own troubled personal life
conversation. Their young, clever
their collapsing relationship.
and relationship with women;
son, Tommy, endlessly provokes
throughout the span of his career,
his father, playing music too
Although Alice uses a submissive
husband
he has been married five times.
loud, replacing sugar with salt at
tone in the presence of her
Nonetheless, Alice Doesn’t Live
the table, and insulting him with
husband, her character is far more
Here Anymore offers rare insight
disrespectful manners. Donald
expressive bantering with Tommy
into Scorsese’s breadth as a
is passive, yet when provoked,
or her friend, Bea. Standing in the
director
17
her
violent;
backyard as Bea tailors her dress,
interprets a female character
regarding
how
he
this, paired with Alice’s ardent
becomes
harsh
and
Alice frets about her husband: “I
that is not merely defined by her
desire to build “a meaningful
thought he was going to kill Tommy
dependence on men or sexual
family relationship,” as she puts
this
objectification.
it while scolding her son, creates
her saying, “I sure couldn’t live
morning.”
Bea
consoles
without some kind of man around the house” and Alice immediately interjects, “Oh I could.” Bea denies this, but Alice remains firm, “Oh, yes I could, easy… could be just as happy if I never saw one again, ever.” Changing the subject, they begin to playfully fantasize about Robert Redford when the phone rings. Alice listens to the other line silently, and an expression of dread washes over her face. Learning of her husband’s death, she cries in agony and, against Bea’s shoulder, weeps, “My Donald is dead.” Alice’s lighthearted musings of
18
INTERCUT
life without a husband has now
the challenge of raising a moral-
by expensive clothes, jewelry, or
become her reality. Rather than
minded son amidst her own
sexualization, is a fairly authentic
lamenting her loss in prolonged
loneliness and grief. Alice Doesn’t
portrait of a middle-aged women.
sorrow, Alice uses the tragedy
Live Here Anymore paints a complex
By
as an opportunity to follow her
portrait of a woman struggling to
Stone’s character in Casino, is an
abandoned dream to become a
balance self-liberation with the
object of beauty and desire. She
singer and move to Monterey,
desire for a male companion.
California. Though she bubbles
19
contrast,
Ginger,
Sharon
has men wrapped around her gilded fingers, using the lure of
with enthusiasm for independence,
Compared to Scorsese’s other
her opulent appearance to get
she is brutally awakened to the
films, Alice Doesn’t Live Here
just about anything she wants.
reality of single motherhood and
Anymore is uniquely open in its
When she first meets her husband
ultimately resorts to the comfort
critique of gender roles and raw
Sam, played by De Niro, they are
of other men. On her journey, she
representation
womanhood.
kissing on a banquet at the casino;
is met with rejection, abuse, and
Alice’s character, unembellished
of
Ginger pulls away, and seductively
says, “I’m going to go powder
one decked in fur, gold, and
my nose.” Sam unfolds a fifty
an effortless allure. While her
from his wad of cash and hands
wealth and luxurious lifestyle
it to her, the camera pans from a
may not be relatable, some may
close up of the money to her face,
empathize with aspects of her
smirking devilishly. The camera
tumultuous marriage. Nonetheless,
pans back to Sam, with a bemused
the challenges Alice faces are
expression and then moves back
far more universal, and her
down again to the wad of cash.
energetic charisma, strength, and
He hands over another bill, and
determination make her not only
the camera pans up to her elated
a relatable figure but a lovable one.
face. The triangular movement of the camera seems to exemplify the
It is unfortunate that Scorsese
omnipresent role of money in their
chose not to work with more
relationship.
female protagonists throughout his career, however it may simply
Greedy and manipulative, Ginger’s
be that directors gravitate toward
immorality
projects that suit their strengths.
and
materialistic
values make her easily unlikable,
Rather than criticizing his lack
but just as men are drawn to
of female leads, perhaps we
her in the film, the audience is
should marvel at the women
enchanted by her breathtakingly
he has directed; behind every
erratic yet glamorous persona.
powerful, suffering, or conflicted
What differentiates Ginger and
male Scorsese crafts, there is a
Alice most distinctly may be
brilliant
their character’s relatability. Most
that helps carry and ground the
female
performance
women might find it difficult to
film—psychotic, money-crazed, or
identify with a hustler, especially
oppressed as her character may be.
20
INTERCUT
STREAMING AND THE VIEWING EXPERIENCE WRITTEN BY THOMAS HANES ILLUSTRATED BY JOSEPH ISAAC COHEN
WE FORGET THIS NOW,
content would give Netflix the edge
experience was emerging. The
but
Netflix
over other streaming platforms
multiplicity
original content was exciting.
who were not releasing originals by
venues allowed much greater
House of Cards, Stranger Things,
being the kind of content you can’t
differentiation by taste, and digital
Narcos, Orange is the New Black,
miss. The point of original content
technology massively lowered the
Jessica Jones, Bojack Horseman,
was not to create more hours of
price of interesting camerawork
and Unbreakable: Kimmy Schmidt
television to fill afternoons, but
and a professional looking gloss.
were released at rapid pace to
programs you yearn to see. Despite
America, and the wider world,
wide acclaim, and I personally
its high cost of production, it
could have a new relationship with
liked them. I was excited for the
would support the overall business
cinema, a more intimate one built
return of Arrested Development
model by giving viewers pressure
on dialogue and character driven
and the “Netflix Original” tab
to keep their membership: there
narratives where the auteur cinema
was something I searched out.
was television of such cultural
revolution of the 1970s had been
The direct-to-streaming-platform
significance you couldn’t be the
driven by pacing and composition.
model also appealed to directors,
one person at the office who hadn’t
Streaming services would be the
offering them significantly more
seen it.
vanguard in this movement, at
when
it
began,
channels
and
their forefront Netflix, principal
independence than the traditional
21
of
film studio. The selling point,
In the airy peak-tv atmosphere of
and suzerain by right of greater
business-wise, was that the original
the time, it seemed a new cinematic
initiative and greater operating
revenue.
released
musical cues for getting into and
talk about with my friends. I can
directly to streaming platforms
out of commercial interruptions.
do it on my own time, we can talk
were creatively free from the
Surely this would lead to better
about it any time, and more people
yoke of strict scheduling and
television.
will have watched these programs
commercial
Programs
breaks.
Episodes
than HBO shows because so many
couldn’t rely on the tension of
Much of the appeal of Netflix
more people have Netflix. Original
a week’s wait and would avoid
original content was also the new
content is the perfect vehicle for
gimmicky cliffhangers. They could
shared cultural space this content
this. The business incentives are
pace themselves naturally around
opened. I don’t need to go to the
there: they should be the kind of
the development of the characters
movies during their theater run,
shows you want to talk about, the
instead of wrapping plot into tight
or stay up for a particular weekly
shows you want to have watched
seven minute segments with neat
showing to share something to
just as much as you want to watch.
