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Reflection on examples of cinema as an open work Quentin Tarantino Part 2: open works director

Another director, several years after Welles, will perceive the film as a work open and usable in a personal way, Quentin Tarantino. Example of this concept is the film Pulp Fiction, the viewer sees in it the stories of many characters intertwine and touch over three days, but he is conscious only at the end when you close the circle in the restaurant.


to disassemble the complex puzzle of Pulp Fiction and you comeback according to the actual sequence of events, here is the film that would result (numbers in parentheses indicate the progress experienced by the viewer):
FIRST DAY. Vincent Vega and Jules Winnfield, two dapper gangster, talking cheerfully of this and that (the hash bars of Amsterdam, the cheeseburger in France called Royale and foot massage), while they perform the Their mission: to retrieve a mysterious briefcase on behalf of crime boss Marsellus Wallace (2). Killed three inexperienced criminals, despite one of them, hidden in the bathroom, discharges on a whole magazine without hitting. Jules thinks it is a miracle and says that will change lives (13). Vincent in the car accidentally shoots their hostage (14) and must therefore take refuge in the house of Jimmie (15). Marsellus sends him Mr. Wolf, "problem solver" machine cleans the blood and pieces of brain from the scrap yard before bringing them T-shirts and Bermuda shorts plays with fresh laundry Jimmie (16). Vincent and Jules go to breakfast. Zucchino and Bunny, a couple of thugs, sick of jewelers and shops liquor, decide at that time to experience the thrill of robbing a restaurant (1). Jules, now redeemed, rather than kill the robbers Grub gives him $ 1500 (17). Vincent then, is to deliver the case to Marsellus, who is getting the Apulia Butch Coolige to sell its next meeting, finishing fifth in the shot ko (3). In the evening, Vincent buy heroin from his friend Lance and then to dinner Mia Wallace, the wife of Marsellus, according to the wishes of the head. Also won a twist contest, before she ends up in overdose, trading heroin for cocaine. Lance Vincent home runs and saves it with an injection of adrenaline (5).
SECOND DAY. Here comes the evening of the match and Butch is not the covenants: wins, having bet on himself (7). The taxi that runs learns that his opponent is dead (8). Reaches a motel where the expected Fabienne, his girlfriend (10).
THIRD DAY. Butch in the morning looking in vain for the precious clock family, passed from generation to generation. Vietnam reported it to him by a captain, according to his father's dying wish: he wanted to see the scene before the match (6). Fabienne has forgotten to pack, he must go home and get it. The apartment is Vincent (9) and manages to kill him. On the street runs into Marsellus (which is replacing Jules person who has retired, and went to get coffee for himself and Vincent) who pursues him. End in a mountain where the pawns are imprisoned in a basement and tortured bdsm. Butch saves Marsellus instead of running away and in return get "peace" as long as it's out of town. And do not tell that never saw a police officer sodomized (11). With the motion of Zed the rapist, and the watch in his pocket, to take Fabienne Butch passes before reaching the station (12).

If the viewer watch the film along the film would lose its chronological order, in fact the story would seem more "normal" and less dizzying. What adds pathos is just confusing the pace of the film takes the viewer involvement.

Kill Bill open work

The same complex structure of flashbacks and plots is present in two Kill Bill movies, which are mixed flashback respect, not only the event that triggered the rage of the Bride (the beating of two pine trees at the chapel), but also previous to it (training with Pai Mei). Furthermore, the possibility of reasoning introduced by DVD chapters allows the user to have to deal with an open work that can replace at will by deciding to follow a trend rather than another.

The whole story is divided into ten chapters, five films.
In order of appearance:
• Chapter 1: "2"
• Chapter 2: The bride smeared with blood
• Chapter 3: The origins of O-Ren
• Chapter 4: The Man from Okinawa
• Chapter 5: Showdown at the House of Blue Leaves
• Chapter 6: Massacre at Two Pines
• Chapter 7: The Tomb Paula Schultz
lonely • Chapter 8: The cruel teachings of Pai Mei
• Chapter 9: Elle and I
• Chapter 10: Face to face

In chronological order:
• Chapter 3: The origins of O-Ren
• Chapter 8: The cruel teachings of Pai Mei
• Chapter 6: Massacre at Two Pines
• Chapter 2: The bride smeared with blood
• Chapter 4: The Man from Okinawa
• Chapter 5: Showdown at the House of Blue Leaves
• Chapter 1: "2"
• Chapter 7: The lonely grave of Paula Schultz
• Chapter 9: Elle and I
• Chapter 10: Face to face

Other particularity of Trantino is to conceive of his films as new works subject to more manipulation, in fact the second chapter is not a sequel but the real second part, the subject was born in 1994 and since then had always taken the body until Becoming a film of four hours the separation of which was imposed by the production company.

