"The Elements of Style"

While reading "The Elements of Style" I found many things that I wish to incorporate into my writing, as well as many things I would like to change.

"16. Use definite, specific and concrete language"

I often times find that my writing is hampered by vagueness. I don't know if it is laziness or lack of consciousness towards this lack of concrete language, but I feel this change could improve my writing greatly both in journalism and creative fiction situations.

"17. Omit needless words"

I think my tendency to use needless words ties in to my problem with vague writing. Often times because my writing is vague, I feel the need to "spice it up" with needless adverbs or adjectives. This hurts the quality of my writing as it sometimes makes it difficult to decipher the real meaning in a paragraph or section of my work.

Notorious

Just in time for the newly released "Notorious" here are the top 10 Notorious B.I.G. rap lines, according to theboombox.com

http://www.theboombox.com/2009/01/16/top-10-notorious-b-i-g-quotables-no-10/

The Critic as an Artist?

Oscar Wilde presents a very intriguing argument in "The Critic as Artist." The main points of his argument revolve around his theory that, "To the critic the work of art is simply a suggestion for a new work of his own, that need not necessarily bear an obvious resemblance to the thing he criticizes." He argues that the way in which the critic uses other materials, other creations of art, to create his own art is no different than painters, writers or musicians in that they also draw on other inspirations. He uses Shakespeare and his use of mythology as an example of this. He asserts that an actor himself is a critic of the the play he acts in and a musician is a critic of the music he plays. Within each criticism, therefore, is art.

Further, he argues that it is from the critic that art receives its meaning and beauty. He contends that most of the meaning and beauty behind art is not from the original creator's intentions, but from the personal emotions and ideas others draw from it. It is through this art is given its eternal life and ability to evolve with the times. Great works of art will always have a meaning to someone no matter what era it is viewed.

Wilde uses a structure in which two people, Gilbert and Ernest, talk about the role of critics and their criticisms. Gilbert explains his theory to Ernest as Ernest plays somewhat of a devil's advocate. I think that this structure works well for Wilde's argument in that he is able to convey his own arguments and beliefs while also using them to combat, what he anticipates to be, opposing arguments of his theory.

Wilde's argument for the critic as an artist was very convincing and one I had never quite thought of before. I would agree that the critic who interprets art by "intensifying his own personality" in the works of others should indeed be considered both an artist and a driving force of art. If a critic truly gives a work his own meaning through his own inner thoughts and feelings, then he is doing the exact same thing as someone like Bob Dylan does when he writes songs like "The Hurricane." Just as Dylan used his own inner feelings toward an external person and event, an African American boxer unjustly convicted of murder, to create his art, so does the critic use his own inner feelings toward an external work to to create his.

Cultural organizations looking at little kids for funding?

A growing trend in Detroit, as well as the rest of the country....

http://detnews.com/apps/pbcs.dll/article?AID=/20090124/METRO/901240379

New Movie Studio in Southeast Michigan?

Here is an interesting article about the possibility of a 'very large' movie studio opening in southeast Michigan.

http://www.pressandguide.com/stories/011109/loc_20090111003.shtml

Real Life 'Slumdog Millionare'

Here is an interesting little video for anyone who has seen or plans to see 'Slumdog Millionare." A rickshaw driver who won over a million rupees on a game show.

http://video.aol.com/partner/cbs/the-real-slumdog-millionaire/43TqgS4rtK0_7o_XHN74nTEMrp_Q83b6/?icid=VIDLRVENT02

"Taxi to the Dark Side" an Effective Look at what 'American Justice' has Become

“One by one the terrorists are learning the meaning of American justice.”
-George W. Bush, 2003 State of the Union Address

Newly inaugurated President Barrack Obama’s executive orders to close the Guantanamo Bay Corrections Facility has rekindled a debate regarding the meaning of “American justice” that former President Bush was referring to in 2003. Since its inception following the September 11th terrorist attacks, the “War on Terror” has led to a transformation of certain aspects of the American justice system that many believe defies the very ideals our forefathers strived for. Alex Gibney’s Academy Award winning “Taxi to the Dark Side” is a thorough investigation of this evolution of “American justice.”

Based around the story of an innocent Afghani taxi driver who was tortured and murdered while in United States’ custody, “Taxi to the Dark Side” delves deeper into the underlying issue, becoming a comprehensive study of the United State’s torturous interrogation techniques of the past fifty years.