22
INTERCUT
The first releases were certifiably
replacing any shared cultural
friends, favorite writers, and critics
fresh. Kevin Spacey’s Washington
space which television formed
watch, and I benefit from having
felt so much more real than The
historically.
watched them, to some extent,
West Wing, and the interesting
the same way. We had a shared
television dynamic between Jones
The apotheosis of this collapse
experience, even if I had mine in
and Killgrave was unmatched in
of shared experience is a feature
bed in front of a laptop, and she had
Marvel’s productions for the big
which Netflix has only begun to
hers in stolen moments at a desk. It
screen.
test: adjustable playback speed.
also allows a greater aggregation of
That is, you can watch your
talent and ideas into fewer options,
Yet, the revolution never quite
(presumably) least favorite shows
so that there should be more
arrived. HBO and the BBC have
at a range of speeds, from half to
produced which is memorable,
reclaimed the spots they always
one and a half times the speed at
feels worthwhile, and has broad
had as the best regarded television,
which it was filmed. That means
appeal. If there is a benefit to
with
and
you can watch the same show as
everyone
Succession likely the most reported
your friend without having had
around a few shows but this
on programs of the last year. The
anything like the same emotional
benefit is distributed while the cost
streaming services do occasionally
experience, to say nothing of the
is concentrated in one person (I
release content to wide acclaim
difference between watching on
have to watch a show I personally
(The
Fleabag,
Marvelous
Chernobyl,
Maisel,
a television, laptop, or phone.
find less enticing), then there
Response
has
won’t be enough coordination. At
Tale all come to mind), but as the
been overwhelmingly negative.
the same time, there are costs to
amount produced has increased, its
Brad
too much coordination. There’s
significance has sharply declined.
spectacularly bad idea, and another
not
Most importantly, the particular
cut to the already bleeding-out
much is reduced to the lowest
hope that streaming offered has
cinema experience” while Judd
common denominator, and there’s
been
did
Apatow threatened to fight Netflix
not enough of a creative space
not restore cinema, it is merely
himself. There are likely costs to
to explore. This coordination
one more option in the gradual
the changes taking place.
was forced in the era of three
Streaming
Bird
from
directors
tweeted,
“another
dispersal of video consumption to
23
coordination
Russian Doll, and The Handmaid’s
dashed.
Mrs.
from
enough
competition,
too
channels, to a lesser extent in
different media, with personalized,
The economics are simple. I benefit
the time of cable: there were
individual
from watching shows that all my
only so many options available
experience
slowly
for everyone to watch. But this
King (2019) starring Timothee
is over, and streaming service
Chalamet
original content did not become
Hundred Years War, particularly
the unifying cultural force it
Shakespeare’s Henriad. The latter
promised to be. Instead, the result
three have notably lower rotten
of the presence of so much old
tomatoes scores than the former
content on streaming platforms
(48%, 62% and 71%, respectively,
is that watching the same shows
against 92%) and they deserve
as my friends at the same time
it. While the budgets were ten to
has become nearly impossible,
twenty times the size of the first,
especially given the multiplicity
talent failed to coalesce around
of services, of which any given
the projects, and the storytelling is
person will only have one or two
uninspired.
and
depicting
the
subscriptions. What results is the media landscape Even in terms of pure quality, the
we see today. At first, there
products no longer offer anything
weren’t enough program options
better than their services’ general
and
catalogues.
We
can
television
didn’t
matter.
observe
Suddenly, in the late aughts,
this decline in quality original
quality production grew from a
content in the four mid-budget
few isolated treasures (My So Called
war epic star vehicles Netflix has
Life, Arrested Development, and
released. Beasts of No Nation (2015)
of course The Sopranos) into a
starring Idris Elba and depicting
cultural force to rival feature
the alphabet soup conflicts of
films in cinematic scope and
West Africa, War Machine (2017)
significance. But the moment
starring Brad Pitt and depicting
could only last as long as there was
the war in Afghanistan, Outlaw
enough shared. That era is over.
King (2018) starring Chris Pine
And streaming services have done
and depicting the Scotch rebellion
as much as anything to bring that
under Robert the Bruce, and The
about.
24
INTERCUT
LEON RISTOV 25
26
INTERCUT
ATLANTA’S TRUTHFUL DEPICTION OF THE AMERICAN PENAL SYSTEM
WRITTEN BY INAYAH BASHIR ILLUSTRATED BY LESLIE ROSARIO-OLIVO
27
THE WILDLY INACCURATE
cultural critic Gina Dent: “The
depictions of prison that define
history of visuality linked to the
most people’s insight into the
prison is also a main reinforcement
penal system serve as a barrier in
of the institution of the prison
the progression towards bettering
as a naturalized part of our social
a highly defective and unjust
landscape. The history of film
system. In the first chapter of her
has always been wedded to the
book, Davis shares a quote from
representation of incarceration…
Thus, the prison is wedded to our
depicts the reality of the American
experience of visuality, creating
penal system by providing a fairly
also a sense of its permanence as
“true-to-life”
an institution.” Ultimately, Dent
American prison system and its
and Davis highlight the disconnect
implicit socioeconomic and racial
between the reality of the prison
bias.
1
portrayal
of
the
system and the ways in which the media reinforces the narrative of
Atlanta follows the story of two
the prison as a necessary and just
cousins navigating the Atlanta
system. In fact, “scholars argue that
rap scene in an effort to improve
the distorted image of the prison…
their family’s financial situation.
contributes to misunderstanding
Earn, a Princeton drop out, has
of the public about the nature
connections in the management
of
reinforces
side of music. His cousin, Alfred
the popular support of its faille
this
institution,
or Paper Boi, is an up-and-coming
and additionally researchers are
rapper who sells drugs to fund
pessimistic whether this negative
his rap career. Earn, currently
effect can change.”
homeless and struggling to provide
2
for his daughter, leverages his TV
have
connections to help his cousin’s
transformed the penal system
shows
career take off. Donald Glover
into an object of entertainment
effectively showcases the realities
that tends to falsify reality by
of being black and low-income
bolstering the prison as a necessary
while also incorporating a comedy
punishment
and
that exposes the absurdity of these
psychotic criminals. In contrast
realities. With details such as the
to the prison narratives saturating
constant sound of sirens in their
film
and
and
for
film
terrible
Donald
neighborhood or the mentally ill
Glover’s Atlanta, an American
television,
prisoner who always comes in and
comedy-drama series, effectively
out of the jail, Glover establishes
1. Angela Y. Davis, Are Prisons Obsolete? (Open Media, 2010). 2. Stavroula G. Bougadi, “Fictional Representation of Prison in Films and TV’s Series Genre: Public and Academic Perceptions of Prison,” Foresic Research & Criminology International Journal 2, no. 1 (2016): , doi:10.15406/frcij.2016.02.00041.
28
INTERCUT
the reality of living between “the
clearly exposes the penal system as
twin terrors of poverty and the
a system of social and racial control,
police.”3 In Season 1, Episode 2
echoing
“Streets on Lock,” Glover illustrates
conclusion that “the nature of
how these terrors manifest in
the criminal justice system has
the penal system; specifically,
changed. It is no longer primarily
this episode exposes issues of
concerned with the prevention and
police
brutality,
Michelle
Alexander’s
transphobia,
punishment of crime, but rather
homophobia, mental illness and
with the management and control
unjust legal processes that are ever-
of the dispossessed.”4 One of the
present in the American justice
most subtly profound examples
system. At the end of Season 1,
during “Streets on Lock” comes
Episode 1, Alfred shoots another
from another man sitting in jail.
man while having an argument.
A middle aged black man yells,
Earn and Alfred are both arrested,
“I should’ve just went home!” As
and the second episode follows
his story unfolds, the audience
Earn during his time in jail. In
discovers that this man was
fact, Earn sits in the jail alone
arrested outside of his house for
because Alfred (the assailant) can
sharing a beer with a friend (whom
afford bail. This is the first lesson
he hadn’t seen in 11 years). This
that Atlanta provides about the
highlights the continued tactics of
privilege of wealth in the penal
surveillance that the police use to
system.
control black and brown people, especially those within low-income
Overall, Earn’s experience in jail
communities. In Balto’s “Occupied
3. PATRISSE BANDELE ASHA. KHAN-CULLORS, WHEN THEY CALL YOU A TERRORIST: A Black Lives Matter Memoir (S.l.: CANONGATE BOOKS, 2019), 7. 4. Michelle Alexander, The New Jim Crow: Mass Incarceration in the Age of Colorblindness (Place of Publication Not Identified: Samuel DeWitt Proctor Conference, 2011).
