Saturday, April 9, 2016
Friday, April 8, 2016
Thursday, April 7, 2016
Editing Process
Almost done... The editing process did take me awhile to finish but it was all worth it at the end! I wanted the movie project a large scale movie, but the resources for a professional one were very low. What I didn't have was a luxurious, professional camera, no handy tripod, and expensive editing engineering. So I resorted to an iPhone camera, which was hard since the camera did not incorporate with the sunny lighting, not using a tripod which also was hard to handle since it made scenes a bit shaky, and the most complicated operation to do was the editing engineering. If I thought iMovie had too many buttons, I was mistaken! So to make the movie look and seem professional, I decided to use Premiere Movie maker which was formal to use (so I thought) But the first time I opened the maker, I was overwhelmed with all the buttons, switches, and toggles. I tried controlling the buttons but it just made the movie do what I didn't want it to do. I tried everything to add the captions and effects but it was too complicated to control!
All night I was finding a way to controll these buttons. But what I did find easy was adding the saturation, filters, and color! It made it look almost like a Steven Spielberg movie. All out of courage to find how to manage cutting and adding the scenes, I finally resorted trying the ol' iMovie...It worked terrifically! It was easy controlling the buttons, managing the scenes that I finished all in about three hours, which is great! I guess with the not so great materials to flim the movie and with the low class iMovie, it all worked out great! As the old saying goes, you can make soup with just a stone!
Sarah. "Middle Eastern Red Lentil Soup - The Gourmet Gourmand." The Gourmet Gourmand. 15 Mar. 2015. Web. 07 Apr. 2016.
All night I was finding a way to controll these buttons. But what I did find easy was adding the saturation, filters, and color! It made it look almost like a Steven Spielberg movie. All out of courage to find how to manage cutting and adding the scenes, I finally resorted trying the ol' iMovie...It worked terrifically! It was easy controlling the buttons, managing the scenes that I finished all in about three hours, which is great! I guess with the not so great materials to flim the movie and with the low class iMovie, it all worked out great! As the old saying goes, you can make soup with just a stone!
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| And here is a delicious, hearty homemade Lebanese Red Lentil Soup |
Sarah. "Middle Eastern Red Lentil Soup - The Gourmet Gourmand." The Gourmet Gourmand. 15 Mar. 2015. Web. 07 Apr. 2016.
Wednesday, April 6, 2016
The Aesthetics of the Title Sequence
So, the beginning part of my film is looking pretty good... This means we are almost done! But, also that I will not get any sleep in these days leading up to the big reveal of my project. I've been having some trouble in figuring out how I would like the title sequence to appear. I want the colors to appear similar to the flag of Lebanon in order to emphasize, once more, that we are in Lebanon in the beginning of the movie. It's been quite hard alluding to the fact that the character is in her own country especially with the mise-en-scene, background details, the English ( apparent all over the place), oh and the palm trees, although the good news is that there are palm trees in Lebanon as well. Yay! Anyway, I had several ideas such as these:
Keep in mind that I wanted to add a rustic feel to the title, and what helps is the type of font I use. As you can see, what brings about what I intend are the second and third fonts. These fonts add a charm to the title, making it more dynamic. What also adds a charisma to the whole title sequence is of course the color. it is crucial to add simple colors to such a vibrant movie opening because the color, or in general all the elements that make up the title sequence need to act like a smooth melody, with the instruments playing a steady beat. Not to mention, the way that I decided where to place the title is essential because I also do want the viewer to have a full picture of the scenes, but also understand the inscriptions. This is also how the size of the fonts plays a part in the title placing. The font cannot be to big for the viewer to be overwhelmed with so much picture, but not to small that the viewer does not even notice it. Why the arabic? The arabic is almost lke a bait to attract my Lebanese viewers. I want the lebanese communtiy to feel a connection through patrioism of my country.
Tuesday, April 5, 2016
The Long Anticipated Filming Day
Hello! We are in our final steps of the filming process. So, let me give you an insight on how my filming day went with just one word: Stressing. Who knew filming would be so long and tedious (although I did enjoy projecting the little creativity I have through this platform).