Gibney does an admirable job in his attempt to examine every facet of the subject. From explanations of the torture techniques, inside looks at facilities, insightful interviews and an effective exploration of the politics behind it all, “Taxi to the Dark Side” gives the audience an in depth glimpse of the occurrences prompting President Obama’s first set of executive orders. Although not always pleasant to the eyes, heart or patriotic spirit, “Taxi to the Dark Side” is a must see documentary.

“Taxi to the Dark Side” incorporates a multitude of interviews from seemingly every slant of the issue including the implicated soldiers, families of the victims, Washington insiders, experts within the psychiatric field and even the lawyers of the detainees. The interviews with Washington big shots, such as Senator Carl Levin, make this documentary a legitimate, journalistic exploration of the issue while an interview with the family of the victim allows it to touch the audience emotionally.

Gibney skillfully interchanges video clips from speeches and news programs to compliment the diverse array of interviews and give even further perspective. For instance, he shows Vice President Dick Cheney on “Meet the Press” advocating the United States to get “mean, dirty and nasty” while glorifying the work of the United States on the “darker side of intelligence.”

Both the cinematography and soundtrack in “Taxi to the Dark Side” are outstanding for a documentary of this nature. From the clean transitions to the “shock of capture” scene, the cinematography offers a visually appealing break from the often times difficult to watch footage.
The soundtrack’s somber tone did an exceptional job at adding to an already solemn mood.

“Taxi to the Dark Side” is a thorough investigation of a very significant subject that blends information, media and cinema in a way that encapsulates elements of both journalism and art. With President Obama’s recent executive orders, its relevance cannot be understated, but as long as there is war in this world and detainees in these wars, “Taxi to the Dark Side” will remain a valuable American documentary.

What I would do differently: Gran Torino

While reading my "Gran Torino" view from a distance I found many flaws but one stood out in particular. I structured my review like a academic paper rather that a review. My paragraphs were much too long and I often times covered several points in a single paragraph rather than giving each topic its own glory.

I also struggled with the 500 word maximum, and in retrospect it was due to my inefficient use of words. Rather than useless adverb and adjectives I could have fit more meaningful information and opinion into my review.

I realized after already posting my blog and turning in my hard copy that i neglected to put the movie title in quotations, a careless and somewhat embarrassing mistake. In the future I hope to avoid small mistakes like this as they will kill a review regardless of the content.

Content wise, I wish I would have seen the movie on Friday or Saturday. I saw it at 9:45 on Sunday and immediately wrote my review. With such a small time frame for reflection I found only the enjoyable parts of the movie in my consciousness. The more I thought of the movie, especially after our class discussion, the more I was reminded of certain negative elements I had overlooked. While I still would have given "Gran Torino" a good review, it would not have been as glowing.

"LIVE FROM BAGHDAD" DOES NOT GROW INTO CLASSIC

It is not often that one has insider access to the emergence of an American media icon.

“Live from Baghdad” is a behind the scenes portrayal of a CNN news crew in Iraq as they seek a story that will finally grant respectability to their network. Led by Robert Wiener, played by Michael Keaton, the CNN crew must clash with both competing networks and a restrictive Iraqi government for a coveted interview with Iraqi President Saddam Hussein. Although an entertaining and authentic look at one of the more captivating events in modern media history, “Live from Baghdad” cannot overcome its insufficient political context and character growth. Because of these flaws, “Live from Baghdad” comes up just short of reaching the plateau set by other war time journalism classics such as Roland Joffe’s “The Killing Fields” and Phillip Noyce’s “The Quiet American.”

Michael Keaton does an admirable job in his attempt to saved flawed protagonist, CNN producer Robert Wiener, but a lack of character growth makes him difficult to pull for. Wiener begins the film as an egomaniac and there is not enough evidence by the end of the film that he has changed. What Wiener lacks, however, is more than made up for by a strong and complimentary supporting cast. Bruce McGill’s depiction of the flamboyant, fearless veteran war reporter Peter Arnett steals the show.

The screenplay succeeds in both the overall telling of the story and humorous, witty dialogue but struggles in its exploration of individual relationships. The romantic relationship, if you can call it that, between Wiener and Formanek is forced and adds little to the film. The unfaithful nature of this relationship makes it difficult to become emotionally attached to. The basic essence of this romance can be personified in the awkward, drunken conversation between the two where they attempt to discern if their sexual affairs were real or realistic alcohol induced dreams.

