Reading Response 4: Due February 1

Reading Response 4: Due February 1Thomas Leitch, “Hitch Without Hitch”

1. What are the four ways Leitch argues that Van Sant’s Psycho is unusual?

1)Van Sant's psycho was more of a homage to Hitchcock instead of trying to improve on the original.

2) Van Sant used a "soft-focus silhouette of a woman's body seen through a shower curtain" which Hitchcock tried so hard to conceal.

3) The remake's textual closeness to the original, followed the dialogue line by line and camerawork shot by shot with only color and the characters making the biggest difference.

4) Van Sant and Universal tried to create 1998 Psycho with the same alotted time, six week shooting schedule and roughly the same budget in comparison to today's dollar value.

And what “yawning fallacies” are suggested by Van Sant’s approach to the project?

There are two misleading notions about Van Sant's approach, one is that Van Sant is trying to execute the Hitchcock style just as one would try to recreate a picture by Van Gogh. Van Sant was not trying to say that his Psycho is the same, only trying to replicate the style with his own personal twists. The second is the harder Van Sant "tried to be faithful to his model, the more his inevitable myriad changes would stick out."

What are some of the logistical problems Van Sant faced in remaking the film in the 1990s?

Van Sant's model of trying to closely remake Hitchcock's Psycho proved challenging with the decisions of for instance

what props to use, to stay with the mise-en-scene of the 60's or to update with the 90's. (Side note: Im looking

forward to seeing Van Sant's Psycho to see what changes were made.

2. What is the key difference for the audience’s experience of the shower scene in Van Sant’sPsycho?

Van Sant used a "soft-focus silhouette of a woman's body seen through a shower curtain" which Hitchcock tried so hard to conceal. Also, the audience knew for many years that Marian would die this way, therefore not having the same shock appeal as would the audience seeing the 1960 film for the first time and not knowing the storyline.

How is this similar or different from general genre expectations and conventions inspired by Hitchcock’s Psycho?

This scene is different due to Hitchcock working so hard to conceal the woman in the shower scene.

3. What are some of James Naremore’s objections to the Van Sant Psycho, particularly in the area of casting and performance? Naremore states that there are quite a few small differences that make a huge impact in the difference between the two films. He gives several examples, casting Robert Forster as the psychiatrist and making his long climatic explanation of Norman's behavior less pompous "gives the psychiatrist more authority than he deserves," Christopher Doyle's color cinematography "attenuates the force of Hitchcock's brilliant montage sequences," the Bates house now looks "oddly and inexplicably modernized," and Van Sant's more elaborate roll on the close-up of Marion's dead eye "spoils the mood of one of the most famous dissolves in movie history," to name a few. Naremore feels that Van Sant made bad choices whenever he altered any of the film. Naremore is "unhappy with Vince Vaughn's performance because he copies Anthony Perkins's gestures instead of creating a character of his own." He also doesn't like the lightheartedly oblivious Marion, played by Anne Heche.

How does he use the story of the Royal Cook to explain his critical position?

He feel that like the Royal cook no matter how hard another cook would try to replicate a fond recipe, that it would never be the same as the expectations surrounding when the meal that would have been made years ago by someone else. I could ask someone to bake cookies for me like my mom did, but even with the same recipe it would never taste exactly the same because the way i felt when I ate my mom's cookies oh so many years ago. Same is true with Van Sant's Psycho, he can have all the same ingredients but it will never be the same as Hitchcock's Psycho.

4. What are some of William Rothman’s objections to the Van Sant Psycho, particularly in terms of the relationship between Hitchcock’s stylistic system and the creation of meaning?

Rothman's objection is that the same style Van Sant tries to copy can not have the same meaning or any meaning at all (Hitchcock minus, the audience will only see Van Sant's replication as just that..repetition, no meaning behind the dissolves or fades as Hitchcock did. Rothman states that Van Sant copied too closely to "generate any possibility of original meaning."

How does Leitch question some of Rothman’s assumptions about style and meaning?

Leitch questions how Rothman can deny Van Sant any authorship at all.

What are Timothy Gould’s objections to Rothman’s critical assumptions?