29
Territory,”
“The
reality of the prison system: most
flooding of black neighborhoods
crimes are non-violent. According
with officers engaged in tactics
to the Prison Policy Initiative’s
of ‘close surveillance,’ as well
Mass Incarceration: The Whole Pie
as the practical, if not formal
2018, 70.9% of the people being
development of a policy in black
held in jails for local authorities
neighborhoods that emphasized
are in for nonviolent offenses.6
overzealous behavioral policing
The middle-aged man, who the
and control of public spaces, meant
audience learns is very familiar
that overtly racist officers were far
with the prison system, huffs
from the lone determinant in the
because he could not afford to
evolution of racially prejudicial
post bail. His experience speaks
law
practices.”5
to the reality of jail churn, which
While Balto referenced the plight
is “particularly high because most
of policing in 20th Milwaukee,
people in jails have not been
he highlights the racist and
convicted. Some have just been
institutionalized evolution that
arrested and will make bail in
has occurred in law enforcement
the next few hours or days, and
practice,
continues
others are too poor to make bail
to
he
states,
enforcement
which
profiling,
and must remain behind bars until
close surveillance in minority
support
their trial.”7 This scene critically
neighborhoods, and overzealous
combats the typical narrative of
policing
criminals arrested for extremely
of
racial
minority
spaces.
Additionally, Earn’s exchange with
violent
this man exposes an important
Atlanta shares the truthful reality
crimes
and
instead,
5. Simon Ezra Balto, ““Occupied Territory”: Police Repression And Black Resistance In Postwar Milwaukee, 1950–1968,” The Journal of African American History 98, no. 2 (2013): , doi:10.5323/jafriamerhist.98.2.0229, 234. 6. Peter Wagner and Wendy Sawyer, “Mass Incarceration: The Whole Pie 2018,” States of Incarceration: The Global Context 2016 | Prison Policy Initiative, accessed December 16, 2018, https://www.prisonpolicy.org/reports/pie2018.html. 7. Wagner and Sawyer, States of Incarceration: The Global Context 2016 | Prison Policy Initiative.
30
INTERCUT
of jail, bail, and the mistreatment of
minority
and
low-income
individuals. Atlanta also used this episode to grapple with homophobia and transphobia within the prison system and culture more widely. During this scene, a man speaks with a transgender woman who was his former partner. While the scene largely focuses on the relationship history between these two people, the conversation and the presence of a transgender person (more generally) illustrated a truthful depiction of the prison system and those who are hurt by it. In the mid to late 20th century, there was briefly a movement to end police harassment of the LGBT
community;
however,
after achieving less harassment in
predominantly
white
and
high income spaces, the fight against police harassment was halted. Police harassment for sexual minorities didn’t end with this movement, but rather, the harassment was narrowed with a focus on queer people of color living in poverty. “In 2005 an Amnesty
International
report
on the United States found that ‘within
31
the
lgbt
community,
transgender individuals, people
period and one in 10 young adults
of
immigrant
ages 18-25 experienced a form of
individuals,
homelessness over a 12-month
experience
period.9 Glover adeptly produced
heightened risk of police abuse
a scene that is important and
and
that
valuable for raising awareness
‘transgender people, particularly
about the struggles faced by the
low-income transgender people
LGBTQ+ community of color.
and and
color,
youth,
homeless sex
workers
misconduct,’
and
of color, experience some of the most egregious cases.”8 The mere
Interestingly,
presence of a transgender woman
team of Atlanta utilized music to
(who is placed in a men’s jail) shares
communicate
a radical reality and truth about the
that is necessary to understand
transgender experience with the
the plight of the American justice
law. Moreover, in conversation, the
system. At the start of “Streets on
man mentions that the transgender
Lock,” Yo Gotti’s “Law” is playing.
woman was his girlfriend when
Law is a rap song that speaks about
he was kicked out of his mother’s
the codes of the street. Yo Gotti
house. This comment speaks to
states, “Know your bail bonds
the issue of homelessness faced
man and your lawyer number by
by young people in the LGBT
heart, that’s law/ Interrogation
communities, which often leads
keep your tongue in park, that’s
to jail and prison. Chapin Hall at
law.” Essentially, Yo Gotti is
the University of Chicago released
providing principles for survival
a report on youth homelessness,
and
Missed Opportunities: National
minority
Estimates, and it was found that
violence is prevalent. By contrast,
that LGBTQ young adults had a 120
the closing song is a classical soul
percent higher risk of reporting
song entitled “Grandma’s Hands”
homelessness compared to youth
by Bill Withers. Withers sings,
who identified as heterosexual
“Grandma’s hands sooth the local
and cisgender. The report also
unwed mother/Grandma’s hands
found that one in 30 youth ages
used to ache sometimes and
13-17 experienced a form of
swell.” This song tells a completely
homelessness over a 12-month
different story about community.
success
the the
in
production compassion
low-income,
communities
where
8. T. Stewart-Winter, “Queer Law and Order: Sex, Criminality, and Policing in the Late Twentieth-Century United States,” Journal of American History 102, no. 1 (2015): 72, doi:10.1093/jahist/jav283. 9. Human Rights Campaign. “LGBTQ Youth Disproportionately Experience Homelessness.” Human Rights Campaign. Accessed December 16, 2018. https://www.hrc.org/blog/new-report-on-youth-homeless-affirms-that-lgbtq-youth-disproportionately-ex.
32
INTERCUT
Withers addresses the tenderness
as have almost all of us.”10 Glover
sense of compassion or the need
and care that his grandmother
reflects this sentiment throughout
for more consideration about the
provides.
this well-produced episode.
people who become trapped in
However,
the
song
ends, “But I don’t have Grandma anymore/If I get to heaven I’ll look
Donald Glover does an astute
of Davis’ Are Prisons Obselete, she
for/Grandma’s hands.” This subtly
job at presenting the audience of
states, “An attempt to create a new
reflects the lack of compassion,
Atlanta with crucial social and
conceptual terrain for imagining
tenderness, and care within low-
political commentary. If TV and
alternatives
income and minority communities.
film continue to flood popular
involves the ideological work
Arguably, Glover recognizes that
culture with misleading prison
of questioning why ‘criminals’
a stronger sense of community is
narratives, very little change will
have
necessary to combat the horrors of
come about in the reform of the
class and, indeed, a class of
a racist, homophobic, and terrible
prison system; however, perhaps
human beings undeserving of
system. Arthur Waskow of the
television and film can create
the
Institute of Policy, once stated, “A
a shift in popular culture by
accorded to others.”
decent sense of community that
developing accurate depictions,
episode of Atlanta allowed for
can support, reintegrate and truly
like Atlanta’s. In this particular
his audience to consider the
rehabilitate those who suddenly
episode of Atlanta, Glover creates a
humanity of the people who are
become filled with fury or despair,
jail scene that shows the humanity
“criminals,” which is a step towards
and that can face them not as
of the prisoners and the lack of
abolishing a defunct and unjust
objects—‘criminals’—but as people
humanity within the prison system
system that asks to do the complete
who have committed illegal acts,
itself. The episode ends with a
opposite.
