Munirah's Arts Journalism Blog

Final Draft of Final Project

2008-03-17T17:24:00.001-04:00

“Just An Ordinary Girl, Living In An Extraordinary World”

By Munirah McGovern

Her concerts sell out in minutes; after earning $3.9 million last year, she’s 17th on the Forbes list of the top 20 earners under the age of 25; her television show is aired in 178 countries; and in 2006 she beat the previous record set by Beatles and Elvis by having seven singles simultaneously on the Billboard singles chart. Jacques Steinberg of the New York Times describes her as “Britney Spears, only more chaste.” Time Magazine has dubbed her “Hurricane Hannah”.
Who is this sensation? None other than the name that thousands of tween (generally 8-12 years old) girls scream at remarkably high decibel levels at her concerts…Miley Cyrus, also known as Hannah Montana.
Hannah Montana is the alter ego of Miley Stewart on the wildly popular Disney channel show of the same name, in which Miley Cyrus plays the Hannah Montana/Miley Stewart character. By day, she is Miley, an everyday teenage girl in junior high, while by night she puts on a blond wig and transforms into her secret identity of Hannah Montana, the teen pop sensation. Addressing issues such as disagreements with friends, bullies, (sometimes unreciprocated) crushes on boys, and arguments with friends, the show appeals to those who seek entertainment that they can personally identify with, and has attracted fans off all ages.
The show works to portray the message is that celebrity and real life are not synonymous and that happiness comes from being true to yourself, and does a admirable job of depicting a character that is able to do just that. Geoff Edgers of the Boston Globe refers to Ms. Cyrus’ life as “a teenage girl living out a fantasy” just like the character she plays, praising her for staying true to herself without giving in to the pressures of fame.
Parents and children can agree that her appeal stems from her “girl next door” appeal and ability to connect with her fans on a personal level. Michael Cairns, managing director of Disney Channel Australia, agrees. “The fact that Miley plays such a normal girl is the key to her appeal. Hannah Montana offers an inspirational quality that tweens worldwide can relate to," he says.
“I'm definitely more like the normal girl. . . . I always want to stress to everyone who watches the show that I'm there to be like a friend and someone to help them through their lives” says Cyrus in an interview with “The Washington Post”. She is true to her word, spending time with her best friends whenever she can, and devoting as much time as she can to her fans. Her family has kept her grounded while steering her away from abusing her fame and recent earnings, giving her $300 allowance each month according to an interview with “The Daily Mail”.
Sarah Castellanos, a parent who has attended a Hannah Montana concert with her children, looks to Cyrus as someone worthwhile for her children to look up to, as she explained in an interview with Chuck Barney of “The Courier Mail”. ''She's a good role model -- all pure and wholesome. There's not that much of that going around these days.'' Andrea Morris, mother of 10-year-old Lily Morris and a recent attendee of a Hannah Montana concert, agreed in an interview with Beth Whitehouse of “Newsday”. "I think every girl - everybody - wants to be a star. She lives a regular life and had celebrity status at the same time. If you had to pick a role model or someone to be crazy about, she's not a bad one. She seems to have a good moral compass, as opposed to Britney [Spears], or Lindsay [Lohan], or somebody silly like that."
At a time with many young girls are looking for a role model, and many parents unnerved by the now well-known exploits of celebrities such as Britney and Jamie Lynn Spears, Miley Cyrus is a welcome sight. “To millions of parents unnerved by the spectacle of the Spears family, and to millions of girls still figuring out how they feel about boys, Ms. Cyrus's defiant spirit is the key to her success,” says New York Times music reviewer Kelefa Sannah. While some still follow the exploits of Britney Spears, Paris Hilton, and Lindsay Lohan, many observers of popular culture hope that the sudden popularity of Ms. Cyrus and Hannah Montana will begin a shift in public interest to more worthwhile and praise-worthy celebrities.
Cyrus was catapulted onto the national stage less than two years ago when she auditioned for a role on a Disney channel show that was to become Hannah Montana. Rejected after her first audition because producers thought she was too young for the role at only 11 years old, she came back on her own to audition two more times, finally landing the role after executives admired her resilience and stubbornness, as well as what a Disney executive referred to as her “cool confidence, intuitive comic timing, and a husky singing voice.” Her voice has been compared to country/folk singer-songwriter Mary Chapin Carpenter’s, and her comic ability to comedienne and actress Lucille Ball. At a time where people like Paris Hilton can become famous by simply abusing their famous surname, the path that Cyrus followed to fame is a refreshing one.
Adoration of celebrity idols is common, but parents and researchers all around are glad that this new target of tween adoration is truly worthy of the attention. "Every once in a while you get a kid who is apparently a little more grounded," said Gail Satler, a professor of sociology at Hofstra University.
Some believe that Cyrus may be doing too much too soon, and others speculate that she may eventually follow the career path of celebrities like Britney Spears. Cyrus’s father, Billy Ray Cyrus –known for his 1992 hit “Achy Breaky Heart”, and currently playing a well-known role as Cyrus’s father on “Hannah Montana”—has dealt with fame himself, and spoke to Chuck Barney of “The Courier Mail”. ''Our No. 1 rule is love what you do, be happy and be true to yourself and the music.” Cyrus has had several small “scandals” in recent months, with pictures of her sharing candy with female friend at a sleepover being leaked to the public, as well as some recent pictures of Cyrus in her underwear, which proved to be photo-shopped, but the majority of her fans still believe that she is worthy of their respect.
Cyrus’s close relationship with her family has been well documented, especially her connection with her parents. "Having my parents close is the big thing. No one else is going to be there 100 percent for you except your parents and they give me a really solid grounding" said Cyrus in an interview with “The Daily Mail”. The daily support and care that she is surrounded with by her family, in addition to her often professed wish simply be an ordinary teenage girl who is lucky enough to be able to live their dream, is enough to leads observers to believe that in the case of this tween pop idol, it may all work out in the end.
Offering talent with an attitude to match, the dual personas of Hannah Montana and Miley Stewart are a dream come true, not only for parents and children seeking someone in the entertainment industry worthy of admiration, but for Miley Cyrus who has come so far. With songs such as “True Friend” and “Nobody’s Perfect”, she provides inspiration to her contemporaries who are dealing with the pressures of life as a teenager. Not in a hurry to grow up too fast, and eager to be a role model for her contemporaries, Cyrus is able to live the life she wants, full of shopping and best friends and being a teenager, while still being a figure worthy of praise and adoration.
As she sings in her song “Just Like You”, "I'm a lucky girl / Whose dreams came true / But underneath it all / I'm just like you."

