Jul 8, 2014
The filmography, animation and themes of Japanese auteur Hayao Miyazaki has enthralled the world all over through his works; ranging from the blockbuster Princess Mononoke to the award-winning fantasy Spirited Away. One of the most compelling attributes of Miyazaki's work is his nuanced and carefully rendered portrayals of female protagonists in his stories. What makes these characters so compelling and different from one another while serving an overall similar function is where Miyazaki shines in the shojo genre. Cinema Studies major (and Vice President of the OU Classic Hollywood Club!) Tayler Mandziara provides an excellent primer to the genre and to the impeccable films of the recently retired filmmaker.
"The Silver Surfer has been described as the Cosmic Messiah, even in this piece, and numerous of writers over the years have attuned his story to that of Jesus (if Christ rode a silver surfboard among the galaxies during the Summer of Love that is)..."
- Tobi Ogunyemi, in Toomie, My Surfer.
The Silver Surfer is one of the most iconic characters in all of Marvel Comics' canon, since he was created by the greats of Jack Kirby and Stan Lee in 1962. So why is he considered to be so difficult to write everlasting stories for? Just like that of DC Comics' Superman, there is the perceived concept that overwhelmingly 'powerful' characters such as these two hold no drama to them since they can by all means just do everything. Not only is this completely false and wrong, but the fact that they can do everything and 'do the impossible' can be creatively incorporated into their characters.
Which is thankfully what the startling team of Dan Slott, Michael and Laura Allred have done for the current volume of 'Silver Surfer' on All-New Marvel NOW!, and what the new addition of John Romita, Jr. looks to bring with Geoff Johns on DC's Superman #32 as well.
Focused on Paul Thomas Anderson's Oscar-winning epic and from the exact analysis of Cinema Studies major Bradley Cooper, the ideologies of There Will Be Blood stretches out to the encompassing nature of America's dynamic and history involving gender, racial, sexual parameters - especially through the overall aspect of 'white patriarchal capitalism', embodied by Daniel Day-Lewis' Daniel Plainview. Dominance. Greed. Hatred. Power. Ruthlessness. What fuels this man and his ambitions, and what does the film say of how these influences drive the ambitions of the country that gave raise to him?
May 27, 2014
The 67th Cannes Film Festival ended just this past Sunday (Winter Tales! Julianne Moore! Xavier Dolan?) and in a great surprise and honor, we were invited by the website Taste of Cinema to list a comphrensive collection of 25 of the best Palme d'Or winners (or top winners of the festival in general since it wasn't always the Palme).
Check out the list we were able to come up with; everything from Fellini's La Dolce Vita to Scorsese's Taxi Driver, Coppola's Apocalypse Now, Campion's The Piano and much more! Let us know what you think of the list, if we got it right or we just missed everything that was good.
Thanks again to Taste of Cinema for the opportunity, and we're looking to have some more articles with them down the line.
'Parachutes.' 'A Rush of Blood to the Head.' 'X&Y.' 'Viva la Vida.' 'Mylo Xyloto.' And now with their latest entry in their discography, 'Ghost Stories,' the British rock band Coldplay seem to be going back to their roots and less of the big featured singles that the group has become very well famous for. Do they achieve this mark with their latest outing? Well, we'll let our good friend Steve Killius (a self noted 'Coldplayer,' and that's a term we won't likely forget soon) talk us through the latest Coldplay album in his stellar review. Is it a grand attempt, a noble effort or something more in the sky?
May 23, 2014
"College is the stage where society dictates that you have to start becoming an adult, whether you like it or not. So the narrative that Anderson presents is like catnip to that arena, like a moth wearing horn-rimmed glasses and an old cardigan being drawn to the flame."
- Tobi Ogunyemi, in A Funny Happened on the Way to the Grand Budapest Hotel.
May 23, 2014
In relation to our essay on Wes Anderson and his film, Grand Budapest Hotel, we wanted to look into the nature of the auteur theory in its classic defintion and how it might apply in a modern context with currently working directors. With the theory being a celebration of artists where there originally wasn't thought of being any art, could the same theory be licensed to those aren't considered as good of artists or even directors? With the theory in play from an overall stand point, regardless of tastesm could directors like Bay, Perry and Snyder be auteurs of their own style like that of Boyle, Coppola and Payne?
It's an interesting thought, and we couldn't think of anyone better to discuss this with than OU Cinema Studies Professor Hunter Vaughan. The discussion leads into the auteur theory, other faculties of the filmmaking process that can be seen with an auteurist slant, Anderson and much more.
Like all auteurs, appreciating and embracing their style is in itself an acquired taste (which might be the perfect description of an auteur and their style in general). One taste that we are looking at here is Wes Anderson in accordance to his latest film coming out earlier this year in Grand Budapest Hotel. The nature of portraying the transitions of youth, and other capstones in life, is something very appealing in Anderson's work.... or not, and you could suffer from choking on the elaborately tied scarves.
Either way, as someone who is not a fan of their work, Tobi touches and analyzes why exactly (it's not just the notion of hipsterism, which is a factor) and reviews Grand Budapest Hotel which isn't totally hated at all!
Also, we love Léa Seydoux. But then, we're sure you already knew that.