10. Davis, Are Prisons Obsolete?, 112. 11. Ibid.
33
this system. In the final chapter
been
civil
to
imprisonment
constituted
and
human 11
as
a
rights Glover’s
WORKS CITED Alexander, Michelle. The New Jim Crow: Mass Incarceration in the Age of Colorblindness. Place of Publication Not Identified: Samuel DeWitt Proctor Conference, 2011. Balto, Simon Ezra. ““Occupied Territory”: Police Repression And Black Resistance In Postwar Milwaukee, 1950– 1968.” The Journal of African American History 98, no. 2 (2013): 229-52. doi:10.5323/jafriamerhist.98.2.0229. Bougadi, Stavroula G. “Fictional Representation of Prison in Films and TV’s Series Genre: Public and Academic Perceptions of Prison.” Foresic Research & Criminology International Journal 2, no. 1 (2016). doi:10.15406/ frcij.2016.02.00041. Davis, Angela Y. Are Prisons Obsolete? Open Media, 2010. Human Rights Campaign. “LGBTQ Youth Disproportionately Experience Homelessness.” Human Rights Campaign. Accessed December 16, 2018. https://www.hrc.org/blog/new-report-on-youth-homeless-affirms-that-lgbtq-youthdisproportionately-ex. KHAN-CULLORS, PATRISSE BANDELE ASHA. WHEN THEY CALL YOU A TERRORIST: A Black Lives Matter Memoir. S.l.: CANONGATE BOOKS, 2019. Stewart-Winter, T. “Queer Law and Order: Sex, Criminality, and Policing in the Late Twentieth-Century United States.” Journal of American History 102, no. 1 (2015): 61-72. doi:10.1093/jahist/jav283. Wagner, Peter, and Wendy Sawyer. “Mass Incarceration: The Whole Pie 2018.” States of Incarceration: The Global Context 2016 | Prison Policy Initiative. Accessed December 16, 2018. https://www.prisonpolicy.org/reports/ pie2018.html.
34
JUDY GARLAND: AT LONG LAST LET THE LADY TALK
WRITTEN BY HANNAH CARROLL ILLUSTRATED BY MAXINE GO
FOCUSING narrowly on the last year of the great Judy Garland’s life, the recently released biopic, Judy, offers at best a limited view of a transcendent performer that in its preoccupation with its subject’s substance abuse and financial
strains adds up to one more
20th century through an eclectic
a true “singular sensation” to
exploitation of the star and her
collection of performances from
which no actor’s impression can
name. Far more than just the frail,
the Garland Catalogue. These
do full justice. In a time when
struggling drug addict portrayed in
selections range from personal
her ability to communicate with
Judy, Garland made contributions
appearances
movie
her public was greatly censored
to the entertainment industry
roles from Garland’s extensive
by studio publicists and other
extending
well
beyond
to
iconic
the
career (she began performing
handlers, Garland’s performances
performance for which she is best
in vaudeville as Frances “Baby”
stand as peerless expressions of
known: Dorothy in The Wizard of
Gumm of “The Gumm Sisters”
vulnerability and resilience.
Oz. As her daughter Liza Minnelli
at age two, in late 1924). With
once aptly remarked, “All I know
this array of Judy-gems, I hope to
In her own words: “Let’s just think
is that she was always alive. She
provide a more complete portrait
about my trying to be heard. Do
still is. I don’t think she’ll ever die,
of the legendary performer and an
you realize how many people
and I don’t think we’ll ever find
appreciation for the legacy she left
have talked about me, written
out exactly everything about her.
behind.
about me, imitated me?… I have a
I don’t want to. She’s a marvelous mosaic to me.”*
rather good intellect. I have a good Garland lived just 47 years but
sense of humor, but it’s high time
left behind a wonderful “mosaic”
to cut the comedy and high time
I would like to offer, to all those
of pieces that have immortalized
to stop the trolley ride. Because I,
interested, a more in-depth look at
her. The best way to appreciate
Judy Garland, am gonna talk. And
Judy as one of the most illustrious,
Judy? Let the real Garland dazzle
everybody just better sit on the
virtuosic
you as only she can. She was
bench and watch the ball game.”**
entertainers
of
the
*Sourced from an undated recording of a young Liza Minnelli, after her mother’s 1969 passing. **The quote from Garland was pulled from preliminary recordings of an unrealized autobiography, taped in the mid-1960s.
36
INTERCUT
IN CHRONOLOGICAL ORDER, AN ABRIDGED CATALOGUE OF TREASURES FROM THE GARLAND LEGACY:
“BLUE BUTTERFLY” (1929): This rare taping features a sevenyear-old Judy, known then as Frances Gumm, in one of her earliest recordings. Though her tone and control have not yet developed into the force that they would become in just a few years’ time, the performance spotlights Garland’s innate musical gifts and the sheer, freakish power of her singing voice, especially considering how young she was.
“SWING, MR. MENDELSSOHN” (1938):
37
At just 15 years old, Garland shines
It should be noted that only the
in this musical number from the
“Swing, Mr. Mendelssohn” scene
film Everybody Sing. Her already
is recommended from Everybody
precocious voice, refined to an
Sing, as others from the movie
unbelievable caliber, is on full
contain dated material that is
display. Her free-styling swing
insensitive and objectionable. The
interpretation of the melody paired
“Mendelssohn”
with her endearing, vulnerable
available on YouTube as an isolated
persona is a winning combination.
entity.
performance
is
MEET ME IN ST. LOUIS (1944): This lovely film, directed by
be standard “Have Yourself A
her eventual second husband,
Merry Little Christmas,’’ earnestly
Vincente Minnelli, sees Garland
sung by Garland to a forlorn
in her first mature role. Minnelli
Margaret O’Brien, is reason alone
captures Garland for the first time
to consider watching. Also in the
as a glamorous leading lady. Of
film is a delightful performance
the many resplendent moments
of “The Trolley Song”; the song
in the masterfully composed film,
would become a staple of Garland’s
the introduction of the would-
during her concert years.
THE DANNY KAYE SHOW (OCTOBER 5TH, 1945): Though not well known today,
Sinatra and Garland—in addition
Garland had an extensive radio
to being some of the foremost
career that began in her early teen
talents of the 20th century—were
years. Judy appeared alongside
lifelong friends, and their obvious
Frank Sinatra as guest host of
enjoyment of each other’s company
this radio variety program while
and their vocal prowess elevates
Kaye was away on a six-week
the listening experience. The two
USO
sing an assortment of songs, most
is
tour.
This
particularly
performance
compelling
as
notably a duet of “My Romance.”
38
INTERCUT
“A GREAT LADY HAS AN INTERVIEW (MADAME CREMATANTE)” (1945): This
comedic
Ziegfeld
sequence
Follies—directed
from
acting,
ability dancing,
to
combine
singing,
and
the two talents continued for years.
humor. Thompson and Edens were
The campy number is quite meta in
special
arrangements
hugely responsible for helping to
the way that it pokes fun at some of
by Kay Thompson and Roger
shape Garland’s sound and vocal
the more absurd aspects of stardom
Edens—triumphantly
stylings; beginning during her time
and celebrity.
showcases
“OVER THE RAINBOW” (1952): In October of 1951, Garland
of her record-breaking residency.
reopened New York City’s Palace
Diverging from the rendition
Theater, a prestigious vaudeville-
immortalized in The Wizard of Oz,
era venue, and brought back the
this performance is tinged with
abandoned tradition of two-a-
a new feeling of heartache and
day shows, for which she was
hard-won hopefulness. Nearly in
awarded an honorary Tony. The
tears, Garland can be heard baring
Palace
39
at MGM, her collaborations with
Vincente Minnelli with lyrics and musical
by
Garland’s
marked
her soul to the silent, bewitched
the first of Judy’s post-MGM era
performances
audience. Beginning during her
comebacks. Listen to the recording
concerts in the early ‘50s, Judy
of “Over the Rainbow” made on
would often sing the anthem
the closing night (June 1st, 1952)
seated at the stage footlights.
