The characterization of Cyrus in The Warriors (1979)

The man himself -- Cyrus. Can you dig it?

In Walter Hill's The Warriors (1979), the character of Cyrus is present in but a single scene, for he is killed within the first half hour. Nonetheless, his brief appearance is replete with characterization. He is at once vehement and eloquent, commanding total respect and attention from his audience; an intellectual and a strategist, considering his ambition to run New York through a massive, unified gang; and a true leader, with all of his followers pledging allegiance. Whereas all others in the courtyard setting are darkly lit, crowded together, and uniformly dressed, Cyrus is in the spotlight, in the center stage, in the garb of a king.

"Photos of People Who Deserve to Die?" (Chase Jarvis)

This article, by Chase Jarvis himself, details a series of posters and billboards that have been appearing recently. They proclaim various niche groups who, as seen at left, "deserve to die." However, this is a front to raise awareness; a visit to the campaign website reveals the organization's true message: that no one deserves to die, regardless of societal labeling. The question posed by the article is whether or not this tactic works; put simply, because of the massive (albeit often negative) attention it generates, yes. It does work. As they say, any publicity is good publicity. Read the article! Follow Chase's blog! Yes!

Ten Themes: "When You Find Me" (2012)

"When You Find Me" is the product of Canon and Ron Howard's collaborative effort inviting consumers to help to inspire a Hollywood production.

See previous post for deeper explanations and further examples of the Ten Themes of Storytelling (and also to add to my view count.)

The Ten Themes of Storytelling

I. MOOD - CONVEYS ATMOSPHERE OR TONE

This photo depicts a woman who, due to the smeared makeup and sad expression on her face, appears to have been crying. The shallow focus of the photo is on her face; as it is intended to be the subject, it is in focus whereas the decidedly irrelevant background is out of focus. The mood of the photo is further communicated through a high angle/bird's-eye view with height taller than that of the subject, which, combined, make the subject appear vulnerable or powerless -- as a crying woman would ostensibly be. Finally, the employing of the rule of thirds (the woman's eyes and mouth lie on intersection points) guarantees that the subject will be emphasized above all.

Film Review: Ju-on: The Grudge (2002)

Ju-on to watch this film. *ba-dum tish*

Ju-on: The Grudge (2002) is the third installment of Takashi Shimizu's Ju-on series, and the first to be released theatrically. The film depicts six interconnected stories all centering on a house in Japanese suburbia and the people associated with it. This is no ordinary house; it is plagued by the curse of a deceased man and his murdered wife and son, as when one dies "in the grip of a powerful rage," such a curse is created.

"Clarity" Treatment

In a forest, a boy, sitting on a log in a clearing, ponders his existence. Things are always the same. He thinks of the torture, the pain, the anguish of his everyday life. He considers the teasing and the bullying, the pressure, and the ennui. But most of all, he dwells on the loneliness. He has no friends, no companions, not even any acquaintances. He's a loner--he, himself, and him, all alone in this cold world.

In town, the boy, sitting in a chair in the school office, ponders his existence. Noting a flier for a local group therapy session, he scoffs. No one understands his struggle. No one can relate to him. Hell, no one even tries. He's a loner--he, himself, and him, all alone in this cold world.

In the forest, just like every day, the boy approaches his log. Out of the corner of his eye, he sees something new. A carving on a tree. Long ago, in despair, he had carved a note reflecting his feelings. However, what he saw was not what he remembered. A new mark. Just two words: "What's wrong?"

A flurry of emotion sweeps over him. Embarrassment, relief, doubt, clarity, happiness, sadness. But most of all, confusion. He looked around. Had someone really found his spot? What did they want? Did they really care? Did someone... care?

Oral Research Part 4 - Narrative

IV 

The five minute excerpt which I've chosen to analyze takes place from 1:07:37 to 1:12:37. Here, Dae-su and Mi-do trace their target's clues to Dae-su's old school, Evergreen High School, where he and the antagonist--discovered to be his former classmate Lee Woo-jin--were fellow "Old Boys" (that being the school's mascot). Dae-su's investigation and cell-phone conversation with high school friend Joo-hwan digress into a discussion of Woo-jin's sister, Soo-ah, and her whorish ways. Enraged, Woo-jin, who had been listening during the entire conversation, murders Joo-hwan. Both hero and villain subsequently suffer emotional breakdowns.

I chose this section because it serves as a sort of transition from the mystery "whodunit" atmosphere of the Oldboy's second act into the third act, in which Dae-su gains his vengeance and redemption. In creating this scene, director Park Chan-wook incorporates nearly all of the film's most prominent themes as well as some of its most genius screenwriting, beautiful cinematography, engaging score, and fantastic performances.

The significance of this selection as far as the overall narrative is that it bridges the gap between the film's mystery and its resolution. Dae-su and his companion Mi-do, in the beginning of the scene, follow the antagonist's clues to his alma mater, where they discover the identity of Dae-su's imprisoner. Woo-jin's motive is hinted at but not revealed in its entirety as he has an emotional outburst at the implication that his sister was, to put it appropriately, very sexually active.