Film - CHS Spotlight

Film in pop culture

``Every great film should seem new every time you see it.``
-Roger Ebert

A brief word from the editor

Dear Reader,

Whatever your background, people can generally agree that nothing can quite match a good movie. The upbeat theme music, the exciting plotlines, lives that we wish we lived; all come together to ensure our unwavering attention. Since 1896, when ‘The Lumière Brothers’ released Arrival of a Train, one of the first movies ever made, the film industry has taken off and grown to explore new limits. Nothing has pushed these boundaries as far as the influences of pop culture.

The rebellion of pop culture expanded to shape some of the most well-known films ever created. Dozens of recognized pioneer films, such as George Lucas`s Star Wars trilogies, The Wizard of Oz in Technicolor and Breakfast at Tiffany`s, thank the driving push of pop culture for their inspiration. This trend continues to expand on a global scale. European countries stand by as films rooted in pop culture rapidly exert dominance over their own film industries. However with all this said, the demand for these films continues to grow.

Spotlight reporters have also taken a great interest in the significance of pop culture in film. Their following articles paint an accurate representation of the depth of this applicable topic. Barriers between publishers and producers crumble, as book adaptations edge into film production. Independent theatres struggle to stand out among large corporations and the growing Netflix regime. International films cross the Pacific to fill the growing North American demand. Aspiring actors learn to react to nothing as growth spurts in film technology advancements limit sets and even other characters.

Now, divert your eyes from the glitz of the silver screen to the harsh light of your monitor, as we trace the footfalls of pop culture in the film industry. We now ask you to turn off all of your cellphones, pagers and beepers and, please, enjoy the show!

Kate Yeadon
Spotlight Editor

Foreign film frenzy

Leaning forward on her seat, the girl gravitates toward her laptop screen, as though if she were to lean in close enough, the movie playing on the small screen would suck her in. Hands clasped together, she mouths the last word of the film, “Saranghae”. Love, in Korean. The foreign language spills from her mouth, unusual yet familiar all the same. As the screen fades to black, leaving the viewer with twisting heartstrings, the girl turns to me, smiling. “That’s my favourite Korean movie,” Nitasha, watcher of Korean films between university classes, tells me. “I used to think watching movies that weren’t English was weird, but they’re actually really interesting”.

This is just one of the effects that international films can have on a viewer. Patrons of the Ben Franklin Public Library tell me that most of the people that watch foreign movies are immigrants. “Just because I come to this foreign country, doesn't mean that I can’t watch my soaps,” Rosa, aged 40 and regular patron to the foreign film section of the library tells me.

In the past few years, the people that watch foreign films have been spreading to other demographics. Marian, a librarian at the Ben Franklin Library for most of her working life, says the library has expanded their international film section, and that she herself is watching a Spanish drama with her husband. Leafing through a book in the library, I observed people from all walks of life coming and going through the foreign film section. Is it possible that we could be seeing more and more international films in our daily lives?

It is no surprise that Hollywood-made movies are popular all around the world. Canadian Film Professor, from the University of Ottawa, Gary Evans, told me that “Hollywood movies often reflect the wants and desires of society. If anthropologists in the future want to study what life was like in 2013, they should watch movies made in our time period”. Then what is appealing about foreign films to those who watch these movies for pleasure, even if they do not know the language?

Two teenagers, avid watchers of foreign film, Tahsin Khan and Kimberly Liu agreed to answer my questions on the matter. These particular teenagers are most interested in East Asian films that had been introduced to them by friends and family members. When asked why they like East Asian films, they looked at each other and grinned. “It’s really interesting to see a different culture portrayed. Especially, like Korea and China. They’re really different,” Tahsin said. “I don’t really like North American movies. They’re the same thing all the time. It’s funny to watch Korean films because they’re more exaggerated and interesting,” Kimberly added.