Article related to final project

2008-03-17T17:14:00.010-04:00

"I won't become the new Britney, says Hannah Montana star Miley Cyrus"

A relatively long piece at close to 2,000 words, this article is packed full of information about Cyrus's life, career, family, friends, etc. This made it very helpful for me or anyone wanting to learn more about her, but the article seems to read like a list of Cyrus's accomplishments at times. The piece covers most of Cyrus's life as well as giving some detail about what she's currently working on. The lede is interesting and should catch many readers' eye, and the kicker is adequate, though the very similar first sentence in the last two paragraphs is a bit repetitive. The author doesn't seem to show much of an opinion on Cyrus for much of the article, spending some time simply recounting parts of her interview with Cyrus instead, but in the final few paragraphs the reader gets a sense that the author is rooting for Cyrus to not go the route of those like Britney Spears and Lindsay Lohan.

http://www.dailymail.co.uk/pages/live/articles/showbiz/showbiznews.html?in_article_id=533551&in_page_id=1773

Who's Afraid of Virginia Woolf-revised

2008-03-17T15:45:00.000-04:00

Many view Valentines Day as a stereotypical day of romance: roses, candlelit dinners, chocolates etc. The decision to set the opening night of the Whole Art Theater’s “Who’s Afraid of Virginia Woolf” on Valentine’s Day offers a different view of love, with a close look at the interaction of two couples in a position of having nothing to lose and a lot to get out in the open.
Edward Albee’s “Who’s Afraid of Virginia Woolf” portrays the raw truth about relationships, offering a deeper look into two couples that from the outside seem to be living normal American lives. George and Martha are the older couple, both with ties to the university in town, Nick and Honey, at a party and invite them over for drinks. Things begin normally, but as time passes and both couples become more and more drunk, George and Martha begin to use their company as an audience to whom they can air their troubles. The evening continues to spiral downward with much airing of dirty laundry, with the situation seemingly evolving into a competition over who can disgrace themselves the most. Drinking in excess all the while, the two couples tear into each other, as well as each lashing out at their own spouses, until the dam finally breaks and the evening ends.
Albee’s classic play is brought to life at the Whole Art under the direction of Randy Wolfe, offering another look at a show that has been well-known for more then four decades. George and Martha (played by Richard Philpot and Martie Groat Philpot respectively) put everything out in the open, and the chemistry between the Philpots (real life husband and wife) only adds to the shocking pull no punches style of the play. Both give convincing performances, making viewers admire the acting, if not the behavior of the characters themselves. Nick (played by Trevor Maher) is an awkward character with much bravado, and while Maher seems ill-suited for the role, he plays him well as a character while doing his part to defend himself and his wife against the onslaught of emotions brought forth by George and Martha. His wife Honey (played by Carol Zombro) is awkward and mousy, with large emotional swings and a strong liking for brandy. Zombro plays the character to an extreme, giving Honey a cartoonish quality at times, but it works within the play because everything around her is strong and over the top as well. She is able to make Honey a character that the audience both pities and is annoyed by, which makes play all the more interesting to watch. The chemistry between Maher and Zombro is not nearly that between the Philpots, but their awkward relationship seems fitting.
The Whole Art’s version of this play is styled in-the-round, and it leaves no place to hide: the audience surrounds the stage and views the show from all angles as the storyline plays out. On a set portraying a simple living room, with one of the most important pieces of furniture being the shelf where the numerous liquor bottles are stored, the actors bring Albee’s classic play to life over the course of three hours.
The play is long to some, with only two 10-minute intermissions, and the plot may be a bit confusing at points, but the quality of acting along with the shock and awe of the story line and dialogue, will keep most viewers’ attention throughout.

