Hello, my faithful readings public. I’m ashamed to have gone almost an entire month (!) without exercising my rights to free speech here on this pedantic and personal platform. It’s been a crazy month, even on the visual culture front, but I have come out the other side only a little worse for the wear. Here’s what’s been going on:
- I was hired as an employee of the CAMS Production Office here at Carleton, which means that I am getting to get paid to get more acquainted with the technologies of my media (and also tear my hair out when the equipment checkout system is failing us…)
- I got to hang out with Focus Features CEO James Schamus quite a bit two weekends ago, including having the immense honor of introducing him as the Convocation speaker on the Friday of 5th weekend and seeing the very first American showing of the new movie Tinker Tailor Soldier Spy
- I wrapped shooting on my dear friend Sam D’s short film The Incredible Owlbear, for which I was serving as chief audio technician and sound recordist, which is a glorified way of saying ‘kid who holds the boom’ (albeit looking badass…)
- I beasted a midterm in Film Theory, a midterm in Film History I, and a 10-page research paper on Marlene Dietrich in Vogue magazine during the 30s, all within 48 hours. (And then I slept.)
- I realized what I’ve been missing out on by not watching German Expressionism — finally seeing Fritz Lang’s M was revelatory.
- I also made a couple of videos for Nonfiction, one which was a group oral history (fantastic) and one which was an ‘observation of a place or process’ (a watch of gales in a chapel — video still uploading, link to be added shortly).
- I learned how to jump-start a car. With jumper cables. This is a useful skill.
The biggest thing, though, is realizing how awesome it is to be really digging into what I love, which is film and media production and consumption and analysis and synthesis. All day er’ryday, as they say.
When my life calmed down for half a second yesterday evening when I got done with class, I decided to just watch something that I’ve been meaning to for quite some time, which ended up being the Maysles brothers’ The Beales of Grey Gardens. It is the new 2006 Criterion edition of the classic 70s documentary about Jacqueline Kennedy’s interesting East Hampton relatives, re-edited entirely from footage that was shot at the time but not used in the first edit. I was both fascinated and made uncomfortable by the film, and given that I have not actually seen the original cut of Grey Gardens, I know what my next free-time viewing experience will be — you can expect some musings on the two pieces in contrast to and concert with each other in (hopefully!) the near future.