Gould argues that Van Sant is distinguishing himself from the "ordinary American moviegoer" and objects to Rothman having this powerful sense of knowing who has authorship and who does not. He feels Rothman was biased even before he wrote his book "Hitchcock - The Murderous Gaze."

5. Why is Hitchcock’s status in academic film studies particularly unique?

Hitchcock is considered "the first Hollywood auteur, receiving "inspiring reams of commentary from every corner of the critical world," based on Hitchcock's stylistic use of "camera movements, gestures, revelations, and philosophical premises, ...and uncanny gravity toward the characters."

What parallel does Leitch make between Naremore’s viewing of Van Sant’s Psycho and Leitch’s students’ viewing of Hitchcock’s Psycho?
Leitch was upset that his students would rather write a paper on a different movie or not even like Hitchcock's Psycho due to the increased expectations the students would have if comparing Hitchcock's Psycho to other suspense movies that we see today, such as I Know What You Did Last Summer. The parallel between the students and Naremore's viewing of Van Sant's Psycho is that Naremare was comparing Hitchcock's initial appeal as was experienced in the 1960's to the recreation of Van Sant's Psycho, as if there could actually be a comparison of which was better. Hitchcock's will always receive a better reaction because the shock effect surrounds Hitchcock's Psycho.

6. Why does Leitch suggest that perhaps Van Sant “out-Hitchcocks Hitchcock”? I'm not sure exactly Leitch is suggesting there. Perhaps that Van Sant stop trying to reproduce or reuse the style of Hitchcock. Leitch makes this final comment that could relate "the very act of defining Hitchcock as Hitchcock simply marks the distance between the Hitchcock we choose to embrace and the Hitchcock we choose to reject, and so condemns us logically to the desire we all share with Gus Van Sant: Hitchcock without Hitchcock." Possibly Leitch is making a statement that Van Sant is trying to pursue the Hitchcock we love without having Hitchcock actually directing.



Steven Jay Schneider, “Gus Van Sant vs. Alfred Hitchcock: A "Psycho" Dossier: Van Sant the Provoca(u)teur”

7. What thematic concerns does Schneider associate with Van Sant’s films, and how do these thematic concerns relate to Van Sant’s Psycho?

Schneider describes Van Sant films to have themes of "subjective experience of troubled, disaffected youths," "Van Sant has become one of the premiere bands of dysfunction, populating his films with a parade of hustlers, junkies, psychopathic weather girls, and troubled geniuses." For me, with the remake of Psycho, I feel Van Sant was creating a test for himself to see how he did on learning the style of Hitchcock to help him grow as a director, as well as pay homage to Hitchcock.

In relation to Van Sant's Psycho Schneider suggests that Van Sant's Psycho follows the similar themes of the troubled youths he would normally have in his films. The two main character's in Psycho are "young and dysfunctional engaing in criminal activity." Also, the road scenes are found in Psycho as Marion drives away from town. Van Sant also uses plots of the protagonist "fantasizing about the road of a ...more promising future."

8. How does Schneider relate the meanings of particular stylistic features in Van Sant’s Psycho to Van Sant’s other films?

Schneider points out that stylistically Van Sant uses signature styles such as "fascination with restricted vision (POV shots though binoculars or fingers, highlighted bits of text, iris-outs, first person narration, and eccentric casting choices." Van Sant "explores this subjectivity at both narrative and purely visual levels" which could be related back to Van Sant's Psycho using the same dissolves as Hitchcock.

9. How does Van Sant’s typical strategy of casting against expectation suggest new or different meanings in Van Sant’sPsycho? (Specifically the casting of Marion, Norman, and Lila?)

Van Sant knew that Anthony Perkins was openly homosexual and Perkin's boyish demeanour worked to his favor in creating the insecure Norman Bates. Casting Vince Vaughn, openly heterosexual, created a distinctive macho heterosexual identity. When deciding the actress for Marion, Van Sant chose Anne Heche, who in this point of time was "gay", creating a new meaning to Van Sant's Psycho, an "indifference to his heterosexual and possessive male gaze." "Van Sant's surprising and frequently criticized decision to have Norman masturbate to a peephole view of Marion stripping down in the bathroom (an example of restricted vision) may just have been a not-too-subtle means of reinforcing his heterosexual orientation in contrast to Perkins, who in the equivalent scene merely stares at Marion ineffectually." Julianne Moore's character was a more dominant "butch" character allowing her to take on independent role than that of Vera Miles.