first draft of final project

2008-03-03T21:06:00.000-05:00

Munirah McGovern
Final project-First Draft
3/3/08
Tickets to her concerts sell out in minutes, she’s 17th on the Forbes list of the top 20 earners under the age of 25 after earning $3.9 million last year, her television show is aired in 178 countries, and in 2006 she beat the previous record set by Beatles and Elvis by having seven singles simultaneously in the Billboard singles chart. Jacques Steinberg of the New York Times describes her as “Britney Spears, only more chaste.” Time Magazine has dubbed her “Hurricane Hannah”.
Who is this sensation? None other than the name that thousands of tween girls scream and remarkably high decibel levels at her concerts…Miley Cyrus, also known as Hannah Montana.
Hannah Montana is the alter ego of Miley Stewart on the wildly popular Disney channel show of the same name. In a scenario often leading to confusion from those unfamiliar to the show, Miley Cyrus plays the Hannah Montana/Miley Stewart character. By day, she is Miley, an everyday teenage girl dealing with school, friends, and boys, while by night she puts on a blond wig and transforms into her secret identity of Hannah Montana, the teen pop sensation.
What is the key to her success? Parents and children can agree that her appeal stems from her “girl next door” appeal and ability to relate to all her fans on a person-to-person level.
The show portrays the message is that celebrity and real life are not synonymous, and that happiness comes from being true to yourself. Geoff Edgers of the Boston Globe refers to Ms. Cyrus’ life as “a teenage girl living out a fantasy” just like the character she plays, and praises her for staying true to herself without giving in to the pressures of celebrity.
“I'm definitely more like the normal girl. . . . I always want to stress to everyone who watches the show that I'm there to be like a friend and someone to help them through their lives” says Cyrus.
Andrea Morris is the mother of 10-year-old Lily Morris and an attendee of Hannah Montana concert at Nassau Coliseum a few months ago. "I think every girl - everybody - wants to be a star. She lives a regular life and had celebrity status at the same time. If you had to pick a role model or someone to be crazy about, she's not a bad one. She seems to have a good moral compass, as opposed to Britney [Spears], or Lindsay [Lohan], or somebody silly like that."
Sarah Castellanos, another parents who has attended a Hannah Montana concert with her children, looks to Ms. Cyrus as someone worthwhile for her children to look up to. ''She's a good role model -- all pure and wholesome. There's not that much of that going around these days.'' Michael Cairns, managing director of Disney Channel Australia, agrees. “The fact that Miley plays such a normal girl is the key to her appeal. Hannah Montana offers an inspirational quality that tweens worldwide can relate to," he says.
In an day and age with millions of teenage girls looking for someone to idolize, and millions of parents horrified by the ongoing saga of Britney Spears going off the deep end, along with the recent news of her 16 year old sister Jamie Lynn’s pregnancy, Miley Cyrus is a welcome sight. “To millions of parents unnerved by the spectacle of the Spears family, and to millions of girls still figuring out how they feel about boys, Ms. Cyrus's defiant spirit is the key to her success” says New York Times music reviewer Kelefa Sannah. While some still follow the exploits of Britney Spears, Paris Hilton, and Lindsay Lohan, many observers of popular culture hope that the sudden popularity of Ms. Cyrus and Hannah Montana will begin a shift in public interest to more worthwhile and praise-worthy celebrities.
Ms. Cyrus, the daughter of Billy Ray Cyrus (best known for his hit “Achy Breaky Heart back in the 90s, and who also plays her father on the show) was catapulted onto the national stage less than two years ago when she auditioned for a role on a Disney channel show that was to become Hannah Montana. Rejected after her first audition, she came back on her own to audition two more times, finally landing the role after executives admired her resilience and stubbornness, as well as what a Disney executive referred to as her “cool confidence, intuitive comic timing, and a husky singing voice.” Her voice has been compared to Mary Chapin Carpenter’s, and her comic ability to Lucille Ball. At a time when many children of celebrities ride their parents coattails to fame, where people like Paris Hilton can become famous for not doing much other than carrying the Hilton name and then use that name to get opportunities most only dream of, the path that Ms. Cyrus followed to fame is a refreshing one.
Adoration of celebrity idols is common, but parents and researchers all around are glad that this new target of tween adoration is truly worthy of the attention. "Every once in a while you get a kid who is apparently a little more grounded," said Gail Satler, a professor of sociology at Hofstra University.
While some may grumble about Ms. Cyrus’s quick rise to fame and others predict that she’ll soon follow in Britney Spears’ footsteps and burn out from being pushed to be too big too fast, Billy Ray Cyrus has an answer for that. ''Our No. 1 rule is love what you do, be happy and be true to yourself and the music.” Mr. Cyrus says that his daughter has been able to remain a normal teenager, even as her star continues to rise, with love and support from her family, one that has already has had experience dealing with fame.
Bringing talent with an attitude to match, the dual characters of Hannah Montana and Miley Stewart are a dream come true, not only for parents seeking someone in the entertainment industry that they can with conscience allow their children to look up to, but for Miley Cyrus who has come so far. Not in a hurry to grow up too fast, and eager to be a role model for her contemporaries, Cyrus is able to live the life she wants and still be a figure worthy of adoration.
As she sings in one of her songs, "I'm a lucky girl / Whose dreams came true / But underneath it all / I'm just like you."

