1. ___________ approach
2. ___________ with the idea
3. ___________ professor
4. __________ thinker
5. ___________ a model
6. ___________ funds
7. a ____________ approach
8. ___________ trends
9. ___________ storytelling
10. ___________ techniques
11. ___________ craze
12. ___________ credit for
13. ___________ movement
14. ___________ conventions
15. ___________ the way
16. ___________ message
17. ___________ the context with
18. on a ____________ basis
19. ___________ hole
Exercise 12. What does the author mean by saying the following:
1. the trends bubbling up in festivals and megaplexes
2. Rather than teaching Casablanca and Citizen Kane, I might show Borat and The Bourne Identity.
3. the recent found-footage craze
4. I got more out of the class than my students.
5. this assignment gave me a second set of eyes
6. many of my favorites didnt hold up
7. back-to-basics movement
8. their aesthetic ultimately paved the way for the recent DIY revolution
9. constraints encourage creativity
10. therein lies my biggest eye-opener
11. were still early in their journey
12. In my day job as a critic, judging others creative decisions comes with the territory.
13. unlock the artistic principles
READING
AND SPEAKING
Exercise 13. a) Do you know the principles of Dogma 95 movement mentioned in the article by Peter Debruge? If not, read the reference below.
Dogme 95 (Dogme is the Danish word for dogma) was an avant-garde filmmaking movement started in 1995 by the Danish directors Lars von Trier and Thomas Vinterberg, who created the Dogme 95 Manifesto and the Vow of Chastity. These were rules to create filmmaking based on the traditional values of story, acting, and theme, and excluding the use of elaborate special effects or technology in the hope that the industry would give the power back to the artist as opposed to the studio. The goal of the Dogme collective is to purify filmmaking by refusing expensive and spectacular special effects, post-production modifications and other technical gimmicks. The filmmakers concentrate on the story and the actors performances. They believe this approach may better engage the audience, as they are not alienated or distracted by overproduction. To this end, Lars von Trier and Thomas Vinterberg produced ten rules to which any Dogme film must conform. These rules are referred to as the Vow of Chastity.
THE VOW OF CHASTITY
I swear to submit to the following set of rules drawn up and confirmed by DOGMA 95:
1. Shooting must be done on location. Props and sets must not be brought in (if a particular prop is necessary for the story, a location must be chosen where this prop is to be found).
2. The sound must never be produced apart from the images or vice versa. (Music must not be used unless it occurs where the scene is being shot.)
3. The camera must be hand-held. Any movement or immobility attainable in the hand is permitted.
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4. The film must be in color. Special lighting is not acceptable. (If there is too little light for exposure the scene must be cut or a single lamp be attached to the camera.)
5. Optical work and filters are forbidden.
6. The film must not contain superficial action. (Murders, weapons, etc. must not occur.)
7. Temporal and geographical alienation are forbidden. (That is to say that the film takes place here and now.)
8. Genre movies are not acceptable.
9. The film format must be Academy 35 mm.
10. The director must not be credited.
Furthermore I swear as a director to refrain from personal taste! I am no longer an artist. I swear to refrain from creating a work, as I regard the instant as more important than the whole. My supreme goal is to force the truth out of my characters and settings. I swear to do so by all the means available and at the cost of any good taste and any aesthetic considerations.
Thus I make my VOW OF CHASTITY.
Copenhagen, Monday 13 March 1995
b) Do you agree with the principles stated in The Vow of Chastity Why? Why not. Give your arguments on its advantages and disadvantages.
READING AND
COMMUNICATION
Exercise 14. You are going to hold a panel discussion Is Technology killing Art?