To begin with, the filming location didn't seem convincing enough to me and we had to transition a bit from the storyboard to include some aspects of what a Lebanese landscape would look like (Much, much more difficult than it looks to have that ambience of a Middle-Eastern that I previously planned). So, my focus was on nature and coffee-shops. I tried to stray a way from industrialized first-world country looking buildings because, as my research shows that although Lebanon is westernized, they are not much industrialized in comparison the the U.S. There were many close-ups as well to cut the background from the scene, which included AMERICAN cars. To add a more Middle-Eastern vibe to the scene, I also included a coffee cup that had the character's name in Arabic. Additionally, the actress was tasked with writing in Arabic in order to show the dichotomy between Lebanon and the United States.
Going into the filming, I did not get the right shots I imagined at first because my camera impeded me to use the mode I intended. For the beginning portion of the film, I shot blossom of flowers with thorns in order to emphasize the natural environment of the country. Then, as the sun was shining brightly on the actress, I had the idea to shoot her looking up to the sky with the background of the sun making a shadow and thoroughly making this one of the best shots of the scene. Subsequently, I had a follow-up idea that included a "symbolism" that would allude to the conflict. What if the character looks up to a plane? So, we waited... and waited even more (In the span of thirty minutes) for a plane to pop up in the sky. Like all impatient teens, we gave up and decided to shoot a bird in flight to act as the symbolism that supports the conflict. Because the bird kept moving all over the place and I didn't own a tripod, the footage is shaky. Hopefully, I can revive that footage with the editing software I found.
And to top it all off: What was a sun shining day immediately transformed into a thunderstorm and we had to abandon the locale and leave with the filming equipment only retaining a decent amount of footage. The next stage is editing. Scratch that: Editing, tweaking, perfecting the living daylights out of the sparing amount of footage I have. Wish me luck, friends, because I'll need it!
To begin with, the filming location didn't seem convincing enough to me and we had to transition a bit from the storyboard to include some aspects of what a Lebanese landscape would look like (Much, much more difficult than it looks to have that ambience of a Middle-Eastern that I previously planned). So, my focus was on nature and coffee-shops. I tried to stray a way from industrialized first-world country looking buildings because, as my research shows that although Lebanon is westernized, they are not much industrialized in comparison the the U.S. There were many close-ups as well to cut the background from the scene, which included AMERICAN cars. To add a more Middle-Eastern vibe to the scene, I also included a coffee cup that had the character's name in Arabic. Additionally, the actress was tasked with writing in Arabic in order to show the dichotomy between Lebanon and the United States.
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| Does this look non-American to you?!? |
Going into the filming, I did not get the right shots I imagined at first because my camera impeded me to use the mode I intended. For the beginning portion of the film, I shot blossom of flowers with thorns in order to emphasize the natural environment of the country. Then, as the sun was shining brightly on the actress, I had the idea to shoot her looking up to the sky with the background of the sun making a shadow and thoroughly making this one of the best shots of the scene. Subsequently, I had a follow-up idea that included a "symbolism" that would allude to the conflict. What if the character looks up to a plane? So, we waited... and waited even more (In the span of thirty minutes) for a plane to pop up in the sky. Like all impatient teens, we gave up and decided to shoot a bird in flight to act as the symbolism that supports the conflict. Because the bird kept moving all over the place and I didn't own a tripod, the footage is shaky. Hopefully, I can revive that footage with the editing software I found.
And to top it all off: What was a sun shining day immediately transformed into a thunderstorm and we had to abandon the locale and leave with the filming equipment only retaining a decent amount of footage. The next stage is editing. Scratch that: Editing, tweaking, perfecting the living daylights out of the sparing amount of footage I have. Wish me luck, friends, because I'll need it!
Friday, April 1, 2016
Genre? What is Genre?
Delving into my first days of shooting, I seem to be running across the same problem: What genre would be appropriate to label this film? But before that, what is genre? Can I simply label this film as "coming of age" or would that be an easy way out to the whole categorization thing? Do I even make any sense? (You can see my frustration)
Anyway, I thought that while I'm at the last stage of shooting my film, I can clearly identify to you the genre my film would go under, Drama and Comedy. As I have mentioned earlier, I want the film to relate greatly with the audience. That's actually my key goal in doing this film, that, although the culture and country presented is quite distinct from American society, teenagers and young adults are still able to undergo the same emotions of Rafka and in some way understand her journey and anticipation for what the future will bring her. With that being said, have y'all ever seen or heard of Almost Famous? (If you want to watch a magnificent film, please do yourself the favor to view the whole two hours and forty-two minutes of this movie). Well, I want to blend the same coming-of-age elements of this superb film directed by Cameron Crowe into my film opening because this kid essentially goes through what Rafka goes through, and that is, observing a new way of life. Of course, what they experience is completely different as William is immersed in a culture of rock and drugs in his teenage years where he learns the most important thoughts of life and Rafka is immersed in, well, the American lifestyle.