A STAR IS BORN (1954): This George Cukor film is widely
protagonist Esther Blodgett/Vicki
show-stopping delivery of “The
regarded as Garland’s cinematic
Lester juxtaposed with great effect
Man That Got Away.” (Viewers
pièce de résistance. Judy both
against James Mason’s downfallen
should be aware that parts of the
starred in and co-produced her
Norman
Maine.
first and only Warner Brothers
numbers
are
film a mere four years after being
truly shines, particularly in her
The
musical
film regrettably contain outdated
where
Garland
cultural stereotypes that would be unacceptable today.)
fired by MGM. She was nominated for her work on ASIB in the Best Actress category at that year’s Academy Awards and was the overwhelming favorite but lost to Grace Kelly (for The Country Girl) in one of the greatest Oscar upsets to date (a true serving of irony would be for Renee Zellweger, who portrays Garland in Judy, to win in 2020). The film showcases Garland’s wonderful
acting
abilities
and
showmanship
via
“JUDY AT CARNEGIE HALL” (APRIL 23RD, 1961): This album, recorded live in front
of the Year and Best Female Pop
of an audience of over 3,000, marks
Vocal Performance; it has since
perhaps the greatest of Garland’s
been inducted into the Grammy
many career comebacks. Having
Hall of Fame. The two-hour
recovered from what was thought
whirlwind showcases numbers
to be a permanently debilitating
from
the
Garland
Songbook
bout of hepatitis, Garland stopped
spanning nearly the entirety of her
for one night at Carnegie Hall
career and captures her signature
on her national tour. Thankfully,
robust sound in peak form. What’s
the sellout concert was recorded
more, Garland can be heard
professionally by Capitol Records.
exchanging cheerful banter with
In 1962, the concert won four
the enraptured audience between
Grammy Awards, including Album
numbers.
40
INTERCUT
THE JACK PAAR SHOW (DECEMBER 7TH, 1962): This personal appearance was
the lively studio audience with
Judy made several appearances
Garland’s
nighttime
stories about her childhood on the
on Paar’s show during the ‘60s,
television. Paar, familiar with Judy’s
first
on
MGM lot. Particularly funny are
and the tales she shares are witty
proficiency as a raconteur, hands
her stories about fellow child star
and entertaining, especially those
his guest the floor, and she regales
and box office rival Deana Durbin.
about her pal Marlene Dietrich.
THE JUDY GARLAND SHOW (1963-4): The
hybrid. A performance of “There’s
sings in tribute to the assassinated
show aired for only one season
Emmy-nominated
variety
No Business Like Show Business,”
President Kennedy, a devastating
on CBS, but its 26 episodes are a
with audience member Ethel
recital of “By Myself,” and “Come
time capsule of Garland’s famed
Merman at the end of the episode
Rain or Come Shine”—a personal
“concert years”; they are also the
is not to be missed either. Other
favorite, largely due to Garland,
closest audiences today can get to
knockouts from the season include
overtaken by the intensity of her
viewing footage of Garland during
a chilling rendition of “Battle
performance, mouthing “oh my
this period, apart from a grainy
Hymn of the Republic” that Judy
goodness!” upon its conclusion.
tape of her sellout November 1964 performances with daughter Liza at the London Palladium. If you can’t watch the entire season, choose the episode with thennewcomer,
Barbra
Streisand,
which aired on October 6, 1963. Judy is at her best here, working wonderfully
with
the
young
Streisand; their mutual respect for each other’s artistry radiates during numbers such as the “Get Happy/ Happy Days Are Here Again”
WHERE TO LOOK: Today, almost all of Garland’s discography is available through subscription music services. Also, many original LPs of Garland’s albums are still in circulation. Garland’s movies are available on DVD and select streaming platforms. Her more popular films often air on Turner Classic Movies (TCM), as well. A fair number of obscure clips, largely from private collections, are available on YouTube, though they are often subject to removal. Much of Garland’s extensive radio archive can be found online in podcast form.
41
LUCIE PLASSE 42
INTERCUT
ANATOMY OF A SCENE: METICULOUS “MINIMALISM” AND DETAILED DRAWINGS OR, MY LOVE LETTER TO SHORT TERM 12
WRITTEN BY HANNAH GEARAN ILLUSTRATED BY SAM HILL 43
TODAY my dear friend Abby and
This fall, after years of watching
I realized that I might possibly be
it on my home TV screen, my
Short Term 12’s biggest fan. Though
computer, and my phone, I finally
I rarely rewatch it in full, I have
watched it on the big screen for the
probably collectively watched the
first time at the film series. Like I
film at least twenty times. Like
expected (well, hoped, as I was
anyone’s favorite piece of artwork,
going to feel incredibly unfulfilled
the film never gets old for me and
if not), it was a magical experience.
never fails to help me process an
I know Joel P. West’s score way
emotion. When I’m sad, I watch
better than anyone probably should,
some Short Term 12. When I’m
and hearing his idiosyncratic
extremely happy, I watch some
metallophone chimes paired with
Short Term 12. When I found out
the choreographed pedaling of
that I got into Wesleyan and was
Grace on her bike (oh, Floyd) in
super excited? That night, pretty
surround sound was as beautiful
sure I watched some Short Term 12.
and chilling as I hoped it would
Ever since Short Term 12 came
seeing Short Term 12 for the first
be. It was as close as I could get to into my life around 2014, it has
time again. It was so refreshing to
become one of the most important
get some experience of newness
films to ever grace my screens. In
from something I’ve been so well
fact, I would say that I’m a tad
acquainted to.
obsessed with it. I don’t have the script memorized. . .but for some
It feels cliche to say that I notice
scenes, it’s pretty close. I don’t
things every time I see the film,
see myself in any one particular
and quite frankly, I don’t. I’ve seen
character in Short Term 12; I see
it so many times that I often feel
myself in all of them, and I think
like I’ve noticed most of what one
that is a testament to the beautiful
can notice about it. But in the last
storytelling it creates and why I
scene, when Mason throws in that
return to this film time and time
Marcus is working at an aquarium,
again.
it was one of those moments. It’s
44
INTERCUT
one of the subtleties that makes
and Mason, draw each other and
One of my favorite ways to dissect
this film work so well, and why
end up making out on their living
a cinematic work is through
I keep coming back to it. Short
room couch. Narratively, in the
the Anatomy of a Scene model
Term 12 is the kind of so-called
moment we’re seeing it, it’s a pretty
frequently used in the The New
“minimalist” film whose written
straightforward and simple scene
York Times. Within this framework,
intricacies disguise themselves
towards the beginning of the film.
you find the body of a film through
as organic dialogue in a way so
Some may even call it cheesy. I call
the study of its complex parts
authentic that you don’t even
it genius.
and how those parts operate to
know what hit you until it all does. Its beauty almost doesn’t want to be seen; it’s too good to be fully seen the first time. The film gains meaning not from grand gestures and obvious imagery, but from cues that hide everywhere in the frame, whether in the corners or in plain but subtle sight. It’s genius is so unpretentious that it is sometimes too shy to show itself. Which brings me to one of my favorite scenes in the film and probably in the limited film history which I have been exposed to. In it, the film’s central couple, Grace
45
serve and create the body. Scenes,
a shot-reverse-shot method. As a
that Grace detaches from her
namely good ones, become a
standard way of shooting dialogue,
sense of safety when an intimate
microcosm of the film’s operation
this gives the scene a sense of
moment with her partner brings
as a whole. That’s what I strive
structural stability. After the slap,
back past memories of sexual
to do when taking apart some of
however, the stability fades away,
violation that left her feeling as
the little details (an exhaustive
and the camera wobbles when
out of control as the camera is.
analysis would take far too long) of
showing both of the characters.
In this way, it sets a framework
this beloved scene.