The work is open not only from the perspective of the film made, but also for the endless possibilities of sequels and prequels that presents some suggested by the plot (the settling of scores between the Bride and Nikki) and others introduced by the possibility of exploiting differences in language that uses the film (the anime with the story of O- Ren).

Tarantino also has conceived this work in close connection with the audience that he would be in front, it makes choices and mounting styles can vary from market to which the film would be was designed. Thus distinguishes between the version for the market for Western and Asian market. The Eastern version splatter and is thus more violent and contains some new scenes omitted in the version designed for Western audiences. In the Asian version, the film opens with "The Old Klingon Proverb" ("Revenge is a dish best served cold") but with a Japanese director Kinji Fukasaku dedicated to the disappeared in 2003. The most important difference between the East and the international version is no doubt that the confrontation between the Bride and Crazy 88 is shown in full color instead of black and white.

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Reflection on examples of cinema as an open work The Fourth Estate Part 2 The War of the Worlds, Citizen Kane before the

Interestingly, the stimulus contained in Synopsis, in fact, Orson Welles, star of radio drama, will debut as director of the feature film Citizen Kane, whose cornerstone is its reflection on the social and political power that the new media. There is therefore a bridge between the radio play, which shows the effects of the fourth estate in all its sociological and the violent reaction of the film.

Kane: sociological definition
they are called fourth estate the ability of media to influence the opinions and choices of the electorate. This is a metaphorical use of the term power, inspired by the legal theory of separation of powers of the state.
The concept that emerged with the spread of printing and the explosion of television, which has become the only source of information for the vast majority of the population of democratic countries, has made even more urgent than the issue of constitutional recognition.
The main risks for democracy as a result of improper use of this power, consisting of political control of the media and from possible of them in the hands of a small group of people. In these two cases, in fact, considering that those who control the media in general tend to filter information that is contrary to their interests, there would be a lack of pluralism, and thereby restrict the ability of the citizen-voters to form opinions informed and implement informed choices.

Citizen Kane: the spectator
Kane is the protagonist is the first feature film directed by Orson Welles. Loosely based on the life of the American magnate William Randolph Hearst, was released in theaters on May 1, 1941. Citizen Kane is considered one of the best films in cinema history. Kane was a milestone for the force with which emphasizes the centrality of the director, "author" in the full sense of the term, compared to the then dominant studio system. The film tells the life of newspaper magnate Charles Foster Kane incapable of loving but "only on his terms, with the consequence of the remaining void around him so only in his gigantic home (Xanadu), where he died forsaken by all.
Welles, using a sequence of flashbacks showing fragments of the tycoon's life, almost like pieces of a jigsaw puzzle. The viewer is left with the task to reconstruct - in all its complexity - the personalities of Charles Foster Kane. But it is a vain effort, because the fragments of the life of Kane do not allow to understand the essence if not in fact the only witness who was - very important - which caused the trauma of Kane: the departure from the parents, strongly supported by the mother in order to entrust the protection of a businessman, in charge of administering his immense legacy. Kane, the young heir to a colossal fortune, he was so torn from his world of childhood. As an adult conceive love as a possession, not as a gift, and this will lead inexorably to the despair and isolation.
Welles makes it an open work that calls the audience not only to reflect on itself and the mechanisms that implement the media, but involves the viewer in an attempt to reconstruct the figure of Kane giving viewers all the songs necessary to solve the intricate puzzles, but is in fact to the user find the right composition. This desire of the director is also shown through stylistic choices such as the systematic use of depth of field through which the viewer is more empowered, it's up to him to choose the element on which to focus. In the case of the classic assembly, conversely, the audience is limited to follow the lead author, who decides what is necessary for him to see. Kane instead marks a new course in film history, changing not only the structures of the cinematic language, but also the relations between the viewer and the image. If the classic cinema offers a unique truth, a truth easy, so there is no need to bother, in modern cinema the spectator is exposed to a polysemic and incomplete, where everything has not already been established. The viewer is not confined to contemplate but it becomes an actor, affect the operation of the system, or at least is aware of the role you may have.

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War of the Worlds Reflection on examples of cinema as an open work

This post is the first in a series that contain the term paper prepared for the consideration of aesthetics, I love writing but it was not much calculated by the teacher so now I take revenge, here's another purpose of the blog!