Foreign movies have been losing their culture lately, the teenagers told me. Many American stereotypes are being brought in, not to mention that English is added. I talked to Spanish film student, Anirt Rojo to hear her opinion. “Hollywood injects its audiences with an ideology that Hollywood is superior. Such as, if there was a Spanish speaking character in a movie, this makes them automatically an inferior character. Foreign industries try to exploit this ideology for use in their own films.” English is a global language, so foreign films often insert a few English words to make them seem cool. “It would be nice to see a Spanish speaking main character in a Hollywood movie or foreign film made global,”.

Hollywood films have always been popular. Now, foreign films are beginning to gain popularity. “Hey, what did you do last night?” “I watched Rang De Basanti with my mom!” It is a big change to hear these phrases in our daily conversations, but believe it or not, international films are making their way to North America. A foreign film section was even recently added on Canadian Netflix, with Bollywood, Asian and European films. In the future, these films will likely continue their voyage across the ocean that separates us, using their culture instead of ours.

- Sonia Gill

From paperbacks to blockbusters

Katniss Everdeen stares defiantly into the camera, before the screen cuts to black. The Hunger Games: Catching Fire ends. Exclamations of disbelief ripple through the theatre, and a rare event occurs; the audience actually applauds. At this moment everyone in the theatre, from university students to middle-aged men here with their teenage daughters, are connected by a similar passion in the same way as the roaring crowds at concerts and hockey games.

Movie adaptations have increased in popularity over the last few years, some even inspiring theme parks and breaking world records. Films like the Harry Potter franchise proved just how successful movie adaptations can be, paving the way for series such as The Hunger Games and Twilight. In fact, many upcoming movies, such as The Book Thief, Divergent and The Hobbit: The Desolation of Smaug are based off of books, allowing us to draw a simple conclusion; the film franchise likes to use prepackaged stories. Michael Coutanche, a film professor at Ryerson with background at the CBC and Alliance Communications Corporation, says, “[The filmmakers] are thinking that the book’s already established, the story’s been tested, people love the characters in this medium, so therefore we can go into movie production, we can hit the ground running.”

Whispers of anticipation and knowing giggles flood the theatre like a second soundtrack. The appearance of Peeta Mellark, the main love interest, provokes a chorus of squeals, and even an exclamation of “holy shit!” Fans are extremely excited to see their favourite moments of the book brought to life on the big screen, especially the girl who shouts “Oh, yes!” when one male character gives CPR to another.

Characters are not something to be taken lightly when making a movie adaptation. A common complaint among fans of the books is that minor characters are often cut out of the story or merged into one character, but as Professor Coutanche points out, ``…it’s a lot cheaper to write lots of characters in a book than it is to do it in a movie. You just don’t have the time or the money to have that many [actors] cast.”

Fans often reread the books before the movie comes out in order to refresh their memories. Unfortunately, this also means they are more susceptible not only to missing characters, but to missing subplots and dialogue as well. “I think there should be a certain amount of artistic licence,” Professor Coutanche continues. “I think that if you stick to a book exactly it won’t make a good film. There are acceptations… but I think they need to have a certain amount of leeway because they are two completely different forms.”

Not only are movie adaptations pleasing already avid fans, they generate enough interest to inspire others to read. “Literature didn’t exist in my world before Harry Potter, and certainly when the first Harry Potter came out, at the school that I was at, it wasn't the done thing to spend your lunch break reading a book…” says Tom Felton, the actor who portrayed Draco Malfoy in the Harry Potter films, at the 2013 Ottawa Pop Expo. “And within two years, three years or whatever, [J. K. Rowling] really turned that on its head where if you hadn't read the Harry Potter books you were the one out of the group. It seems to have inspired an entire generation not only to read but to want to create.”

According to Jennifer Barns, a friendly Chapters employee, a lot of people ask for the book once the trailer for the movie adaptation is launched. Her colleague, Karen Smith, always urges people interested in the movie to read the book first. “That’s not even because of my job,” she insists. “I mean, I used to work at Nortel.”

