Artcadia Cafe

Brigador Spinelli, Art Gallery Owner

2009-12-06T21:27:00.001-08:00

[A fictional, humorous monologue told from the perspective of a VERY pretentious art gallery owner.]

"Brigador Spinelli, Gallery Owner"

By Christine Stoddard

Welcome to my art gallery--the finest in all the city! No, the finest in all the region--no, the coast! No, the country! That's right, it's the finest art gallery in all of the continental United States of America. Yes, all the major newspapers and magazines have reviewed it. Did you see the latest article in, you know, what's it called? That rather prestigious magazine with the little top-hatted man holding the monocle? Well, you know what I mean.

Anyway, you should feel honored to be here. After all, there are authentic Fallen-Longhorns in your presence. Yes, real Fallen-Longhorns. Not reproductions, but actual canvases. I even have "Conversations with Intestinally Confused Clouds" and "Golden Czech Fruits Floating in the Sun" Right here. Oh, why the quizzical expression? Oh, I guess I shouldn't have used the abbreviated titles. My apologies. I really shouldn't be so casual. I have "Infinite Conversations with Ten Intestinally Confused Cumulous Clouds on a Sunday Afternoon in Paris Before the Fog" right here. And "Forty Golden Czech Fruits Frivolously Floating in the Hot Sun on a Tuesday Morning." Here. In this very gallery. Isn't that incredible?

Don't tell me you haven't heard of Marcus Fallen-Longhorns, Jr. You look like you've never even heard of the name. How dreadful! Pitiful! Impossible!

No, that expression means 'possible.'

Please! Don't widen those simian eyes of yours any wider. I understand. You don't recognize the name. I'm appalled. You don't actually consider yourself a cultured person, do you? You must've stepped foot into my gallery because you heard there was free food. Maybe you wanted a sip of a French wine whose name you couldn't pronounce because you failed Spanish class in the ninth grade and were placed in an extra period of gym instead of being subjected to another foreign language class. Well, I only hand out my sliced rosemary parmesan baguette dipped in extra virgin olive oil to potential buyers. And, just based upon that plaid shirt of yours, I see no potential buyer in you.

I can't believe you came here. You haven't heard of Colton Andy Hersch, have you? You can't even name the latest Georgette Steinberg collage, I bet. I'm embarrassed that people like you even exist. What's your conception of art--the Chuckie Cheese logo?

Step right out this very second! Your K-mart boots are scuffing up my Danish floors. And I don't see scratched hardwood coming into vogue anytime soon.

Gorelore: Tim Burton and Three Special Effects

2009-11-19T18:27:00.000-08:00

Tim Burton is to cinema what Edgar Allen Poe is to literature: a master of the dark, bizarre, and mysterious. Burton's ghostly taste and ‘Goth’ niche in Hollywood are undeniable. Films he has directed and/or produced include: “Sweeney Todd: The Demon Barber of Fleet Street,” “9,” “James and the Giant Peach,” “Batman Forever,” “Cabin Boy,” “The Nightmare Before Christmas,” “Corpse Bride,” “Charlie and the Chocolate Factory,” “Big Fish,” “Planet of the Apes,” “Sleepy Hollow,” “Mars Attacks!”, “Ed Wood,” “Batman Returns,” “Edward Scissorhands,” “Batman, “Beetle Juice,” “Pee-wee’s Big Adventure,” “Frankenweenie,” and “Vincent.” His influences range from Ray Harryhausen’s animation to early Disney cartoons to Fellini to Vincent Price and more (Cortez 2004). From "Nightmare Before Christmas" to "Beetle Juice," Burton's films usually feature sinister palettes, deep shadows, the topics of love and belonging, and pariahs for principal characters. In order to convey his trademark themes and achieve his unique aesthetic, Burton employs a variety of special techniques. His use of stop-motion animation, elaborate makeup, and dramatic lighting/coloring truly distinguish his films from others made during our age of CGI omnipresence. For Burton, worshipping detail trumps all else. In a time when most animators deem stop-motion animation and puppet films "a dying art,” Burton continues using it because it gives the audience the feeling of actually "being there" (Burton 2008). Stop-motion animation is, according to some filmmakers, one of the most tedious forms of animation (Burton 2008) because it requires the progressive movement of an object between frames every 1/24 of a second. In her 2001 article, "When Art Comes to Life," Amy Porter describes stop-motion animation as a "simple technology" possessing "nostalgic awkwardness" (12). Burton did not direct his most explicit stop-motion projects, like “Nightmare” and “Corpse Bride” in order to remove himself from the “painstakingly slow process" (Salisbury 71) involved.

Burton's most famous stop-motion film is "The Nightmare Before Christmas” (1993), directed by Henry Selick. Claymation, one of the most popularly known forms of stop-motion, entails the majority of the film's special effects. TV specials, like "Rudolph the Red-Nosed Reindeer" and the "Grinch who Stole Christmas," inspired Burton in realizing his poem, "The Nightmare Before Christmas," in film form. His illustrations drew upon the drawings of artists like Ronald Searle and Edward Gorey; Selick's crew then referred to Burton's illustrations for 3-D character and set design. The crew, which consisted of 200 workers, even spread clay and plaster across the set and scratched it so it created the look of pen-and-ink cross-hatching. According to Selick, the film's production design resembled a “living illustration” (Burton 2008). Three to four people built all the “Nightmare” characters in oil-based clay over hand-machined ball and socket armatures. The puppets then had to be molded, injected with a foam latex material, and baked in an oven. Once removed from the oven, the characters’ molding was peeled off and they were sent to the Fabrication Department. In the Fabrication Department, artists attached clothing, hair, fur, and other finishing touches to the puppets; every detail counted, especially for close-up shots. Major characters, like Jack the Pumpkin King and Sally, required additional considerations, including a range of complex facial expressions. The team therefore created hundreds of hand-sculpted replacement heads for Jack, allowing him to display a spectrum of emotions. Similarly, Sally wore interchangeable face masks so animators could manipulate her expressions. They decided against a full head change like Jack’s to lessen the chance of animators accidentally ruining her long, red hair (Burton 2008). Animators could not be assigned their own character(s); instead, all participants had to work as a group and took turns animating characters according to their personal strengths. As an example, certain animators were better at adjusting the puppets for close-up scenes, for instances, while others' talents lied in creating very active motion. Because of the slowness inherent to stop-motion animation, “Nightmare” required almost three years to finish. Every 1/24th of a second required a new, only slightly different puppet pose. Consequently, crew members averaged a mere sixty seconds to one minute of film every week.

Burton’s "Corpse Bride" (2005) relies heavily upon stop-motion animation techniques, as well. In fact, "Corpse Bride" employs much of the same techniques as "Nightmare," relying heavily upon custom-made puppets moving across handmade sets. Differences between the two exist, however. In order to monitor the action of the puppets and ensure sleek movement, the crew shot the entire process digitally, as opposed to using film like “Nightmare.” This allowed to the animators to review individual frames, as well as the overall flow of the project quickly and easily. “Corpse Bride” also depended upon a small amount of CGI, whereas “Nightmare” used exclusively claymation and small bits of second-layering traditional animation.

“Beetlejuice” (1988) ranks third as the Tim Burton film with the most stop-motion animation, employing the method for Hell scenes. "Pee-Wee Herman's Big Adventure" (1985), the first feature film that Burton directed, also makes use of stop-motion, but to a far lesser extent than the aforementioned films because it is almost entirely live-action. Burton hired Rick Heinrichs, one of his CalArts classmates, for the stop-motion animation scenes (Salisbury 49). "James and the Giant Peach" (1996) features both stop-motion and live-action sequences, but it is primarily an animated film. Other Burton films that evidence stop-motion animation include: "Vincent" (1982) and “Frankenweenie" (1984). Burton's fans are eagerly awaiting his 2010 adaptation of "Alice in Wonderland" (2010), which will, unsurprisingly, feature stop-motion animation techniques layered over live-action sequences.

Though stop-motion is extremely time-consuming and much more expensive than standard computer-generated imagery (CGI), Burton insists on applying the proper medium to the proper story. In an interview with Cinematical, he stated, “…you just do a project... in the medium that fits it and do a good story…It will connect if it's the right thing” (Gilchrist 2009).

Color is another huge element in Burton's films, created by careful lighting and, in the case of his puppet films, pensively hand-painting. On the miniature puppet sets of "Nightmare” the crew used as many as twenty to thirty lights to steepen contrast and elongate shadows (Burton 2008). That represents as many lights as might be used on a live-action Hollywood set, showing that the crew applied large-scale film principals to an elaborate small-scale situation. Besides granting “Nightmare” a Gothic flair, the lights and colors contribute to the film’s symbolism. In Halloween Land, everything appears in gloomy shades because the characters there lack the sincerity, hope, and imagination of a warmer atmosphere. In Christmas Land, the landscape buzzes with all the festive colors traditionally associated with the holidays; the waves of red, green, and gold allude to cheer and optimism. The Real World, where Jack goes to deliver presents, though, is much blander; the houses, the cars, the people--everything is a neutral tone or a humdrum pastel. In other words, reality hovers somewhere between Halloween Land and Christmas Land in terms of faith and rosy sentiments. Crew members in the Fabrication Department hand-painted everything on the Halloween Land, Christmas Land, and Real World sets.

Just as the color palette is very precise in "Nightmare"--with all its carefully chosen shades, "Corpse Bride" also features two main color families that help contrast two worlds through the use of diligent lighting and hand-painting. Life scenes show everything in grays, like tintypes, while Death scenes are much more flamboyant (Burton 2008). The Life scenes therefore come across as uptight and dreary, whereas the Death scenes read as significantly more relaxed and fun. Such a contrast also exists in "Edward Scissorhands.” Black, white, and gray prevail in Edward's isolated castle, which signals one of the reasons why he looks so amiss in the suburbs, where tacky pastels prevail. Edward’s castle is a place of loneliness and old-fashioned taste; the suburbs scream of neighborly attention and gaudiness. The list of other examples of Burton’s color consciousness, from “Sweeney Todd” to “Big Fish,” continues, but another effect essential to Tim Burton films is strange and enchanting makeup. Stan Winston is the man responsible for realizing many of Burton's monsters. For instance, he brought Burton's vision of Edward's glinting hands in “Edward Scissorhands” and Penguin's beak in "Batman Returns” to life. In the book, Men, Makeup, and Monsters: Hollywood Masters of Illusion and Fx, Winston explains that Edward's hands were basically gloves with seven blades attached to each hand (Timpone 48). In order to make Danny DeVito’s penguin beak in “Batman Returns,” Winston created a single-piece prosthetic that extended from DeVito’s forehand to his upper lip; afterwards, Winston smeared Tuttle rubber, greasepaint, and Par paint over the beak . Nappy hair extensions, decaying dentures, and Greg Cannom’s three-finger appliances completed the overall villainous look (Timpone 52).

“Beetle Juice” is another example of a Burton film that employs impressive makeup effects, mostly in the realm of monster prosthetics. Robert Short, who won an Oscar for his work, oversaw all the makeup, including the creature effects that contributed to what the book Ghosts and Angels in Hollywood Film: Plots, Critiques, Casts and Credits calls “a banquet of wonderfully grotesque sights” (Parish 20).

Since the mid-1980s, Burton has forged his own niche with his spooky and fantastical cinematic visions. He draws upon a variety of esoteric influences and repeatedly explores the same themes. The question, then, is how exactly will he leave a mark on cinematic history? How will his pioneering into color/lighting, makeup, and stop-motion effects impact future dark-minded filmmakers? Whatever the answer may be, it is clear that Tim Burton’s reputation for ‘gorelore’ will persist throughout the rest of his career.

Works Cited

Burton, Tim. The Nightmare Before Christmas: Collector’s Edition, Blu-ray release. “Bonus Features.” Walt Disney Pictures, 2008.

Burton, Tim. Corpse Bride. “Bonus Featuers.” Warner Brothers Pictures, 2005.

Cortez, Joe. “Burton Influences.” The Tim Burton Collective. 2004. 9 November 2009. http://www.timburtoncollective.com/influences.html

Gilchrist, Todd. Cinematical. “Interview: Tim Burton.” 2009. 11 November 2009. http://www.cinematical.com/2009/08/05/interview-tim-burton/

Parish, James Robert. Ghosts and Angels in Hollywood Film: Plots, Critiques, Casts and Credits for 240 Theatrical and Made-for-Television Releases. Jefferson, North Carolina: McFarland and Company, Inc. Publishers, 1994.

Porter, Amy. “When Art Comes to Life.” MoMa, Vol. 4, No. 8. New York: The Museum of Modern Art, 2001.

Salisbury, Mark. Burton on Burton. London: Faber and Faber, 2006.

Timpone, Anthony. Men, Makeup and Monsters: Hollywood’s Masters of Illusion and Fx. New York: St. Martin’s Press, 1996.

Podcast Note!

2009-11-01T13:33:00.000-08:00

BeYourArt.com recently discussed my article, "How to Promote Yourself as an Artist Using the Internet," during one of their podcasts. You can listen to it here.

Interview with ThisZine

2009-10-05T05:41:00.001-07:00

1. First of all, what exactly is The Greater Washington Indie Arts Festival? What type of art is included? Is it only visual art or is there performance art, poetry, etc?

The Greater Washington Indie Arts Festival is an annual event that brings performing, visual, and literary artists from the D.C. metropolitan area (including Baltimore and Richmond) to showcase their talents in one evening. It focuses on local work appropriate for a general audience and gives artists an opportunity to sell and promote their work. Furthermore, there is no judging process and artists pay nothing to set up and sell their work. The space is nurturing, creative, and free.

2. On the festival's website, you talk a little bit about why you decided to start the festival. Can you speak more to that? What need did you see out there that led you to devout an enormous amount of time and energy into this project?

Up until I went off to college, I lived in the D.C. area my whole life. My parents still live there, so I still visit on a regular basis. Starting around 8th grade, I became a lot more aware of the local arts scene. That's also around the same time that I became really engrossed in 'zine and alternative arts culture. Needless to say, I was disappointed with what D.C. had to offer in that respect. Of course independent venues exist there, but, as a percentage, they are far too few in my opinion. Most of what D.C. offers is established, deep-pockets art. Think the Kennedy Center. Think the Smithsonian. Think the National Gallery. While these are wonderful institutions that I wholeheartedly support, D.C. needs smaller, more grass roots companies and organizations for real, working artists--not only the dead and the world-renown. The Greater Indie Arts Festival's aim is provide just that: help for local artists to bring attention to their work and hopefully a little money their way.

3. This seems like an enormous undertaking. Do you have a network of volunteers or interns who support the festival? How does someone get involved with that? How much of your time are you dedicating to putting this on and making it a success?

This year is going to be completely different from past years. In the past, I have worked with about 20 volunteers. I am trying to kick up that number to 60-80 this year. I am also seeking an intern, which would be a new addition to the event. Anyone interested in speaking to me about these positions should email me at stoddard.christine@gmail.com. I have no way of calculating how much time I'm putting into this year's event; so much is changing from the Neo-Indie Arts Festival, the now-defunct predecessor to this event. In the past, however, I only began planning a couple months before. Now I'm starting a year in advance.

4. How many artists participated in the previous year's festival? How did you find/recruit the artists who participated? What can artists expect out of their participation?

In the past two years, about thirty artists have participated in each annual event--and I hope to increase that number this year. I've the artists through a variety of ways, mainly word of mouth and online social networking sites. In the past, I have literally worked on no budget, but that will change this year, so I expect to take advantage of new advertising strategies. Participating artists can expect networking opportunities, local exposure, and the chance to promote and sell their art. The event, given that it's filled with music, paintings, theatre, and more, is also just plain fun.

5. From my experience, things like this take a lot of time and money. How did you find both time and money to support the festival? I imagine a lot of befuddled looks and curious faces when your approached folks about it. What did your family say when you told them about your idea?

I was very lucky in that Thomas Jefferson Community Center in Arlington, VA was willing to donate us space and facilities for free. This year, however, I'm searching for a Metro accessible location, likely in Rosslyn or Chinatown. That will require a lot more money and therefore a lot more time. Thankfully, I've built up a network of interested parties over the past two years, so I'm crossing my fingers for major assistance in organizing fundraisers and soliciting donations. They'll begin as early as this fall/winter. My family has been completely supportive, especially my lovely mother who really gets excited about the festival sometimes. She's the one who first advised me to turn it into an official 501(c)3 non-profit, which is what I'm doing now!

6. What future goals do you have for The Greater Washington Indie Arts Festival? In terms of types of art or number of artists participating or length, etc.

My goals is to have about 80-100 participating artists all showcasing their talents in a Metro-accessible location for one afternoon/evening. I want local artists, especially young, independent ones, to get recognition for their efforts and talents. Washington, D.C. is an astounding city for many reasons and I'm very thankful to have grown up where I did, but I do feel the indie arts scene is rather lacking. Most of the city's art revolves around very established institutions, like the Kennedy Center and the Smithsonian, so it's very difficult for new artists to get noticed. That's why so many artists I know end up re-locating to New York, Philadelphia, or Chicago. Of course it's hard for artists to get noticed anywhere, but it seems like it's easier in some places than others for young artists to just set up an art gallery or start up a new publication if they have the money and ambition; D.C. is certainly not one of those easy places.

7. You're an artist yourself. What type of art do you make? Where do you get your inspirations as an artist? Any great influences you'd like to acknowledge?

I am a writer, performer, and visual artist with a penchant for combining my talents into interdisciplinary projects, like collage, comics, film, and theatre. Words are my central focus, so all of my projects from a certain point on in my career explore the power and beauty of language in one way or another. I get my inspiration from everywhere, but here's a short list: world cinema, Gothic fashion, 'zines, pantomime, foreign languages, the Middle Ages, medical illustrations, circus posters, old cartoons, fairy tales, Japanese culture, the Victorian age. I'm much more inclined to admire individual works than artists as a whole; I have no single overall favorite artist. For instance, I like a lot of Tim Burton's work, but not all. A few artists whose have produced some work I enjoy, though, would include Sarah Ruhl, Romare Bearden, Josiane Balasko, Edgar Allen Poe, William Faulkner, Joseph Cornell, Jim Henson, and David Lynch. But this interview is about GWIAF--not me! You can learn more about me as an artist and my creative projects at www.christinestoddard.com.