It’s a wonder how well this shaky
for how the film will continue to
cam brings us closer to Grace
use this device, and also provides
When Short Term 12 screened
in this scene. Unstable camera
subtle but key context for Grace’s
at the film series, I sat next to a
work can be jolting, especially
character traits and background.
friend who I’d convinced to come
when largely steady-cam work
see it with me. Her first comment
dominates mainstream Hollywood,
This scene also has one of my
after the screening was “wow
thus setting a visual precedent for
favorite uses of soundtrack. It
that was a lot of shaky cam.” I
viewers. Short Term 12 as a whole
employs the obscure “Maybe, Baby”
guess I’ve watched the film so
upends viewers’ expectations by
by The Shivers as background for
many times that I don’t notice
maintaining a handheld style for
the romantic scene. The music
how aggressively handheld, or
the bulk of the film. In this scene
is ambiguously diegetic. It’s low
unstable, it can feel at times. The
specifically, the use of unstable
and distorted enough that it could
camera is likely handheld for the
shaky cam towards the end of the
very well be coming from some
bulk of this scene, but the level of
sequence reflects the fractures in
source on screen, but if there is
motion shifts dramatically when
Grace’s own emotional stability
such a source, we never see it. In
Grace hits Mason. During the pre-
that develop throughout the rest
my eyes, the scene dances, in a
makeout conversation, director
of the film. It jolts audiences from
large part due to this music. The
Destin Daniel Cretton employs
positional safety in the same way
two draw each other and then
46
INTERCUT
proceed to have a conversation
cannot verbally express herself in a
that feels in tempo to the words
way that is decipherable to Mason.
and beat of the background. Maybe
And Mason, while perhaps not as
because I adore this film and its
attuned to her physical cues as he
characters, the rhythmic beauty
should be, cannot read her mind
is more pertinent in my eyes than
all the time. Cretton flashes small
what can be concretely defined by
signals in front of the audience’s
the cinematic techniques at play.
eyes that tells more to viewers
But I think there’s something to
than the two characters can convey
the way director Destin Daniel
to each other. The strongest of
Cretton allows the placement of
these signals comes in the form
the sparse but prominent lyrics
of
Grace’s
quickly
trembling
to seep through the gaps in their
hand, focused on for a second.
conversation.
That second is telling of much of Grace’s struggle in the rest of the
It is also important to mention how
47
film; she feels things so viscerally
this scene so subtly sets up several
that she is rendered speechless.
key thematic and plot details.
Mason and Grace have a wholly
As Grace and Mason get more
consensual moment of intimacy
physically intimate with each other,
that is pleasurable for them both,
the camera takes their lead in
until it abruptly isn’t. It changes for
the closeness it provides. Cretton
her in an instant, and the moment
gives us some extreme close ups,
devolves when she reacts to the
the most notable of which being a
physicality with physicality when
brief fixation on Grace’s hand. The
words fail her, a concept that will
scene ultimately ends with a lack of
come back to her in an infamous
communication. This isn’t the fault
baseball bat scene towards the end
of either character. For one, they
of the film. Cretton doesn’t script
fail to communicate because Grace
Grace’s change, but rather relates
this in sparse images and limitedly annunciated words. As audiences, we are handed a modicum of visual cues that are as inexplicable to us in the moment as they feel to Grace when things in her life surface so abrasively. Sometimes,
when
rewatching
certain scenes, or the whole film, I forget that this isn’t one of everyone’s favorite films. I forget that
not
everyone’s
personal
cinematic canon includes this small-scale
indie
gem.
And
everytime that thought hits me, it feels that much more special to me. Having watched and experienced this film so many times feels like a little secret superpower to me and only bonds me more with the few people I have met that have seen it. I will never fully grasp the complexity that is Destin Daniel Cretton’s masterwork, but even after all this time, I’m enchanted by the possibility of further uncovering the endless and fresh intricacies it has to offer.
48
INTERCUT
ELIZA McKENNA
49
50
INTERCUT
NYMPHOMANIAC: VOLUME I
BODY VERSUS MIND WRITTEN BY LUCIE PLASSE ILLUSTRATED BY SIVAN PIATIGORSKY-ROTH
51
IN 2013, Danish filmmaker Lars
realistic portrayal of sex addiction
von Trier released his newest
and a scholarly interpretation
film, Nymphomaniac. Divided into
of sex through imagery and
two volumes, the film centers
assimilations. Because the sex is
around the sexual journey and
depicted as clinical rather than
development of a self-described
erotic, and the film provides both
“nymphomaniac� named Joe. After
light-heartedness and meaning
being left beaten in an alley, a
to its portrayal, Nymphomaniac:
man named Seligman finds Joe
Volume I should not be considered
and brings her back to his home.
a pornographic movie.
In order to explain to him how she ended up there in such a state,
The
Joe recounts her lifetime worth
arguments
focus
of will
the
following be
based
of sexual experiences through
entirely on the theatrical cut of
eight different chapters. In this
Nymphomaniac: Volume I, since
film, Lars von Trier provides
that is the version that general
a discussion about the human
audiences were presented with.
condition by offering, through both the narrative and style, a
To
properly
understand
why
balance between displaying a
sex was treated so explicitly in
52
INTERCUT
this film, one must take into
a film about eroticism without
by stating: “To begin with the bait, I
consideration the fact that Lars
seeing a condom and a dick, you
discovered my cunt as a two year old.”
von Trier wished to deliver a
know? That’s not possible for me.”
Here, Joe’s strong sexual language
realistic portrayal of sex addiction
Nymphomaniac: Volume I is a film
is used naturally and explicitly,
and thus used the sexually explicit
that aims to be told subjectively
which plunges the audience into
aspects of his film as a way to do
through the eyes of the protagonist.
Joe’s truth. During her flashbacks
this. In order to be as realistic as
The audience experiences sex the
in her story, the film includes
possible, he had porn doubles have
same way that Joe does, and the
close-ups of genitals, pubic hair,
un-simulated sex and then digitally
narrative approaches sex in the
and breasts, as well as actual sexual
replaced their faces with those
same way that Joe speaks about it.
acts. As Joe’s descriptions of her
of the main actors during post-
53
story to Seligman are extremely
production. Although this aspect
Nymphomaniac: Volume I is explicit
explicit, by making the images and
of the film was one of the most
in terms of the language used by
the language explicit as well, Lars
talked-about during its release,
Joe to describe sex and general
von Trier adds a layer of truth to
Lars von Trier defends his choice
sexual terms. When she first opens
his film. He doesn’t want to lie to
by stating, “I can’t see myself doing
up to Seligman, she starts her story
his audience, the same way that
point of view as she takes up most
eroticism in his depiction of sex
of the screen and the angle of the
by showing how sex can be used
camera corresponds to the angle of
as a coping mechanism by sex
her body compared to the bed. In
addicts such as Joe. This is shown
each encounter, Joe is at the center
in particular in a black and white
of the frame in the event of medium
sequence in chapter four which
shots or she is the only person in
demonstrates the way sex can
frame if the shots are close ups.
be used as pain relief. When her
All shots emphasize her pleasure,
father has his second panic and
while the men are half cut by the
hallucination attack, Joe turns to
edges of the frame or not there
sex to not feel anything and detach
at all. By introducing repetition
herself from the discomforting and
and the idea that Joe repeats the
stressful emotions she feels as a
same process with each man, von
result of her father’s illness. Here,
Trier downplays the element of
although there is clear depiction
eroticism. Images which may
of sexual intercourse, it is again
seem erotic because they focus
depicted in a non-erotic light, thus
on Joe’s pleasure are then revealed
providing deeper meaning to the
to be clinical, mechanical, and
explicit sex and keeping it far away
calculated. Although genitals are
from the realm of pornography.
clearly shown, scenes do not come Joe doesn’t shy away from sex.
across as pornographic, as the use
Ultimately, by portraying sex
There’s no taboo for Joe, thus there
of repetition normalizes the nudity
through the eyes and lens of a sex
shouldn’t be any for the viewers.