Along with stellar acting, both the cinematography and the soundtrack are strong points of the film. From the intricate nuances throughout the film, such as real Gulf War footage, to the spectacular “firework” display at its climax, “Live from Baghdad is an authentic, visually pleasing experience. The Middle Eastern influenced soundtrack also adds to the authenticity to the movie.

The HBO produced film focuses exceedingly on the CNN brand and crew while inadequately exploring the overarching political ramifications of the situation. This should not come as a surprise as CNN and HBO are branches of the same corporate family tree. This lack of political centered drama does not allow “Live from Baghdad” to encapsulate the intricate weaving of personal and political crises of classics within the genre, such as “The Killing Fields.”

A noteworthy depiction of the true story told by CNN producer Robert Wiener’s memoirs, three time Oscar winning “Live from Baghdad” offers a rare behind the scenes look at a news story that changed American culture but lacks the political and personal depth that have made other movies of this genre classics.

Gran Torino Review Research

While researching for my Gran Torino movie review, I found the Internet Movie Database website (imdb.com), a website devoted to every facet of movies, to be extremely helpful. I used their Gran Torino specific page for purposes specifically relating to the movie. It was very helpful in reminding me of certain smaller elements I may have overlooked during my viewing of the movie such as character names and the actors who played them. Further I used their actor specific pages for background information on many of the actors. It was vital in my background descriptions of Clint Eastwood as both an actor and as a director, for example his Academy Award history and the possibility of this being his last movie.

Website = http://www.imdb.com

Gran Torino Review

Seventy-eight year old box office icon Clint Eastwood sitting in a dimly lit room, cigarette in his mouth and blood streaming from his tattered, glass filled knuckles may be one of the enduring images of Gran Torino, but could it also be the final image of Eastwood’s unforgettable career? According to Eastwood himself, Gran Torino is very likely to be his last appearance in front of the camera. If this is indeed true, than the legendary Hollywood tough guy could not have selected a better way to ride into the sunset. Also a two time Academy Award winning director, Eastwood maneuvered through an opulently intricate screen play to compose a multilayered masterpiece that will absolutely enter into the Oscar discussion come February. Gran Torino’s unique ability to fuse together racial tension, complex character development, bloodshed and redemption bring to life an inspiring take on several all too familiar Hollywood themes. Oh and by the way, Dirty Harry will have you laughing the whole way through.

Eastwood’s character, Walt Kowalski, is a no non-sense, racist, alcoholic Korean War vet who becomes irritated as he loses his Detroit neighborhood to an ever increasing influx of Asian immigrants. After several gang-related incidents, including the attempted theft of his beloved Gran Torino, he becomes acquainted with his two young Hmong teenager neighbors, Sue Lor (Ahney Her) and Thao Van Lor (Bee Vang). Together, Sue and Thao gradually begin to crack the surly old man and his racist convictions. As Kowalski’s gruff façade begins to crumble, the focus of the film shifts away from racial tensions into a story of redemption; a story of reconciling past sins and finding inner peace. There are events in Kowalski’s past that haunt him, and he seeks to escape from them.

Eastwood’s Dirty Harryesque portrayal of Walt Kowalski, in my opinion, should unquestionably earn him his third Academy Award nomination as an actor, and perhaps his first Oscar. For a seventy-eight year old man he is more than capable of convincing the audience that he is a legitimately dangerous individual. Complimenting his patented intensity is his sense of old fashioned morals and a multitude of sharp one liners, which give his character a certain embattled depth. This multifaceted disposition gives the audience a reason to root for him, even in his boorishness and bigotry. Ahney Her, appearing in her first film, also stood out for both her quirky persona and exceptional on screen chemistry with Eastwood. She endears herself to the audience to the extent that her role in the film’s climactic events generates genuine feelings of distress and indignation that are essential to the movie’s conclusion.

Gran Torino is an ideal concluding chapter to an illustrious, legendary journey that began in the Wild West and, fittingly, draws to a close in the equally wild Mid West. If this is indeed Clint Eastwood’s last appearance on the silver screen, he is riding out on a masterpiece that assures his role as one of the foremost tough guys in Hollywood.