Almost Famous (2000)- What Kind of Beer?
In the scene above, and actually one of my favorite movie scenes of all time, one sees the climax or breakdown of a character that was once so fierce and mysterious to a remark that she was sold for beer and that a band member really does not love her. Penny Lane is revealed to show the real her through the beautiful dialogue and camera techniques. This is another thing I want to infer in my film opening, an introduction that leads up to a similar scene such as this to reveal the true emotions of a character. This unveils the drama aspect of the film, but where's the comedy? Well, reader, right at the end, where emotions are in full-throttle and we see a tear go down from Penny's once gleaming eyes, she responds "What kind of beer?". And that's it! That perfection of balancing drama and comedy in one glorious film... That's what I want and essentially, with this film, I found my genre: Drama/Comedy. Thank you Cameron Crowe!
Movieclips. "Almost Famous (8/9) Movie CLIP - What Kind of Beer? (2000) HD." YouTube. YouTube, 2011. Web. 01 Apr. 2016.
Anyway, I thought that while I'm at the last stage of shooting my film, I can clearly identify to you the genre my film would go under, Drama and Comedy. As I have mentioned earlier, I want the film to relate greatly with the audience. That's actually my key goal in doing this film, that, although the culture and country presented is quite distinct from American society, teenagers and young adults are still able to undergo the same emotions of Rafka and in some way understand her journey and anticipation for what the future will bring her. With that being said, have y'all ever seen or heard of Almost Famous? (If you want to watch a magnificent film, please do yourself the favor to view the whole two hours and forty-two minutes of this movie). Well, I want to blend the same coming-of-age elements of this superb film directed by Cameron Crowe into my film opening because this kid essentially goes through what Rafka goes through, and that is, observing a new way of life. Of course, what they experience is completely different as William is immersed in a culture of rock and drugs in his teenage years where he learns the most important thoughts of life and Rafka is immersed in, well, the American lifestyle.
In the scene above, and actually one of my favorite movie scenes of all time, one sees the climax or breakdown of a character that was once so fierce and mysterious to a remark that she was sold for beer and that a band member really does not love her. Penny Lane is revealed to show the real her through the beautiful dialogue and camera techniques. This is another thing I want to infer in my film opening, an introduction that leads up to a similar scene such as this to reveal the true emotions of a character. This unveils the drama aspect of the film, but where's the comedy? Well, reader, right at the end, where emotions are in full-throttle and we see a tear go down from Penny's once gleaming eyes, she responds "What kind of beer?". And that's it! That perfection of balancing drama and comedy in one glorious film... That's what I want and essentially, with this film, I found my genre: Drama/Comedy. Thank you Cameron Crowe!
Movieclips. "Almost Famous (8/9) Movie CLIP - What Kind of Beer? (2000) HD." YouTube. YouTube, 2011. Web. 01 Apr. 2016.
Thursday, March 31, 2016
The Completed Storyboard
The time has come! I will finally reveal my storyboard: Taaa-daaaaa!! (Yep it still needs room for improvement and I'm not the best artist out there). Nevertheless, this will be my first attempt at filming something that is already planned and believe it or not, storyboards help, like A LOT. I will not stick to the storyboard entirely and through my filming, I will probably use other conventions if the ones designed in the storyboard do not work out. Also, this is really exciting, you know, the trying out new things part. As I said in an earlier post, I will still need to incorporate more research as I stumble into some problems with filming. Additionally, this storyboard is attempt #1 since I have a back-up just in case when I go to edit the footage, something meant to be conveyed to the audience did not work out or just the whole sequence did not look appealing.