The audience floods into the cinema lobby perfumed by the musk of buttered popcorn. Friends babble about the best parts, and re-enact their favourite moments with enthusiasm. The future of movie adaptations looks bright, as does the earnings for the book industry. Everyone has something to gain from the production of movie adaptations. Movie goers discover new novels, fans get to see their favourite moments brought to life, and the book and movie companies make a lot of money. Movie adaptations will continue to be made as long as people continue to read, which will hopefully be for a long time to come.

- Rowan O'Brien

new film technology:
just a flash in the pan?

After an exhausting day, you come home and plop onto your couch with your laptop. You open YouTube, and notice the trailer for a new movie. You click on it. White words appear silently on a black screen. A woman’s panicked screams assault your ears. You try to make sense of a spinning space shuttle and tilting horizon. With each gasp from the female astronaut, key scenes flash by. You feel dizzy as the camera continues to spin and you see is fire, spacecraft, earth, sun, black and broken machinery. The trailer ends as it started, white words on a black screen supplying the title, release date and credits. You decide to suggest the movie, Gravity, to your friends and hope you remember to take anti-nausea medicine to the theatre.

Amazing action shots, realistic yet completely fake panoramas, and increasingly dynamic cinematography, but what’s behind it all? CGI, motion capture and green screen are the magicians we have to thank. While opinions are varied, the use of this new technology has increased dramatically. To start off, how does this technology work? Ever seen actors covered with dots say their lines in front of a bright green wall? This is motion capture and green screen, or chroma key, at work. The green or occasionally blue background is used because these colours are easiest to differentiate from human skin tones. After shooting, anything the same colour as the background will be replaced by whatever setting or other characters the scene requires. Dots and other markers are reference points used by computers to recreate an actor’s motions or facial expressions. This technology eliminates the need to create sets or travel to shoot a scene. Animation artists can also create characters using the actor’s movements. The final step is CGI, or computer generated imagery. This is the creation of the final visual presentation the audience will see.

Although multi-million dollar productions use new film technology, opinions of it are varied. Professor Paul Merkley, expert in new media at the University of Ottawa, used words like “new” and “marvelous” to describe this technology, while Canterbury High School drama student Charlotte-Scott-Frater focused on a different aspect. “[New technology] is making big blockbusters a lot easier to make and small little productions a lot harder to make…ideally not, but the smaller companies might even completely die out.” Professor Valerie Steeves, expert in technology at the University of Ottawa, said “The focus on the visual…can take away energy from the things that make movies compelling”. Continuing with that idea when asked if new technology is compensating for bad plot, script writing and acting, Ms. Scott- Frater answered with an emphatic YES. Professor Merkley disagreed and said, “I think that acting is just as important or more important, because we see every detail in a close up shot." Whether or not new technology has a negative effect on acting depends on who you’re asking but as Ms. Scott-Frater said “Actors have to be a lot better at pretending while talking to a white pole covered in black dots”.

Despite some drawbacks, new film technology gives life to the imaginary worlds movies are all about. Action, fantasy and science fiction films lend themselves particularly well to this new technology. As Professor Merkley said, “We approach those with an attitude that we are hoping to see something new, something out of this world, and …[seeing] an advanced visual presentation, fits with what we are hoping for.” He added, “We are probably so close to the starting point of these new technologies that they are not [yet] being used to their greatest potential.”

New technology is quickly evolving and speculations about the newest innovations are always exciting. More immersive and interactive DVD formats for the home are rumored to be in the works and IMAX now offers even more realistic images thanks to laser projection systems. Like Professor Merkley, some people believe that home theaters now rival or even surpass commercial theater standards as many now have surround sound and large screens that offer high resolution images.

Young movie technology has captured the attention of international audiences. We have enjoyed the captivating visual effects and laughed at the ‘so-bad-they’re-good’ movies. Despite some problems (a main one being the focus on visual features taking away from other aspects of film), new film technology has helped produce many of the top movies this year and certainly intends to stick around to dazzle future audiences across the globe.

