Planet Ant Film Festival

Last Saturday the Planet Ant Film Festival was in full swing. “Dr. Alphonse Hudson” and Chrissy Yvonne were, most assuredly, in attendence. I heard this through the figurative grape vine: In addition to providing free beer, there was a small uniquely ornamented garden party (bowling balls as garden stones). According to both members, the festival voiced a strong community atmosphere, which they especially enjoyed. The first series of films were from around the Detroit area. Unfortunately, these films were laughable at best. The second series included much better films from a variety of different locations. Overall, the two felt as though the experience was genuinely worth it. In an effort to avoid being overly assuming, I leave the opportunity for a more detailed description to them…

VCR symposium: John Waters

In light of recent releases, “Dr. Alphonse Hudson,” has decided to host a VCR symposium. This week spotlights a series of films by the notorious American film-maker John Waters.

We are all transgressive cult fanatics. What else can I say?

Humor in the Big Lebowski: A Comfortable Framework of Repetition

The Big Lebowski provides repeated opportunity to consider the ways in which that which is predictable is also enticing. Even for those that are watching the film for the first time, the humor is entirely accessible to the viewer. The repetitious nature of the film ensures that the viewer becomes a humor psychic. John Goodman will inevitably tell Donny to “shut the fuck up.” Lebowski will make another redundant joke in reference to his character’s assumed name; “the Dude.” The group will, most assuredly, return to the bowling alley during the next scene, where they will either confront other bowler fanatics or discuss the Jewish day of rest. From Sasparilla to Jesus, the Big Lebowski runs in humor driven circles. Why then, is that which is redundant, cyclical, simple even, so entirely captivating?

Humor is, in itself, an interesting expression. Arguably, it is the issue of its dependence that motivates this interest. Humor relies on a system of response and acknowledgedment. When in a large group, one laughs at that which one would not necessarily laugh at alone. We refer to this action, appropriately, as humoring someone. We look to others for humor-based significance. One laughs as others laugh, and stops laughing when others fail to reciprocate. At times, one feels awkward when caught in the act of laughing alone.

It is this feeling of awkwardness, which propels the desire for predictable humor. Within twenty minutes of watching the film, one has obtained an adequate understanding of that which the audience will respond/react to, within the framework of the film. Inevitably, the audience will laugh during the short scenes featuring the character Jesus, at the absurd faces that Phillip Seymour Hoffman makes, and throughout most of the scenes which feature a loud John Goodman (Walter). It is as though a series of charts and graphs develop to register various rates of reaction.

Arguably, this could be the reason that the repitious nature of the film is so entirely successful. It becomes accessible, in that the humor can be identified easily. The film provides the viewer with a comfortable framework for reaction. Throughout the duration of the film, the laughter becomes more noticeable succinct. The audience eventually figures out what works and what fails, and then adheres to the debased system of arithmatic which the film becomes.

The framework extends beyond the film. The categories of humor become so entirely digestible, that one is entitled the opportunity to discuss portions of the film without much challenge. This is not controversial humor, this is charted humor. Humor which can be represented by numbers and figures, and which can be harnessed/channeled without much difficulty.

No, I do not enjoy the Three Stooges, but I will laugh everytime my father does.

Theatre Mapping

This map denotes the advantages/disadvantages of seating localities within the Royal Oak Main Art Theatre (theatre 1).

Red (Section A): Generally, this portion of the theatre is crowded. This happens to be one of the noisiest and least desirable places to sit within the theatre.

Grey: Considering the immediate proximity of the screen, this seating location provides the worst view of the movie. In addition, one feels as though the entire theatre is watching your movements in combination with the movements of those on the screen.

Dark Green: The distance from the screen is a major deterrent to sitting within this area. Moreover, the distraction from the movement of audience members through the door is overwhelming.

Dark Blue: This is the optimal seating location within the theatre. If one sits close to the aisle, one is provided a great viewing location. Typically, this portion of the theatre is much less populated/convoluted than other areas. Most people are competing for a position within the A-section immediately adjacent.

Yellow: Designates the best path for movement in and out of the theatre. One does not have to struggle past other audience members when entering/exiting the auditorium. This is especially relevant during the most dramatic portions of a film.