8. Do you see the internet and technology shaping the future of art? In what ways?

Definitely! I have interned at The Washington Post website, as well as Richmond.com, and edit/contribute to Associated Content.com in addition to running my own blogs, so I know firsthand how much the Internet and technology are shaping the future of art. There are things I have written, drawn, recorded, photographed, or shot specifically for the web because I know it would not work in a print-based or gallery-based format.My boyfriend is studying Kinetic Imaging at VCUarts, where his entire B.F.A. program studies the intersection between art and technology, specializing in digital multimedia. We are able to render images, combine words and images, and network with other artists and patrons of the arts like never before. I sincerely hope that the tangible, physical aspect of art never, ever disappears, though. That realness, that ability to participate in art in some way is part of what lures in so many admirers of the arts to begin with.

In terms of how the Internet will specifically impact the Greater Washington Indie Arts Festival, I have already mentioned how heavily we rely upon social networking for advertising. That dependency will certainly continue.

9. I know some folks who think that art is great but ultimately non-essential. I think this mentality can carry beyond personal opinion into public policy, for example striking arts programs from schools. What are your thoughts on the importance of art in our culture and society? What would you say to someone who thinks that art is a non-essential in the world?

Art is the ultimate self-improvement book and video package. In the words of Rilke's poem, "The Archaic Torso of Apollo," art prompts us to change our lives. Art points out the flaws and hypocrisies in our thoughts and doings, and guides us toward a purer, saner way of living. To say that art is ultimately non-essential is to say that we should never examine our lifestyles; we should never think about where our actions are leading us and how those actions affect others. It's saying that we should always accept the status quo, even if it doesn't make any sense, and that we should do what we want without regards to personal and communal goals or morality. That same kind of mentality discourages us from attempting to understand our fellow man and his struggles. That's the kind of mindset that starts wars. If that's what a life without art produces--blindness, immorality, listlessness, violent conflicts--then I want no part of it. That's why I am an artist and I am trying to get the Greater Washington Indie Arts Festival the funding it needs. We as humans need art because we should care about ourselves and our brothers and sisters at least that much.

10. From what I read on your websites, it seems you're working hard to pursue your dream of being an artist, something that's inspiring for others out there who might be considering working in the arts but who are afraid to do so because success in the art world looks very different from success in say, the business world or in law. What would you say to others, especially young women, who are considering a path in the fine arts?

I would say, first off, don't get discouraged but also be realistic about how hard you are willing to work. True artists are passionate about their art and regularly experience creative impulses that make it almost impossible for them to stop sometimes. Carry a sketchbook or journal with you always. That way you can jot down ideas when they come to you, instead of waiting to get back to your dorm or studio. Check out websites like Craigslist for local gigs as often as you can to try to get involved in professional projects at an early age. I have been profiting from my art since eighth grade, so it's not impossible to begin submitting to magazines and galleries when you're young. Set up your own website, even if it's only a blog, and update it often. Put up samples of your work, but not everything you've ever created, either. Learn how to market yourself. Make smart decisions about your friends--beware of the poser art kids who just want to do drugs and have sex at every hour--and how you spend your free time. All in all, love what you're doing and do whatever you can to ward off laziness. You must couple your talent with a solid work ethic.

11. If folks are interested in submitting to the next Greater Washington Indie Arts Festival, how can they do so? Is there a date set for the next festival? Other information to this end?

Please contact me! Email me at stoddard.christine@gmail.com or send me a letter: 3917 Fauquier Avenue, Richmond, VA 23227. I love receiving mail! Try to include links to/samples of your work, but, remember, GWIAF lacks a juried process. As long as your work is appropriate for a general audience (13 yrs.+), we'll gladly invite you to display it, read it, or perform it. There is also a Facebook group, The 2010 Greater Washington Indie Arts Festival, which I encourage you to join. I am currently recruiting Board of Trustees, employees, and volunteers, so if you're willing to help, I want to hear from you. I am still settling the date and location for the festival, but those details will hopefully be available within the next two months.

12. Final thoughts you'd like to add about yourself, the festival, art, or anything else?

Thank you so much for taking the time to interview me and post my answers! I appreciate the publicity.

Pick up the Extra Pilgrim Outfit If You're Not an Indian: Cooperating with Other Creative Minds

2009-10-05T05:39:00.002-07:00

[Originally published in Reality Check Girl magazine.]

The art school variation on the old cliché "Too many chefs spoil the broth"? Too many painters turn the Realist mural into a bad Jackson Pollock imitation. Don't let your student art or media group splatter gratuitous proverbial colors. Because pink plus green plus blue plus purple equals brown, the same shade as a certain matter that toilets are designed to hold. You want gold, not that other...stuff.

As a film student in a competitive cinema program at a top art school, I am well acquainted with the emotions that cook up when several creative minds come together on a project. Whether you collaborate on a magazine, a play, an gallery show, or any other artistic endeavor, the risk of hurting feelings and tearing apart egos is astronomically high. After all, you are dealing with mostly people who are inherently passionate, moody, spontaneous, sensitive, and proud. Combining too many of them in one room for long periods of time, where their talents all rival one another's, can be dangerous. Keep in mind that the opportunities to learn and grow as an artist and human being are potentially very great, but only if you and the rest of the group are willing to learn and grow together.

Let's say you're in charge of leading a creative project. This is either a very fortunate or a very unfortunate position, depending upon your natural demeanor and past experience managing people. Rely on your smarts, your organizational skills, and your compassion, though, and don't lose confidence. If you're lucky, you might actually have a fighting chance at getting your writers, illustrators, actors, photographers, and dancers to listen to you for a second.

Never forget your numbers. Generally, that means focusing on 1) people, and 2) money. Begin by deciding exactly how big of a group you need to complete your project. The smaller, the better, as long as everyone is comfortable with and capable of carrying their workload. Realize that anytime you propose a glamorous project, you initiatially gain a lot of interest. Determine early on who's truly serious about seeing the project from start to finish, or at least understand what each person can and is willing to contribute. We have all met posers and pathological resume-builders and, likewise, even the kindest of souls have underestimated others' talents. Depending on how professionally oriented your project is, whether or not you are paying participants, and how many people you need, create an actual application process. You can begin with a general interest meeting where people can come ask questions and decide whether or not they can/want to be part of the project. The next steps are much more subjective. You can ask interested parties to submit resumes, references, essays, and portfolios. Maybe you need them to come in for interviews or auditions. Obviously you don't want to hire someone who's never drawn more than a stick figure for your portrait artist. Whatever you do, try to see samples of their work early on and figure out how they can be serve the project as a whole. They will ultimately surprise you for the better or worse, unless you are already familiar with their capabilities and work ethic. In that case, hopefully they do as well (or better than) as you expected!

Of course you cannot lead every project, no matter how brilliant you think your ideas are. Occasionally, at least, you won't direct the student film, you won't write the feature article of the campus magazine, your sculpture won't be the focus of the exhibit. But playing the part of follower every now and then has its benefits. First off, it provides an excellent opportunity for you to observe the creative process. You can learn a lot about how to lead people by watching a natural leader in process barking at--ahem--politely instructing her group. Secondly, you only have to worry that you are doing your best to achieve the project's goals. You can completely dedicate yourself to your part, without dividing your attention very much. Thirdly, there's less stress involved. You don't have the whole future of the project riding on your spine. That doesn't mean you should make any less of an effort, but it does mean you can relax a little...even if gray hairs complete your non-conformist look. The downside of not leading is that you do have to listen to someone else's orders. You don't necessarily get to voice all of your opinions because the rest of the group probably won't value your ideas as much as the director/editor/curator's. Sometimes that means picking up the pilgrim costume when you had crossed your fingers for that squaw role.

All in all, whether you are a leader or a follower, it is important to understand your project's mission from the beginning and take every possible step to ensure that you meet your vision as a group. Even if there are forty of you working together, each with her own idea about to best examine an issue using your particular artistic medium, that does not matter. One interpretation and one plan must prevail in order for project to get to the stage, or the press, or the display wall one day. Save your vanity for the bathroom mirror.

The Celebration of Womanhood in Stan Brakhage's Window Water Baby Moving

2009-10-05T05:39:00.001-07:00

When feminist filmmaker Maya Deren denounced Stan Brakhage’s twelve-minute film, “Window Water Baby Moving” (1959), as an infringement of birthing rituals’ female exclusivity, she misinterpreted the film's celebration of women and motherhood as well as underestimated its potential power in improving women’s status in Western society. The silent film centers on Stan Brakhage’s pregnant wife, Jane, before, during, and after labor with an occasional glance at Stan’s reactions, as he plays himself during the movie. The work, therefore, is at once documentary and art house. This hybrid form allows it to achieve a certain eloquence without detracting from the painful realities of childbirth. “Window Water Baby Moving” explores the concept of women’s involvement in pregnancy and birthing in nothing but a flattering and appreciative light that helps male audiences better understand motherhood and their duties as fathers. The film is inherently a feminist work because, instead of demeaning women by ‘othering’ their wombs and vaginas, it praises them for their body’s ability to bring new life into the world.

Deren’s main contention with the film lied in its alleged assault on a pregnant woman’s private, very feminine life. In his book, Underground Film: A Critical History, Parker Tyler describes Deren's reaction to “Window Water Baby Moving” as such:

"It was a little astounding to hear a senior member of the avant-garde ranks so 'anti' about a modest film done in perfect good faith, but Miss Deren was objecting that woman's privacy had been deliberately, tactlessly invaded. Human birth, she declared, is a mystery and especially a feminine mystery. Though herself a scholar

of primitive ritual, she did not sympathize at all, here, with the male couvade that Brakhage was celebrating." (Tyler 37)

Perhaps Deren’s strange relationship with her domineering father (Brakhage, Film 92) influenced her idea that men should distance themselves and not partake in the birth of their own children. Perhaps since Deren was never happy in her own two marriages and never had children (Brakhage, Film 93), she cannot fathom the comfort of having her husband being compassionate and useful during her hypothetical pregnancy. But she should not have permitted her personal history to deprive women and their curious husbands from experiencing pregnancy as a team. Dominant modes of feminism would resist the idea of any mystique surrounding allegedly "sex-specific" qualities altogether. Deren’s belief in the preservation of 'feminine mystery' does not help women in their advocacy for fair treatment and equal rights. Such a creed only further alienates women in the minds of men who wish to accept the idea that significant intellectual, emotional, and psychological differences exist between the sexes, and that separation of men and women in real life is necessary. If “Window Water Baby Moving” is at all invasive, it is so only in the sense that it tries to accomplish so much good for women in bettering their image as breathing receptacles for life.

Just as assertive, feminist-minded women have been called pioneers, Brakhage's film was brazen and counter-culture for its time. One of the reasons why "Window Water Baby Moving" should appeal to feminist sentiments is because it shattered the misogynist taboo surrounding mothers-to-be. When "Window Water Baby Moving" was first released in 1959, Western men typically did not witness the births of their children. It was not until the baby had fully left its mother’s body, was completely wiped of all mucus, checked for deformities, and wrapped up nice and neatly in a blanket that the husband was even permitted to see his adorably packaged child. Until then, husbands wandered off to a waiting room while doctors and nurses hovered over their wives behind the secrecy of closed doors. Husbands distanced themselves from their laboring wives because society made them believe pregnancy was repulsive. It was repulsive because it was distinctly female. Brakhage does not seem to share that belief, if his film and his autobiographical character in the film is a true representation of himself. Throughout the film, Stan caresses his wife's bloated abdomen in a very intimate, loving, and respective way. He also smiles very warmly. All of the efforts Brakhage makes to depict pregnancy and birth, as shall be discussed in ensuing paragraphs, place women in control of what he also colors as a very beautiful circumstance.

Admittedly, the film is very graphic, especially by mainstream, 1950s America's standards. Just because it is raw and bloody, does not mean it is repulsive, as men during the period perceived pregnancy. Random House Dictionary's first definition of ‘repulsiveness’ is something "causing repugnance or aversion." Yet, except those who are particularly sensitive to the sight of blood, the film hardly pushes audiences away. Rather, it draws in the audience because of its poetry and unusual perspective: a man entering what has traditionally been perceived as women's territory. Because Brakhage portrays birth as lovely and natural, and therefore not repulsive, he privileges women. Men may contribute to the formation of life, but only women can feel the heartbeats of their children fluttering within them.

Men's involvement in their children's early lives simply cannot compare to that of women, as Stan recognizes and even envies to an extent. Through Brakhage's use of montage, the audience sees constant flashes of Stan stroking Jane's protruding belly. On one hand, Stan's act is endearing, but on the other, it seems to allude to a warped version of Freud's Penis Envy concept. The hand to the stomach appears over and over, so that occasionally the image persists even after it has disappeared from the screen. The effect is subliminal, just like the regular flashes of Jane's pregnant silhouette before the bathroom window. Jane is not the mere object of hungry male eyes in the Berger sense (i.e., Ways of Seeing). Brakhage raises her to religious heights. In the ultra close-up shots of Jane's face, her large, expressive eyes and straight nose echo Eastern Orthodox icons. Even if that reference were, for whatever reason, discounted altogether, Brakhage writes in his essay, "The Camera Eye," that film is a "religion" (Brakhage, Essential 14), so by featuring Jane in the film, he automatically idolizes her. He worships her body as a vessel for life. Worship always entails some kind of longing. In this case, it signals his longing for his inability to give birth, which is a longing he believes other men should experience.

Brakhage's distinctive stylistic choices throughout the film reinforce his fascination with birth and his respect for women's main role in it. From his selections in lighting to montage to talent to composition, Brakhage repeatedly draws in feminist connotations. First off, each unit of the title, "Window Water Baby Moving," pays homage to womanhood. The window symbolizes the birth canal, through which all humans came through into the world before the invention of the Cesarean section. From water, all life originated. Furthermore, in ancient Greek and Roman medicinal philosophy, water represented femininity. Babies evidently come out of women's bodies and the word "moving" euphemistically describes the production that is labor. It may also refer to how women are largely responsible for the movement of the cycle of life or how the pregnant body moves through various stages as the baby grows.

Secondly, in examining the film's positive attitude toward women, consider that Jane goes au naturel throughout the work. She wears no make-up; her hair hangs straight down, showing no signs of chemical processing or even a bobby pin. Her body hair remains unshaven, except for her vulva during labor, but that was a matter of medical, not aesthetic reasons (the hairlessness would have made seeing and feeling the baby easier for the doctor). This costume/wardrobe detail implies that Jane resisted any social pressures to conform to the 1950s standard of the over-coiffed, painted, and corsetted housewife because she was a strong, confident, and free-thinking woman. Brakhage could have chosen a model or movie star, but he cast a real, natural woman as his muse: his wife. Jane may not be June Cleaver, but Stan still reveres her unconventional looks because pregnancy and the act of birth make her beautiful in a way that must be captured on film. In his essay, “With Love,” Brakhage discusses the fundamental femininity of art and the muse (“…yet each source of inspiration, creatix of impulse throughout, is woman—the muse is female” [Brakhage Essential, 127]), but he seems to see an especially inspiring magnetism in Jane’s simple, natural pregnancy.

A third feminist detail in the film requires a wider stretch of the imagination: the tub represents a womb. It, like Jane’s abdomen is bulbous and full of water, the compound that largely fills the uterus and supports all life forms. The red bathroom lighting, which casts a fleshy glow upon the bathwater, creates the illusion of blood, which both alludes to one of the womb’s natural fluids and foreshadows the blood lost during labor. Stan bonds with his wife in this metaphorical womb as he strokes her belly, showing that it does not scare or ‘repulse’ him. He does not alienate her because of her pregnancy and is still willing to touch her, kiss her, and enjoy his time with her. In fact, pregnancy attracts Stan so much that he is willing to enter the womb (i.e., the tub) and become part of the pregnancy to the biggest possible extent. This is what Parker Tyler described as Stan’s approximation of a couvade (37). A couvade is a practice in some non-Western countries where husbands attempt to sympathize with their wives immediately after the birth of their baby. The husbands accomplish this by lying down, complaining of labor pains, and then receive the same care and attention usually reserved for pregnant or laboring women.

[Read the rest of the essay by clicking here.]

Notes from Art School: The Campus Paper Doesn't Have to be a Snoozefest

2009-08-31T19:12:00.001-07:00

[This piece is scheduled to appear in The Reality Check Girl Magazine in October 2009, the first publication to run "Notes from Art School" in the series' history.]

This advice probably appears in some Type A-driven career preparation handbook somewhere: "A natural extracurricular activity for English and arts majors unsure of how to lucratively apply their creative skills is a job with the campus publications office." It's such a common sense statement that it's in line with, "Try really hard not to fail your classes" and "Find out what Greek Life offers outside of beer pong frenzies." Yet some English and arts students need to see these words printed upon an authoritative-looking page before they consider filing out an application for their school paper, magazine, or literary journal. If you're skilled at writing, drawing, photography, and/or graphic design, though, why wouldn't you get involved the moment the publication calls its first meeting? Call me harsh, but I always thought that the point of being an artist of any kind was to make art, not just sitting around wishing you did. (On the other hand, I don't applaud people who churn out passionless, uninspired pieces by the dozen because they're afraid that the art they really want to produce won't bring in a paycheck. However, it seems that far more English and arts students suffer from Aesop's Grasshopper Syndrome than the Ant's problem.)