and Joe’s sexual process with
addict, Lars von Trier provides a
numerous men, thus mirroring
depiction of sex that is removed
her addiction both narratively and
from any real passion and one
Furthermore,
von
Trier
uses
repetition through editing as a
stylistically.
which is instead quite clinical,
technique to demonstrate Joe’s
crude, and emotionless. By doing
countless sexual experiences with
Although
personal
so, he mirrors what sex feels
various men, which also serves
pleasure in her affairs, Joe uses
she
seeks
like and how it is used by those
to kill any eroticism that the sex
sex as a way to fill a void, one of
suffering from sex addiction. As
might depict, as it represents a
extreme loneliness and internal
such, he uses the explicitness of
habitual and mechanical process
numbness, which she continuously
sex in his film to provide a sense
that Joe must go through in order
refers to throughout her story. By
of realism. He doesn’t want the
to satisfy herself. During sexually
using both narrative and style to
film to be something that it is not;
explicit scenes, it seems clear that
humanize Joe and get into her
nothing is suggested, everything is
the act is depicted through Joe’s
head, von Trier again lowers the
shown, as he relies on authenticity
54
INTERCUT
55
to tell this story. Furthermore,
to hide anything. The explicit
of emotion in the film might have
none of the sex scenes mentioned
images of sex don’t serve to make
simply missed the mark in terms of
above include any music during
a point of exploiting sexuality but
how Von Trier was attempting to
the act, which is unique compared
rather support the aim of making
explore a female addict’s sexuality
to the typical portrayal of sex on
sexuality the main topic of the
as realistically and subjectively as
screen. While music is often used
movie’s premise. This is a film
possible for the audience.
as a way to cover the sounds of
that is all about Joe’s personal
sex and maintain a safe distance
experience with sex and her lack of
As controversial as Lars von
between viewer and the act
emotion and connection due to her
Trier may be, he makes sure
represented, von Trier refuses
addiction. This suggests that most
that his explicit portrayal of sex
to do this since he is not trying
critics complaining about the lack
is made meaningful and non-
gratuitous, which differentiates
account of her various affairs
the concept of polyphony which,
Nymphomaniac: Volume I from
is
continuously
like he said, is “distinguished by
any pornographic film. The most
or
interrupted
Seligman’s
the idea that every voice is its own
flagrant way in which von Trier
explanations of different modes of
melody but together in harmony.”
brings depth to his story is by
behavior or attributes of countless
Joe then goes on to compare it
making a film that functions on
elements in the world. For instance,
with her nymphomania. As she
followed by
by
the balance between body and
in the final chapter of Volume I,
describes, “a nymphomaniac is seen
mind, sex and intellectualism.
when Seligman has Bach playing
as someone who can’t get enough and
Throughout
on his record player, he brings up
therefore has sex with many different
the
film,
Joe’s
people, which is true, but to be honest,
montage of each man having sex
totally
it is seen precisely as the sum of all
with Joe, alternating with shots of
intellectualism. Furthermore, the
different:
Seligman’s
these different sexual experiences, so
an organ playing the three voices at
way this shift between body and
in that way, she only has one lover.�
the same time. Although all three
mind is balanced offers a sense of
To deepen the assimilation, Joe
sex scenes are depicted as erotic
distance for the viewers, which
starts telling Seligman about three
through the use of close ups and
helps remove them from the
lovers who constitute each voice
individual parts of the body being
explicitness of the sex. Almost
of polyphony: F, G, and the secret
touched, the use of a scholarly
like a piece of theatre or a book,
ingredient. Within the scope of her
concept in conjuction with the sex
the fact that the film is divided
sexual needs, F represents nurture
downplays the eroticism.
into chapters with the launch of
and care as he is the one whose
each motivated by the exchanges
highest priority is her orgasm; G
Indeed, since sex is all Joe
represents animalistic behavior
actually does, her story is almost
viewers aware that there is a story
and
and
entirely constituted of sexual
carefully crafted behind all the
roughness; and lastly, the secret
experiences, which would be
nudity. Also, the constant back
ingredient,
represents
incredibly shallow to depict as the
and forth between the flashbacks
offered
dominance Jerome,
between Joe and Seligman makes
love. After having gone through
only thing on screen. Von Trier
of Joe and the commentaries of
all three, the frame becomes a
needed a counterbalance, which
Seligman provides a discussion
triptych, featuring an explicit
he found by bringing in something
about the link between sex and a
56
INTERCUT
wide range of subjects: literature,
exploration as a fun development,
mathematics,
politics,
thus underplaying any serious
breaking any taboo of discomfort
fishing,
and
implications or judgment on her
that explicit sexual depiction
actions.
might bring.
when the film could be called
Along the same lines, Lars von
In Nymphomaniac: Volume I, Lars
pornographic as these elements
Trier also uses humor in order to
von Trier uses both storytelling
pull the audience’s attention away
lighten up any kind of seriousness
and style to offer a film centered
from the story and remind the
that the audience might associate
around
the
journey
of
art,
history,
more.
The
interruptions create distractions for
audiences
at
moments
exploration a
and
viewer that they are watching
with the controversial depiction
a film. Nymphomaniac: Volume
and treatment of sex. One instance
I is not about showing explicit
of this is when Joe declares to
by offering a balance between
sex. It’s about understanding and
Seligman that “it was time for a
displaying a realistic portrayal of
discussing sexuality and how it is
serious education.” The camera cuts
sex addiction and an intellectual
intertwined with human nature,
to a close up of Seligman smiling
and scholarly interpretation of sex
behavior, and development, which
slowly. Then starts a sequence of
through imagery, metaphors, and
it does through Joe’s subjectivity.
four consecutive shots in which
assimilations. Although marketed
Joe is dressed up as a teacher in
around its explicitness, supposed
uniform and using tools from
eroticism, and initial NC-17 rating,
In addition, Lars von Trier also
57
that helps at taking a step towards
“nymphomaniac.”
self-described He
does
so
decides to approach sex in a light-
the classroom to masturbate and
the treatment and depiction of
hearted manner, one involving
do playful sexual poses while
sex comes across as far more
playfulness, games, and humor
pretending to teach a class to
mechanical, unattractive, clinical,
as a way to decrease the shock-
slow but lively classical music. In
and
value of the controversial behavior
the film, it is the only sequence
Most importantly, the film aims
and sexual explicitness. First, he
that is from Seligman’s point-
at providing the audience with a
emotionless
than
erotic.
does so by having Joe’s character
of-view. As such, it provides an
realistic insight into sex addiction,
approach sex as a game in several
absurd, funny, and light-hearted
all while remaining non-gratuitous,
instances during the film. By
depiction of a sexual fantasy about
light-hearted, and meaningful in
having Joe treat sex in such a way
Joe that makes Seligman smile
order for the film to maintain a
and having cinematic techniques
cheerfully. By using this approach,
distance between the audience
support that game-like approach,
the audience thus interacts with
and the sex, differentiating it from
Lars von Trier portrays Joe’s sexual
sex in an unseriousness manner
a pornographic film.