Reading Response 3: Due January 25

Reading Response 3: Due January 25

Hugh Davis, “Shakespeare, He’s in the Alley”If you are not already familiar with the story of Henry IV (Parts I and II) and Chimes at Midnight, consult:

http://en.wikipedia.org/wiki/Henry_IV,_Part_1

http://en.wikipedia.org/wiki/Henry_IV,_Part_2

http://en.wikipedia.org/wiki/Chimes_at_Midnight

1. What are some of the broad characteristics of the “Van Santized Shakespeare” in My Own Private Idaho, and what are some specific ways in which Shakespeare is fused with contemporary Portland?

Van Sant used “Shakespeare to suggest the 'timeless' nature of the story, showing that the events 'have always happened, everywhere.'” This is compared broadly with the relationships between the love, companionship, father/brother roles, and the same troublesome reactions polictically, as a respected father mayor would have in the case of a mischeivious son.
Van Sant is reviving Shakespeare in his movie by using the street hustlers along the same storyl ines and “gritty quality” as Henry IV, “reworking dialogue and same basic plot.” He compares Scott to the King Henry IV's son, Prince Hal. Van Sant places Shakespearean clothing on some of the street characters, “evoking Elizabethean dress,” and “Michael Jacksonian outfit to suggest a court fool.”

2. What relationship do the characters of Mike and Bob have to the original texts?

Bob Pigeon is the traditional Falstaff (Chimes) “recognized by his girth, his age, and his wit, but Mike also takes the role of the knight in Vant Sant's film.” Bob is Scott's lover and “true father”. Scott is related back to being Prince Hal (of Henry IV). Hugh Davis, also examines a transgender relationship of Mike and Scott in relation to Falstaff's lover Doll Tearsheet. Mike is like a younger Falstaff to Scott, as Mike is following in the same footsteps of Bob, in regards to loving Scott, even though Mike doesn't trust Scott. Mike also goes to search for his mother in which the Henry plays, the mother is absent. Scott and Mike share a brotherhood in regard to the plays, and partial brotherhood/lover in Idaho.

Why does Chimes at Midnight become a significant frame of reference in addition to the original Henry IV plays?

Van Sant's film is a remake of Chimes at Midnight which is based off of Henry IV.

3. What are some of the effects of changing Falstaff from a “knight lowering himself” to street hustlers in Portland?

Falstaff as a knight lowering himself would only be different in that he was in a higher position with the King, from Henry IV plays. He was a street hustler in Van Sant's film from the beginning, which included the same type of character as a thief and immoral.
“Falstaffs are not slumming knights but are, in fact, characters of the slums and streets.”

What significance does the rejection of the Falstaff characters have in this new context?

The Rejection of the street hustlers would normally not be focused on near the end of the play/film, but instead Van Sant does focus mostly on them and the betrayel they feel from Scott (Hal). Van Sant is trying to ask the viewer what is more important “money and prestige” or loyalty to “friends, family, and the lives touched.”

Why does Davis argue that Van Sant seems to align himself with the Falstaff characters?
Van Sant continues the story with the “oft-marginalized characters, instead of heading off to see the king,” as most endings of movies/plays do. Davis is creating a link between Van Sant's sympathy toward these characters as he would would like society to see him, perhaps as a personal attention or that of an “indie” filmmaker.

4. How does the changed context affect our understanding of Scott Favor?

Scott was built up to be an almost personal savior for the street hustlers, especially with calling Falstaff his “true father”, although being his lover. His companions he left by the side and turned his back on Falstaff. Scott is now viewed in a light to show the “universal and timeless pain” he has caused to those were closest to him.Michael Newman, “Indie Culture: In Pursuit of the Authentic Autonomous Alternative.”

5. Why does Newman believe that “indie” is a distinction not determined by an industrial definition?

Newman believes that "indie" is more of a culture than that of just the way that it is produced. The "indie" culture is focused at the consumer who feels he/she is more of an individual on an off-beat path from the normalities of society (mainstream). He argues that "indie" is a taste culture that also satisfies the "privilege of a social elite of upscale consumers."

