Columns
-
MEDIA CURRENT: END TO CROSS-OWNERSHIP RULES?
In December 2011, the Federal Communications Commission (FCC) voted 3-2 to propose loosening media cross-ownership rules relating to a television or radio station and a newspaper. Under the new rules, cross ownership of a newspaper and either a television or a radio station would be allowed in the top 20 markets such as New York, Los Angeles, Chicago, Philadelphia, San Francisco-Oakland-San Jose, Dallas-Ft. Worth and Boston. The FCC isn’t expected to vote on the final rules in April 2012 at the earliest. Cross ownership rules were originally intended to limit media concentration particularly with regard to broadcast stations, cable stations, […]
-
The Blue Velvet Project, #62
Second #2914, 48:34 1. In the aftermath of the assault, Dorothy calls Jeffrey Don, her kidnapped husband’s name. Jeffrey tenderly corrects her. “No,” he says. She doesn’t seem to hear him: “Oh Don. Hold me.” Frank, Jeffrey, and Don, the three men circulating in Dorothy’s imagination. Don. Donny. “Little” Donny. The largely off-camera presence of the Donnys governs the logic of the film. 2. In David Mamet’s 1994 play The Cryptogram, Donny (“a woman in her late thirties”) has this exchange with Del (“a man of the same age”), in which she tells him that sometimes she wishes she was […]
-
The Blue Velvet Project, #61
Second #2867, 47:47 For the first time since Frank’s prolonged assault on Dorothy, the camera has shifted perspective, freeing us from Jeffrey’s gaze. A new space opens up, one that has not been revealed entirely before, with the kitchen in the implied space behind the camera, and the dark, cave-like shadow of the apartment door area occupying the frame’s center. Jeffrey—still in his black socks, humanized—crawls toward Dorothy who will, when he caresses her head, jolt as if bitten by a snake. The implication is that she is still enmeshed in Frank’s world, even though he is no longer physically […]
-
More New Year’s Resolutions for Filmmakers
In 2011 on New Year’s Day I posted “New Year’s Resolutions for Filmmakers” — 10 items filmmakers could embrace to improve their practice and thought processes for the year ahead. Last year, I thought about revising or updating it but couldn’t think of much to add. This year I looked at it again, and had some new thoughts. It’s still a decent list, and if you want to read something that will prod you in the gentle, empathetic, self-help-y manner of lists of these kind, a post full of to-do items you can file alongside “lose weight” and “be present […]
-
The Blue Velvet Project, #60
Second #2820, 47:00 Throughout this entire sequence, we never once see Dorothy from Frank’s point of view. In fact, the camera stays positioned entirely on Jeffrey’s side of the room, adopting, if not his precise point of view from within the closet, then at least his general angle of vision throughout. Even when we see Dorothy’s face close up, it is not from Frank’s point of view; we are never permitted to cross the invisible line that divides the room to see things from Frank’s side. On one level, this increases our identification with Jeffrey; for the most part, […]
-
The Blue Velvet Project, #59
Second #2773, 46:13 There is a tendency, with the passage of time, to soften the edges. If Blue Velvet is remembered as notorious, it is notorious in a faintly wholesome, Frank Capra, nostalgic way. The danger of nostalgia is that it drains away the extremes, and leaves you with a comfortable—but inauthentic—middle ground. Blue Velvet earns its tender glow only because that glow has had its origins in the black evil furnace of Frank. The frame brings to mind Walton Ford’s painting Malmaison (2008), and the momentary gap it suggests between victim and prey. That gap, that space . . […]
-
The Blue Velvet Project, #58
Second #2726, 45:26 1. The danger of the close-up, bringing the viewer ever nearer to the rage of Frank’s face. It’s almost clinical: a portrait of a madman and of an actor playing a madman. Reaching out to part Dorothy’s robe, Frank’s hand occupies nearly as much screen space as his face. And almost half the screen is in darkness, as if leaking in from some extra dimension. 2. Sergei Eisenstein, in his 1944 essay “Dickens, Griffith, and the Film Today,” wrote: We know from whence the cinema appeared first as a world-wide phenomenon. We know the inseparable link between […]
-
The Blue Velvet Project, #57
Second #2679, 44:39 The full and furious roar of Frank. The camera has just completed a somehow menacing lateral tracking shot passing very close behind Dorothy’s back. Frank, having deeply inhaled from the mask (as if to prepare himself for the performance that he—Dennis Hopper, not Frank—is about to deliver) is now contorted with fury and sorrow. And something else: terror. Terror, perhaps, for something he has summoned. Poem #259, stanzas two and three, from The Dream Songs, by John Berryman, goes like this: When worst it got, you went away I charge you and we will wonder over this […]
-
MEDIA CURRENT: YOUR TV FUTURE
Internet Video (IV) will play an increasingly important role in the distribution of independent “film.” Even for the few who still shoot, edit and distribute on 16mm or 35mm stock, your future – if only for marketing and promotion — is tied to the digital 1s and 0s that are redefining media and communications. IV distribution is restructuring release “windows” and revenue recoupment. Revenue opportunities through DVD sales are shrinking; the TV market (with the exception of HBO, PBS and some made-fors) is evaporating; international commitments are tougher to snag; and the once higher mark-up on educational sales is a thing […]
-
The Microbudget Conversation: What Is Your End Goal?
As the editor of this column it is my job to choose the contributors, shape the voice, and move the column in a forward direction. The last post really struck up a good conversation, and it is now clear that my decision to move the blog in a new direction would be a welcome change. This does not mean, however, that we will stop talking with micro-budget filmmakers on timely topics and take the time to check in on their latest projects. Despite what some people feel, one of the functions of this column is to help contributing filmmakers get […]