War of the Worlds: The Novel

The War of the Worlds is HG Wells's novel, originally published in London in 1897, regarded as one of the first novels of the genre sci-fi it is probably his most famous. In the novel, the Earth is shaken by the arrival of a Martian arriving on our planet through cylindrical spaceship landing sequence near London. Attempts to communicate with the aliens turn out to be unnecessary and harmful, since the human being incinerated by heat rays from the crater. Soon the Martian fighting machines assembled with three legs, with which they begin to attack the communities surrounding the place of their arrival. The resistance of the humans is soon annihilated in three weeks and the Martians take possession of southern England, using humans and using them as food. The invaders, however, are sensitive to diseases for which no land agents have immune and die, leaving the city destroyed and the population decimated. The whole story is told in first person by a narrator, who will remain anonymous. The book is a work detail that leaves room for an alternate ending, in fact one of the characters suggests that the Martians, rather than succumb to disease, survive and dominate the Earth for generations. Humans will soon adapt to the condition of "pets" especially as the bourgeois classes, but a core of resistance value and adapt to live in freedom in the sewers, like rats. Over generations, the rebels will acquire the capacity to make weapons of Martians and are ready to make war with aliens and reclaim the Earth. Participation in which is written this ending makes sense that the author has provided the opportunity to actually use this ending.

The work is so revolutionary not only for its content, an alien invasion described in detail, but the possibility of an alternate ending so well described that puts the player in a position to imagine new scenarios.

War of the Worlds: the broadcast

On 30 October 1938, twenty-four he played Orson Welles in the Mercury Theatre on the Air broadcast, transmission Weekly readings were proposed to famous novels, a radio adaptation of the science fiction novel War of the Worlds by Herbert George Wells. This transmission has been known for having sparked panic in the United States, many listeners did not realize, in fact, that it was a fiction, and they believed that the Earth was actually experiencing the landing of a fleet of Martian spaceships bellicose.

Welles had not foreseen what would have been the reactions of his audience, he had no intention of making a joke, as is sometimes believed, so much so that at the beginning of the transmission that its conclusion was clearly said they had sent the adaptation radio of the novel by Wells. Inside, however, did his best to make it plausible. The adaptation of the novel, in fact, simulating a news special that at times was part of the schedule over the other programs to provide updates sull'atterraggio Martian spaceships in Grovers Mill, New Jersey. Public reaction was that of an uncontrolled panic that flooded into the streets and was characterized by numerous calls to police and army. The collective hysteria unleashed by the drama not abated even after the countless announced by the radio, which emphasized, as was done previously, the non-reality of the event, the only excitement came back the next morning with the appearance denial of the papers.

Welles's work, in its ambiguous form is an open work in which the boundary between reality and fiction is so blurred as to generate panic, and the opening is identified in the action of the public who completed the follow- his emotions, all thanks to the radio. In fact, the use of media that allows the broadcasting of live is what the book suggests only. If the viewer is called in the novel to imagine the alternate ending, here the public is invited to participate in direct work.

War of the Worlds: Spielberg's film

War of the Worlds is a 2005 science fiction film directed by Steven Spielberg and based on the novel by HG Wells and Orson Welles' radio adaptation and a remake of Byron Askin. The film is essentially faithful to the novel, both in terms of content that the descriptive point of view the appearance of aliens and the invasion of Mars. What changes is the social adaptation, this is the specter of the September 11 terrorist attacks and changes in social and family that affect the protagonist. War of the Worlds, in his radio adaptation of his film version in 1938 and 2005, are effective metaphor of two crucial moments in history: the imminent Nazi aggression, the second world war, global terrorism of Islamic origin. It is no coincidence that, at the beginning of the film, Robbie, son of Ray, anxiously asks his father if they are under a terrorist attack. The very emergence of alien spacecraft from the ground and the shock and terror that raises can be read as a metaphor for the discovery of a terrorist sanded and encysted in the foundation of Western societies, it wakes up.

The film is impressive in terms of the involvement of vision, thanks to special effects impressive, but despite the technical layout and the director of experience and fame recognized, the work fails to approach either the novel or the radio. It is a work especially close with a final clean and comforting, it is also prvo of that dimension of social criticism that contained the novel by Wells.

War of the Worlds to open work at work locked

Wells's novel represents an attempt by the author to profile another reality imaginable in the book, and then leaves open the possibility to the user of the work to figure out how the novel would have been if the Martians had not died from the virus. This dimension opening is not considered in the Spielberg film, which is an aesthetically faithful adaptation of the novel, but totally lacking in this dimension of freedom of the imagination of the viewer. Paradoxically, the cinematic form, which should stimulate the imagination of the viewer shows a pack aesthetically attractive but not very engaging. Involvement is key instead of 'by Welles with his radio program involving millions of people in a great open work in which the pathos of the actor becomes the pathos of the listener, where the unreal becomes more real than reality.