What does Newman believe is the “tension at the heart of indie cinema and culture between competing ideals and realities”?

On one side, the indie cinema feels that they are the solution to the "shit shovelers," mainstream that constantly produces the same type/style (indies argue with the mainstream lack of style) of films, portrayed as a "mindless conformity,... contaminating its audience and causes deleterious effects." The other side of the argument is that "Indie" cultures "serves the dominate opposing structure." He elaborates more on this with the two examples of the film, Happiness and the VW ads, "Sunday Afternoon" and "Milky Way." The "indie" followers, from this document have an ideal that if ever the "indie" films or music should interact with mainstream, that they are no longer, "indie," which is definitely not the situation all the time.

6. Newman argues that “there was a stable cluster of meanings associated with “independent,” and that these meanings span various artistic forms and their audiences.” What were these meanings, and what artistic forms were associated with them?

Newman points out the "cluster" of meanings associated with being "independent", such as "alternative, hip, edgy, uncompromising," with these terms surrounding not only movies and music but also with clothing, creating an "autonomy" from mainstream. Newman points out that "autonomy and authenticity are markers for the ('Indie') purity and that mainstream is

Within this discourse, how do independent filmmakers maintain or lose credibility?

Such examples would be of the music group, Nirvana. Even with Nirvana diving into "mainstream" they still tried to maintain their "indie" credibility with wearing a t-shirt that says "Corporate Magazine Still Sucks" on the cover of 1992 Rolling Stone magazine. Also, Soderbergh continues to display an “experimental aesthetic” to his films. The filmmakers can can keep their credibility as long as the “indie” culture doesn't feel like they are “sell outs.” If an artist becomes too popular, (now part of the “dominant culture,” they are considered mainstream, threatening their “indie” (different from the rest, The Other) credibility.

7. What does Newman argue was the “major shift in the popular understanding of “selling out” and its relation to alternative credibility”?

Mainstream and alternative culture can be successful working together. Newman argues that there is no cut and dry line that separates mainstream from alternative media. A major shift in seeing the positive side to both working together would be in the examples he used such as The O.C., “using indie bands on the prime time network” “In the late 1990s there was an upsurge of popular music being licensed for use in tv commercials, such as Moby, Fatboy Slim, and Nick Drake.” Which Nick Drake being “indie” music in the 70s, was brought back for the “Milky Way” VW commercial, causing the same sales upon airing the commercial as it did when he was actually alive.

8. How does Newman support the claim, “Like traditional high art, indie cinema appeals to an audience who has the wherewithal to appreciate it, which is to say knowledge and interest, and a community of like-minded people.”

Newman discusses that “like-minded” people have the same taste or likeness in style of the “indie” culture, such as the music being known as “college rock,” inferring the “indie” culture as not only those who would be in this classification at a certain “education level but also that of a social class.” Newman describes “indie” as “radical, challenging the central status quo, diverse, and democratic (anyone can make it).” From what I gather, “indie” culture is diverse, but almost a popular diversity, which then is it really that diverse since it is so popular to be different?

9. Why does Newman suggest that the example of Todd Solondz’s Happiness “reveals how the indie scene attempts to have it both ways: it seeks autonomy but also profit, authenticity but also a marketing push, art without the taint of commerce but enough commerce to make the art pay.”

I watched the trailer for Solondz's Happiness, and I thought to myself, if the movie is good, then why couldn't someone make money at it? Why isn't the “indie” culture happy if someone can make money, instead of automatically assuming that they are sell-outs? A main goal of “indie” film is to make uncompromised films, Soderbergh is mentioned as one that has reach success and continued with his “indie roots” with Erin Brockovich, Out of Sight, and Ocean's Twelve. With these movies, Soderberg was able to infiltrate the alternative culture into mainstream.

What role did Universal actually have in the distribution of the film, and how does this complicate the claims about artistic autonomy?