Thankfully, I know plenty of other English and arts majors who see a chance to showcase their talents and up their probability of snagging a rewarding post-graduation job while informing and entertaining their fellow students at the same time. Within that pool, a wide range of artists and writers of all styles, genres, and creative approaches exists. Anyone who has worked in a student publication before is familiar with the factions between category editors, or the battles between the "artistic" and the "journalistic" camps. You've met the Sports writer, the News Editor, the Food Critic, the Fashion writer, the Serious Journalism Photographer, the Movie Critic, the Copyeditor, the Lay-out Designer, the Artistic Photographer, etc. If you've worked in student publications for a while, you've learned the stereotypes and have likely developed a couple of your own, whether you want to admit it or not. Even if you haven't, then it's likely your staff has tried to squeeze you into a stereotype or two. That doesn't mean you should be comfortable with how your staff labels you. Most labels make most people uneasy most of the time.

Resist such labels by more clearly defining yourself within your official campus publication title--or your rumored one. Not only can you, but you should if you ever hope to stand out on the staff. When it comes to my school newspaper, for example, I could be just another comic artist. In terms of the stereotype, that would mean someone incapable of being serious, someone who constantly misses deadlines, and someone obsessed with a "low-brow" art form. Instead I'm the pen-and-ink, fairy tale-loving feminist cartoonist--how's that for specialized? I touch on, at times, very serious topics with a sense of humor, never miss a deadline, and explore a range of interests outside of comics that help influence the art and writing that go into making a cartoon. Thus, I have formed my own niche and forged a recognizable series.

You, too, can earn a campus name for yourself by producing quality work with flair that really distinguishes your art or writing from other pieces in the publication. Begin by choosing a focus and a mantra. That focus should be a subject you can't possibly exhaust, something where you can always find a new angle that excites you. Your mantra should be that little voice in the back of your mind that always tells you the most moral and effective way to present a piece. Discuss story or visual ideas with your editor by pitching ones that best appeal to your "print personality." Then set up a realistic schedule for yourself, so you have enough time to make memorable pieces that in one way or another concern your campus. (Note: you do not have to interpret this concern very literally. In fact, the more figuratively you look at it, the more interesting your results may be. Who knew the biography of the 89-year old farmer who sold your campus cafeteria its dairy products after all?)

If you form a vision, work hard, and meet your deadlines, the student body might even begin to anticipate your art or writing. Heck, they might even start chatting about your work online, and post it up in their lockers and dorms when it finally comes out because they love it so much! Your editor may respond to that frenzy by somehow highlighting your work in future publications. S/he might give you the front page or the space "above the fold" or request more eye-catching lay-out for your piece than was devoted in the past. The more effort you invest into the art and writing you submit to your school newspaper, the more your clip portfolio will expand and the more you will have to show potential employers for internships and jobs. By your Junior or Senior year, if not sooner, you will not merely be a staff member. [Cue heroic music now.] You, not the funny birth control advertisements, will be one of the reasons why students pick up that particular publication.

Maybe I'm glorifying the matter and presenting the ideal scenario for a young English or arts major who would otherwise lounge at home and watch David Lynch films if it were not for the campus newspaper. Or maybe I'm somewhat Machiavellian and just have a knack for always seeing the ambitious, productive path because I'm terrified of becoming another hopeless, starving writer-artist. Maybe you, fellow English or arts major, should be terrified, too, and hop on that chugging train that is your campus publication. Get on in time and you'll get off in time...happily and safely, with clips in hand.

VCU TV/HD's Entry Into the Ranks of Hollywood Productions: Buying the Red Rocket HD Camera

2009-08-23T14:08:00.001-07:00

Nestled in the first floor of Temple, VCU's primary Mass Communications building, is the university television station, VCU TV/HD. When you first enter the station, you face the editing cave, where Film, Cinema, Mass. Comm., and English major interns stare for hours at computer screens to determine the best cuts and transitions to submit to their PBS-affiliated channel. Turn left and you face the director's corner office, a few more computers, and the other staff member's desk. The set-up appears to be a humble abode for housing film and video equipment. So humble, in fact, that the station is clearly not as widely known as other branches of campus media, such as the student newspaper, The Commonwealth Times. It's not surprising, then, that roughly a year has passed since VCU TV/HD purchased a Red Rocket HD camera and yet the buy remains a virtual secret to the VCU community at large. After suffering the horrors of sitting on a long product waiting list, VCU TV/HD finally bought a professional Hollywood quality camera last summer--but who knew?

The Red Rocket is a digital movie camera used by elite filmmakers and very few, very lucky students in film and video programs across the country. The camera, though HD, has sensors sensitive enough to mimic the same angle of view and depth of field as Super 16 and 35 mm film. Super 16 and 35 mm are two extremely expensive formats that have traditionally been used in the film industry but are difficult for independent filmmakers to afford without grants and commissions. Films like "The Lovely Bones," "My Bloody Valentine 3D," "The Book of Eli," "Che: A Revolutionary Life," and "Labor Pains," among a few, have been shot using the Red. The Red is the kind of prestigious camera that even students at Columbia University's Film School practically have to beg to use, whereas interns at VCU TV/HD simply have to go through the proper training process and justify using it for a station assignment. Even students in the Cinema department, the most highly-funded film and video department at VCU's School of the Arts, do not have access to one (though that situation is subject to change.)

Dan Brazda, director of VCU TV/HD, is thrilled at the possibilities the Red presents for the university station and the film industry as a whole. He describes himself as a "tried and true filmmaker," yet with an HD camera like the Red on the market, even he's converted to digital. Dan summarizes his career as "twenty-seven years of film and one year of Red." That career is steadily evolving into two years of the Red, however, as VCU TV/HD produces more and more work with it. While the camera's presence may have be relatively unknown to the VCU community now, that is bound to change. Here's what Dan has to say about the Red and VCU's relationship with it:

How did you get the Red? It was a long drawn-out process. Red One is very new technology; I've been following the progress of it for three years. It took a lot of faith to get involved early on because often so-called 'amazing' products are less than amazing. But it's exceeded my expectations. I was definitely a hard convert since I was a hardcore film guy since way-back-when.

Which Red features are your favorite? The sensor size because in filmmaking a shallow depth of field is an incredible storytelling device. So many digital cameras have too small a depth of field, but in storytelling, you want to focus your audience's attention on a small space. Video has not been able to do that without clunky adapters, but the Red is an all-in-one camera allows you to shoot quality small motion, time lapse, sound. In the film world, I would often get a different film package to do different things, different application. The Red is a one-stop shopping camera. See, often times people will complain about new products, saying the support doesn't live up, but the Red is a smaller company with top-notch customer service. You can trade in camera for epic, "making obselence obselete"

What are your complaints about the Red? I don't like that you cannot have an open shutter for an extended period of time. In a film camera, you can set the shutter to be open all of those ten seconds. If you want to be shooting things like streaking car lights at night, you're very limited in what you can do with that. I also don't like how you shoot 120 frames per second right now at 2 k, not 4 k. It'd be nice if you could use the full speed range at 4 k. They're actually doing that with the "Epic" but right now that's my complaint.

How will the Red benefit VCU TV/HD and the VCU community as a whole? Broaden our approaches/abilities with the programs we produce. Most of what we have done up until now is cinema verité programs. The Red will allow us to do more carefully thought-out, much higher quality programming. We'll also be able to create archive footage. Anything shot on 4 k will be around forever.

How does operating a Red differ from operating other digital cameras? Most other digital cameras are kind of designed to be overly simplified. When you have the ability to manually set everything the way you want it--that's more of the filmmaker's way than letting the camera telling you what to see. You want to tell the camera what you want to see. Especially with the prosumer cameras, most people put it on automatic and just shoot. You want control over everything. You don't want the machine doing your thinking for you.

How heavy is the Red? Fully loaded, with everything on it, 38 pounds. You can strip it down to as lightweight a package as 14 pounds. It's a real, true transformer. The weight of your specific camera depends on learning all the different accesories that work with the Red and knowing your options as far as viewfinders, lenses, and recording/sound. Learning the transformer nature of the camera and knowing all the possibilities to adapt if for the situation. It's a nice, lightweight unit.

How does the fact that VCU owns a Red distinguish it from other universities? There are some, but it's a very limited number. I can safely say we are one of a handful without having statistics to back it up, but as variations like "Epic" and "Scarlet" come out, you'll going to see them popping up everywhere. For the same or less than what you would pay for a broadcast camera, look at what you get.

What VCU productions have been shot with a Red already? So far the only start-to-finish project was on the Macey Cancer Center here at VCU. Otherwise, it's been used for elements for other programs, like B-roll. In the future, I think it will be used a lot more for programs from start to finish. The Red is capable of producing images that are superior to what most desktop editing systems are able to handle. We won't be able to use it to its full potential until the editing systems up their capabilities.

How does owning a Red fit in with your goals for VCU TV/HD? We don't want to get into a niche where all we do is cinema verité documentaries. But when we as a station appeal to interns from Film & Photography, Cinema, the School of the Arts, and you got students producing programs that don't exactly fit into the program of cinema verité...We will not only produce an outlet to have students get their films seen. we can provide the equipment. We want to have the full spectrum, from pro-sumer to a full set with dolleys, etc.

Dan ended the interview in saying, "There's going to be 35 mm out there always. They've been saying it's going to go away since 1975 but it's not going to disappear. This is the first time that digital has actually put a dent in the motion picture industry. Any of those other digital cameras that said they'd put film out of business, this is the first time feeling impact."

Nate Waggoner, Richmond comic writer and artist

2009-08-23T10:03:00.000-07:00

"Nate Waggoner--Has He Illustrated Your Richmond Missed Connection?"

You might have seen his comic, "Slippin' in the Tub," which was done in collaboration with Jonathan Scheer in The Commonwealth Times during the 2008-2009 school year. Or maybe you spent an English class with him, giggling and guffawing at his witty remarks and noting his stodgy, professorial sweaters. It's also possible that you spotted him at the former Richmond.com office on West Main, adjusting his Southwestern-style bolo as he wrote fake but hilarious horoscopes. This humorous man of mystery's name is Nate Waggoner and he's a senior English major and Creative Writing at VCU who will participate in the third annual Richmond 'Zine Fest on November 6, 2009. Curious about what he's drawn up and written this year? Never fear, a transcribed interrogation is here! Here are Nate's words on his brief history with the "zine scene" and his longer experience with comics--as well as tasty clues for how you can get a hold on his work:

*Here's my first string of questions: Who are you and what got you into 'zine culture? Why do you make 'zines? Why are you participating in the Richmond 'zine fest? How do you think the event will affect you as a 'zinester?

I'm Nate Waggoner and I got into 'zine culture when my friend Katherine allowed me to share her table at Zinefest last year and sell these comic books I had made. A 'zine is traditionally defined as a fan-published single-issue magazine, and so I make 'zines because I want to self-publish little books of cartoons about myself, Richmond, unrequited love, etc., in case maybe someone else likes them. What I make are more just like self-published comics, but so are a number of ‘zines that were featured at the ‘Fest, and I think that the definition of a ‘zine should remain broadly defined. One reason I'm going to participate in the Zinefest is a terrible fear that if I don't "put my name out there," or something, whatever that means, I’ll end up starving to death because I’m too unskilled and socially unacceptable to succeed in the real world. The other reason is because I had such a fun time last year. ‘Zine culture, if it can be called that, is so amorphous that it never gets really annoying in the way that, say, pot culture does. As a whole, the culture can not be single-minded about ‘zines, because each person is too busy thinking about the thing that their ‘zine is about. So you have a group of select literary- and artistic-minded people who are nerds or punks or Wiccans or whatever, all talking to each other about like the creative process, and that engenders a feeling of genuine togetherness, which is rare but important. I'm also excited because this year the Zinefest starts on First Friday, when I'm tabling, and will take place at Gallery 5. I think that more people will see my embarrassingly personal little cartoons as a result of this occasion. I probably won't break even because of the way I price things and because of how much I usually f*&# up at Kinko’s, and because tablers like to trade ‘zines with each other, but making money is very much beside the point, especially when you’re an entitled little trust-fund b$st$rd like myself.

*Alright, here's my second string of questions: What is your favorite 'zine of yours? Why do you like it and what inspired you to write/illustrate it? How long it took you to make it? What was the process it took to make it? Why you think (or hope) it's a worthwhile read?

Well, I hope my favorite ‘zine becomes the new one I’ve started working on. I hope it’s not just a pale sequel for the one that I’ll go ahead and describe as being my favorite, which is the first autobiographical cartoon that I’ve ever gotten serious about making and showing to a lot of people. It’s called “A Lifetime of Fee Haircuts,” issue #1, and it depicts some of my friends and I in a series of humorous/uncomfortable/poignant situations. There’s also a bird metaphor. I was inspired by comic book artists like Harvey Pekar and R. Crumb who really put themselves out there for the amusement of the reader and make characters of themselves. Larry David, too. It took me a few weeks to make it, I guess—all I did was recollect things that happened to me and put them in panel form. I’m kind of a crappy artist, so some things took a few tries. Then I went to the copy place and made a scene because my credit card got stuck in the machine. I always sit on my wallet and my cards end up bent and broken. I hope that it’s a fun read because I made it to amuse myself, and the most compelling thing possible for me to see is myself failing at things or having bizarre interactions. So if you think you’re like me, or that I’m a funny guy, then you’ll like this comic.

*Of course, that's not all you've drawn and illustrated. Could you describe some of the other 'zines you will sell at the 'zine fest? I'd like the skinny on titles and descriptions.

The ‘zines that I will be selling are “Missed Connections,” “Son of Missed Connections,” and “A Lifetime of Free Haircuts,” issue #1 and at press time I hope #2. The first two are collections of missed connections I found on Craigslist for Richmond. You might see yourself in there! After I made them, “I Saw You” came out, which is a book where a bunch of comic book artists that are better than me illustrated missed connections. That’s okay, you should buy my comics too, because I have no need to be, like, “the missed connections guy.” Anyone who thinks they’re “the ____ guy” is out of control. Also I think my missed connections comic says a pretty good deal about Richmond.

*For those who can't make the 'zine fest, where can they get your work? Do you sell/trade outside of 'zine fests?

If people miss the Fest they can go to my website (www.natewaggoner.com) or email me at NateWaggoner87@gmail.com and request something. Or they can see me on the street or call me if they know me.

*Any last words?

“Lady, you shot me!” –Sam Cooke

Vacation Notice

2009-06-29T07:34:00.001-07:00

I will be in France from June 29 to August 1. During this time, I will not have the chance to regularly update my blogs or submit to other publications as usual. However, I do encourage you to check out my French travel blog as I document my voyage! Please visit http://blog.vcu.edu/stoddardcs2/ for my writing and photos.

"Not Just Any Latin Teen Drama: Rediscover Glatzer and Westmoreland's Quinceañera"

2009-06-24T21:05:00.001-07:00

With a film tagline like "fifteen is not so sweet" splayed across the cover, viewers should anticipate melodrama-induced angst the moment they finger the DVD case. Yet sometimes movie angst is poetically justified and not just a shameless entertainment ploy. In fact, Richard Glatzer and Wash Westmoreland's Quinceañera (2006) fails in the "bad telenovela" department simply because it is too smart and too poignant. Instead, the film scores major points in character development and narrative, despite its somewhat cliched portrayal of working-class Chicano life in Los Angeles. After all, as this film would have viewers believe, the reason why certain stereotypes prevail is because they stem from some source of truth. Glatzer and Westmoreland illuminate the ugly materialistic and lustful truths that lurk behind the average Mexican-American family's closed doors in a plot revolving around the traditional Hispanic coming-of-age ceremony for girls.

Sympathetic characters largely carry the movie. Emily Ríos plays Magdalena, a typical fourteen-year old Mexican-American girl growing up in Echo Park. Jealous of her wealthier (or perhaps better said, less poor) cousin, whose ladder-climbing parents throw a dream fifteenth-birthday celebration, this pastor's daughter shoddily conceals her disappointment during talks of her own ceremony. She will have to wear her cousin's hand-me-down gown and forgo yearnings for a grand entrance in a Hummer limosousine. Amidst the trials and tribulations of getting the party she wants, Magdalena is wild about Herman (J.R. Cruz), the boyfriend who unexpectedly impregnants her despite the fact that she is still a virgin. You're thinking she's the stock brown Hispanic girl, low-income, not even 15 years old and already made a mess of her life, but watch Magdalena fight the banality of being statistic. Magdalena is one girl who won't let a strange accident define her existence. Of particular cultural interest in the film, however, is the exploration of the homosexual cholo, a taboo subject as far as many abuelos are concerned. This dip into a Latin-American no-no would not be possible without Carlos (Jesse Garcia), Magdalena's gay, pothead cousin and all-around family reject. Third in line for captivating characters is the liberal, elderly Uncle Tomás (Chalo González), who provides refuge for Magdalena and Carlos when everyone else ostracizes them.

Intriguing characters alone, however, do not make for a good movie. Quinceañera also boasts a solid narrative full of reasonable surprises (in other words, no animated pink elephants suddenly invade the show). Questions abound. Is Magdalena actually pregnant? If so, will she and her boyfriend keep the baby? How will her relationship with Herman change if she decides to do so? Will the pregnancy interfere with her Quince? Will she even have a Quince now? How will Carlos' homosexuality play into all of this? And the list continues, but I can only morally pack in so much plot-spoiler.

Other elements that up Quinceanera's enjoyment level are its language blurs and the subtle humor. The film often flows in and out of Spanish and English, which realistically re-creates how many Mexican-American families converse. The subtitles accurately describe and summarize all of the Spanish lines for English-speakers without sacrificing any of the original meaning. That in and of itself is a difficult feat to overcome. The film also displays moments of humor. It is certainly not a laugh-out-loud feature, but, unless you're absolutely heartless, you'll probably smile or lightly chuckle here and there.

Overall Quince merits 3 out of 4 stars, not 4 out of 4 due to a couple gratuitous corny moments and a bit of unoriginal dialogue (apparently all teenage girls talk about with their friends is cute clothes). Go with an open-mind and sensitivity for a culture that may or may not be your own. Then come out a more understanding human being, even if fifteen is well behind you.