This is still part of scene one but since it changed somewhat of a narrative, I labelled it scene two because another character is introduced. Keep in mind that I still have to make some changes because of the need to add her personality traits and culture differentiating her from the majority population in Lebanon (since she's a religious minority).
With this, I would like to welcome you to my filming world!
This is still part of scene one but since it changed somewhat of a narrative, I labelled it scene two because another character is introduced. Keep in mind that I still have to make some changes because of the need to add her personality traits and culture differentiating her from the majority population in Lebanon (since she's a religious minority).
With this, I would like to welcome you to my filming world!
Tuesday, March 29, 2016
The Possibilities of Creating Voice-Overs...
Guys, guys, what if I create a voice-over introducing the character of Rafka for my opening scene? I'm in the middle of completing my storyboard (To be posted tonight, the latest) and I am struggling to create dialogue for my character as it will be assumed that the very opening film scene is the initiation of her journey to self-discovery and it is quite obvious that she is not familiar with the English language yet. So, if I were to create a form of dialogue in this introduction, it would be in Arabic and would consequently severely alienate my audience. Meditating this problem, I came up with a possible solution and that is a voice-over of post-America influenced Rafka in which she narrates the beginning of her trek from Lebanon to the United States. I will be attempting this option today and if I were to go in this route, it would be a direct address, as in my character would be using "I" and "you" to address the audience. What I have suddenly discovered to be a huge benefit in going this direction is the fact that my main character won't have to remember her lines and furthermore will ameliorate the strain of making her acting look realistic (She's not the greatest actress in the world if you know what I mean...).
I know, I know. I said I would stop my researching just about now and start the filming process of this project. But I noticed that even while I'm filming, I seem to be cognizant to so many ideas and solutions but I can also slide into various problems as I try these new approaches and would have to investigate even more broadly than before and, therefore, remain in this never-ending loop of research (Wow, that was a mouthful). Accordingly, I came across two options while studying more on narratives in film production and culture and that is actually employing voice-over or using epistolary voice. I have decided that the latter option would be quite difficult since I would have to advance the plot through the reading of letters. The option is still open because the letters could be directed to Rafka's relatives in Lebanon and she would have to describe how she feels and what her attitudes are regarding life in America. And according to film studies and directors, "letters help illuminate an array of complex relationships between image, sound and the written word in the history of film." Still, I believe that using a first-person voice-over would be the best option since it brings a sort of personality development to my main character but I will try both out while filming to see what I deem may fit better with my opening.
In reality, the use of voice-over will not reduce the amount of work I still have to do (although I don't have to have my main character remember her lines) because the one question that I will constantly be reminded of is how will this advance the plot in any way? How do I prevent saying something that can be inferred from what is already shown? This is a bit tricky since even the most experienced directors get narrations wrong. I mean, take a look at The Great Gatsby (2013). Don't get me wrong, Baz Lurhmann is an amazing film director, blending in formalism with realism in even the darkest scenario in his movies. But, come on, the voice-over employed by Tobey Maguire, to document what Nick Carraway thought about the mysterious character of Gatsby and his extravagant parties, was a bit too excessive (repeating what one already saw) and did not blend well with the rest of the film.
Actually, what truly motivated me to use voice-overs was Annie Hall (1977). the ending scene in particular really gave a wider perspective on both of the main characters, but especially of Alvy Singer. What is most important to learn from this great film and of the use of voice-overs is to connect with the audience. One doesn't necessarily have to break the fourth wall to do it, but the application of storytelling is key.
Annie Hall Final Scene
Billson, Anne. "Do Voice-overs Ruin Films?" The Telegraph. Telegraph Media Group, 24 May 2014. Web. 29 Mar. 2016.
Sheehan, Rebecca, and Ilinca Lurascu. "Cfp.english.upenn.edu." Cinema and the Letter: Epistolary Modes in Film Culture (Edited Collection. 15 Oct. 12. Web. 29 Mar. 2016. <https://call-for-papers.sas.upenn.edu/node/47280>.