Universal's CEO, Ron Meyer, rejected the film due to a masturbation scene, to save any defense he would have to make with the stockholder's concern about the morality in the movie. Although, Universal turned right around and gave money to the distributor, in case the film did well, to gain profit. Solondz's tried to use Universal for the release of this alternative film, complicating the “indie” culture by using a mainstream distributor. The desire of “indie” culture is to be “aloof from anything that seems too driven by the values of business culture,” but yet sought out the mainstream distributor in hopes of getting the “art pay.”

10. Why does Newman conclude the following about critics who condemn the mainstream co-optation of indie culture: “A central problem with this perspective is that it gives too much uncritical credibility to the “authentic” subculture, failing to identify its function in maintaining class distinction. It also, crucially, misrecognizes the relation of indie culture to commercial culture as one of actual autonomy—as if such a thing were possible.”

Using mainstream to help facilitate the distribution on “indie” culture has been happening for decades now. Any critic that condemns the use of mainstream co-optation with indie culture has lost sight of being able to have any kind of support for the indie culture. The two cultures both use each other for their own mutual benefit, the alternative media gets introduced to a broader part of the world, and the mainstream is able to use the indie culture to develop within the elite a sense of being different, example VW ads with Nick Drake music.

Reading Response 2: Due January 20

Reading Response 2: Due January 20

Jim Hillier, “US Independent Cinema since the 1980s” [Contemporary American Cinema, p. 247-264]

1. What have been the various uses of the term “independent” in American cinema since the 1947 Paramount Decree, and what are some of the broad characteristics of so-called independent cinema of the 1980s and 1990s?

The 1947 Paramount Decree was designed to encourage independent production, and many stars established their own production companies. Many of the financing was received from less conventional sources than a major film would, as some of these films “were not intended for showing in regular theatres.”

A few broad characteristics of the “independent” cinema of the 1980s and 1990s include: aiming at a “niche” audience, having their own “stylized camera work, editing, or narrative organization”, usually made and distributed outside of major “studios.”

2. What impact did home video and cable television have on independent film production in the 1980s, and which studios and distributors emerged in this period?

With revenue decreasing from independent films, heading toward more home video and cable TV, production companies headed toward a more conventional approach of narrative style and content targeted at a “youthful” audience.

Describe the “continuum” suggested by Hillier to describe the range of producers and studios associated with independent film.

Gradually, an increase of production companies moved more to being “partial independents” dabbling with major studios to fund their films. Vestron, New Line, and Cinecom, Miramax, Circle, and Goldwyn were also reaching out to major studios for funding their “art cinema.”

3. What were the two consensus “defining moments” for American independent cinema in the 1980s and 1990s, and what where the consequences of those films? How did the films affect the relationship between independent studios and the larger Hollywood industry?

The two “defining moments” was the success at the Sundance Film Festival in 1989 “Sex, Lies and Videotape” and winning “best film” at the Cannes Film Festival, and the major success of Tarantino’s Pulp Fiction. A Pulp Fiction phenomenon was started, and critics argue about the movie even being an “independent” film with the star power of John Travolta and Bruce Willis, creating a blur between the boundary of Hollywood films and Independent films.

Which major studio subsidiaries became associated with independent production in the 1990s and 2000s (with Disney, Time Warner, Sony, Fox, Universal, Paramount)?

Fox Searchlight, Disney’s owned Miramax, Time Warner’s – New Line, Fine Line, and Castle Rock, and Sony’s – Red Mullet (Screen Gems).

4. In the Miramax sidebar: How did the evolution of Miramax help blur the definition between “independent” and “studio” productions?

When the major companies were purchasing a lot of independent films, it is noted that the “independent” became “dependent” on the major companies to help finance them, thus taking away from what being an “independent” film would suggest, which is the ability to produce and distribute independently of major studios. The success with some of Miramax’s “independent” films, like Pulp Fiction, Sex Lies and Videotapes, and The Crying Game acted as (a shot in a million) examples of what other “independent” films could perhaps become, a sort of false hope and relying less on themselves.

5. How does Hillier describe the career trajectory of Gus Van Sant in 2001, and how does he re-evaluate his assessment in this more recent article?

Hillier describes Gus Van Sant's career moving from “indie” to more corporation in 2000, with a short-term visit back to “indie” with his films such as Gerry and Elephant. Hillier feels that the two movies, Gerry and Elephant, could be considered more a “new phase for Van Sant rather than a return to his independent beginnings.”

