Science in Film Lecture

My thoughts in general: If you are wondering, yes, that is a picture of Ben Unguren. Last weekend, Ben gave a lecture at the Orem Public Library about science in film. He was substituting for Dean Duncan, but I mention this to in no way compare the two; I am simply presenting the facts of the situation. He began by discussing science fiction film and how the representation of science in film has changed over the years. We watched clips from Bride of Frankenstein and Fantastic Voyage and discussed the accuracy of the science in those films. Specifically Ben mentioned how Frankenstein was an old film based on an even older novel, so the science of the world of the film is expectedly primitive in our view. However, by the time Fantastic Voyage journeys through the human heart, scientific knowledge has advanced to a point where we visit anatomically accurate chambers of the heart and human blood actually contains blood cells. The science in this film reflects its contemporary scientific understanding. One point that Ben made was that films try to represent the most up-to-date, "cutting edge" scientific knowledge.



My thoughts on application: I don't know from which high school they came, but the room was packed with students who were attending Ben's lecture for extra credit. I found this particularly interesting while thinking about the pedagogical value of Ben's lecture. I think the basis of his lecture--science in film--has great academic merit. Much can be explored through studying the science in films from different time periods. Films really do reflect the science of times, whether the issue is transplantation or genetic engineering. A discussion like this could have application in a science classroom or a history classroom. I think that from a student's perspective this kind of lesson could be very engaging.

Indiana Jones 4 Trailer

My thoughts in general: Recently, I saw the trailer for the newest Indiana Jones film, Indiana Jones and the Kingdom of the Crystal Skull. I have had serious reservations about this film, but after seeing the trailer . . . oh wait, I still have serious reservations. In the trailer, there is one quick scene that seems to have some typical Indiana Jones humor, and there is expectedly Spielberg use of light/shadow. Check it out for yourself:




However, despite some obligatory "Indiana Jones"-ness, it has been 19 years since Last Crusade. In that time, both Harrison Ford and Steven Spielberg have made multiple very bad choices in projects. It appears that they left their A-game behind about 15 years ago. Most likely, I will see the film, but I am not as excited as I would have been if the film made 15 years ago...

My thoughts on application: However disappointing this trailer is, I think it can be very useful in terms of pedagogy. Matt would probably have more informed ideas about trailer production, but here are my ideas. First, this trailer could be used to discuss the concept of trailers in general. When discussing media literacy, trailers are a key tool in informing audiences about the basic premise of films and are designed to convince people in 1-2 min. to spend 8-10 dollars (or more) to see the film. This trailer could be used in a classroom to discuss how the intent of the trailer is met/not met. However, with this trailer, the use of footage from previous Indiana Jones films is brought into the discussion. Thus, the question can be posed: how are the previous 3 films used to sell this 4th installment? Additionally, depending on the focus of the lesson, the class could discuss the current string of "late" installments of series that were thought to be done (Rocky Balboa, Live Free or Die Hard, Rambo). There are several points of discussion that could arise from this trailer.

Victoria's Secret

Sorry to not begin this post with an image, but I guess I'm just not as daring as Jeana in posting images of nearly nude women. I'd like to think that I'm protecting the innocent eyes of the young children who may be playing at your feet while you're reading this. So, I guess that means that I'm a "Savior on Mount Zion" (or maybe I'm just withstanding a temptation to lead them toward forbidden paths).


My thoughts in general: With that introduction behind us, let me discuss a certain Victoria's Secret ad that I saw in the mall a few days ago. I was shopping with some friends (all female except me, of course) for bridesmaid dresses. No, I was not shopping for myself; I was just a fashion consultant. While we were in the mall, we passed Victoria's Secret, and I saw quite a large ad adorning one of the windows of the store. Passing it, I made a sarcastic comment about the model looking like she was full of confidence and empowerment because she was wearing her Victoria's Secret underwear. There was a round a chuckles from my friends, and then one stated that Victoria's Secret underwear is quite comfortable. I had supposed such comfort existed in the high-quality products of Victoria's Secret, but I have never experienced it myself. However, my comment had nothing to do with comfort or lack thereof; it was simply an observation of the image projected by the model.

My thoughts on application: Victoria's Secret ads can be used as teaching devices in many ways such as sex education, anatomy instruction, as so on. Many, if not all, of these ads would fit right into Jeana's lessons on the male gaze and feminist criticism. However, my thoughts when I saw this ad focused more on how the product was trying to be sold to women by seeking to project power, ambition, and confidence. If simply buying expensive underwear can give you advantage in the workplace (or wherever you may wear your super panties), then it's worth the investment. In becoming media literate, it is important to recognize how a product is being presented to the consumer. Is it merely functional? No. The message is that a little patch of cloth actually clothes you with superiority. Who wouldn't want that? In a teaching environment, care must be taken with the selection of images, but it is important to discuss what the ad is selling beyond the little bits of cloth and the almost bare body parts.