- Emma Rektor

THe mayfair : still unconquered

I watch as the snow falls on crowded Bank Street. It drifts down onto the passing people and turns to slush underfoot. Sandwiched between a drug store and a barber shop, the red Mayfair theatre stands out against the grey and white. On the outside, the old building looks plain, lonely even. The walls are lacking windows and the only decorations are rectangular patterns in the bricks. People hurry by the tattered movie posters without turning their heads. A lady strides over and unlocks the door.

“Hi,” I say to her. “I’m here to see Mel Boyer, the manager.”

The lady grins, “That’s me!”

I follow Mel inside to the lobby where a distinctive smell washes over me. It’s strong and fascinating, the smell of something old yet still glorious. The Mayfair has survived many years, beginning its life in the Great Depression. It is one of Ottawa’s oldest running theatres; nearly 82 years. Its 343 vintage seats don’t even support cup holders!

Mel leads me excitedly to the auditorium where we toss our coats on a table. The room is wondrous in its originality and lavish adornments. A high domed ceiling soars above us, painted yellow but appearing gold in the dim light. Heavy curtains conceal the screen and dominate the front.
Standing here, it’s not difficult to understand why people come. The theatre carries an aura; an atmosphere of preservation and a certain dignity that major cinemas just can’t quite master. Mel explains that may be the main reason why people favour this theatre over others; for the experience and to “just hang out,” as she says.

Despite competing against larger cinemas, the Mayfair continues to flourish. As a small theatre, it offers things the larger companies can’t. Like its opponents it makes its money mostly off the concession stand. Unlike the major theatres however, the Mayfair offers couches for additional seating, stunning architecture while you wait and films you wouldn’t normally see. And if the projector ever breaks – which it has- you’re still invited to stay and meet new people. Until 2013 the Mayfair had been uniquely using 35mm film. When films went digital, the Mayfair hosted a fundraiser to buy a new digital projector as a way to survive the digital era. The fundraiser was a success, but the cinema still uses 35mm film whenever possible, differentiating itself further from large theatre companies.

I ask Mel how she thinks they manage to stay open when all around them larger theatres are on the rise. “Some days I really wonder,” she sighs. “But then other days you get a ton of people and things look okay.”

She also tells me that no fancy carpet or luxurious seating can take the place of a good projectionist. While working at a major theatre company she noticed that no one taught the projectionists how to properly fix things. Issues can be avoided if the staff know how to work the machinery, as the smaller staff group at the Mayfair does. With less people, a bad projectionist can be found and dealt with more efficiently than at a major theatre.

A good theatre also needs staff who love what they’re doing. If they are enthusiastic enough about their job they can spread that on to their clients. A positive opinion on a film can change someone’s mind about seeing it; even if they originally believed they wouldn't enjoy it. The Mayfair is really only open because the current owners Lee Demarbre, Ian Driscoll, Petr Maur and Josh Stafford want it open. They aren't making a huge business like Cineplex but they’re doing what they love and will do anything to keep it open.

Maintaining and publicizing the theatre takes a lot of effort, even with only one auditorium. Mel sometimes goes home at 11 o’clock at night after cleaning the theatre by herself.

“You know,” she says quietly, “I don’t really mind sweeping. Usually we make a party of it.” That’s another benefit of being in a smaller theatre; the staff have more time to socialize and get to know each other. Mel lists off the interesting things she’s found while cleaning up, including an ancient ticket and a lot of spoons.

As she sweeps up a piece of wood, she says “Oh. Good to know the place is falling apart.”

I laugh at Mel’s joke. The Mayfair is a stunningly upright place, where its coziness and historical air has been preserved for years. It might not be as large as the major chains, but it was announced as an official heritage building in 2008; a feat no large company will ever manage. It is a sturdy, beautiful building with nostalgia on its side. It may look plain on the outside, even lonely but many people would have nowhere to escape to if it were lost.

- Erin Jackson