Kristin Thompson, “Modern Classicism”

6. What are the characteristics of “post-classical” filmmaking, and why does Thompson disagree with the term as a description of recent filmmaking practices?

According to Kristin Thompson's article, Hollywood has lost its ability for story telling. Kristin explains that "post-classical" filmmaking began, 1970s, to be more based on an "'auteur' label" that was brought about by a "youthquake" of such directors as George Lucas, Steven Spielberg, and Martin Scorsese. Some critics argue that the new Hollywood is different from classical Hollywood because of the change in editing (faster frame up to 2000 cuts, editing), camera movements or angles and the lack of mainstream complexity, "America's Scariest Police Chases". However, Kristin argues that Hollywood is still using the same cause and effect motivation, goal oriented movies since the early 1900's.

How does Thompson use Jaws to support her argument?

Kristin uses Jaws as an example of how classical story telling is still used in some of the most classic movies along. She states, "if a character behaves in a way that is contrary to his or her traits, the classical narrative will offer some explanation." Chief Brody's fear of water is actually used as to enhance the dramatic emotion behind his goal of being in the water to kill the shark and save his family. Jaws is still using classical cause (he must save his family and community from the killer shark) and effect (he will have to face his fear of the water). Thompson also uses Jaws, an action movie, to discuss the four-part structure of a film. I feel she chose Jaws because it was an action film which some may argue lacks the character development and complexity. However, Thompson demonstrated that Jaws did have 4 part structure, with moments of shark action, but more importantly smaller details (compared to shark attack), such as camaraderie between the men forming a team to defeat the shark, was a turning point, adding goals and new tactics to the storyline.

7. What specific techniques do Hollywood narratives use to achieve clarity and unity?

Several stylistic techniques are used for narrative clarity such as:

"Intercutting, distant framing of the action early in a scene to establish the locale and who is present in it, analytical editing of breaking the space into closer framings making the action more comprehensible, match on action, compositions centering around the most important characters/objects, and shot-reverse-shot"

8. What are the characteristics of Thompsons four large-scale parts of Hollywood narratives, and how do they help her provide a more nuanced analysis of the script of Terminator 2 than Syd Field’s three-act approach?

Thompson uses the four-part structure of setup, complicating action, the development, and the climax. Other guidelines are mentioned along with the four-part structure such as turning points, and midpoints. The end of the setup would not be until all parts of the story have a beginning or “structural foundation.” In Terminator Syd ends the first act when “the Terminator rescues John from the T-1000” however Thompson’s 4 part structure feels that the “relationship between the Terminator and John have not been defined.” The Complicating action is getting Sarah out of the Hospital and using the T-1000 to be an immediate threat, (an example of what Fields would consider a plot point), as an indicator moving into the development. With this plot point Thompson is showing that Fields analysis cannot fit into a clear-cut ¼, ½, ¼ pattern.

9. Attempt to break down the structure of Even Cowgirls Get the Blues according to Thompson's model.

Using Thompson’s four-part structure, Even the Cowgirls Get the Blues, 120 minutes, can be broken up into the following part:

The Setup would consist of introducing all of the main characters, Sissy, The Countess, Debbie, Deloris, and Bonanza Jellybean and establishing their relationship to one another, ending at the 35-minute mark. The Complicating action is centered around Sissy’s loyalty to the Countess and her new found love for Jellybean as the conflict arises over Jellybean leading the cowgirls in their rebellion against the Countess’s control at the Rubber Rose Ranch, ending at their standoff, 48 minutes in to the film. When Sissy meets the Chink is the turning point into the Development, moving the story forward in two different directions, one of the cowgirls keeping the whooping cranes on the ranch, and the other of Sissy going to the Doctor to remove one of her thumbs. Another turning point is when Sissy decides to go back to the ranch to be with her love Jellybean, 76 minutes. Moving into the Climax, Sissy, the police, and the cowgirls are all at the ranch waiting for each other’s next move. The fall of the climax is when Bonanza and Chink are shot and finally the Countess gives the ranch to the Cowgirls, followed by the monologue of the brown paper bag, 120 minutes.