Introducing…

Jesse M., of the PTFC has just created his own blog. As he declares, it is a blog dedicated to technology, both new and obscure. Considering his extensive knowledge concerning gadgets of every extremity, his site seems as though it will be quite a promising intervention.

Qualcomm pdQ meets iPhone

I look forward to future posts concerning everything from PDAs to Ebay purchasing power.

Historical Segment: AIDS Legend

When a close friend was questioned concerning his repeated refusals to join the PTFC, it became overwhelmingly evident that he actually fears going to the theatre. He maintains that his fear is related to potential of an encounter with an AIDS infected needle. Although this concern may seem an anomoly, it actually recalls popular legend/vernacular related concerns that erupted in the late 90’s.

In consideration, it seems appropriate to explore the foundations of this legend. In the text, “Once Upon a Virus: AIDS Legends and Vernacular Risk Perception,” Diane Goldstein posits that the legend erupted in relationship to a mass e-mail sent out in 1999. According to Goldstein, North American police departments and the Center for Disease Control reported a “wave of public reaction to the narrative” (Goldstein 140). Essentially, the narrative suggests that villainous people are planting AIDS infected needles in random seats at various theatres. Unlike other popular AIDS related legends, the villain is generally anonymous. The following is a provocative excerpt from Goldstein’s text.

“In this chapter, I propose a counterreading of the needle narrative, a reading that suggests that the anonymous AIDS infector might be preferable to the one we know and that public danger is far more desirable than danger in our homes. On some level, I believe, needle-prick narratives can be read as a form of resistance–resistance to the modern construction of our homes as locations of risk and resistance to public health constructions of our loved ones as vectors of danger” (140)

Interestingly, Goldstein continues to demonstrate, throughout the chapter, the numerous ways in which the narrative reasserts the security of home. Unlike other popular legends, the needle narrative suggests that the domestic area is a realm of safety. It accomplishes this by casting the public sphere as a realm of increasing danger. Not only does this narrative reflect a binary of domestic and public, control and otherwise, it also reflects the ways in which the theatre can potentially function as something other than as a form of entertainment. With needle narratives, the theatre provides an opportunity for a person to regain control over the domestic realm. This is entirely prescient considering the increasingly convoluted nature of the domestic and public realms.

Projector Construction (Continued)

Building a homemade projector is a difficult process. Unfortunately, although it originally seemed that the projector would be in running condition by this weekend, it is now more likely that it will take another week to fix the problems we are currently experiencing. The PTFC is now looking into the possibility of purchasing a used projector for a relatively cheap price. If anyone has a projector that they would not mind allowing the club to use/purchase, we would greatly appreciate the assistance. Otherwise, it seems that it could be a while before the first summer showing. Until then, there are enough festivals/other events to keep members temporarily satisfied.

“Cold Hearts Revisited”

On June 30th, the DFC will be hosting a film series entitled “Cold Hearts Revisited: Short Film and Music Videos from Iceland.” Essentially, as the title suggests, this series will feature many Icelandic films which have never been shown in the United States.

Of notable interest, is the DFC’s increasing involvement in a more universal movement; a movement to support the endeavors of music video producers. Although this genre continues to experience the detrimental effects of stigmatization, there has erupted a significant desire amongst members of the film community to spotlight the contributions of music video producers. Hopefully, this event will be as entertaining, and liberating, as the preview suggests.

PTFC Weekend Update

Most assuredly, this weekend will be an eventful one. The PTFC has planned a themed evening for Friday night. First the club will go bowling and catch a few drink specials. Then, it is off to Royal Oak for the midnight showing of the Big Lebowski.

Saturday evening, the PTFC plans on attending the Planet Ant Film Festival. As previously noted, this festival should be quite eventful.

Sunday, it appears that the club will be attending the Satori Circus at Oakland University.

Within recent days, it seems that the club has garnered some additional attention. Let it be noted, that there will be several honorary members attending the main event on Friday. A list of their names will be provided shortly.

At the Main Art Theatre

From the left: Derek “jargoncomputer” Risse, Chrissy Yvonne, and “Dr. Alphonse Hudson.” Of course, the man behind the camera (and shadow), Jesse M.