TODAY: 2009 NIAF

2009-06-13T07:51:00.001-07:00

The 2009 Neo-Indie Arts Festival is today, June 13! WANNA SHOWCASE YOUR TALENT? Show up at TJ Community Center (3501 2nd St. S., Arlington, VA) @ 5 p.m. to register for free. WANNA VOLUNTEER? Show up at TJ Community Center (3501 2nd St. S., Arlington, VA) @ 4:30 p.m. We appreciate it! WANNA CHECK IT OUT? Show up at TJ Community Center (3501 2nd St. S., Arlington, VA) b/w 6:30 p.m. and 10:30 p.m. Free admission. Film*Theatre*Music*Photography*Visual Art*Poetry*More Questions? Email Christine Stoddard at stoddard.christine@gmail.com http://neoindieartsfestival.blogspot.com

Interview by Rachel Radical

2009-06-02T18:14:00.001-07:00

Perhaps not in Bougie Land, but in the 'zine and underground art world, Rachel Radical is a respected name. Despite the fact that she is only 25, the Californian already has a following. She has worked as an assistant at Wasted Illusions, Inc. and held a marketing internship at BiteClub, Inc. Now Rachel Radical's a marketing rep at The Syndicate, CEO of Chaotic Beat Productions, and publisher at Pink Death 'Zine. So when Greg Butterfield, editor of Absent Cause 'Zine, introduced Rachel Radical to Christine Stoddard via the wonders of the Internet, magic ensued. Okay, not really, but an interview popped out of it. Rachel emailed the kindred spirit a few questions and the art-obsessed twenty-year-old attempted to answer those questions. Here's the result:

Who are you and what do you have to say to the world?

My name is Christine Stoddard and I am a writer and interdisciplinary artist from Arlington, VA, an immediate suburb of Washington, D.C. Mainly I write, but I also apply my appreciation for words to film, theatre, comics, and collages. Ever since I first learned what art and media were, their potential has fascinated me. I constantly strive to use communication as a means for better understanding the human condition on an individual and broader scale. While I may not always be able to interpret the thoughts and emotions that form a culture--any kind of culture--I can at least convey my observations on paper, online, on stage, or on film. As someone with a diverse background, ethnically, racially, religiously, philosophically, and environmentally, I think it's important to celebrate differences while maintaining sensitivity to even the subtlest of similarities between people and places.

How did you get involved with Art? How does it express who u are?

I could answer this question in a number of ways, but I'll begin by saying artistic expression is in my blood. My paternal great-grandparents were artists (a photographer married to a writer/actress/painter); my paternal grandparents were artists (a writer at Doubleday Books and a writer for women's fashion magazines). Both of my parents are artists (my father is a cinematographer and my mother dabbles in illustration and crafts). While my childhood wasn't stereotypically bohemian, my family always stood out as the quirky neighbors on the block. From a young age, I isolated myself. I never had many close friends and therefore spent a great deal of time by myself or with only one or two other people at a time. Thus, I am extremely introspective. I believe it was this inherent quality that allowed me to become as passionate about art as I am today. Art is all about asking personal, emotional, and philosophical questions and attempting to answer them. It's a haven for outsiders because art truly knows no limits. My artistic leanings were already apparent in elementary school: at the age of six, I appeared in a documentary that later showed at Sundance; I participated in school theatre and writing groups; and my teachers singled me out for my writing and drawing abilities.

What type of art do you do? What inspires you to write fiction (stories)?

I experiment with several different art forms, mainly as an outlet for my words. When talking to myself (yes, it happens), I call myself an "interdisciplinary wordsmith," but that's too ambiguous of a term to throw on a business card. I write in several genres and forms, both fiction and non-fiction, poetry and prose (www.associatedcontent.com/christinestoddard). I have written for magazines, newspapers, books, stage, the web, and film/video (http://www.linkedin.com/in/christinestoddard). I also draw comics, which always incorporate words of some kind (http://forgetfairytales.blogspot.com). My collages, which are composed of my drawings, photography, and sometimes magazine/newspaper clippings, often include words, too (http://christineandcollage.blogspot.com). When I act, I generally perform pieces that I have written. I really like to emphasize the connections between art forms and I think language is something that applies (or at least can apply) to them all. It really frustrates me when people complain about not being able to do one thing, like drawing, and assuming that it hinders all their chances at creative expression. Anyone can try art!

People always wonder where I get ideas for my short stories and other works of fiction! I'm going to be vague because the truth is vague: everywhere. I'm a voracious reader, so that helps. Sometimes a newspaper story, for instance, intrigues me and I decide to extend it somehow. Maybe a poem catches my attention, so I brainstorm a way to twist it in prose form. Conversations, commercials, movies, fashion, previous works of mine--my ideas never come from a single source. You can read some of my short stories at http://www.scribd.com/christinestoddard.

Describe your unconventional sense of aesthetics, does that only apply to fashion?

No, even though I write a lot of alternative fashion commentary (www.paisleyandparasols.com), my unconventional sense of aesthetics does not only apply to fashion. But I'll begin by stating what I love in clothes: velvet, paisley, berry tones, lace, distressed denim, earthy jewelry, elegant scarves, and layers. In terms of other aesthetics, I usually gravitate towards things that appear just a little "off." I don't want a nose to be perfectly upturned. I admire decay, just like in the classic vanita paintings. Beauty is fleeting, so why obsess over such a temporary state of ideal ripeness? Seek beauty in everything, not exclusively what society tells you to like. You should constantly hone your own taste and make it your own. Be firm about what you like.

What aspect of fashion do u write about (i.e. runway, trends, sewing)?

I write about many aspects but I'm generally not to concerned about "what's in style." If I do remark upon what's in style, it's either satirize it or act amused that something I have worn for years has actually made the mark. I'm most interested in fashion from a culturally anthropological perspective. What do different kinds of people in different kinds of situations wear and why? I love covering street fashion, the kind of fashion that high society fashion magazines don't necessarily explore. I want my readers to be cognizant of the fact that fashion is EVERYWHERE and does not exclusively belong to one demographic. You don't have to be rich or care about "what's in style" to engage in fashion. If you wear clothes, you participate in the fashion world.

What kind of Town/City is Arlington, VA? Is Arlington conservative or progress in its nature? Has that given you more determination to do what u do in the city or make u want to move? Is there a lot of alternative culture there (ie. Indie film houses, zines, bike community…)? Is there a lot of hidden / undiscovered talent in Arlington?

Arlington is very progressive for a Washington, D.C. suburb. Washingtonians call it the People's Republic of Arlington as a joke. It is actually a county (the smallest in the United States), not a city or town, though it would be confused for a city in many regions of the country due to its size and urban look. Many of the things you would assume are in D.C. are actually located in Arlington, such as the Pentagon or the U.S. Fish and Wildlife Federation. We're located just across the Potomac River from D.C., so that's not surprising. To emphasize the proximity between the two, it was very common for me to shuffle between the two locations throughout the day in high school. Our Metro and bus systems are connected. Furthermore, Arlington is the most educated county in the country if you consider how many people here have college degrees and there are plenty of diversions here if you're not interested in hopping over to D.C. That being said, we are not New York, but we have substantial artistic opportunities but most of them qualify as "fine art." One of the reasons why I established the 2009 Neo-Indie Arts Festival (http://neoindieartsfestival.blogspot.com) was because there wasn't a single, annual youth-friendly alternative arts festival in the whole D.C. area. I hope that as the festival grows, Arlington teens and young adults will feel more comfortable about publicly showcasing their creative talents.

So what’s up with the Neo in the name; new as opposed to old or non exsistent? Already in your second year; how did last year’s pan out as far as attendees, artists, musicians etc…

I should start off by saying that the name of the festival is meant to be humorous. If you don't understand the jest, then explaining it won't make it any funnier, I promise. In all seriousness, though, I threw in Neo to pinpoint where the independent movement stands in art history. The Internet has made indie art more accessible than ever yet at the same time, I think it dissolves some of the magic. The Internet puts pressure on many artists because they feel that all eyes are on them. True artists, however, should be more concerned about expressing their personal visions than catering to an audience.

Last year, a couple of hundred people showed up throughout the night. I admit that I was too optimistic. I almost didn't hold a festival this year because I'm going to study abroad in France in July (to fulfill my French minor at VCU Arts, where I also study English and minor in Creative Writing and Spanish), but decided sort of last minute that it would be a good idea. I truly hope to attract 1,000 people for the fifth festival in 2012. As I discovered in the first year, it's very hard to organize a festival and find people responsible enough to show up at the event in time enough to set up. Multiple artists dropped out the last minute; I pray that the same thing won't happen again this year, but I realize that it's a possibility. Overall, however, 2008 NIAF went very well, especially considering that it was my first time doing it. We had a film showcase, a stage full of bands, tables with art vendors, and display walls.

Did you feature yourself in last year’s festival?

Indeed! I set out a table for my now-defunct distro/potential non-profit, Simply Lark Press. I sold 'zines, books, prints of artwork, canvases, and other art of mine. I intend to do the same this year, just not with the SLP name attached.

How many people attended last year, and what are you shooting for this year?

Last year, as previously mentioned, a couple hundred showed up. Taking into account how late I began planning this year's, I'm assuming about the same will show up this year.

What are you hoping for this year with the Fest? Are you interested in making a cultural impact for the town of Arlington?

I just hope that the artists who participate feel that they have made their message known to festival attendees and I hope that festival attendees bother to think about the messages they heard, read, and saw. It's difficult for one person to make a cultural impact in a county of over 200, 000 people, especially with no funding, but that's something I can aspire to do next year.

Do you ever think you will put your festival on the Road?

No. I want NIAF to serve the D.C. community. I might move it to other parts of the D.C. metropolitan area, but it will always remain close to home. I am, however, an ambitious and passionate artist, so I can imagine future projects of mine making an impact outside of the D.C.-Baltimore-Richmond regions. I'm just trying to take things slowly and not lose sight of my goals. I never want to overwhelm myself to the point of where I can no longer create. Creation, after all, is my purpose. (www.christinestoddard.com)

New Neo-Indie Arts Festival Blog

2009-05-26T16:13:00.000-07:00

If you are interested in the Neo-Indie Arts Festival, a youth-friendly alternative arts event that I founded and am organizing for the second year in the row, you should check out the new blog! Read up on the history and mission of the festival, sign up to showcase your talent, or make a donation today at http://neoindieartsfestival.blogspot.com. Thanks & peace!

Announcement for 2009 Neo-Indie Arts Festival

2009-05-15T19:40:00.000-07:00

I am still desperately organizing the 2010 Neo-Indie Arts Festival! If you or your friends are interested in helping out in any way, please let me know. I need visual artists, bands, slam poets, actors, dancers, writers--anyone involved in the arts to showcase their creativity. I would also really, really appreciate volunteers. Take a look at this flyer and contact me if you'd like to participate somehow.

Cinema Application (cont'd): Second Major

2009-05-13T19:10:00.001-07:00

If selected for the Cinema program, I would like to continue studying my current major: English with a Cultural Studies concentration and minors in Creative Writing and French. I chose English because it exposes me to a wide variety of subjects—history, language, psychology, the arts, and sometimes a little bit of science—which appeals to my inquisitive nature. English also teaches me how to focus narrowly on a subject through observation and how to clearly articulate my thoughts in a way that combines scholarship and artistry. The Cultural Studies concentration allows me to study many different nations, from their lifestyles to their predominant thoughts and literature. Creative Writing helps me practice observing the world and expressing myself as I attempt to understand human motives, conflicts, and stories. Although I am also a long-time student of Spanish and have taken Italian, Arabic, and Japanese in the past, I decided to minor in French for two reasons: 1) I truly admire the French language and culture, especially the film tradition, and 2) VCU hosts the largest French film festival in the United States. All upper-level students are encouraged, and in the case of my French Film class this semester, required to assist with the festival in some way. I would love to intern with the festival during my junior or senior years (something I would not have the chance to do if I had majored in Spanish, for instance.) All of these skills would inform my screenwriting, my acting, and my overall study of cinema.

One Story I Want to Tell One Day on Film

2009-05-11T06:51:00.000-07:00

I wanted to post the writing I submitted with my application to VCU Arts Cinema, so that other students interested in applying to Virginia Commonwealth University School of the Arts have an idea of the type of work the admissions committee expects. Obviously these essays are not for you to PLAGIARIZE and submit with your own application! But they are here to serve as models. My first essay, one that had to be 200 words or fewer, is about a story I would like to tell one day on film:

One story I hope to convey on film will be based upon a short I wrote, called "The Button Burial." A German-American girl, Greta, obsessively collects buttons out of the guilt she feels for the fact her parents were both Nazis during World War II. After her grandparents tell her about how the Nazis baked concentration camp victims into buttons, Greta runs to her room and begins tearing all of the buttons off of her clothes. For the rest of high school, Greta raids thrift stores, clearance bins, churches, homeless shelters, "Lost and Found" boxes—anywhere she can think of to get a hold of as many buttons as possible. She will not rest until she has collected six million of them, to represent the lowest commonly accepted estimate of people who died in Nazi concentration camps. When Greta finds the six millionth button at a mall on Black Friday, she immediately goes home and begins digging a giant hole in her backyard. She digs for days, with her parents and minor love interest helping her. Finally, Greta drops the six millionth button into the hole and mouths, "So the last shall be the first, and the first last."

"Blind" Comedy Sketch

2009-05-01T20:05:00.001-07:00

I dedicate this post to "Blind," a comedy sketch created by four members of VCU Arts. I wrote, directed, and co-starred in it with Jeff Stein. Anne Schermerhorn shot it and David Fuchs edited it. Please enjoy! (Despite its Internet graininess.)

Announcement

2009-04-30T12:49:00.000-07:00

I just wanted to take this post to announce that today I learned of my acceptance into VCU Arts Cinema, the top undergraduate public film program in the United States (VCU Arts is ranked the fourth Arts & Design school in the country overall, out of both public and private institutions). After a very rigorous application process--submitting essays, screenplays, film sample(s), and undergoing an interview--I am relieved to hear the fantastic news. You can learn more about VCU Arts Cinema here:

http://www.vcu.edu/arts/areas_of_study/cinema/

http://www.vcu.edu/arts/cinema/dept/

http://www.vimeo.com/user1546847

http://www.moviemaker.com/education/listing_item/vcuarts_cinema_program_993/

http://www.youtube.com/user/VCUarts

http://media.www.commonwealthtimes.com/media/storage/paper634/news/2007/02/08/News/New-To.Vcu.Department.Of.Cinema-2707841.shtml

http://www.pubapps.vcu.edu/bulletins/undergraduate/?did=20588

Interview with Young Virginian Filmmaker Angelo Mike

2009-04-29T13:05:00.000-07:00

My experiences as a Craigslist frequent user seeking art, writing, and acting gigs have been mixed. Sometimes I find irresponsible amateurs and perverts eager to waste my time and rob me of my dignity; other times I’m luckier and discover talented, respectful creative people who want to collaborate on interesting, worthwhile projects. Thankfully, my experience with young filmmaker and native Virginian, Angelo Mike, proved to be the latter. When I spotted his actor call on Craigslist during my college sophomore Christmas break, I knew I was ready to help him realize his comedy sketch, “Kentucky Terrorism Preparedness.” Since then, I have appeared in another one of his humorous viral videos and plan to work with him again in the future. Here’s what Angelo has to say about himself, film, and wading through show biz opportunities in Washington, D.C.:

*Tell me a little about yourself personally and creatively/personally.

I grew up in Arlington, VA, and, from a young age, movies were important to me. My mom’s a Greek immigrant, and my dad is the son of Greek immigrants, so I grew up around Greek culture a lot. Or at least, Greek immigrant culture.

Growing up I mostly had my imagination and wanted to do whatever I felt was most important to me. I used to want to be a baseball player, professional wrestler, basketball player, or anything to do with video games. I’m not sure if they’re still around, but I hung out at a video game store, Software Etc., a lot as a teenager and became friends with the employees there. I wanted to work there, and I still have friends I made there.

I’m 24 now, and since I was 17 I wanted to direct movies, and that’s been the one thing that stuck.

*What first got you interested in film?

I’d been interested in movies since I was as young as I could remember, but I think DVDs got me interested in making films. Somehow movies became more accessible when DVDs came out. Just the fact that I could watch the same movies I liked over and over made them somehow more interactive to me. I could take more time to consider them.

A few movies in particular got me to want to make movies. Alex Proyas’ Dark City was one of them. Roger Ebert has a commentary track on that, and when I watched the movie with his commentary, I thought, “Everything he’s saying is something I felt during the movie.” I became aware that I could understand things the director was trying to say with a movie, and it was specifically when I realized how directors leave their style and influence in a movie I realized just how stimulating and powerful movies could be. I thought if I could do anything, that’s what I would do.

*What are some of your favorite American films? Foreign films? Television shows?

Dark City, Fight Club, 12 Angry Men, Adaptation, A Simple Plan, Seven, Paths of Glory, Lawrence of Arabia…too many to name.

As for foreign films, I love Das Boot, Princess Mononoke, Ikiru, M, Stalingrad, Oldboy, and Sonatine. I need to watch more foreign films.

I don’t watch much TV, but my favorite TV show of all time is Mystery Science Theater 3000. A&E has great murder/detective shows like Cold Case Files and The First 48. I love those shows because they show exactly what people think, stripped from all pretenses. It’s literally life and death. They do great profiles on deviants and serial killers like Richard Kuklinski where they actually interview the subject.

*How would you describe your film education?

I have very little formal film education, which was all from a public access TV station in Arlington, VA. Most of my film education, if you can call it that, is just from being on set.

*How would you describe the film "scene" where you live?

The D.C. area has great opportunities for filmmakers, but you really have to make an effort to take them. I’m still surprised by the places where I find filmmaking opportunities, such as with small non-profits in the area that aren’t very visible. In my experience, most people who work in film here are either professionals coming from other parts of the country/world (meaning as an independent filmmaker, you have to be very ambitious to get a hold of them), or they do it when they’re not at their day job, like myself.

