December 31

Matrix A Trans Film Revisiting The Wachowskis Through A Trans Lens

Matrix A Trans Film Revisiting The Wachowskis Through A Trans Lens

We’re about to see a lot more criticism of siblings Lana Wachowski and Lilly Wachowskis’ films through a trans lens, with The Matrix Resurrections by Lana Wachowski set to hit theatres. It’s something I look forward to. There aren’t many Hollywood movies or pop culture that have openly trans creators.

Lilly Wachowski is quoted in The Wachowskis. Sensing Transgender by Cael M.Kegan. The Matrix is the most beloved film of the Wachowskis and is perfect for trans reading. Andrea Long Chu, a Vulture critic, summarizes it as Neo has Dysphoria. The Matrix defines gender binary. Transphobia is the agent. You get it.

The Wachowskis’ art could become static and trans art, as I caution them. Our understanding of the Wachowskis work and identity politics can be influenced by celebrity culture, identity politics, and ritualization of coming out. Although it would be easy to see the Wachowskis’ canon of trans-oriented films, this could lead us to rely too heavily on auteur theory in film.

The Director Is The King

Francois Truffaut, a filmmaker-critic, first coined the Auteur theory in 1954. He advocated original films directed by directors with distinctive stylistic signatures. Since Andrew Sarris in Hollywood in 1960s adapting the theory for Hollywood, the theory has been controversial but is now very popular. He suggested (in tongue-in-cheek), that the director IS king.

The director is the visionary behind the film according to the Auteur theory. Recognizing the signatures of filmmakers can be rewarding but a solid film should not be dependent on them. The auteur theory emphasizes the personal lives of storytellers in their public work. It’s easy to confuse authentic representation and marginalised storytellers when we speak about pop culture.

Trans Stories And Trans People

It makes sense that trans people tell trans stories. But, this quickly turns into an argument that trans people can only tell trans stories. This is particularly true for trans identities. Trans people do not always come out before sharing their work.

It is highly probable that Hollywood’s history has seen many trans filmmakers, we just didn’t know it. This logic had a profound impact on the Wachowskis’ 1996 feature, Bound. Keegan points out that the film was consider to be the most iconic lesbian cinema of the time. Their success in Hollywood is not due to their being in the closet. Lana was born in 2010 between the time she direct Speed Racer and Cloud Atlas. After threats by the Daily Mail, Lilly was forced to come out in 2016.

It begs the question, If the Wachowskis never came out (especially Lilly’s, as she was force to), would these films still feel transgender? Their stories would still be a hit with many fans who have come out since The Matrix. It’s possible. Many trans people identify with stories about finding your true self, and fighting to liberate others from the constraints of normative living.

Unique Career Path

Without the Wachowskis’ unique career path, could a box-office smash like Jupiter Ascending, which is both ambitious and charmingly girlish, have been possible? It’s gratifying to retrospectively analyze their work as trans. Keegan recognizes revisitation as part of trans meaning making but it would not be satisfying to limit one director’s filmography. This is a chance to examine the limits of auteur theories and to consider how much we can rely on the personal lives of directors to influence the way we perceive media.

The danger of Auteur theory is that it leaves out interesting narratives about gender from directors (and other filmmakers) who aren’t out in the closet or simply tell insightful stories without actually being. To find the metaphors of love, and monstrosity in Guillermo del Toro’s films that resonate strongly with our experiences, we don’t have to look for a trans crew member. We can just as easily watch Alien and Hackers and think oh, that’s my gender.

This argument that only trans creators can tell stories is dangerous. It implies that people are naturally deceitful if they keep their private lives and privacy safe. It must be accept that anyone can tell a compelling story about gender.

December 31

Reasons Why Die Hard Really Is A Christmas Movies

Reasons Why Die Hard Really Is A Christmas Movies

It’s the time of year when everyone gathers together to watch Christmas movies with their families. In some circles of film history, this debate is now as important as the meaning of Rosebud in Citizen Kane and whether Greedo or Han Solo shot Star Wars first. This is so important that YouGov conducted a poll and concluded that Die Hard was not a Christmas movie.

Three themes are at the heart of the arguments about the Christmassiness movie from 1988, commercial, cultural, and creative. The intentions of the people involved in the making of the film are the basis for the creative argument. The creative argument would be strong if John McTiernan, the director, and Steven De Souza, the writer, have both confirmed that Die Hard is a Christmas movie.

The Cultural And Commercial Arguments Movies

Commercials argue that Christmas movies are usually release around Christmas, and therefore are intend for families. Die Hard, however, was release in summer 1988 in the United States. It was clearly intend for adults. This argument that a summer movie can’t be Christmas movies is not support by even the most basic examination.

Holiday Inn, a perennial favorite, where Bing Crosby sings Irving Berlin’s White Christmas was also release in summer 1942. No one disputes that it is a Christmas movie. Even the remake of White Christmas was release in October 1954. A Christmas film is not require to be close to Christmas.

It’s A Christmas Movies For Nine Reasons

According to Mark Connelly’s introduction to Christmas at the Movies, the most common understanding of a Christmas movie is that the Christmas theme or motif is central to the film. This includes It’s a Wonderful Life as well as the various versions of Charles Dickens’s A Christmas Carol.

But there’s another category, of films that just happen to set around Christmas, a group that includes films such as the murder mystery The Thin Man and the mercenaries-in-Africa violence-fest The Wild Geese. This is the category that Die Hard falls under.