Friday, March 25, 2016
Shooting Schedule (To Be Constantly Modified)
The day has come where I have to set dates ahead of time to film my opening. This is something completely new to me as I strive on the philosophy of spontaneity. To start, let me give you a brief disclosure of what is going down for the next two weeks: Filming, storyboard, and more research. Yay! I am actually excited because I will step back a bit from compiling research and will take to action what I have learned these three weeks through the beauty of filming. I have yet to create a storyboard due to the fact that I am still attempting to figure out what areas are more accessible for me to film and the props readily available that give the aura of Lebanese and American custom. Once that is discerned, it will be created and promptly shared. The great thing is that I already have a list of the locations, my main character ready to go, and the music approved (so that's a huge benefit).
Anyway, this will be modified or changed when necessary:
- March 29:
Make Storyboard (Gather as much research as possible on film techniques and dialogue to achieve a great introduction)
- March 30-31:
Go to Our Lady of Lebanon Maronite Church in Miami and ask permission to shoot footage of some aspects of the religiosity of Lebanon and its people (Remember its is to create that vibe that viewers are seeing Lebanon, not America)
Go to the Daily Bread Market Place to accumulate some footage there as well if the footage of the church does not work well. (Character could be sitting down and eating, looking around for groceries, or standing outside conversing with others)
- April 1:
Collect proper attire and props to help with the setting and emphasize the personality of the main character. (Lebanese flag, typical Lebanese food, etc.)
- April 4:
Work with the footage to fit with the song. Try to find several angles that show continuity within the editing and providing some imaginative and symbolic meaning within the work. This would be helped by the already created storyboard.
As you can see, these next two weeks will be the turning point of my project as well as the defining moment to prove that all my research did not go in vain as I manage to assert that the audience will be moved and intrigued while watching the introduction of my film. Additionally, nothing can be done until I make the storyboard which will further organize my thoughts and work through the taping and editing. This will also provide room for trial and error. So, I am slowly embarking on a great start for my project and anticipate that all goes in my favor.
Anyway, this will be modified or changed when necessary:
- March 29:
Make Storyboard (Gather as much research as possible on film techniques and dialogue to achieve a great introduction)
- March 30-31:
Go to Our Lady of Lebanon Maronite Church in Miami and ask permission to shoot footage of some aspects of the religiosity of Lebanon and its people (Remember its is to create that vibe that viewers are seeing Lebanon, not America)
Go to the Daily Bread Market Place to accumulate some footage there as well if the footage of the church does not work well. (Character could be sitting down and eating, looking around for groceries, or standing outside conversing with others)
- April 1:
Collect proper attire and props to help with the setting and emphasize the personality of the main character. (Lebanese flag, typical Lebanese food, etc.)
- April 4:
Work with the footage to fit with the song. Try to find several angles that show continuity within the editing and providing some imaginative and symbolic meaning within the work. This would be helped by the already created storyboard.
As you can see, these next two weeks will be the turning point of my project as well as the defining moment to prove that all my research did not go in vain as I manage to assert that the audience will be moved and intrigued while watching the introduction of my film. Additionally, nothing can be done until I make the storyboard which will further organize my thoughts and work through the taping and editing. This will also provide room for trial and error. So, I am slowly embarking on a great start for my project and anticipate that all goes in my favor.
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| Falafels always seem to relieve my stress so enjoy this picture of a plate of Falafels. |
(n.d.). Retrieved March 23, 2016, from https://en.wikipedia.org/wiki/Falafel
Thursday, March 24, 2016
Settling On Rafka
I am delighted to announce that I have found the (almost) perfect embodiment of Rafka!! So, as per usual, I will explain to you the various steps I had to go through in order to ensure that my main character was represented in the utmost thorough and accurate way:
I have compiled research on the way average Lebanese women dress, style their hair, and do their makeup. Starting with the clothing, Lebanon is known to be a predominantly Westernized country starting with their governemnt all the way to how people, especially women dress. Women, in cities such as Beirut sometimes overdress, or are "fashion-consious", wearing popular European clothing brands. Traditional clothing (link here) is rarely worn in Lebanon as it is currently outdated and started diminishing as the country was slowly inheriting Western style and influences. Due to this, my character is seen wearing a stylish shirt to acompany with her jeans that are of a Western brand (although it will not be visible in the intro). The rosary in her hand represents her religion (Which is Maronite Catholicism). It will not, however play a huge role in this film but merely act as a delineation of her ethnic/religious background.