It’s great because it’s like you’re working with this merry band of filmmakers (like a travelling circus in your insulated world) and you’re all there doing it because you want to. And there are a lot of student filmmakers who are willing to get experience and need crewmembers.

For independent filmmakers, it’s a great place to be. Right now that’s where I’m at.

*What advice do you have for anyone interested in trying to succeed in your city?

Just go out and make films. Act like you’re already a filmmaker. Make business cards and hand them out. Get professional looking releases for actors and crewmembers. Network with filmmakers, film students, and theater actors.

*Who or what do you cite as major inspirations (they do not have to directly relate to film) for your work?

Film directors are almost exclusively my direct influences. David Fincher and Alex Proyas are two of my favorite directors because I realized with their movies that a director could strongly leave his influence on a story and show things that can only be shown in cinema. The same goes for Sam Raimi-who innovated greatly in independent filmmaking-and Hayao Miyazaki.

Fritz Lang’s another. He created devices in film language that are standard even today, such as starting the soundtrack of the next scene before cutting to the next scene. And he talked about developing such techniques like it was nothing-like he just thought it would be interesting to try this or that very practically. And he created many of the conventions for science fiction with Metropolis.

*Who are some of your favorite screen actors? What do you admire about their acting? What about their techniques should aspiring screen actors study?

Nicolas Cage is one of my favorites. I never liked his movies until I saw Adaptation. Until then, I felt he always played sad characters who cried a lot, and it felt very one note. But Adaptation gave me a huge admiration for him. He completely convinced me that Nic Cage was playing Charlie Kaufman, and that it was his twin who played Donald. There are no physical differences between the two, yet you always know which character he’s playing at any given moment. Now I can even go back to a movie like Con Air and see things in his performance that I appreciate so much more. That’s amazing.

Meryl Streep and Sean Penn are some of my favorite performers as well. I think they can do anything. They both so fearlessly take on roles and play them so naturally. They’re both capable of being really vulnerable by showing such specific behaviors. Streep convinced me that Charlie Kaufman could fall in love with her in Adaptation without ever meeting her. She and Penn are so natural at playing people who are so human and complex. In Milk, Sean Penn never plays Harvey Milk as a hero. He’s just so natural as this guy who was very energetic and started with a gay friendly business that sort of organically ended up turning into a political movement. Both of them affect me before I realize what they’re doing to me.

*How would you describe your filmmaking process?

My goal in making any film is to make something I want to see. So far I’ve only directed scripts I’ve written, but that’s mostly been out of necessity. I don’t have an agent who’s finding scripts for me. But it’s been a very happy experience since I never thought I wanted to write or was capable of writing scripts, but now I see that I can do it and can basically tell what works and doesn’t work. My real challenge now is to see if I can write scripts that are more complex and in different genres than the comedies I’ve been writing for the most part.

Pretty much every short film I’ve directed or plan on directing has come from personal experience. It came from a conversation or from seeing something that I just daydreamed about and decided to view and exaggerate from a very specific angle. I may write down the idea I get and not be able to finish the script for weeks or months later, until something else occurs to me on how to conclude it. And some just write themselves because it seems like there’s only one way the story can go.

From there I literally picture the movie in my head, shot by shot. While going through any given day something might occur to me to change something based on an experience or just seeing something odd. But the basic story’s usually there.

Then when I get to actual production, I try to work as quickly as possible to avoid wasting people’s time. That’s the one thing I can’t stand on set. It’s partly a creative consideration and partly for the actors, since it makes no sense to make them wait while considering how to make the shot when that’s something you should have figured out beforehand. And when you’re moving faster you have to be creative to solve problems that arise on set. You can’t be precious about it. I want there to be an energy to my movies that hopefully infects the audience.

The other important thing I consider when making a film is collaborating with everyone else involved—the actors and crew. I emphasize with all my actors that they’re the filmmakers. I give them a script and have a specific idea about where the story’s going, and will have things I want to avoid so as not to detract from that intention. But the characters belong to them. They’re the ones on screen. I’m always open to their suggestions, and that’s your job as a director. You’re a collaborator. If films were just my vision, they’d be boring. There’s no way to account in a script for what an actor will bring to a particular line or scene, and it’s great to see a scene unfold in a way that didn’t occur to me just because of the energy or care an actor has for it. So it’s really important for me to be sensitive to actors’ and crew members’ input and needs. It’s great when someone on set challenges my idea of how a scene should go. Even if I don’t think that’s the way a scene should go, it keeps me sharp, because if I object then I have to be able to answer for why I think I’m right. So it makes me do my homework before I get to the set.

*What experience do you have in other art forms?

I played piano and trumpet for about fifteen years each. I never composed anything, though. But at least I can speak the same language with composers about scoring movies.

I’ve tried a lot of other forms of entertainment, which have been great learning experiences. Almost all of them were things I reluctantly got into just to see what they were like because I doubted I would be that interested or that good at them, even directing. I’ve gotten into acting, comedy, theater, and writing, and they’ve all proven to be much bigger and more formative experiences than I could have imagined. They’re so much fun. They’re all so important to me now. Even though directing film is what I keep coming back to, having these experiences makes directing that much better. And I take away so much from them. I have friends who have no interest in filmmaking or theater, and I can’t understand it. As Sidney Lumet says, directing is the best job in the world. Working in a medium where you get to be creative and form great relationships and where people care about what they’re doing is like never having to grow up. Who wouldn’t want that?

*What distinguishes film from other art forms?

Film is great because it doesn’t just express real life. It expresses things that can’t be expressed any other way. It not only expresses real life, but builds on it. It’s the most powerful art form to me because it’s the most humane one.

Roger Ebert said the great thing about movies is that they’re empathy machines. They let you experience the world through very specific points of view that you would otherwise never get to see. They make the world a bigger, happier, more profound and fulfilling place.

In film, like any type of art, it’s not a filmmaker’s thoughts that you’re seeing on screen or his point of view, but merely an expression of his point of view. But in film you have so many ways of expressing a particular point of view. You have the visual medium, sound effects, music, set design, costumes, the way the camera moves, and so on, and in this huge puzzle you have to, if you can’t pick out exactly what a movie should do, you pick away at all the things that distract from intention you’re trying to get across. Filmmakers use all kinds of sleights of hand that are meant to be taken at face value. But they can also present face values that are meant to distract and be taken as sleights of hand-all as an attempt to relate to the audience and involve them. And that to me is the aim of film, which is to provide experiences that give insight into human emotion. Film is a very experiential art form. Like life, it’s not something you merely give intellectual assent to. It’s something that moves you.

And why do all that? To give features and characteristics to a story that we somehow respond to and move us. We perceive and are moved by the devices used in film when we recognize these things as something in ourselves. That’s what’s so humane about film. The most abstract films that distort our ideas about continuity can be moving and provoke real emotion. When films don’t move us like this, they appear barren and flat. We have no frame of reference. They are bleak and inhuman.

We recognize things in film like a line of dialogue or just a meaningful look between two characters because they’re things we can process in ourselves and to which we attach our own understanding. We anthropomorphosize inanimate objects and animals in cartoons because it lets us express aspects of a personality only because they’re so sharply contrasted with the form we’re seeing them expressed with. You’re distilling life down to very specific moments that resonate in us based on what we attach to these moments.

Again, why bother? Because imagination is more powerful than fact. We use our imagination to link together the world around us every day to make sense of it, and we attach a human face to external events so that we can understand the consequences of a given action or sequence of events. We use the same terms that can be used to describe someone’s personality to describe forces of nature. For me, a great film is the ultimate example of giving humanity where it previously didn’t exist.

*How does film unite different types of art and media?

Film challenges filmmakers to use different genres of art so that an idea or emotion emerges from using them with each other. The musical score to a movie can be used to simulate sound effects that are produced by the world the film is set in to bring out a specific emotion. In The Dark Knight, the Joker’s theme plays more prominently than Batman’s theme. It’s as if the movie’s saying that the Joker is winning.

And not only that, his theme isn’t melodic. It’s like an air raid siren. Whenever that music starts, the Joker is taking control of the story and moving it forward, and Batman’s status as a hero becomes more ambiguous. You never even notice it except on a visceral level. It’s unsettling. I love that.

Filmmakers have to understand the interplay between all these disparate elements such as the psychology of a set design, a character’s wardrobe, how involved the camera gets in events on screen, and all so that these different elements appear effortlessly blended so that the result is something greater than the sum of all their parts. The experience of the story and characters are what emerge from all this.

*What do you consider some of the main differences between cinema and theatre?

I’d have to work in theater more to answer this better. On a practical level, a major difference is how you prepare. Rehearsal time on a film is often non-existent, whereas in theater every single line gets carefully processed and understood so that if an actor forgets their lines, they can improvise the same scene. But otherwise, they don’t dare change even a word of dialogue.

In film, you can throw away the script once you think of something better. There are very few filmmakers who insist on sticking to a script once they’re on set.

Also, theater is much more actor-centric when it comes to the actual process because, in my experience, a theater production moves as fast as the actors can. Film sets are the opposite and move as fast as the crew can set up lights and prepare sets.

*What do you consider some of the main differences between cinema and television?

TV allows storytellers to develop characters a lot more than you can in film since you’re not limited by two hours or so to tell a story. It also moves a lot faster as far as production goes. The fastest crews I’ve worked with were on television sets.

*What do you consider the elements of a good film? A great one?

A good film puts events together in a way so that it doesn’t judge its own content. Its characters may, but a movie should only provide insight without judging so that the audience can fill that in for themselves. That provokes the imagination and challenges people. It may make people uncomfortable. I love when movies do that because it takes a movie that embraces dark and disturbing material and doesn’t flinch from it or betray its story to disturb me.

I recently re-watched The Assassination of Richard Nixon with Sean Penn, and that movie scared me more than anything I can think of recently. It’s about a guy who has so many obsessions and compulsions. He can’t understand his place in the world and doesn’t understand the consequences of his actions. He builds this small world for himself where he views himself as victim to all these faceless forces where his only recurring thoughts are of how people offend his warped sense of honesty, and that’s scary. The fact that someone can do that to themselves is really scary.

*What sort of things do you study and consider when watching a film?

In a way I don’t like to think about the answer to this question because I almost don’t want to acknowledge to myself what I think about when watching a movie. I feel like I’d be taking some of the power out of the forces at work when I watch a movie. I don’t think I can talk about this well directly, but rather when I talk about movies more indirectly in stating how a movie can affect you and the impression they leave. Otherwise, I feel like I’d be narrowly defining things that are too big for definition.

*What sort of internships and jobs have you had that relate to your field? What advice do you have for students interested in gaining the same types of opportunities?

I interned at Arlington’s public access TV station for a year, Arlington Independent Media. That was great and I still work with lots of people I met through there. I also volunteer in theater frequently, which is a good place to meet a lot of filmmakers as well.

My advice is to simply take advantage of internships. They’re places to network and learn the technical parts of filmmaking and can lead to full time jobs. It’s very hard to get hired full time in film, and you’re competing with a lot of people for jobs who already have experience. So you often won’t get that experience unless you start by interning.

*Where do you hope to see yourself in ten years?

I’ll continue making the movies I want, whether they’re independent ones with my friends or funded by major studios. And I’ll have good people in my life to share them with.

*What advice do you have for anyone interested in pursuing a film career?

I can’t give much advice to outside of technical considerations. Even if I could give advice, like any real insight, it’s something that each filmmaker will have to discover for himself.

What I can say is: Tell the stories you want to tell and ignore critics and people who say, “You can’t do that.” The whole idea behind any innovation or provocative work of art is that it was done in opposition to what people were doing before it! If it can be felt or perceived, it’s a valid subject for film because it’s a valid experience. When making a movie, however small, you’re automatically making yourself vulnerable to people who don’t care about who you are and what you were trying to say, and who may think something you are attempting to do is invalid.

When people say something is inappropriate or invalid, they’re attaching something in themselves they see as inappropriate, so don’t take it personally. They’re saying that something about being human is invalid, which is nonsense. You didn’t make your story for them. They invite opportunities to be offended, whereas good filmmakers provoke insight. They challenge people to discard attitudes that can be summed up by saying, “What you feel or believe is invalid and is something I don’t want to be a force working on me, so I will overcome it,” to attitudes of, “I’m taking this opportunity to understand and will cooperate with it to grow.” Film is too important to be narrowly defined by what someone thinks is appropriate or inappropriate.

*Where can readers view your films and learn more about you?

Check out my YouTube page, http://www.youtube.com/user/FlyingOverTr0ut. I’m going to have a few more videos up soon, and when I do I’ll be making profiles on Funny or Die and College Humor, both of which I’ll link on my YouTube page. Or you can email me at fincherian@gmail.com.

Interview with VCU Arts Student Actor Austin Seay

2009-04-27T06:54:00.000-07:00

I could start with, “He was the only ginger in the class.” Or I could say he was the first person in the class whose sense of quirky humor actually resonated with me. Either way, the fact remains the same: Austin Seay of Midlothian, VA and I studied together for two semesters during my second year of college. We took Professor Ron Keller’s Introduction to Dramatic Literature, parts one and two, through Virginia Commonwealth University’s School of the Arts (a.k.a. VCU Arts), the top-rated public art school in the United States. His penchant for making people laugh definitely distinguished the burgeoning, young actor and, if all goes according to plan, he’ll make people chuckle, giggle, and guffaw for the rest of his life. Here’s what Austin has to say about himself, the stage, and being nice to people:

*Tell me a little about yourself, personally and creatively/professionally.

My name is Austin Graham Seay and I am a first-year Theatre Performance major at Virginia Commonwealth University's School of the Arts. I don't really consider myself to be an actor quite yet, as I am still learning so much. I think everyone has a dream they hold onto until there find a nice comfortable medium they can settle in. That’s not to say that they let go of their dreams, but they find something else they are talented at. As for me, I look at the opportunity I've been given to go to VCU, and I'm simply still trying to make my dream come to fruition.

*What sort of characters do you most enjoy playing?

I'll take whatever I can get (laughing). I think every character presents something new. No character is really the same. I mean, sure, they may have the same tendencies or similar problems, but the motives are never the same. For me it’s all about portraying that character's journey as accurately as possible. If I had to pick a certain role, I'd have to say I'll take anything I can just run and have fun with. I really love making people laugh, and it’s a good feeling to play a character that loves to smile, only for me to walk off and maintain that smile. There is a genuine joy that comes with those roles and that’s what I love best about them.

*What sort of stories appeal to you most?

I really enjoy the stories that have moments where you are laughing so hard one scene and then can successfully bring you to tears the next. As a viewer, that emotional journey is so powerful. It also helps if the viewers have the ability to decide an ending for themselves. I feel the ability to choose is essential to the audience members’ judgment of the play. I sit in a dark theatre for two hours not because I want to see a couple people show me that they have memorized a script, but to be entertained. The shows live enjoyed the most have made me think and kept me entertained for those two hours. Those are the shows I love.

*What first got you interested in theatre?

To be honest here, I'm pretty sure it was a girl. In high school I took theatre classes because, well, I thought I was funny and wanted to spend an hour and a half every day trying to make people laugh. It wasn't until my junior year when I got this crush that I actually started to stay after school. She invited me to come to paint the set one day, and from then on out it was history. I fell in love with doing tech work such as building and painting, and at that moment I discovered I had found my place. Eventually I built up the courage to actually audition for a show and now I find myself here at VCU.

*What are some of your favorite plays? Films? Why?

I like pretty much anything that tells a good story. I really enjoy picking out themes or story points that I can relate to in my life, but also recognize as timeless themes. The ability for a show to captivate my imagination and bring me into their world is a wonderful feeling. The first play that comes to my head is August: Osage County by Tracy Letts. I remember being in New York and seeing that show with my mother and several of my theatre friends, and at one point in the show my mom and I found each other in the audience and just shared a look on both our faces. We didn't even have to talk after the show because we knew exactly what the other was thinking at that point in the show. It’s these parallels that help build a relationship with that show. My favorite film of all time is The Godfather. The story that it tells is amazing and it always leaves me on the edge of my seat for the next scene. I don't specifically have any genre I love, I'm simply looking to be entertained.

*How would you describe your theatre education up until this point?

I have no community theatre experience to speak of but the years I spent with theatre in high school were phenomenal. I learned so much in that environment about being professional, responsible, and pushing myself to be the best I could be. My teachers were amazing people as I owe much of the person I am today to Mr. Gallagher and Mrs. Baugher. The way that theatre was conducted was so influential to my work ethic that I feel it really prepared me for the next step.

*What advice do you have for students interested in attending the same school as you?

Come to this school (VCU) knowing who you are and that you are willing to work hard. No one is going to blow sunshine up your butt here and give you a pat on the back every single time you perform something in class. It is a very professional atmosphere and nobody wants to hear how many shows you were in last year. The program is about hard work and building that work ethic to be a professional actor. The best advice I have to give is to simply be respectful. I feel you can get much further with a handshake and a smile than you ever will on your talent alone.

*How would you describe the theatre “scene” where you live?

I feel the Richmond theatre "scene" is quite active. It’s really awesome to live in a town that is so active and offers so many opportunities.

*What advice do you have anyone interested in trying to succeed as an actor in your city?

Audition for everything and work hard. Never put yourself in doubt because you will never get far as an actor if you constantly put yourself down.

*Who or what do you cite as major inspirations for your acting?

There were these two guys in my acting classes in high school (Remy and Roman) that I just thought were mind-blowingly good. I remember just thinking, "I want to become good like those guys." And I worked hard to impress them but ended up doing myself a favor and realizing what I was capable of. I think a lot of my inspiration comes from my family and friends. Basically, just making up stupid jokes to tell each other and cleaver one-liners. Its the creativity that stemmed from that. For me acting is simply entertaining my family and having fun, just on a bigger scale.

*Who are some of your favorite stage and screen actors?

I’d have to say hands down Phillip Seymore Hoffman. As far as the rest of my favorites go, just off the top of my head I would say the rest would entail John C. Reily, Michael Cain, Al Pacino, Tom Hanks, Denzell Washington, and Natalie Portman to name a few. I could sit here and reel off names all day.