Different Look Oscars Still Deliver

2008-02-25T17:19:00.000-05:00

Last night’s Oscars marked the 80th year that the awards ceremony has been held, and as always, it was a night of celebration, jokes, expensive outfits, and tearful acceptance speeches.
This year’s ceremony was different from past years in that it fell 2 weeks after the resolution of the writers’ strike, and until recently many thought the ceremony might not even occur. A number of stars did not even attend this year, though there were new faces such as Ellen Paige (nominated for a best actress award for her role in Juno) and recent teen pop sensation Miley Cyrus.
John Stewart made the evening fun and laidback as the host, as he touched on various current events and happenings throughout the show. Stewart only had 8 days to prepare for hosting the show (his second appearance filling the role), but he did an admirable job of making the crowd, both in the Kodak Theater and watching at home, laugh at his jokes between awards. He opened the show by remarking, “Oscar is 80 this year, which makes him the automatic front runner for the Republican nomination,” and continued to make the audience laugh throughout.
“These past three and a half months have been very tough. The town was torn apart by a bitter writer's strike, but I'm happy to say that the fight is over," Stewart said. "So tonight, welcome to the makeup sex."
The surprise of the night was all four top acting awards going to foreign actors and actresses. In the two sure things of the night, Spaniard Javier Bardem won for supporting actor in "No Country For Old Men," and Brit Daniel Day Lewis picked up his second best-actor Oscar for "There Will Be Blood”. For the actresses, Frenchwoman Marion Cotillard was the surprise winner of the best-actress award for her portrayal of the late Edith Piaf in "La Vie En Rose", while Brit Tilda Swinton took home the supporting-actress award for her work in "Michael Clayton."
The biggest winners of the evening were the Coen brothers, who took home three Academy Awards, including best directing, best actor, and best picture.
Other winners included "The Bourne Ultimatum" for editing, sound editing, and sound mixing, and "Ratatouille" for best animated film.
“Juno,” which garnered a lot of Oscar buzz, was nominated for several awards such as best actress and best picture, but only ended up with writer Diablo Cody picking up the award for best original screenplay.
Another surprise was the best-song award, which went to "Falling Slowly" from the film "Once”. Glen Hansard and Marketa Irglova, who play the two main characters in the film, are real-life musicians who wrote all the songs for the film.
"What are we doing here? This is mad," Hansard said. "It took us three weeks to make. We made it for a hundred grand. We never thought we'd come into a room like this and be in front of all you people."
Many of the top awards this year went to films dealing with heavy subjects, leading Stewart to remark "Does this town need a hug? What happened? 'No Country For Old Men,' 'Sweeney Todd,' 'There Will Be Blood?' All I can say is, thank God for teen pregnancy. I think the country agrees," Stewart said, referring to best-picture nominee "Juno."”
As a whole, the evening lacked some of the glitz and glamour that previous years have had, but this wasn’t entirely a bad thing. Although some familiar faces were missing, all the winners were deserving, the show went off without a hitch, and was well received by viewers.