These The Nine Christmas Motifs Found

  • Die Hard’s basic story is about a man who returns to his family for Christmas.
  • Holly is Holly’s wife.
  • It is held on Christmas Eve. It is not Thanksgiving or Fourth of July. Week of the calendar, but it wasn’t.
  • Hans Gruber, the chief villain, is played by Alan Rickman. He explicitly invokes Christmas spirit.
  • Gruber is the classic bad capitalist villain. He’s there to take money. As Old Man Potter did in It’s a Wonderful Life.
  • The soundtrack includes Christmas tunes old and new: Run DMC’s “Christmas in Hollis” and Frank Sinatra’s rendition of Let it Snow.
  • Santa Claus appears (in the form a dead terrorist).
  • The film ends with Argyle, the limo driver (Devoreaux White), looking forward to New Years Eve.

Point nine, perhaps the most important argument, is that Christmas was a socially constructed tradition. It continues to evolve and adapt like all traditions. Films don’t have to contain religious references or a man wearing a red suit. Christmas is constantly changing and so what counts as a Christmas flick has grown tremendously.

The Ultimate Christmas Eve Action Movie Double Bill is a tradition at Chapman: Die Hard and James Bond’s On Her Majesty’s Secret Service. After Bond spying on Diana Rigg at the beach, we take a break for dinner and then get to Gruber jumping from the 30th floor in Nakatomi Tower at 9:30. Just in time to watch the Christmas dinner episode of The Vicar of Dibley again.

December 31

Hidden Maths Behind Our Favorite Christmas Films

Hidden Maths Behind Our Favorite Christmas Films

What makes Christmas so special? A selection of elements can influence our feelings of nostalgia and trigger happy memories, good feelings, and emotional vulnerability. Element can be either positive (your favorite carol) or negatively (COVID), and each one adds to our individual experience. These elements make up the genetic makeup of each Christmas experience. They are update annually as new elements emerge.

This is also true for our favorite festive films. Each film focuses on seasonal themes to help the audience identify. Films about Christmas can set against snowy backgrounds, offer melancholy moments or offer a myriad of enchanting yuletide moments.

Beloved Christmas Movies

The story must make meaningful use of Christmas in order to be consider a Christmas movie. Yes, Die Hard qualifies. Netflix’s Christmas Chronicles is about a family that has lost their father. It immediately plays on the sadness of the situation. It’s a subtle way that the writers play with our emotions, using pockets of this element at various stages.

Welcome to element philosophy. The Christmas elements are use by scriptwriters to tell their stories, composers to add sleighbells, and producers to get us to purchase tickets. The element placement determines how emotional rollercoaster ride we have. Their positioning within the film’s length is just as important as the element itself.

Natalie Haynes, a film writer, explains how Christmas movies put characters through the wringer. For example, in It’s A Wonderful Life George Bailey kills himself because he sees his life as a failure. Haynes suggests that Christmas movies place love above money and family over gain, and add some magic to the entire affair. Sometimes, they don’t have to be Christmas movies. Meet Me in St Louis stars Judy Garland.

The Independent’s 20 best Christmas movies 2020 suggests that seasonal elements are important. To enjoy and identify with festive films, viewers need to be familiar with the direction and have a sense of humor. There are screenwriting templates that can be used to create dramatic structures, such as Blake Snyder’s Save the Cat. But where should these elements be located in the film’s timeline?

The Golden Ratio Christmas How Can It Be Apply

The golden ratio, a mathematical proportion found within nature such as the shell pattern or the sunflower’s shape, is a mathematical formula. It’s a mathematical way to divide a length into two parts so that the ratio between the shorter and the longer portions equals the ratio between the lengths of the long portion and the whole length. It is also known as the golden or divine proportion. Artists from all walks of history have tried to reproduce it in music, painting, and architecture.

After seven years of research, I found that the golden ratio can fit any situation if you pay enough attention. The pyramids were originally designed with the golden proportion in mind. However, a pyramid of this size will have many patterns, including that golden ratio.

I was looking for a way to allow people to use the golden ratio as a modern-day model and not as something that is imposed upon a piece or building. The Marley system was create so that creatives could use this time-based measurement device to match the golden rate philosophy to performance. It also ends an age-old argument about analysis, Is it use?

My article on the golden ratio and the formula for hit musicals was publish by The Conversation in May 2021. The Marley system is a method of identifying key elements in films that intersect at points determined by their duration.

The length of physical objects is usually measure using the golden ratio calculation. These measurements are then apply to the duration of seconds, minutes, and hours using the Marley system. The durations are divide by 1.61803 (the golden ratio), and then a point is add to the film’s timeline.

Golden Ratio Point

It’s A Wonderful Life’s main golden ratio point is at 4,820 seconds. This when George’s Uncle Billy’s business takes are lost on Christmas Eve. Another golden ratio point can found by multiplying the original golden ratio duration with 1.61803, and so forth, until we reach 16 points.

The golden ratio is a traditional symbol of beauty and aesthetic beauty found in nature. A sweet spot in film is a moment that reinforces our understanding or enhances enjoyment. This includes the scene in Love Actually, where Hugh Grant dances around Number 10, thinking he’s all alone.

After calculating the film’s golden ratio points, we can analyze which plot elements (sweet spot) are running in parallel. It’s Christmas so I decide to try the concept to see if patterns are evident in seasonal movies.

I used The Independent’s top five Christmas movies 2020 to create the Marley system. This allowed me to find any alignment between element activity and golden ratio points over the course of five Christmas movies

The pattern was then use to identify important plot elements. These elements were compare against the plots of each film to establish their importance. These points were rank higher than the other genres because they contain more relevant elements.

Analysis reveals that there are alignments between plot elements and the golden ratio in each film. But the question is: Do these alignments highlight the story’s arc?

This research employs the analytical approach to determine what appears in terms of the movie’s plot at golden ratio points. However, it does not mean that the writers used the golden ratio as an emulation for creativity. It is simply a sign of interesting alignments. It is ultimately up to the filmmaker’s creative genius whether or not a movie is visually pleasing.