BIBLIOGRAPHY Megan Gibson, NC-17 Rating wouldn’t necessarily spell financial doom for Nymphomaniac, Entertainment Weekly, 11/27/13. Link: http://entertainment.time.com/2013/11/27/nc-17-rating-wouldnt-necessarily-spell-financial-doomfor-nymphomaniac/ Robert Weiss, Nymphomaniac – A Realistic Look at Female Hypersexuality?, Psychology Today, 04/04/14. Link: https://www.psychologytoday.com/us/blog/love-and-sex-in-the-digital-age/201404/nymphomaniac-realistic-lookfemale-hypersexuality Boyd van Hoeij, Charlotte Gainsbourg On Being Lars von Trier’s “Nymphomaniac”, Indie Wire, 03/04/14. Link: http://www.indiewire.com/2014/03/charlotte-gainsbourg-on-being-lars-von-triers-nymphomaniac-i-wasdisturbed-embarrassed-and-a-little-humiliated-28659/ Author N/A, Nymphomaniac, Critics Round Up, 2013. Link: https://criticsroundup.com/film/nymphomaniac/ Celluloid Filmmagazin, Lars von Trier on “Nymphomaniac”, Audio Clip, recorded in May 2011. Link: https://www. youtube.com/watch?v=545ThYz7eJc Freja Dam, Lars von Trier Speaks! 9 Takeaways from His First Interview In Three Years, Indie Wire, 12/01/14. Link: http://www.indiewire.com/2014/12/lars-von-trier-speaks-9-takeaways-from-his-first-interview-in-threeyears-67422/
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MOLLY D’ARCY
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THE DREAMER AND THE VAGABOND: UNPACKING THE REAL AND THE FANTASTICAL IN THE WORK OF THE 20TH CENTURY’S GREATEST POWER COUPLE WRITTEN BY JACK WARREN ILLUSTRATED BY MARY AHLSTROM
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AT THE TIME of writing this
sharing the gaze of two of the 20th
article, the desktop background
century’s greatest filmmakers?
Analyzing director power couples like Demy and Varda allows for the unique experience of putting
hiding behind my Pages document is a black and white photograph
Over the past three years at
in conversation the work of two
of the great French auteurs Agnes
Wesleyan,
artists who shared their lives with
I’ve
found
myself
Varda and Jacques Demy, sitting
increasingly drawn to studying by
way
of
one another.
in what appears to be their living
movies
director
room, and staring at either each
filmographies. While keeping in
The worlds of Jacques Demy
other, or at the large, garish lamp
mind the variety of social factors
are cinematic dreamlands, built
in between the two of them. While
and creative voices that go into
on the always inquisitive dark
this truly Sasquatch-sized piece of
the filmmaking process, watching
subconscious of the French New
furnishing may distract from the
film after film directed by the
Wave but shining with a childlike
cinematic giants on either side of it,
same pair of eyes is a useful lens
wonder that distinguished him
it offers the perfect hypothetical;
for observing how different artists
from his gloomy contemporaries
in this photo, would you rather
see the world around them and
and the shallower Hollywood
be Jacques, Agnes, or the object
reconstruct it in their own image.
directors whose work inspired
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him. In Umbrellas of Cherbourg
husband and wife working through
and Young Girls of Rochefort, Demy
their marriage and documentary
creates a technicolor world of
footage of locals engaged in
studio-era
song-and-
community activities. Many of
dance eschewing the real world. In
Varda’s films were documentaries
Donkey Skin and Lady Oscar, Demy
in which she turned the camera
inspired
goes even further, constructing
on herself as in Diary of a Pregnant
fantastical
spaces
Woman, or on other communities,
fairytale
featuring magical transformations,
as in her short Black Panthers,
the French revolution, and a
exploring the protests surrounding
court of medieval subjects painted
the arrests of Huey Newton. In her
entirely blue. Even when filming
later film, Vagabond, Varda uses
in black and white, as in Lola
documentary stylings to present
and Bay of Angels, Demy deploys
a fictional narrative story across a
sweeping
movements
number of character perspectives,
that evoke fantasies of Hollywood
camera
fracturing the male gaze and
grandeur.
creating an in depth portrait of her female protagonist. Varda’s
Varda’s work is far more grounded
blending of documentary and
in reality, frequently exhibiting
narrative is evidence of a constant
documentary
and
premise throughout the careers
blurring the line between narrative
techniques
of both her and her husband:
and nonfiction. Her first film, La
the blurring of the line between
Pointe Court, was filmed at a fishing
the real and unreal.
village she was visiting at the
63
time and cuts between sequences
While Demy’s films may appear
of professional actors playing a
initially
to
be
Hollywood
confections without depth or
tragedies
people,
Both Varda and Demy’s fascination
substance,
utilizing a genre known for its
with the space between cinema and
hide a darkness that complicates
operatic splendor and joy and
real life is perhaps most apparent
the
applying it instead to subtler
in Jacquot de Nantes, Varda’s tribute
screen. Often, this is reflective
expressions
to her late husband, which was
of a similar passion for social
compromise.
the
fantasies
bright he
colors
builds
on
of
everyday
of
regret
and
released shortly after his death
issues as Varda. When Gene Kelly
and includes documentary footage
and Catherine Deneuve aren’t
Varda evokes Demy in her musical
of him as well as a narrative story
singing about spring or sisterhood,
One Sings, the Other Doesn’t, in
about his journey to becoming a
Young Girls of Rochefort features
which two young women must
director. In addition to the footage
an imposing French imperial
navigate
marriage,
of real-life Demy included side-
army marching across the titular
suicide, protests, and divorce
by-side with the fictional Jacquot,
city,
to
across the years of their friendship.
Varda also includes footage from
consider the violence at the heart
Her film, Le Bonheur, makes
across Demy’s filmography as
pushing
the
viewer
of
abortions,
of such prosperity in a manner
use
hypersaturated,
his younger self watches puppet
they never would were they
Demy-esque color palette to tell a
a
shows and constructs stop-motion
watching Singing in the Rain.
story centering around infidelity
animation movies. While Jacques
Issues of class and gender are
that leads to the dissolution
may have leaned to the fantastical
often brimming under the surface
of a marriage and eventually
and Agnes to the real, both had a
of these films, exploding to the
suicide. Cleo from 5 to 7 takes
fascination with the other side, and
surface in the unusually gloomy
its titular model protagonist out of
represented it across their body of
Model Shop, or the left-leaning Une
the gaze of the men in charge of
work. Whether this interest helped
Chambreen Ville. The Umbrellas of
her life and gives her an interior
bring them together upon their
Cherbourg, Demy’s most famous
life, essentially making “real” a
meeting in 1958 or emerged in
film, uses the power of the
character fictionalized by the
the life they shared together until
Hollywood musical to chronicle
ideations of the men surrounding
Demy’s death in 1990, only they—
the daily struggles and mundane
her.
or perhaps that lamp—will know.
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OTHER DIRECTOR PAIRINGS TO EXPLORE: Jacques and Agnes aren’t the only hot couple in the last 100 years of moviemaking. Examples of director/director relationships are relatively rare but always interesting. Below are some potential areas of study:
KATHRYN BIGELOW AND
NOAH BAUMBACH AND
JAMES CAMERON
GRETA GERWIG
Divorcees both obsessed with
New
women in men’s worlds, with
making
Cameron fetishizing moms and
York
York
intellectual
movies intellectual
about types
types New (or
Bigelow fetishizing the military.
SPIKE JONZE AND
Massachusetts intellectual types,
Squared off in the single highest
SOFIA COPPOLA
once Little Women is released and
stakes Best Director Oscars race,
Both processing their breakup/
takes the Best Picture Oscar it
ending in Bigelow becoming the
calling the other out for how
deserves).
first woman to win the award,
they behaved during and after
instead of Cameron, who really
their breakup, featuring obvious
only would’ve looked like a jerk
caricatures of the other in their
anyway.
films (reedy voiced photographer Giovanni Ribisi as reedy voiced filmmaker Spike Jonze in Lost in Translation and bougie hipster
BARRY JENKINS AND
writer Rooney Mara as bougie
LULU WANG
hipster filmmaker Sofia Coppola
Absolutely adorable fresh-faced
in Her) and also starring Scarlett
lovebirds (at the time of writing,
Johansson.
Barry’s twitter profile is still the poster for The Farewell) interested in films about people isolated by social forces or foreign landscapes, but ultimately overcoming the odds and finding connection.
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