NYT defense

2008-02-21T10:37:00.004-05:00

Kelefa Sannah has written for the New York TImes since 2000, and has written for The Village Voice, The Boston Phoenix, and The Source. He attended Harvard, where he was the eputy editor of Transition Magazine which is based at Harvard and discusses issues of politics, race, and culture. He has also played in several bands himself, including 2 while at Harvard. (http://en.wikipedia.org/wiki/Kelefa_Sanneh)
In "A Wild Welcome to a German Teen-Pop Band" Sannah discusses the arrival of the band Tokio Hotel in the U.S. for a series of concerts. Sannah describes the band as "a goth-punk boy band influenced by the darkly theatrical love songs of HIM and AFI and led by a sexy androgyne with spectacular hair," an act that "scrambles musical categories in a way that seems ideally suited to the current era". His lede paints the picture of the "few hundred" fans waiting in line outside New York's Irving Plaza for that night's concert, showing how the band is known worldwide for their unique style. He praises the lead singer (Bill Kaulitz) for his voice and presence, but is unimpressed with the other band members, referring to them as "underwhelming" and saying that they "trudged, sometimes clumsily" through their set. The but in this review comes at a literal "but" in the middle of the 6th paragraph, where Sannah criticizes the rest of the band for their lack of presence, especially compared to Kaulitz. He ends the review on a positive note though, remarking on on Kaulitz, "who should, with any luck, be thrilling and perplexing young Americans for the rest of the year" and praising one of the band's biggest hits for being "effective" and having a "pleasing sense of devolution".

this article can be found at
http://www.nytimes.com/2008/02/20/arts/music/20toki.html?_r=1&ref=todayspaper&oref=login

Who's Afraid of Virginia Woolf

2008-02-18T14:37:00.001-05:00

Many view Valentines Day as a stereotypical day of romance: roses, candlelit dinners, chocolates etc. The decision to set the opening night of the Whole Art Theater’s “Who’s Afraid of Virginia Woolf” on Valentines Day offers a different view of love, with a close look at the interaction of two couples in a position with nothing to lose and a lot to get out in the open.
Edward Albee’s “Who’s Afraid of Virginia Woolf” portrays the raw truth about relationships, offering a deeper look into two couples that from the outside seem to be living stereotypically everyday American lives. George and Martha are the older couple; George is a professor at the nearby university, while Martha is the daughter of the university president. One evening they meet another couple, Nick and Honey, at a party and invite them over for drinks. Nick is a professor of biology at the university, while his wife Honey is a mousy and awkward homemaker. Things begin normally, but as time passes and both couples become more and more drunk, George and Martha begin to use their company as an audience before which to air their troubles. The evening continues to spiral downward with much airing of dirty laundry, with the situation seemingly evolving into a competition over who can disgrace themselves the most. Drinking in excess all the while, the two couples tear into each other, as well as each lashing out at their own spouses, until the dam finally breaks and the evening ends.
Albee’s classic play is brought to life at the Whole Art under the direction of Randy Wolfe, offering another look at a show that has been well-known for more then three decades. George and Martha (played by Richard Philpot and Martie Groat Philpot respectively) put everything out in the open, and the chemistry between the Philpots (real life husband and wife) only adds to the shocking pull no punches style of the play. Both give strong as convincing performances as a part of an unorthodox married couple. Nick (played by Trevor Maher) is an awkward character with much bravado, and Mr. Maher plays him well while doing his part to defend himself and his wife against the onslaught of emotions brought forth by George and Martha. His wife Honey (played by Carol Zombro) is awkward and mousy, with large emotional swings and a strong liking for brandy. Ms. Zombro plays the character to an extreme, giving it a cartoonish quality at times, but it works within the play because everything around her is strong and over the top as well.
The Whole Art’s version of in the round style theater leaves no place to hide, as the audience surrounds the stage and views the show from all angles as the storyline plays out. On a set portraying a simple living room, with one of the most important pieces of furniture being the shelf where the numerous liquor bottles are stored, the actors bring Albee’s classic play to life over the course of three hours. The play may seem long to some, with only two 10-minute intermissions, and the plot may be a bit confusing at points, but the quality of acting along with the shock and awe factors of the story line and dialogue, will keep most viewers’ attention throughout.
“Who’s Afraid of Virginia Woolfe” will play February 22, 23, 29 and March 1 at 8:00 pm at the Epic Theatre, 359 South Kalamazoo Mall. Tickets are $20 general admission, $14 seniors, and $10 students.