Audi and The Godfather

My thoughts in general: This year, I actually watched part of the Superbowl. I don't make it a habit to watch televised sporting events (or non-televised ones, for that matter). However, whenever I do end up watching the Superbowl, I find it rather pleasurable to watch the commercials (mostly the beer commercials). I have yet to see a Superbowl commercial that tops the Emerald Nuts commercial from a couple of years ago. Eagle-eyed Machete Enthusiasts Recognize A Little Druid Networking Under The Stairs.... Though I may never see another commercial to match this favorite of mine, my interest was drawn to the TV this year when I saw the exterior of the film-producer's mansion from The Godfather. I continued watching, and I found that a man woke up covered in oil with the severed front-end of his automobile in bed with him at the foot of the bed. I immediately recognized that intertextual reference to The Godfather, and I wondered where the commercial was going. Soon, the commercial cut to outside the mansion and a fancy, sleek-designed car was zooming toward me. I don't know much about cars, but I know now that the car was an Audi R8.



My thoughts on application: I felt almost betrayed that one of the best films ever made was used to hock some sports car in which I have no interest. However, I recognize some potential pedagogical value in this commercial. It is clearly intertextual, which would make it a great example to use in teaching post-modernism/intertextuality. However, I also find it interesting that a "classic" film is used to sell a modern (post-modern?) vehicle. In the context of the film, the car has no place. Is this actually sending a message about the car having no place in the previous repertoire of Audi vehicles? Perhaps, the audience is being told that if we buy this car we will stand out from among/be superior to our fellowmen. This is a great example to use in teaching intertextuality, especially because you have to know (at least have a cursory knowledge of) The Godfather. Such understanding is vital to realize that the advertising agency (and maybe the car manufacturer) is telling us that the Audi R8 is "an offer [we] can't refuse."

Michael Clayton

My thoughts in general: Last weekend, I saw Michael Clayton from writer/director Tony Gilroy. This film has been nominated for 7 Academy Awards, including Picture, Director, Actor, Supporting Actor, Supporting Actress, Original Screenplay, and Original Score, which I guess is some indication of the quality of the film. I am not convinced that this film should win any of these awards; however, I am not opposed to the nominations. The film stars George Clooney, who is hit-and-miss in his various performances; this is a hit. Clooney's character, the titular Michael Clayton, is a lawyer who gets caught in a John Grisham-esque suspense thriller in which he knows something incriminating about a powerful corporation that wants to silence him. The film felt very much like other movies based on novels by John Grisham, yet this film was not over-dramatic like most John Grisham-adapted films.

My thoughts on application: Again, I don't really know how to use this in a classroom. One thought I have is to compare it with a Grisham-based film. This comparison could show overly-dramatic filmmaking in contrast to simple well done filmmaking that has confidence in its story, acting, etc.

Fahrenheit 451

My thoughts in general: I have begun dramatically reading Ray Bradbury's Fahrenheit 451 for some friends. This dramatic reading follows my reading of Twilight, which is probably one of the worst books ever written. Thus, it is quite a relief to be reading something that is actually quality literature and is worth reading. While reading, I supply different voices for all the characters and otherwise "dramatically" read the text. I guess this adds an interesting element to my experience with the media (as well as the experience of others). The book is fascinating--not only in story/subject matter but also in the literariness of the writing. This is my first time reading Fahrenheit 451, so my dramatic read is based largely on my initial reaction to the text. I find that reading aloud in this way provides me with an unique experience with the language that is used and the manner in which it is used. The written text creates strong, visual mental images through the use of descriptive language that is more than simple utility. The rhythm of the text is especially apparent as I read it to others. I am enjoying reading this book because it is actually engaging me as I read and as it demonstrates the effective use of language to convey atmosphere in addition to story.


My thoughts on application: I think that this text could be applied to teaching in several ways. First, it could be studied as literature. Though I never read it in school, I imagine that it is already used often in English/literature classes. However, I think that reading it aloud has added for me a different understanding than just reading it silently. I remember that in my English/lit classes, the assignment usually was just to read books silently to myself. Occasionally, we would read aloud in class, but that was just to get through the book. I think it might be an interesting teaching method to have students prepare to read certain portions of the book with the intent to emphasize how the text uses writing techniques like imagery, metaphor, etc. It could also be an interesting study in literature-to-film adaptation. It could be interesting and informative to compare Francois Truffaut's 1966 film adaptation to the book itself. It might be helpful to discuss whether or not the literary elements like rhythm and visual description of the written text were translated into film language and if so, how. Apparently, Frank Darabont (The Shawshank Redemption, The Green Mile) is working on his own film adaptation of the book. Could be interesting....

An Artist's Vision