Following the dress code my character has on, the makeup is an important portrayal of her heritage. In this close-up below, she is seen wearing very little makeup (she was instructed to only fill in her eyebrows, have some eyeshadow and use mascara). Lebanese women are notorious for wearing makeup constantly and even doing quotidian tasks. However, what many people are not aware of is that women in the age of twenty, such as Rafka, do not wear as much makeup as women of thirty and forty years. It is as though the youth are the beginners of the makeup phenomenom and so I decided to exhibit this with the minimal use of makeup for this character while also strongly accentuating her foreign facade such as the usual "thick eyebrows, strong facial features" of Middle-Easterns.
Lastly, the hair. I used what I thought I would never use as part of my research... Pinterest... Well, it actually did help to understand what hair styles/trends are famous right now, as in 2016, in Lebanon. In addition with my Pinterest research, I found an interesting article placing the idea of the typical Lebanese hairstyle on a Lebanese hairdresser (published in 2013). Luckily, the person portraying my character has the "shoulder-length layers" hair as well as the touch of highlights to provide a more 'young and fresh' representation of the youth in Lebanon. With all these aspects, the character that is to be Rafka can be seen as an almost perfect depiciton of Lebanese women in their twenties. There will be other aspects, hopefully, that will fullfill the message that the heritage of this character is purely of Lebanese decent.
Crane, K. A. (2013, November 3). Big hair today: Inside a Lebanese hair salon | The National. Retrieved March 23, 2016, from http://www.thenational.ae/lifestyle/fashion/big-hair-today-inside-a-lebanese-hair-salon
"Lebanese." Junior Worldmark Encyclopedia of World Cultures. 1999. Retrieved March 23, 2016 from Encyclopedia.com: http://www.encyclopedia.com/doc/1G2-3435900278.html
Traditional dress of Lebanon. (2012, August 22). Retrieved March 23, 2016, from http://www.thelovelyplanet.net/traditional-dress-of-lebanon/
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| Small photoshoot (sneak peak) of my main character |
I have compiled research on the way average Lebanese women dress, style their hair, and do their makeup. Starting with the clothing, Lebanon is known to be a predominantly Westernized country starting with their governemnt all the way to how people, especially women dress. Women, in cities such as Beirut sometimes overdress, or are "fashion-consious", wearing popular European clothing brands. Traditional clothing (link here) is rarely worn in Lebanon as it is currently outdated and started diminishing as the country was slowly inheriting Western style and influences. Due to this, my character is seen wearing a stylish shirt to acompany with her jeans that are of a Western brand (although it will not be visible in the intro). The rosary in her hand represents her religion (Which is Maronite Catholicism). It will not, however play a huge role in this film but merely act as a delineation of her ethnic/religious background.
Following the dress code my character has on, the makeup is an important portrayal of her heritage. In this close-up below, she is seen wearing very little makeup (she was instructed to only fill in her eyebrows, have some eyeshadow and use mascara). Lebanese women are notorious for wearing makeup constantly and even doing quotidian tasks. However, what many people are not aware of is that women in the age of twenty, such as Rafka, do not wear as much makeup as women of thirty and forty years. It is as though the youth are the beginners of the makeup phenomenom and so I decided to exhibit this with the minimal use of makeup for this character while also strongly accentuating her foreign facade such as the usual "thick eyebrows, strong facial features" of Middle-Easterns.
Lastly, the hair. I used what I thought I would never use as part of my research... Pinterest... Well, it actually did help to understand what hair styles/trends are famous right now, as in 2016, in Lebanon. In addition with my Pinterest research, I found an interesting article placing the idea of the typical Lebanese hairstyle on a Lebanese hairdresser (published in 2013). Luckily, the person portraying my character has the "shoulder-length layers" hair as well as the touch of highlights to provide a more 'young and fresh' representation of the youth in Lebanon. With all these aspects, the character that is to be Rafka can be seen as an almost perfect depiciton of Lebanese women in their twenties. There will be other aspects, hopefully, that will fullfill the message that the heritage of this character is purely of Lebanese decent.