"In Treatment"

2008-02-11T14:42:00.000-05:00

Some TV shows rely on star power for ratings, while others play up dramatic, violent, or romantic elements to catch the attention of viewers. HBO’s new series “In Treatment” centers around a therapist who helps others during the week before consulting his own therapist on the weekends to come to terms with his own mixed up life. The interest of the series lies in the unusual and different: the therapist who also needs therapy, patients who demand answers to questions such as whether they should have an abortion, or those who have problems from experiences that are very relevant today, such as the Iraq War. The show is based on the Israeli TV series “Be’ Tipul”.
The central character of the show is psychoanalyst Paul Weston (played by Gabriel Byrne, known for his roles in “Little Women,” “Stigmata,” and “The Man In the Iron Mask”) who sees his patients in his modest and stereotypical office, complete with a couch for the patient and a large chair for Paul himself. Each episode of the 30 minute long show, which runs Monday through Friday, features a different client visiting Paul in his office for a therapy session. His patients’ reasons for visiting him range from marriage problems to anxiety and confusion over past actions, and each episode’s interaction brings its share of awkward moments and new problems for Paul to deal with.
The show is very simple and uncomplicated, with two main settings (Paul’s office, and the office of Gina, his friend and former therapist), leaving the interest in each scene to come from the appearances of the actors themselves. The patient Laura (played by Melissa George), a woman who is confused about her life path and believes she is falling in love with Paul, appears in a simple black dress from a night out on the town, but her acting brings the character to life. Simple dialogue also adds to this effect, leaving the speech and facial expressions that the actors incorporate into their acting to show the true emotions of the show.
“In Treatment” goes in depth into the subject of therapy, which is both an important and common phenomenon today. With simple acting and sets that accentuate the unique and compelling story lines, it makes for a new and interesting series that should attract many new viewers with interest in a show that places the focus on acting rather than the script.

Oscar Wilde Response

2008-02-06T17:45:00.001-05:00

In Oscar Wilde's piece "The Critic As An Artist", Wilde discusses the different facets of arts criticism with the use of two characters, Ernest and Gilbert, who discuss criticism and it's worth. Wilde argues that criticism is art, and in many ways equally important as because criticism can not be done without art to criticize. He stresses the importance of criticism as a way to interpret art for the public, and the concept that a critique can be well-written and informative even if the art itself is not held in high regard. His criticism of the art itself seems much more extreme than that of the critique, which made me think that that distinction contributed to his reasons for favoring the critique over the art form itself. Wilde defines criticism as art by describing it “the purest form of impression,” placing it above even the usual definition of art. While I did see Wilde's point, and agreed with him on the idea that criticism as also an important form of art, his assertion that the criticism transcends the art it criticizes was a little strong for me to agree with. In my eyes, that assertion not only devalues the criticism itself by playing down the importance of the art being criticized --at one point he states “Anybody can write a three-volumed novel. It merely requires a complete ignorance of both life and literature.”--because without art to criticize, criticism could and would not exist. Also, when he raises criticism to such a high level, it goes above and beyond the definition of criticism that I believe in. Giving such weight to criticism not only devalues the art form(s) that was its source, but makes it so that criticism should be held to a high standard and very carefully scrutinized if it's going to be so deeply valued.

Kael response

2008-02-04T14:30:00.001-05:00

Over the course of her career, Pauline Kael reviewed over 2846 films and became a living legend in the industry, working as the lead reviewer for the New Yorker from 1968-1991. She was revered for her original viewpoints and attitude towards film, but there were also those who openly criticized her for inaccuracies and repetition of common themes in her reviews. However, no matter their position on her work, the majority respected her strong opinions, dedication, and new approach to reviewing.

Kael quickly rose to prominence in the industry, working at the New Republic for a short period of time before being offered a position at the New Yorker. Holding a position of power by being the lead movie reviewer for the New Yorker, she wanted to review as many films as possible, even fighting to review controversial or even pornographic films. Hallmarks of Kael’s work were her appreciation for all types of films, reluctance to speak badly about films, actors, or directors, and a tendency to discuss much more than the film itself. She had such an admiration for the genre of film as a whole, and her emotional connection to her work is clear in all her pieces. Her reviews garnered a large readership, as people looked to her for guidance and opinion as each new film was released, and she also attracted a younger readership group to the publication, which had previously been read mostly by the older and wealthier crowd.

A common thread through Kael’s work is the strong emotional reactions that she had to each film she watched. She tried to portray this emotion to her readers in a style of writing that was similar to how everyday people spoke about films so that she was simply describing the film on its own terms. The connections that she made to each film are evidence of her belief that “loving movies meant asking more of them than they could routinely deliver.” When she saw a film that didn’t measure up to her expectations, she had a hard time panning it, and so many times she would eventually write a review that went off in several directions rather than bluntly criticize.

Criticism of Kael centered mostly on her methods and the inclusion of other information and topics. Many viewed her as self-absorbed because of how clearly she portrayed herself in her work, with evidence of her “quirks and mannerisms” and sometimes evidence of inaccurate information used in her writing, while others viewed her reviews as discussions of everything but the film itself. Many viewed this as a negative aspect because until that point, almost all reviews had been simply a discussion and opinions on the film.

Whether viewed as a positive or negative, Kael revolutionized the industry of film reviewing by creating her own type of review. Opinionated, witty, emotionally involved, and making connections to other films, actors, directors, or even seemingly unconnected topics, Kael made a review into more than a simple pick or pan, and garnered a whole new audience in the process.