Reading Response 1: Due January 11

1. Briefly compare and contrast The Discipline of D.E. and Mala Noche in terms of film style (mise-en-scene, cinematography, editing, sound).

Mala Noche and The Discipline of D.E. both present the film in black and white, excluding when the credits are scrolling in Mala Noche. It's interesting to note that we are comparing The Discipline of D.E., directed by William Burroughs because he has made the biggest impact on Gus Van Sant as a mentor. Both of the movies use narration to guide the viewer, several extreme close-ups in the cinematography and low lighting (lots of shadows). In contrast, Mala Noche uses a great deal of diegetic and non-diegetic music, versus The Discipline of D.E. that has no music, and no diegetic sound until the very end of the movie when the two men at the bar are conversing.

2. Briefly comment on the narrative structure of Mala Noche. How is it similar or different from Classical Hollywood narrative?

In Mala Noche, the first to notice is the lighting. In Classical Hollywood, three point lighting is used, which is not the case in Mala Noche, using natural lighting or the props being used as the true lighting (no hidden lights). Also, In Classical Hollywood, the film is wrapped up into known conclusion leaving no doubt as to what has happened to the characters. However, in Mala Noche, the ending is ambiguous with Walt still longing for Johnnie, never to know if they end up together or if Johnnie will get deported again. The film is similar with continuity editing trying not to draw attention to the editing itself with each scene creating a reason for the next. The mise-en-scene is very realistic as to the run down environment Walt lived in and the store he worked in. In Mala Nochea multitude of extreme-closeups are used which is different from classical hollywood where only a few may be seen.

3. Briefly re-state the following passage in your own words: “By conceptualizing authoring as a technique of the self, as a citational practice, an individual person ‘authors’ by duplicating recipes and exercises of authorship within a cultural and institutional context that understands such acts as agency and repetition of such acts as signs of individuality. Moreover, acts that differ from dominant expressions may become favored performatives of authorship for minorities because they distinguish the speakers’ expression from other dominant authoring expressions.”

By giving life to ideas and explaining them, the 'authors' tell their story through their own perceptions influenced by individual cultural and institutional forces. People favor expressing their individuality more than a generalized perception because it speaks more of their individuality and more closely reflects their own personal agency.

4. In your own words, briefly define the six tactics associated with minority authorship.

Alter Egos can either be an expression of the author him/herself, or a character that the author wishes to be.

Silence is used as a way to express the individual character by means of art or some form of art as pictures representing a thousand words.

Repetition is a favorite of Gus Van Sant, ranging from "mimicry to paraody or camp". Repetition is used as a means of expressing a point or idea.

Recombination for minority authorship is the formation of new combinations, a hybridization of ideas, so to speak.

Inversion uses the opposite of the dominant role to give the viewer a perception of reality different from the "norm".

Accentuation uses a moment that elaborates a particular idea.

5. What point does Staiger make when she compares critical speculation about the intent of using Shakespeare in My Own Private Idaho with Van Sant’s own comments about his use of Shakespeare in the film?

Staiger is making the point that Gus Van Sant is trying to use the same homoerotic illusion of latent homosexuality in My Own Private Idaho versus Shakespeare's boy actors.

For Staiger, how does Van Sant’s comments partially explain his use of intertexual references in many of his films?

Staiger uses Van Sant's comments to explain the alter ego presented in a couple of his films.

6. What is the relationship between Van Sant’s use of intertexual references and what Staiger calls his “post-gay” stance?

Staiger establishes that Van Sant relates with the homosexual minority but doesn't want to be defined only as a gay director.

7. Briefly explain why Staiger argues that ironical repetition is Van Sant’s foundational authorial tactic.

This tactic is evident in Van Sant's films through his use of accentuating "off-beat" plots as would Andy Warhol with his pop-art.

8. How is the casting of Van Sant’s Psycho an example of the tactic of inversion?

Van Sant's Psycho was a play on Alfred Hitchcock's Psycho, with Van Sant using Vince Vaughn known as a heterosexual as Norman Bates when Hitchcock used a gay actor previously. Also, using Anne Heche who at one point was thought to be a lesbian, creating a new meaning of "lesbian deflection" from Vaughn's "gaze". Inverting the character's based on their personal lives as would Hitchcock do in his films as well.