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| A close-up of the makeup and hairstyle of the Lebanese character |
Crane, K. A. (2013, November 3). Big hair today: Inside a Lebanese hair salon | The National. Retrieved March 23, 2016, from http://www.thenational.ae/lifestyle/fashion/big-hair-today-inside-a-lebanese-hair-salon
"Lebanese." Junior Worldmark Encyclopedia of World Cultures. 1999. Retrieved March 23, 2016 from Encyclopedia.com: http://www.encyclopedia.com/doc/1G2-3435900278.html
Traditional dress of Lebanon. (2012, August 22). Retrieved March 23, 2016, from http://www.thelovelyplanet.net/traditional-dress-of-lebanon/
Wednesday, March 23, 2016
Why The Title?
I assume many, when visiting my blog, have asked themselves, what a rather peculiar title...
But not many comprehend that choosing the title, 'How Do You Say?', no matter how 'peculiar' it seems to be, was actually a very difficult task for this project. To begin with, a title is the foundation and arguaby the stronghold of any film. To me, it is just as important as the content of the film because a good title almost always indicates good filming. And to John Patterson, it "could accurately reflect what those titles make [him] feel or imagine". Additionally, a movie title can go down in history for its creativity or become part of a language. Take for example the film Groundhog Day (1993). This film revolutionized what was just a normal American holiday about a groundhog looking at his shadow and in turn changed the word to have a totally distinct meaning, and that is feeling as though one's day is repeating in a never ending cycle. In an Atlantic article, it is evident that they used the word to have the latter definition when mentioning the economy: "The past five years have been a Groundhog Day recovery. Every day, we wake up hoping that this will be the day that the economy finally picks up.". Therefore we know that this movie changed the meaning of Groundhog Day for the American people (Could be a good thing or bad thing, you decide).
So, the reasons behind how and why I chose my film title was based on interviews (Well, basically going up to foreigners in anthe airport) consisting of the question, "" There were various responses such as "How are you" or the basic "Hello", but I wanted something rich and original, something that is constantly said but never grasped. That is when it struck me that there was one answer that seemed prevalent, even when not part of the question, as a sort of filler or mode of hesitation, and that was the phrase "how do you say?" I know when I'm speaking a foreign language such as Spanish, I always use "como se dice" as a mode of hesitation in order to give me more time to conjure up the correct pronunciation or sentence that helps to convey what I'm trying to say. So, tah-dah "How Do You Say" was born. My character is a youth, as I have previously mentioned in various postings, attempting to learn a completely different language from her usual vernacular. Of course, she has gotten some influence of English in her home country of Lebanon due to, you now, globalization and stuff. But, more importantly, because it's a language that Rafka is not completely used to, she will hesitate with the wording and in somehow utter the words that many people attempting a new language will utter, "How do you say".
I have compiled my research in a table that uses three common phrase columns such as "How Are You", "How Do You Say (Or somehting along the lines of that)", and "Hello":
O'Brien, M. (2014, March 7). We Can't Escape Our 'Groundhog Day' Recovery. Retrieved March 23, 2016, from http://www.theatlantic.com/business/archive/2014/03/we-cant-escape-our-groundhog-day-recovery/284301/
Patterson, J. (2008, April 04). John Patterson on the importance of a great film title. Retrieved March 23, 2016, from http://www.theguardian.com/film/2008/apr/05/3
But not many comprehend that choosing the title, 'How Do You Say?', no matter how 'peculiar' it seems to be, was actually a very difficult task for this project. To begin with, a title is the foundation and arguaby the stronghold of any film. To me, it is just as important as the content of the film because a good title almost always indicates good filming. And to John Patterson, it "could accurately reflect what those titles make [him] feel or imagine". Additionally, a movie title can go down in history for its creativity or become part of a language. Take for example the film Groundhog Day (1993). This film revolutionized what was just a normal American holiday about a groundhog looking at his shadow and in turn changed the word to have a totally distinct meaning, and that is feeling as though one's day is repeating in a never ending cycle. In an Atlantic article, it is evident that they used the word to have the latter definition when mentioning the economy: "The past five years have been a Groundhog Day recovery. Every day, we wake up hoping that this will be the day that the economy finally picks up.". Therefore we know that this movie changed the meaning of Groundhog Day for the American people (Could be a good thing or bad thing, you decide).