Once upon a time

2008-01-28T14:24:00.000-05:00

From the very first frames, Once is a film about simplicity, music, and the relationships that develop from these. The film’s music and what is left unsaid best tells the story of two people brought together in unexpected ways.
The lastest indie film from Director John Carney, Once tells the story of two people who meet by chance and discover what they each have to offer the other. Known simply as Guy and Girl in the credits, the actors simple interactions tell the story while leaving much up to the viewers’ interpretation. Guy, played by Glen Hansard, works in his father’s Hoover repair shop by day and works as a busker by night. He and Girl, played by Marketa Irglova, meet one day on the street as she passes his spot on the sidewalk as she walks through town selling roses. Their first interaction is short, and results in the awkward and comic scene the next day when she returns with her broken Hoover in tow. The two later end up in a music shop where they connect through an impromptu duet of one of his songs once they realize their shared love for music. While the duet is imperfect, the singing of it connects them more deeply and shows the viewer this without the use of dialogue.
Carney chose to cast musicians rather than actors for the roles in this film, choosing to focus on the music and let it speak for itself rather than employ more well-known actors with less pure musical talent. Hansard, a singer and guitarist for Irish rock group The Frames had a previous acting role in the film 1991 film The Commitments, but his co-star Irglova made her acting debut in the film. At times towards the beginning of the film Irglova’s accent makes it a bit difficult to understand her lines, but she becomes easier to understand as the film progresses. The story that Hansard and Irglova are able to tell, and the emotion they display to the viewer through song makes the film intriguing to many who may be used to traditional acting.
The songs in the movie are folky and acoustic, accompanied simply by guitar and piano throughout much of the film. In many cases, the lyrics tell the true story. In the case of Guy, he has just gone through a breakup soon before meeting Girl, and when she asks him about it he says that he’s fine. Only later, when playing a song for her and admitting that he wrote it for his ex, does he admit his true feelings.
Because the film was shot on a budget of about $160,000 and without high-tech video equipment, it has a home movie quality to it. At time this may make it seem informal, but it works with the simplistic story-line. Scenes like the duet are filmed from all angles, first focusing on one actor and then the other, then showing both together as they near the end of the song. The method of filming works well with the music, and adds dimension and detail to the plot.
The plot of Once centers around connection formed between two people at turning points in their lives. While simple, it portrays strong emotions and charms the viewer with its honesty, making it a realistic and intriguing film for all.

Response to "ABC Drama Takes on Science and Parents"

2008-01-23T16:46:00.000-05:00

"ABC Drama Takes on Science and Parents" By Edward Wyatt, New York Times (Wednesday, January 23)
http://www.nytimes.com/2008/01/23/arts/television/23ston.html?_r=1&ref=todayspaper&oref=slogin

In his review of a new show soon to premiere on ABC, Edward Wyatt draws information from several sources, discussing not only the show itself in depth, but the real-life issue of the theory of some vaccines causing childhood autism that it portrays in the premiere episode. The majority of the article is in fact about the controversy stemming from the issue in the premiere, using the show as a jumping off point to reach larger issues. I found this article to be informative, both about the show and the controversy surrounding its choice of issue to center its first episode around. Wyatt discusses the show and interests the reader in the premiere while also showcasing an important and controversial issue that many people don't currently know about.
The show, "Eli Stone", is centered around a man who suddenly begins to have visions that cause him to have second thought about his career choice as a lawyer for large corporations, eventually leading to his decision to work for the "little guy" instead. While the visions alone may seem to be a somewhat controversial subject, the first episode centers on his first case after the visions, a mother of an autistic child who is suing a pharmaceutical company on the grounds that she believes a mercury-based preservative in a vaccine to be the cause of her young son’s autism. This theory has been believed by many autism advocates for several decades, but studies have been inconclusive so far and pharmaceutical companies have not taken any blame for the fallout. Raising the issue in the show has proved to be very controversial, especially as several pharmaceutical companies such as GlaxoSmithKline and Sanofi-Aventis are prominent advertisers on ABC. The premiere of the show will air at 10 p.m. on Jan. 31

Response to "Women Are Never Front-Runners"

2008-01-23T16:24:00.001-05:00

The New York Times Op-Ed piece "Women Are Never Front-Runners" by Gloria Steinem is a bold and very well written discussion of women in today's society through several examples including Hillary Clinton's bid for president. Steinem's piece is a discussion of a phenomenon that is well known in our country but not always recognized for it's extreme relevance, especially now as the election of 2008 nears.
Beginning with a strong statement of opinion and purpose in her title, Steinem discusses the issue in a way that draws the reader in by her use of detailed examples in which she holds back identification of the subject. "The woman in question became a lawyer after some years as a community organize, married a corporate lawyer and is the mother of two little girls, ages 9 and 6. Herself the daughter of a white American mother and a black African father--in this race conscious country, she is considered black--she served as state legislator for eight years, and became an inspirational voice for national unity."