*What do you admire about their acting? Do you try to emulate them in any way? How so?

Phillip Seymore Hoffman has this ability to be the toughest S.O.B one minute, then have you rolling on the floor laughing the next. It’s that ability to seamlessly do anything that I admire. One thing that I really strive for is that many of my favorite actors blend in with there characters. To explain it further, the performance is good enough so that I don't wonder what Hoffman is gonna say next, but rather what his character will say next. Does that make sense? A problem for me is when I see Tom Cruise on the screen, I'm realizing it’s Tom Cruise as [insert movie role here]. As far as emulating goes, I try to bring the audience into my world in a new way each time.

*How would you describe your acting process? Do you subscribe to any particular method(s)?

I consider myself to be a very raw actor. I don't know much about the techniques that are out there, but that is part of the reason why I am here at VCU, to learn those techniques and become a better actor. I am in no rush to learn everything at once. I like to think that as I continue my training I'll slowly add on bits and pieces into something that works for me. I just try and do whatever feels "right"...that and whatever doesn't butcher the play. I feel the playwright took the time to carefully craft the script, so I should do my best to bring those words to life.

*What experience do you have in other art forms?

I sadly only have a love for other art forms. I really enjoy drawing and still do but nothing outside of my own amusement. Growing up I never played an instrument, rather I spent my days on the baseball field.

*What distinguishes theatre from other art forms?

It’s living and breathing. I can't think of anything better than a dark room filled with people just wanting to be told a story. Theatre can take the ugliest situation in life, but make it beautiful. So much goes into it, and at the end of the day all that is separating it from an audience is an imaginary fourth wall.

*How does theatre unite different types of art and media?

I think when you look at the whole of a show you realize how many people help out. You have your actors, of course, but then there are the set designers, the scenic designers, costumers, light and sound designers, and at the end of the day, you have a culmination of everyone's ability into this living piece of art.

*What do you consider some of the main differences between cinema and theatre?

I think the biggest difference between the two is the connection to the audience. No matter how well the scene is shot, I believe it can never match the intimacy a theatre has. With theatre, the actors don't get another chance at the scene, their emotions have to be at the heat of the moment. I think it’s that intensity that brings the audience in to the piece in a way that is very hard to do with cinema.

*What do you consider the elements of a good stage performance? A good screen performance?

A key part to performances is believability. When I see a show I like to think I'm seeing the characters live and not just some actor spitting lines at me. Subtleties are always great because it adds an aspect of the character that is enjoyable to watch. I think it all goes back to being the character and not just playing emotions. So whether it is screen or stage, I feel that I want to watch the character, not Tom Cruise play a renegade Nazi.

*What sort of things do you study and consider when watching a play?

I focus on blocking a lot of the time. Awkward blocking always irks me and takes me out of a moment, I know I am being picky but it is those small things that I pick up on. I also look for consistency in movements. If you are gonna make an external adjustment for a character, it doesn't help if you forget about those changes for 2 scenes then go back to what you had. These are all just really minor things though, as I first and foremost just watch a show to be entertained. I'm not one to sit in the audience and recognize every technique the person is using, or analyze the running themes in the show. I go to a show to watch actors bring a story to life. It's only when the stories get boring that I start to recognize the flaws.

*What sort of internships/jobs have you had that relate to your field? What advice do you have for students interested in gaining the same types of opportunities?

I have zero experience with internships. Most of my acting opportunities have come in high school and college. But just like with any show/shows you want to be a part of, always be a pleasant person. Every person you meet could potentially decide a role for you later, or in this case a job, so don't burn bridges down. Audition for everything, it won't hurt you and it will get your face out there.

*What are your post-graduation plans? Why did you choose them?

In an ideal situation, I'm hoping to make a move to Chicago. I love the urban feel and it doesn't have all the fluff of Broadway and it’s not nearly as overcrowded as L.A. But of course, I am only a freshman and who knows where the road I am on is going to lead me. I have quite a ways to go before I even decide on potential cities I could make a move to.

*Where do you hope to see yourself in ten years?

Getting consistent acting jobs, maybe doing some work in film. Just the idea of me having a career in this business ten years from now is aspiring enough.

*What advice do you have for anyone interested in pursuing an acting career?

Keep at it. It is incredibly easy to get discouraged in this business and its crucial to remember that you are still good, and more than capable of performing in roles. Always, always, always, ALWAYS work hard. It may be cliché but hard work really does pay off. Once again, be nice to everyone you meet. Someone will always be better than you, but the important thing to remember is that the director might choose you because you have a reputation of being great to work with, whereas the other guy is a total jerk. Finally, don't get wrapped up in trying to learn everything the world of acting has to offer, let it all come to you naturally and you'll develop your own techniques for acting.

*Any last words?

"I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being." - Oscar Wilde

A Strawberry Slurpee Day

2009-04-26T21:12:00.000-07:00

[I recently wrote a short story about an art student who ends up discussing art with a slurpee machine repairman. You can read the start of it here and click the link at the bottom of the post to finish it.]

"A Strawberry Slurpee Day"
By Christine Stoddard

Grace pulled into the convenience store lot and turned off the ignition. It was only May, but the mercury practically burst out of the thermometer. The burgeoning art historian dreaded August already. She, nostalgic for J.M.W. paintings and Victorian impressionism, was not fond of the future. Southern summers were brutal enough without threats of global warming. The only solution for her desperate ennui: buy a slurpee.

With a $1.89 beverage on her mind, Grace hopped out of the car carrying a Tinkerbell shaped coin purse.

“Hey,” a hobo lingering outside of the store muttered. The girl’s hand had just touched the door.

Grace smiled politely and said, “Morning. Can I get you a soda, maybe a sandwich?”

“Naw, honey. I need money. Money only.”

Grace nodded and, protective of her coins, walked into the store. Five or six teenagers hovered over the neon-colored ice cream bin, rummaging through over-priced frozen treats. A gray-haired man in a wheelchair perused the fruit juices. The cashier, afflicted with the sniffles, thumbed through a special edition tabloid.

“Can I help you?” the cashier asked, without looking up from grainy photos of Brittany Spears and Jennifer Aniston. It was only then that Grace realized she had paused long enough at the front of the store to catch attention.

Grace broke out of her stare and shook her head. “No, thanks. I know exactly what I want.”

The cashier didn’t reply. Instead, he flipped the page and gaped.

A few seconds later, Grace was at the back of the store, pulling a clean cup off of the stack next to the slurpee machine. She pushed the machine’s button for strawberry, but nothing came out.

“Hey!” A gruff voice croaked from above like some angry angel in the heavens. Grace, frowning thanks to her empty cup, looked up.

A lump of a man, covered in black grease and icy slurpee clumps, was perched on top of the machine next to a blue tool bag. He wore a big patch of the dyed ice over his left eye.

“Oh, sorry!” Grace gasped, realizing that pressing the button must have splattered slurpee gunk all over the man. “I didn’t see you. How—what—”

“I’m trying to fix the machine here.”

“It was an accident.”

The man threw a wrench down on the machine as he scoffed, “God, how many times have I heard that before?”

“Really, it—”

“How many other accidents have you made? How many other accidents do you plan to make?”

Grace gulped, responding only with silence. Maybe it hadn’t been a strawberry slurpee day, after all.

“How old are you, girl?”

“I just turned twenty.”

“Twenty.” The repairman mulled over the word. He tossed a screwdriver up into the air and caught it before demanding, “What are you doing with your life?”

“I…I’m studying art history at—”

“An art student, eh? Huh, I was an art student, too.”

Grace loosened up her shoulders. “Really? Here? I mean down at—”

“Yep. And look at me—fixing slurpee machines at 7-Eleven in the same town where I grew up. Lived in New York for five years after I graduated but then I came right back.”

“It’s a creative endeavor, I guess. Fixing the machine, that is.”

“Not really. All I ever have to do is connect the red wire to the blue wire. See, it’s just hard to get a hold of the blue wire. Somehow it always manages to drown in excess slurpee down in the machine. You should take a look at all the rainbow slush pools up here sometime.” The man licked some of the ice off of his fingers and then wiped his hands on his janitorial pants. “Who’s your favorite artist?”

[Read the rest of the story here.]

A Brief Analysis of The Well Scene in Andrei Konchalovsky’s Siberiade

2009-04-24T16:17:00.000-07:00

Adrei Konchalovsky’s Siberiade explores over sixty years of Russian history from a few years before the Bolshevik Revolution through the 1960s. He focuses upon how Soviet Union politics affect the soap opera between two economically disparate families living in the remote hunting town of Yelan in Siberia. One early scene—that of Anastasia ordering Kolya to run around the well three times naked in exchange for food—colors the aristocracy as a feminine force. While, like matriarchy in prehistoric times, the aristocracy rules for some time, Socialism, a masculine force, eventually topples it. Through the use of imagery and symbolism, the scene establishes Anastia’s power over Kolya, which foreshadows her future lust for power and eventual demise.

The intrigue of the well scene primarily revolves around the interactions between Anastasia and Kolya. In the words of film writer Tim Corrigan, “Whether they are the main characters or minor characters, they normally focus the action and, often the themes of a movie” (Corrigan 44). At the beginning when Kolya steals from Anastasia’s shed full of mushrooms and berries, Kolya inherently puts himself in an inferior position. She cackles as he runs around the well, obviously reveling in his dependency on her for food, a basic need. Traditionally in many cultures, men have provided food for women, whose role is to prepare it. Yet, in this situation, the roles are reversed. As the provider, especially in such an isolated, barren environment where food is hard to come by, Kolya must respect Anastasia.

Additional details in the scene further emphasize the power dynamic between Anastasia and Koyla. Kolya is not only naked but also naked in the snow. Thus, his little manhood is subject not only to Anastasia’s cold treatment but also the literal cold. In stripping himself of his clothes Kolya makes his primitive animalism as the “peasant” visible and allows Anastasia to objectify him. In objectifying Koyla, Anastasia has stepped out of the Garden of Eden and expressed her burgeoning sexuality. This signifies yet another role reserval. In art, women—especially nudes—have traditionally been the subject. Art, therefore, has a history of catering to masculine voyeurism. The subject, in this case Kolya, has an obligation to satisfy the audience, in this case Anastasia. Kolya does not want to disappoint Anastasia and, thus, does not turn down her dare to fetch his clothes from the German Sheppard. The way Anastia throws Kolya’s clothes to the dog implies that he, like an animal, is so unworthy that he does not even deserve to wear clothes. Koyla must fight to re-claim his subjectivity. The plain white snow on the Siberian tundra appears to represent a blank canvas upon which Kolya’s exposed form is thrown.

One major detail to ponder is the significance of ordering Kolya to run around a well. Anastasia could have chosen any other object near the shed, including the shed itself, and yet she selects a water source. It could have simply been that the well fell within her immediate line of sight, but there are other possible reasons that would put her feminine, high-class influence in further relief. Water, one of the four fabled “elements” of the classical world, actually represents femininity. Commanding Kolya to run around the well could then be a subconscious command for him to venerate her as a female. The well also symbolizes her family’s wealth. Demanding that Kolya run around one of the main sources of Anastasia’s riches could have been an act to further remind him of his lower economic status and dependency upon her for survival.

It is important to note that this scene takes place prior to the 1917 Russian Revolution, before Socialism, in theory or practice, permeated the land. The scene alludes to Darwinism and Spencer’s famed phrase, “Survival of the fittest.” Kolya recognizes that the need for survival trumps dignity. He may be ashamed of revealing his nakedness, and therefore his vulnerability, for the sake of winning over food, but he does it to combat natural selection. His desperation in the land of little illuminates the “need” for Socialism in future scenes when representatives of Stalin’s government visit the small town.

The well scene also serves to foreshadow Anastasia’s future lust for dominance and her premature death. During their adolescence, Anastasia wields more power in their romantic relationship by being a manipulative lover. She tortures Kolya by marrying another man after he openly celebrates the 1917 overthrow of the czar. Eventually she returns to Kolya but only under her terms. Sadly, they are together for a very short time before she dies.

Portraying Anastasia’s strength as a female and how it relates to her later death most cogently alludes to the death of the aristocracy and Old Russian ways under Bolshevik control. When the feminine force of aristocracy perishes, it is the masculine force of Socialism’s chance at power. Ultimately, Anastasia’s assertion during the well scene is a commentary upon gender and socio-economic roles during the early 1900s.

Bibliography
Corrigan, Timothy J. A Short Guide to Writing about Film: Sixth Edition. New York: Pearson Longman, 2007.
Konchalovsky, Andrei. Siberiade. USSR: Kino International, 1979.

How to Become a Well-Rounded Artist

2009-04-22T14:16:00.001-07:00

As an active artist, a quote from Jessica Hagedom’s short story, “The Blossoming of Bongbong” resonates with me: “I don’t understand anything. Everyone is an artist, but I don’t see them doing anything.” True artists are passionate, diligent, and determined. In order to be happy and well-adjusted (or as happy and well-adjusted as any artist can be), they must perform their art. Yet there are so many people who call themselves artists when they are really just infatuated with society’s romanticized image of the artist. Stop pretending. Stop using your fabricated career title as an “artist” as an excuse to be lazy, sleep around, and smoke pot all the time. Being an artist means caring so much about your art form that you constantly strive to perfect it. Here are four key points all artists should remember in their quest for becoming well-rounded:

*Explore and experiment—true artists put these two words into practice. Work at your art form every single day, no exceptions. Develop a strict schedule if that’s what you need in order to stay disciplined. Do not wait for inspiration to strike; seize any idea floating through your mind, even if it’s not as “brilliant” as what you had hoped. Artist’s or Writer’s Block does not exist. It is a figment of your imagination, just like the numerous other figments running around your brain that would make excellent art.

*Do not confine yourself to your art form, either. Dabble in other art forms, as well, if only for short periods of time. Drawing. Photography. Sculpture. Fashion design. Printmaking. Film. Make-up. Painting. Writing. Singing. Dance. Instrumental music. Acting. Modeling. Graphic design. Take a one-hour class at a community center or community college in an art form you have never tried before. If you’re not intent on trying out a specific art form, read up on its history and theory to at least gain a better understanding of it from others’ perspective.

*Stay current on art news and theory. Read voraciously, both high and low-brow assessments of trends and interpretations in the art world. In reading about art, you learn the right lingo, became familiar with important names, and glean information that will likely inform your art in one way or another. Also visit as many theatres, museums, cinemas, galleries, and concert halls as you can possibly afford. (In the United States, Washington, D.C. is the ideal city for free cultural entertainment.)

*Learn to market yourself without sacrificing your vision. Not all artists can afford an agent or wish to have someone else represent their work. In order to survive off of your art form, therefore, you must not only have incredible talent but also strong business skills. Check out books on the subject and do some Internet research. Network as much as possible by attending creative events in your area. You can often look these up on places likes Craigslist. Try to travel to other areas, especially cities with artistic reputations (New York, Toronto, Richmond, Twin Cities, Portland, Seattle, Austin, etc.), whenever you can, to network outside of your comfort zone. Do not spend more time marketing yourself than you do on your actual art, however. You are an artist, not an entrepreneur first.

The journey to becoming a well-rounded artist is a life-long quest. You cannot expect to achieve it tomorrow, a week, a month, or even a year. Remain diligent your whole life and never abandon your passion.

Managing a Double Major and Double Minor as an Art Student

2009-04-20T15:32:00.001-07:00

Go gung-ho: as an artist, learn to express yourself and explore as many facets of humanity as you can. Don’t limit yourself to the art form you’re most comfortable with, either. Experiment with music, writing, film, painting, dance, collage, print-making, animation, drawing, acting, sculpting, modeling, photography, and multi-media. You can’t possibly (well, sanely) expect to become an expert at them all but studying other art forms, even for a single one-hour class, will definitely inform your first love. If you’re hesitant to dabble in the art form itself, at least read up on its history and theory. Every book, even the really thick, intimidating ones, in your public library are free, after all. Maybe I’m too idealistic, but my belief that all artists should challenge themselves by becoming life scholars of sorts is why I recently chose to double major and double minor.

I recently applied to VCU Arts’ Art History program for a double major and was lucky to get accepted. My grades aren’t exactly the kind a cow would trample upon and then raise her hoof to investigate with disgust, but I worried nonetheless. Like many programs at Virginia Commonwealth University, mainly in the medical and art schools, Art History is highly competitive. Of course, the fact that I had already fulfilled all of the history, English composition, and English literature requirements for the major must have helped my case. Phew! Those Advanced Placement credits actually served a purpose, even if I questioned the accuracy, relevancy, and overall quality of the exams themselves back in high school. The point is, that I got into the department and am happy for becoming a double major and double minor in squeal-worthy subjects. And, no, I’m not crazy and I do have a life outside of school (although not much of one outside of the arts.)

Currently I am majoring in Art History and English with minors in Creative Writing and French. You can bet that is a demanding course load. Surely it would be at any college but the case is especially true here at VCU. Allow me to elaborate, O Curious Reader.

Virginia Commonwealth University’s School of the Arts is consistently ranked as the number one public art school in the United States and one of the very top overall. Thus, you can’t just slip through any of their programs without putting in a lot of effort, no matter how talented you are. All Art History majors must take the university’s freshman seminar (“Word and Image” from my previous school, Grinnell College, luckily transferred over), three credits in English composition, six credits in English literature, fourteen credits in foreign language, fifteen credits in history, nine credits in Anthropology OR Archaeology OR Religion OR Geography, seven credits in fine arts studio, and then thirty-nine credits in Art History. The thirty-nine credits are divided into three categories: Emergence of the Western Tradition, Renaissance and Baroque, Modern and Contemporary, and Non-Western. You can imagine how comprehensive such requirements are for an undergraduate program. Here at VCU, Art History means big books.