Steinem's assertions may seem bold, but they are based on fact, and are more true than many Americans would like to admit. "Gender is probably the most restricting force in American life, whether the question is who must be in the kitchen or who could be in the White House. This country is way down the list of countries electing women, and according to one study, it polarizes gender roles more than the average democracy." This piece is both interesting and informative, reminding us how our nation is behind others in many ways even though we consider ourselves the most powerful nation in the world, and showing that our nation can not afford to look past potential leaders simply because they are female.

Response to Screenwriters' Guild Strike

2008-01-23T16:08:00.000-05:00

The most recent news on the dispute is that screenwriters and producers are expected to hold talks this week to work towards resolving the issue. My personal opinion is that the producers should give in to the demands of the striking writers. They're not gaining much from not coming to an agreement, and every day they lose more and more revenue from the tv shows that are not being produced. The Golden Globes ceremony, which is usually heavily hyped and watched by many, was reduced to names being read off a list, losing the industry yet another huge sum of money. An offshoot of the strike is that tv stations are only showing reruns (which aren't interesting to many viewers who have already seen the episodes the first time around), and reality shows, which continues to add to the ridiculous repetoire of American reality tv shows where contestants will seemingly do anything for money or what they perceive to be fame. As I understand the issue, I think that the writers are justified in asking for a pay cut from shows that are shown online; if they contributed to the final product, they should receive a cut of the revenue from whenever that product is viewed, no matter the method of viewing. One can only hope that the situation will be resolved as soon as possible, but the problems that the strike leaves behind may continue to hurt the industry for months afterwards as the writers will be months behind in their work, resulting in a continued shortage of scripts.

Sweeney Todd Review

2008-01-13T23:11:00.000-05:00

Sweeney Todd Review/McGovern

Tale of Revenge and Wrong Will Captivate Even Skeptical Audiences

By Munirah McGovern

Although it’s billed as a story of love, revenge and gore, Tim Burton’s film adaptation of “Sweeney Todd the Demon Barber of Fleet Street” contains much more of the latter, which earns it an R rating. The film, also a musical, intersperses scenes of humor, despair, and song, and is yet another collaboration between Tim Burton and Johnny Depp.

“Sweeney Todd” tells the story of a man wronged and separated from his wife and daughter when deported on false charges by a judge wanting to steal his wife. Years later, he returns to London and his old barber shop, which shares a building with the meat pie shop owned by his old acquaintance Mrs. Lovett. He begins his plan by changing his name from Benjamin Barker to Sweeney Todd to start his transformation. In his search for revenge or “vengeance and salvation” as he sings in the film, he begins murdering those that come to his shop for a shave, working towards his eventual goal of exacting revenge on the judge who took away his old life. Mrs. Lovett helps Sweeney Todd out of love, hoping that he will marry her once he finally gets his revenge. They eventually concoct a plan to use his victims in Mrs. Lovett’s meat pies, which become an instant success and attract customers from all over London.

Sweeney Todd, played by Johnny Depp, becomes more and more crazed throughout the film, and his deathly pale skin and dark hair with dark shadows under his eyes seem to only intensify as times passes and the film reaches its final crescendo. Depp plays Sweeney Todd in such a way that viewers still have pity for the character even as they continue to be shocked by his actions as he murders innocent people in a search for the closure he so desperately seeks. Depp, whose other film credits include “Pirates of the Caribbean”, “Edward Scissorhands” and “Finding Neverland” also does his own singing in the film, and turns in an amazing performance as a character tormented by the past and a taste for revenge.

Helena Bonham Carter plays the character of Mrs Lovett, a lonely woman who longs for Sweeney Todd’s love and adds depth to the story playing opposite Depp in her quest for happiness. Nominated for an Academy Award for Best Actress for her performance, she has also appeared in “Harry Potter and the Order of the Phoenix”, “The Corpse Bride” along with Johnny Depp, and “Planet of the Apes”.

Tim Burton, nominated for an Academy Award for best director, directed the film in a very similar manner to many of his other movies. The lighting and costumes are very similar to those in “Beetlejuice”, and the supernatural aspects of the film are very similar to “Corpse Bride” and “Sleepy Hollow”. “Sweeney Todd” marks the seventh time that director Tim Burton has collaborated with Johnny Depp, and also is the fifth time he has directed his fiance Helena Bonham Carter.

Nominated for a total of four Academy Awards, “Sweeney Todd” is a brilliant and tragic story, and Tim Burton does a praiseworthy job of adapting the Broadway show into a compelling film.