Virginia Commonwealth University’s English department has high expectations, as well, even if it is not especially highly ranked. Thank low funding, for that; U.S. News and World Report and Newsweek worships large endowments. When I transferred, I was surprised to learn that only 300-level English courses counted toward the major. At my previous school and at many others, public and private, 100 and 200-level classes would apply. Here, I must take at thirty-three credits in the department: English Studies (a three-credit introduction to the major), six credits in literature/writing/criticism, fifteen credits in literature (including at least six credits from pre-1700 works, six credits in works from 1700-1900, and three credits in “diversity literature” [immigrant, minority, women’s, LGBT.]) Then we have to take six to nine credits worth of electives within the major that fall into one of the following categories: Literary Studies, Criticism and Theory, Cultural Studies, Writing, and Linguistics. Then of course there is the Senior Capstone class. Completion of a foreign language through the immediate level’s necessary, too. (Stone me, but I believe that all artists, not just writers, should have a conversational knowledge of at least one other language besides their own, anyway. But that’s a tangent.)

VCU also boasts one of the top Creative Writing programs in the country, thanks in part to the rich tradition of Southern writers, specifically in Richmond. In order to successfully complete the minor, I must take fifteen credits worth of writing workshops and writing theory. I can choose a poetry slant or a fiction slant or study both (I’m going for the last option.) The program also highlights an artists’ and writers’ workshop in Glasgow, Scotland in conjunction with the School of the Arts. Eek! If all goes according to plan, I’m going to immerse myself in Sean Connery wanna-bes next year.

VCU also runs the largest French film festival in the United States. Yes, quite shockingly in Richmond, VA, not New York or Washington, D.C., two much bigger “cultural” centers. VCU offers French students the opportunity to intern with the festival. The internship has its not-so-glamorous aspects (making approximately a kajillion phone calls, lots of planning, and overall buckets of stress), but you do get to schmooze with all the French actors and directors who fly into town. The VCU French department also offers two film classes (French Conversation & Film and French Cinema). Ooh la la!

In order to fulfill the requirements for my two majors and minors, I have to be creative—and not just because I’m taking artistically oriented courses, either. I am taking full course loads every semester I have remaining at VCU (I have every semester in college, anyway, save for my “light” one when I first transferred from Grinnell College to VCU. But even that still consisted of sixteen credits.) I am also taking summer classes and jumping at as many study abroad opportunities my bank account won’t frown upon. This summer, I have signed up for Biology (yes, the one General Education requirement I did not fulfill in high school or my first year of college was laboratory science), American Literature: Romanticism (this definitely excites me!), and History of the Motion Picture (this excites me as well!) Hopefully the two thrilling classes will compensate for the less-than-thrilling one. I searched desperately for an Environmental Studies course but the university wasn’t offering any over the summer. I am so also studying abroad in France for six weeks and taking two classes while I am there.

This Fall semester, I have a fantastic line-up—and by ‘fantastic,’ I mean both intriguing and crazy: Museums in the 21^st Century, History of Architecture, Chaucer, Literature of the English Renaissance, Advanced French Writing & Grammar, and Masterpieces in Russian Literature. I am also trying to get an over-ride for Introduction to Stage Performance in the Theatre department, which would count toward my fine arts requirement.

After reading about my philosophy of becoming a well-rounded artist and my strategies for accomplishing my course of study, maybe you’ve decided to try taking a similar route. If you as an artist are interested in double majoring and double minoring at VCU or any other flexible university, I have a few tips:

First, make the decision early on in your college career. I know that many artists tend to be procrastinators, but don’t wait until senior year! Second semester of your sophomore year is probably the latest, realistically, you can declare two majors and two minors. If you’re feeling indecisive about your second major, take classes at the local community college before your start college OR take electives during freshman year OR take summer classes before sophomore year.

[As for a quick plug: if you are worried about snagging a job post-graduation, English is always pretty foolproof. You get plenty of writing and reading experience. At many schools, English majors also expose themselves to art history, film studies, theatre, and foreign language. In terms of creative career paths, you can apply English toward publishing, film, theatre, or writing.]

Anyway, once you make your choice, try to plan your course loads far in advance so you don’t waste time in unnecessary elective classes during junior and senior years.

Secondly, try to choose majors and minors that are similar. Several of the classes in the English and Art History departments overlap, for instance. All of my Creative Writing classes count toward my English major. Since both English and Art History require foreign language study and encourage sticking through the 300 and 400-levels, the French minor just made sense. For other hypothetical examples, how about a double Theatre and English major with minors in Dance and Music? Or doubles in Film and Photography and minors in Graphic Design and Animation?

Lastly, this should seem pretty obvious, but make sure you’re in love with your course of study because you won’t have the opportunity for too many esoteric electives. Literature, language, social history, cultural anthropology, the visual arts, cinema, psychology, fashion, theatre, philosophy, and theory—all of these subjects fascinate me. Thankfully, my course of study does a thorough job of introducing me to them. But if you’re a talented dancer who thinks you should double major in Drawing just for the sake of it, think twice. The rule is simple: you’ll hate yourself if you take up a major you hate.

Now, back to those books…because I definitely have some heavy reading and writing to do. If you choose to double major and double minor, especially in writing intensive departments, I promise that you will, too. Of course immersing yourself in what you adore shouldn’t be a punishment. So please don’t pity me. I’m infatuated. Artists have big hearts.

Interview with Virginia Artist Aaron Ryder

2009-04-19T20:57:00.000-07:00

During my junior year of high school (’06), as a staff writer for Arlington, Virginia’s teen website, Teen Portal, I encountered Aaron Ryder and his band, Zombie Revenge, performing at one of Thomas Jefferson Community Center’s semi-regular band nights. After talking with Aaron, I soon discovered that he was not only a musician but a visual artist, as well. At the time, he was a student at the Art Institute of Washington in Rossyln and lived in Annandale, VA. Here are Aaron’s philosophies on art and being an artist, including the importance of passion:

*Tell me a little about yourself, personally and creatively/professionally.

Overall, I'm a relatively reserved person. I can be sociable when I need to be, but honestly I’m a much better listener than talker. Artistically, I’m pretty conservative in whatever I create…I work best when I have a set direction in which I need to go. Like, if someone were to say, “Hey, can you draw (so-and-so) from (such-and-such), it’s like, “Sure, no problem!” But tell me to let loose and do whatever, and I don’t know where to begin.

*How long have you practiced your art?

I’ve been drawing since about age five. Like I said, up until nearly the end of high school it was more of a hobby for me than anything else…but it was always something I enjoyed thoroughly and something I wanted to do for the rest of my life.

*How would you define your artistic style?

Hmm…hard to say. I think I’m heavily influenced by the sort of crisp, cel-shading technique seen in Disney movies…and though I don’t read them, I greatly admire the artwork done in various comic books. I love working with ink and creating those same type of bold, high-contrast images.

*What do you consider your major inspirations (they don’t have to directly related to art)?

Here’s where my sappy side’s gonna come out. With my artwork--and anything, really--I’ve always been interested in the notion of love. It’s such a powerful emotion and can make you feel so many different ways…and I think it’s really cool to explore that through art. You can create a really beautiful piece, and it almost gives off an aura of euphoria when people look at it…like that sort of sweet sickness you get when you see a person you like. On the other hand, you can make a piece completely heart-wrenching and tragic…and people can feel that just through your artwork.

*What are the elements of a good piece of artwork?

Depends on how you define “good.” I’ll do my best to not get all deep and artsy-fartsy about this, but I think passion is the main element to look for in a piece of artwork. Art in itself is such a broad spectrum of styles and techniques and methods of interpreting life and everything around us…obviously people are going to have different tastes and likes/dislikes. It’s like if you meet someone who isn’t very good at drawing, and you ask them to draw a specific thing for you. They try really hard to get it just right, and when they give you the final product you see that the proportions are off, or that the lines are a little sketchy. It would still be just as good as any other piece because you could tell that the artist put their heart and effort into making it.

*How would you describe your artistic education?

Incomplete, for the most part. Naturally, I had some in high school…but that sort of seemed like a chore to me. It felt like there was always some sort of creative barrier…like, “Feel free to express yourself…but you’re not allowed to do this or this.” Then again, that was back before I really took art seriously as a career option, rather than just a hobby. I did gain quite a bit of valuable skills and techniques when I attended the Art Institute of Washington, but obviously I think I would have benefited much more from them had I actually finished out my degree.

*Where have you interned/been published/exhibited?

Mainly in various local art shows, most of which in high school…and a couple of pieces in local newspapers as well. I’m also working on getting a children’s book published with a friend of mine.

*How often do you produce art?

It’s off and on, really. Unless I’m doing school assignments where I have to churn out artwork on a regular basis, I just do it whenever I feel inspired. Sometimes I get random spells of consistency…other times my pieces can be few and far between. But on average I’d say I do a finished piece at least once a month.

*What do you consider anytime you study a piece of art, whether looking at a framed piece or flipping through a book of illustrations?

I guess what I really try to think about is why the artist did what they did. Like, what motivated them to take this idea that they had and say, “Okay, I wanna turn this into a piece of artwork.” I mean, again, it goes back to the whole passion thing…if you’re just creating something without any expression or inspiration, what are you really doing?

*Who are you favorite artists? Do you ever try to emulate their work?

Bruce Timm, creator of the Batman animated series…he’s got a fantastic grasp of human anatomy, and I try to incorporate some of his exaggerated features into my own work; Jamie Hewlett, creator of the animated “Gorillaz” band members…he does some amazing linework and digital color, which I also try to mimic.

*What are some of your favorite museums/galleries?

The National Gallery in D.C. is definitely my favorite…it has some amazing pieces and I highly recommend visiting it at least once to those who haven’t already.

*What advice do you have for anyone interested in attending the same school as you?

Well, if you mean my current school…I’d say go to the NOVA [Northern Virginia Community College] site and click “Apply.” Seriously though, the Art Institute is a great school if you’re serious about pursuing art as a career. It is very expensive to attend…but again, if you are genuinely interested in going, you should definitely look into the programs they have there.

*What are the benefits of going to art school? The disadvantages?

It sounds kind of obvious, but I think attending some sort of art school is absolutely essential if you intend to pursue it as a career. It helps you focus your skills in ways that you don’t even think about…and it prepares you for professional aspects as well, such as meeting deadlines and presenting your ideas more effectively. The main disadvantage is that most art schools are considerably expensive, and though some people look at it as an easy ride (“What, you sit and draw pretty pictures all day?”), it’s a lot of hard work and you have to be fully committed to it.

*What are some of your favorite subjects?

Other than art, I’d say English is the most interesting for me…especially classes that involve creative writing. I love being able to tell stories and convey them in ways that are exciting for people to read.

*What sort of environment do you usually create when make art? Or do you work spontaneously wherever you are?

Any place with background noise going on is best for me…I don’t like working in dead silence. Usually I just put on some music or watch a movie while I’m drawing.

*How do you think the Internet and other digital technologies will influence art in coming years?

For the most part, I think they’re changing things for the better. I’m not the biggest fan of cartoons nowadays, or even Flash animation in general. But I think there are also a lot of new ways to exhibit your work and put your name out there…DeviantArt (www.deviantart.com), for example, is a great site that allows you to create your own online gallery. It’s very secure as far as copyrights and dishonesty, and you can even have your artwork critiqued by other users.

*Outside of visual art, what other kind of art have you experimented with at any point in your life?

Music has become a great passion of mine over the past five years or so. In junior year of high school I picked up bass guitar, after a spontaneous plot to start a band with my cousins (different story entirely) and I’ve been playing ever since. I’m not the greatest at it, but it’s really fun and it’s led me to experiment with other instruments as well.

*What parallels do you see between the visual arts and other art forms?

I think they all differ vastly, but at the same time each form kind of works with the others to help you fully express yourself. There are certain things I couldn’t necessarily convey through a drawing, but I could explain them through writing a song…and vice-versa.

*What type of art do you personally find most satisfying?

I really like pieces involving people…especially portraits. I think one of the hardest things to do is capture someone’s likeness in a piece of artwork, and have someone look at it and say, “Whoa, that’s him!” It really makes the artwork come alive when you get it just right.

*What advice do you have for other young artists?

Whoever invented the phrase “practice makes perfect” was a very wise man. Seriously, just keep at it…if it’s really something that you enjoy doing, pursue it to the fullest. An artist is always their own biggest critic, so don’t get discouraged.

*Where can readers find out more about your art?

I have a gallery up on DeviantArt (www.darkryderproductions.deviantart.com) that I share with my brother, Chris. There aren’t many pieces up yet, but it’s steadily growing and I update it pretty frequently. Give it a glance.

*Where do you hope to see yourself in ten years?

Realistically, I’d love to have a decent-paying job that involves drawing in some way…even something in graphic design would be great. Since I was young, I’ve always wanted to be an animator for a big-name company like Disney…but as most people have probably noticed, the industry’s been gradually shifting from classic, hand-drawn 2-D animation into computer-generated 3-D over the past decade or so. Even still, I think anything where I could work with animation would be amazing.

New Collages

2009-04-18T19:46:00.001-07:00

If you want to peek at some of my collages, please visit http://christineandcollage.blogspot.com for two new additions.

INTERVIEW WITH STUDENT ACTOR, COLLEEN FOSTER

2009-04-14T18:53:00.001-07:00

Colleen Foster and I shared a single Spanish class during my senior year, her junior year, at Yorktown High School in Arlington, VA when she was renowned for her YHS Theatre performances. But our experiences during that class alone informed me of her passion, gusto, and tendency to mull over ideas many people spend a lifetime never considering. I vowed that I would interview her at least once before I died. Now I’ve finally followed through on that promise. Here is what she has to say about herself as an artist and her experiences with art:

TELL ME A LITTLE ABOUT YOURSELF, PERSONALLY AND CREATIVELY/PROFESSIONALLY. WHAT FIRST GOT YOU INTERESTED IN THEATRE?

As of right here and now, I am finishing up a year of training at Shenandoah Conservatory in Winchester, VA, working on a BFA in Musical Theater. This means 18.5 credits a semester of all showbiz-related classes, preparing you for a career on Broadway. Just a sampling of schedule components: Basic Acting 1st semester followed by Acting Techniques 2nd semester (the Acting classes have always been my favorite!!), Applied Voice (private singing lessons), Chorus, Intro to Music Theory, Foundations of Ballet, Stagecraft, Stage Makeup, Sightsinging, Lyric Diction, Piano 1 and 2...

HOW WOULD YOU DESCRIBE YOUR THEATRE EDUCATION UP UNTIL THIS POINT?

Up until recently, becoming a triple-threat was very much my focus and my constant drive. It started with a community theater production of The Best Christmas Pageant Ever when I was ten. I got hooked, and went on to do all sorts of community theater in northern Virginia and Maryland. In high school, I completed Theater II, III, and IV with Carol Cadby (who is fantastic, and very much prepared me for acting classes in Shenandoah's pre-professional program), culminating in a one-person show on Vivien Leigh, something I still am very proud of to this day. It was called Vivien Leigh: Inner Chaos Is A Double-Edged Sword, and was very much my baby, something that took months of work and guts to put together (and lots of viewings of Gone With the Wind). I also had two private voice coaches and sang with the Yorktown Madrigals, and took ballet, tap, and jazz dance.

WHAT EXPERIENCE DO YOU HAVE IN OTHER ART FORMS?

I want to always have a foot in showbiz, but not my entire being 100% of the time. Right now, at this part of my journey, I want to dabble. Yes, to act and sing and dance, but what about writing? I love poetry and free verse and spend a lot of time scribbling in notebooks and typing up "splat words" which I share with people (previously on Facebook, that classy literary site, haha, but now typed up and in hard copies that I mail and give out, a sort of self-publishing). And what about painting? That's something I've always wanted to try and am hoping to take classes in at the Arlington Arts Center this summer (a GREAT visual arts establishment; if you live in Arlington and haven't visited yet, you are truly missing out on part of the Arlington cultural experience!!).

THEN WHAT ARE YOUR POST-GRADUATION PLANS? WHERE DO YOU HOPE TO SEE YOURSELF IN TEN YEARS?

I am a work in progress, so who knows where I'll be a year from now, but as of now I am finishing up this semester at Conservatory (as I answer these questions, I literally JUST got out of my Acting jury, where you do a monologue for a panel and are critiqued), writing lots of splat words under the pen name Zuri Foster ("zuri" is a Swahili word meaning both "beautiful" and "good," which I thought was awesome), and just trying to take every thing a day at a time, to be gentle with myself (something I'm horrible at, being a rampant perfectionist and often over-sensitive). I want to apply to a liberal arts school somewhere in the Commonwealth where I can major in Spanish (which I studied for 6 years in high school), but also take classes in film studies, ballet, piano, and another foreign language, and study abroad. I find getting out of America for spurts of time to be very centering (some of the few moments in my life when the inner frenzy slowed down were in Thailand, riding elephants, and Botswana, on safari).

So I guess at this point, the only way I can "nutshell" myself is... an Artist. In every sense of the word, wanting to explore and just follow my Intuitive Voice, to connect, to center myself. Writing, drawing, acting, dancing, playing piano, singing... honestly, I really do think all the arts overlap on some level. It is us wanting to express our humanity (and how flawed yet sacred we all are), and saying the same things in different languages. I love the term "Interdisciplinary Artist," because I think so many of us are. I think most people are in one way or another, even if they don't realize it. The business major who doodles in the corner of his class notes has an artist side of him, whether he knows it or not.

WHAT ADVICE DO YOU HAVE FOR ANYONE INTERESTED IN PURSUING AN ACTING CAREER?

The world of showbiz is a very complex place, and as you've probably heard, intense and often mean. (I think Donna McKechnie hit the nail on the head when she said that it's "second only to boxing and prostitution.") You get told a lot as an actor that you are a "product" and must market yourself as such, that you must be aware of your "type" (oh what a horrible four-letter word), meaning what character description you fit into (leggy blonde bombshell? sexy Latina dancer? etc.). It can be very hard, because 90% of showbiz is about the biz-- the competition (spoken and unspoken), the insecurities many people bring with them (the stories in A Chorus Line are still relevant today; many people in showbiz are working through so many memories), the sizing-up of others as a defense mechanism. Half the time casting makes no sense, and two different directors/agents will tell you two different things. Sometimes it has nothing to do with your performance... scratch that, OFTEN it has nothing to do with your performance, but is about your height, hair color, vocal pitch, whether or not you "fit" with the rest of the cast, how the casting director woke up feeling that day... It's very surreal, and all highs and lows (very little middle ground). You alternate between being in fantasy and (because it can be so fun and so rewarding), and being leveled (it is painful to have to constantly be up against your friends, comparing yourself to them, etc.). At the right time and place, though, it is exactly the fix you need, and where you would rather be more than anywhere else. It's addictive.

ANY LAST WORDS?

As an artist, you need to thirst to see and experience everything. You need to both delve into yourself and explore outward, every day. Self-love is very important and enables you to connect with others and communicate with them. You need to know when to fight, to kick and scream, and when to let go and practice patience and acceptance. You need to get out there and make mistakes. So no matter what field you are considering-- acting, writing, dancing, ANY combination of the arts-- you definitely need to try it. You can't just write it off as "not a real job" and spend the rest of your life wondering, "what if, what if." I would never have known that Conservatory is not the right environment for me if I'd turned down my acceptance to a BFA Music Theater program (to which very few people were accepted; I worked hard to get in) at the get-go. Trust in the energy of the Universe (as hippie-esque as that sounds), and go where you are lead. To any aspiring artist of any kind-- GOOD LUCK, trust your gut, and we are all in this craziness called life with you, all flailing around trying to understand it, too... art isn't easy (as Sondheim said in Sunday In the Park With George), but it is sooo worth it. Give yourself permission to grow and change.

Venus Arms

2009-04-12T12:30:00.000-07:00

Craigslist is one of my very favorite websites in the history of websites--and not for the male escort services, either. I'm always amazed by the arts and media opportunities I discover there. I don't limit myself to the Washington, D.C. and Richmond lists, though, even if they are the two cities closest to where I live. I hop from list to list across the country, although New York, Portland, Baltimore, and Seattle represent the ones I most frequently visit. Why those cities you ask? The combination of an artistic vibe and numerous opportunities, frankly. I've found I have the most luck finding the kinds of contests, publishing venues, and gigs appropriate for my style of art and writing there.

About a month ago, I was perusing Seattle's writing posts when I discovered a call for "art writers." I immediately sent an email to the "postee" and now write frequently for VenusArts.com, a website devoted to art news and commentary. Although the website has yet to be officially launched (and won't be for two more months), I encourage you to check out what's there thus far. Already you will find artist interviews, crafty demonstration videos, and more! Find out what's happening in the art world as it's happening.

Happy Easter, Isabelle

2009-04-11T11:20:00.000-07:00

[I write short stories all the time; it's one of my very favorite forms. If you enjoy reading and writing short stories, I definitely encourage you to visit Associated Content, Scribd, and Helium. (Unfortunately, Tallest Tales, which I also liked has temporarily closed.) You can view my respective profile/content pages for these websites here, here, and here. And now, if you're interested, I invite you to read my most recent short story, "Happy Easter, Isabelle." Don't let the title fool you into thinking it's some corny bunny story. It's based upon something I just experienced today, strangely.]

"Happy Easter, Isabelle"

By Christine Stoddard

Isabelle woke up light-headed. The ceiling wavered as she tried to determine what the splotch on it was. All Isabelle knew was that the splotch resembled a gray eye peering down at her in her white cotton nightgown. The art student rolled over and gently tapped her radio alarm clock until it ceased playing. Isabelle never laughed when characters axed their alarm clocks in classic cartoons. She liked the sound of Claude Debussy in the morning.

The girl pulled her gown off and wandered to the sink. She gazed at the lavender bags above her cheeks, wishing they formed thanks to a long night of studying art history textbooks. She sighed, seized the strand of dental floss hanging from the edge of the sink, and dropped the string into the trashcan. Her boyfriend never remembered to clean up after himself. After letting the faucet run for a couple of seconds, Isabelle splashed some water into her mouth. She swished it around and then spat it out, ignoring the blood that swirled down the drain.

A moment later, Isabelle stood before her closet. She fingered an old, lace blouse and wondered when its threads would finally break. It should have become a moth's tender feast by now. Once she slipped on the blouse, Isabelle grabbed a pair of faded jeans and danced into her sandals. Then she slid her sketchbook into the purse hanging on the front doorknob and left. She did not lock the door behind her.

The elevator usually took several minutes to reach the thirteenth floor where Isabelle lived. She smiled when she thought of how some places did not label their thirteenth floors, instead calling them 'the fourteenth.'

"How primitive," Isabelle whispered to herself and let out a small breath of air she wasn't aware she had been holding.

The elevator chimed and Isabelle stepped inside. Out of habit, she immediately pressed the button, even though no one approached the doors. Isabelle scrunched up her nose and wiped her fingers on her pants. Someone had smeared a sticky substance across the button.

[Read the rest here.]

2009 NEO-INDIE ARTS FESTIVAL/POSTER

2009-04-08T15:37:00.000-07:00

Interview with VCU Arts Student Actress Sarah Stephahin

2009-04-07T16:26:00.000-07:00

Since Fall 2008, I have taken Introduction to Dramatic Literature I and II as a non-major through Virginia Commonwealth University’s School of the Arts. During these past two semesters, I have shared the discussion-based class with Sarah Stepahin, a freshman in the prestigious VCU Arts Theatre program. Struck by her perceptive classroom remarks and talented performances, I decided to interview Sarah about her experiences and aspirations as an actress, as well as her thoughts on theatre and the arts as whole. Here is what Sarah has to say about herself, the stage, and more:

TELL ME A LITTLE ABOUT YOURSELF, PERSONALLY AND CREATIVELY/PROFESSIONALLY.

My name is Sarah Alexandria Stepahin. I am a freshman at Virginia Commonwealth University, or at least I will be for the next three and a half weeks we have left in the semester. I am a theatre/performance major. Being an actor is not something that I consider myself to be quite yet, rather it’s something I aspire to be and that’s why I am here. I have a lot to learn about the craft and am so enthusiastic about being able to do so here at VCU.

WHAT SORT OF CHARACTERS DO YOU MOST ENJOY PLAYING?

Quite honestly any character you throw at me I will enjoy playing. There are so many discoveries to be had with different arch types and personalities. I can say that I hate playing myself onstage. Some shows call for that. The way I see it, I have rehearsed that character long enough.

WHAT SORT OF STORIES APPEAL TO YOU MOST?

Usually I enjoy stories, or shows with ambiguous endings. I feel like when a play write leaves an ending up for interpretation he or she gives the audience an opportunity to not only learn whatever morals they can reap from the story but also allows them to learn something about themselves. If you see or hear a story that lets you choose a happy or sad ending for your protagonist, no matter what you choose, that decision reflects you, not necessarily the story. In a way I think that’s the whole reason people continue to go to the theatre and listen to stories. To learn.

WHAT FIRST GOT YOU INTERESTED IN THEATRE?

To put it nicely, when I was a little girl, I was a bit of a klutz. And truthfully not much has changed. My dad wrote me a note once to get me out of gym for a year to avoid injuries. So I really never had much to do. Tried Girl Scouts, violin, ballet—not my thing. Then one day I went to see “The Wizard of Oz” at a local high school. I am pretty sure my jaw was dropped throughout the whole show. I went home and told my mom about the real magic I had seen that day. She signed me up for an acting camp the next day. I was nine years old at that point and after the camps I tried out for parts in community theatre. My first role was in “Scrooge” as the boy with sled.

WHAT ARE SOME OF YOUR FAVORITE PLAYS? FILMS? TELEVISION SHOWS? WHY?

I like anything that makes me think. Not just after walk outside of the theatre or turn off the television. I appreciate any piece of art that I can relate to an hour or day, even a century later. If what it taught me pops into my mind, even for a second at some other point in my life, then I consider it worth my time. That’s what I look for in plays or movies. What I prefer is something that makes me smile, even if it’s a tragedy. If I see something good then the edges of my lips are sure to curl up. A play that does that is “August: Osage County,” a movie is “Charade,” a television show is “LOST.” I don’t really have a type or a genre, just a quest for a smile.

HOW WOULD YOU DESCRIBE YOUR THEATRE EDUCATION UP UNTIL THIS POINT?

I have been doing community theatre work since I was nine years old. Started taking theatre classes in high school. Summer of my junior year I was fortunate enough to attend the Summer Residential Governor School For Performing Arts at UR. And now I find myself here at VCU.

WHAT ADVICE DO YOU HAVE FOR STUDENTS INTERESTED IN ATTENDING THE SAME SCHOOL AS YOU?

I would say try to get to know yourself before you come here. Don’t come into class with the idea that your professors are going to beg you to try out for shows, or that they are going to remind you to work on your monologue. It’s a very serious program and deserves to be treated with as much respect as any other. I feel like the biggest mistake people make is the mindset that allows them to think that because they have talent they can slide right through. Talent means absolutely nothing in the VCU Theatre program without work ethic, respect, and above all professionalism.

HOW WOULD YOU DESCRIBE THE THEATRE “SCENE” WHERE YOU LIVE?

Richmond has a very active theatre community. There are tons of ways to get involved.

WHAT ADVICE DO YOU HAVE FOR ANYONE INTERESTED IN TRYING TO SUCCEED AS AN ACTOR IN YOUR CITY?

Work is work is work. Audition for everything. Even if you don’t think there is any way in hell you could get the role. You could completely change the director’s mind. Never talk yourself out of anything.

WHO OR WHAT DO YOU CITE AS MAJOR INSPIRATIONS (THEY DO NOT HAVE TO
DIRECTLY RELATE TO THEATRE) FOR YOUR ACTING?

Whoever invented Barbie dolls had a huge affect on my creativity. When I was a little girl, my dad set up a playroom for my sisters and me. We had so much Barbie crap it was ridiculous. But we would play down there for hours and hours. Making new families and situations for them everyday. I loved making stories, characters, voices, and habits for all of my toys. I guess you could say I just never grew out of it.

WHO ARE SOME OF YOUR FAVORITE STAGE & SCREEN ACTORS?

Off the top of my head a few are Richard Kind, Judi Dench, Meryl Streep, Philip Seymour Hoffman, Katherine Hepburn, Marlin Brando, Johnny Depp, Jack Nicolson, Anthony Hopkins, Cary Grant, Forest Whitaker, Kathy Bates. There are more but I digress.

WHAT DO YOU ADMIRE ABOUT THEIR ACTING? DO YOU TRY TO EMULATE THEM IN ANY WAY? HOW SO?

Diversity. I enjoy an actor that can bring me into their world, I respect an actor who can bring me into a new one every time I see them work.

HOW WOULD YOU DESCRIBE YOUR ACTING PROCESS? DO YOU SUBSCRIBE TO ANY PARTICULAR METHOD(S)?

My process is still very much in development. At this point I am still learning the names of the greats and trying to understand their methods and how to apply them. I am very interested in Meisner’s work and actually just ordered one of Stella Adler’s books on Amazon. But even if I became an expert on every method known to man I highly doubt that I could ever subscribe to any one method. For me it’s all about finding what works best for you and for that character. Thus far I have just done the best I can do to honor the playwright and not screw up too much.

WHAT EXPERIENCE DO YOU HAVE IN OTHER ART FORMS?

I guess that depends on what you would call art. If baking is an art, then I can make a chocolate chip cookie from scratch that tastes like the Mona Lisa. Other then that, I have been playing around on the guitar lately and I took ballroom dancing classes for a few years.

WHAT DISTINGUISHES THEATRE FROM OTHER ART FORMS?

For me theatre is the only real art form that is alive. It’s just as meticulous as a sculpture. Just as beautiful as a painting. Choreographed like a dance. Tells a story just as effectively as a book. It has as much voice as a song. It does all of this, takes all of these arts and then some and makes something beautiful or ugly and exposes it for the world to learn something. I guess what I am trying to say, is that for me, a stage is more elevated then it might appear to an audience.

HOW DOES THEATRE UNITE DIFFERENT TYPES OF ART AND MEDIA?

Theatre takes so many people to make it happen. The people who think theatre is just about the art of acting need to look again. Look at how precisely every light is angled, dimmed, intensified. How each costume fits just so. How sound cues can set the mood of an entire scene with no words. How a set is designed and built to tell the story just as much as script. An actor portrays the art of humanity; a theatre portrays the art of life.

WHAT DO YOU CONSIDER SOME OF THE MAIN DIFFERENCES BETWEEN CINEMA AND THEATRE?

Don’t get me wrong—movies are wonderful. I enjoy a good movie just like the next person. But I just can’t compare the two mediums. An intimate moment in a movie is shot over and over again from different angles and pasted together in a room before presenting. An intimate moment in a theatre is the art of taking a huge room of people, making them so silent you could hear a pin drop, captivating each and every one of them to the edge of their seats and making them feel as though they are right next to you as you pour out your heart. And when they leave they remember what they felt. They have to. They can’t press rewind.

WHAT DO YOU CONSIDER THE ELEMENTS OF A GOOD STAGE PERFORMANCE? A GOOD SCREEN PERFORMANCE?

I look for performances that are well thought out. In both film and theatre one thing is essential: a directors vision. I feel as an audience member that I can tell when that vision has been adhered to or not.

WHAT SORT OF THINGS DO YOU STUDY AND CONSIDER WHEN WATCHING A PLAY?

When I watch a play the first thing I try to identify is style. The style of a piece affects how far I need to extend my belief. Once I find that I like to see how the actors play with their characters. Realism is not everything. Being real within the world you have created for me is.

WHAT SORT OF INTERNSHIPS/JOBS HAVE YOU HAD THAT RELATE TO YOUR FIELD? WHAT ADVICE DO YOU HAVE FOR STUDENTS INTERESTED IN GAINING THE SAME TYPES OF OPPORTUNITIES?

As far as the theatre world is concerned I have never done any “professional theatre”. It’s all been community theatres and through various schools and programs. But it really kind of rubs me the wrong way when people stick their noses up at community theatres. I found my love for what I do in a community theatre, and I tried my hardest to conduct myself as professional as I possibly could. It was a great place to fall in love, with the craft that it is. My advice to anyone looking for jobs is to start at the bottom. Don’t say no to a job just because it’s community work or non-profit because, first of all, you never know who’s watching and, second of all, if you are in this for the money then you are in the wrong profession. Be where you want to be because you’re passionate and you want to be there. Not because it owes you something.

WHAT ARE YOUR POST-GRADUATION PLANS? WHY DID YOU CHOOSE THEM?

I am still trying to figure out what to eat for dinner. But in all honesty I am
hoping to have enough saved up to start auditioning somewhere. I want to get my hands dirty and get some experience before I go to grad school, or try to teach. Eventually I think I would really enjoy teaching. But right now I am just trying to take it day by day and learn everything that I can.

WHERE DO YOU HOPE TO SEE YOURSELF IN TEN YEARS?

Whether I am staring in a show or sweeping up after one I do not hope (rather I know) that I will be in the theatre.

WHAT ADVICE DO YOU HAVE FOR ANYONE INTERESTED IN PURSUING AN ACTING CAREER? ANY LAST WORDS?

One of the biggest influences in my life are my parents. Neither of whom are actors but are big fans of just one. They have probably given me better advise then Stella Adler or Stanislavski. They always say, “Keep breathing”. Don’t let rejection, or a bad note, or a small part get in the way of what you love to do. Or who you love to be. At the end of the day, stand up. Figure out why you were rejected and learn. Choose to see that “bad” note as a constructive one. Take that small part and treat it as though it were gargantuan. Keep breathing.

Introduction to Artcadia Cafe

2009-04-07T15:55:00.000-07:00

Hey! (Should I add a couple of exclamation points for extra vivacity?) My name is Christine Stoddard, in case you didn't read the Writer Bio box. In some circles, I'm better known as "Mademoiselle Alouette," "Lark Fledgling," "The Sparrow Goddess," or "Simply Lark." Note my obsession with birds. Obviously I wish I could fly. Unfortunately I wasn't born with wings, though I do have metaphorical ones. Art allows me to fly. Ever since I was a little girl (3rd grade "Writer's Workshop," specifically), I have loved to write and aspired to be a writer. Also during elementary school, I showed an early interest in art and theatre. By fifth grade, I regularly won writing contests and steadily became more and more involved in the writing community in the Washington, D.C. area until I attended Grinnell College. At the same time, I experimented with the visual arts--often incorporating my own words with images--and the performing arts--often performing pieces I had written myself. I firmly believe that all of the arts are inherently connected: they all explore and seek to understand the human experience. Co-existence amongst the arts especially pleases me because it reinforces my beliefs that all artists are essentially striving toward the same goals.

Currently, I am a transfer student at Virginia Commonwealth University School of the Arts. I am majoring in Art History and English with minors in Creative Writing and French, although my course of study is subject to slight change by the end of the semester (depending upon a variety of factors, none bad, which I will not bother discussing here. Too bad; no drama.) I write in a variety of forms and genres, running from poetry to fiction to creative non-fiction to stage/screenplays to scholarly to journalistic. I run several blogs, including ChristineStoddard.com, Give Me Paisley and Parasols, Stoddard Shorts, Christine & Collage, Forget Fairytales, Opus Fae, and The Commonplace Book. I also act/model, draw/write comics, and make collages. My work has been published in multiple venues, from university literary journals to 'zines to websites to newspapers to magazines. I could go on about internships, awards, etc., but refer to the bio box and Google me if you're truly curious. Ultimately I consider myself a "writer and interdisciplinary artist." Go ahead and call it a pretentious title but I can't think of anything that more accurately describes me creatively and professionally.

I created this blog because of my interest in the arts. Here I will post everything from interviews with professional artists and art students to criticism to opinions to general art news to scholarly papers to artwork itself. I hope that you will check back on a regular basis to learn more about art not only from my perspective but also from the perspectives of all whose work I feature.