So, the reasons behind how and why I chose my film title was based on interviews (Well, basically going up to foreigners in anthe airport) consisting of the question, "" There were various responses such as "How are you" or the basic "Hello", but I wanted something rich and original, something that is constantly said but never grasped. That is when it struck me that there was one answer that seemed prevalent, even when not part of the question, as a sort of filler or mode of hesitation, and that was the phrase "how do you say?" I know when I'm speaking a foreign language such as Spanish, I always use "como se dice" as a mode of hesitation in order to give me more time to conjure up the correct pronunciation or sentence that helps to convey what I'm trying to say. So, tah-dah "How Do You Say" was born. My character is a youth, as I have previously mentioned in various postings, attempting to learn a completely different language from her usual vernacular. Of course, she has gotten some influence of English in her home country of Lebanon due to, you now, globalization and stuff. But, more importantly, because it's a language that Rafka is not completely used to, she will hesitate with the wording and in somehow utter the words that many people attempting a new language will utter, "How do you say".
I have compiled my research in a table that uses three common phrase columns such as "How Are You", "How Do You Say (Or somehting along the lines of that)", and "Hello":
O'Brien, M. (2014, March 7). We Can't Escape Our 'Groundhog Day' Recovery. Retrieved March 23, 2016, from http://www.theatlantic.com/business/archive/2014/03/we-cant-escape-our-groundhog-day-recovery/284301/
Patterson, J. (2008, April 04). John Patterson on the importance of a great film title. Retrieved March 23, 2016, from http://www.theguardian.com/film/2008/apr/05/3
Saturday, March 19, 2016
Why I Decided My Main Character Should Be a Religious Minority IN the Middle-East
Whew, this isn't a problem post (A quick stop from my nagging)!
Rather, it's more of an explanation post of including a character that seems to challenge the representation trope of people in the Middle East. Introducing Rafka, I wanted to mix things around and choose a figure that is a minority in the Middle-East. The reason for this was the fact that I wanted to show the perspectives of Christians living in the Middle-East. This decision is by no intent to undermine Muslims and their own cultures and traditions. I solely wanted to provide a wider platform of the way Christians also live and what they practice that seems to contrast the practice of Christians in the United States to mark deeper cleavages with Rafka's problem and overall inner and outer conflict. With this, it gives me a larger scope and inclusion of a minority religious and ethnic group in the area. What is interesting to point out is that every year, Christians are leaving by huge numbers the Middle East. It is easy for someone to say that the reason is religious persecution by Muslims, which is quite a faulty assumption as an Economist article points out that even "Most victims of war and terrorism in the Middle East are Muslims since they are by far the majority of the population." But, on the same note, what is quite clear is that Middle Eastern Christians are declining. It is astonishing to regard that in 1910, around 14 percent of Christians lived in the Middle East, which is still a minute number. But that fraction has dropped recently to only 4%. So Rafka's reason for leaving her mother country is apparent as she is the reflection of many Christians fleeing because of fear of persecution, religious ties with the West, and simply due to economic despair.
As I mentioned in an earlier post, the purpose of Rafka's origins being from Lebanon is due to it being the only country in the area that more than forty percent of their population are Christians. However, the film opening that I am creating is not necessarily centered around the main character's religion, but it plays an important factor in her realization of her future endeavors as well as retaining her rich roots. Additionally, it is seldom mentioned a Christian when studying Middle-Eastern filmography. I want to improve that by including a woman as well as a Christian. Recently, the Middle-East has done an astounding job in film and many film directors have won recognitions and awards for the representation of women. Where Do We Go Now is the epitome of this, casting a woman as the lead in the film as well as the catalyst within war and peace in a delicate situation such as the tension between a Christian and Muslim community. For this reason, it won Best Picture in the Toronto International Film Festival People's Choice Audience Award.
All in all, yippee for Middle Eastern filming and representing women these past years! But just as important, representing a minority group such as Christians in the Middle-East seems like an important task to point out in my film that can break many stereotypes and notions of Middle-Easterners in general.
Guide: Christians in the Middle East - BBC News. (2011, October 11). Retrieved March 19, 2016, from http://www.bbc.com/news/world-middle-east-15239529
 |
| Percentage of Christians in the Middle East (BBC) |
As I mentioned in an earlier post, the purpose of Rafka's origins being from Lebanon is due to it being the only country in the area that more than forty percent of their population are Christians. However, the film opening that I am creating is not necessarily centered around the main character's religion, but it plays an important factor in her realization of her future endeavors as well as retaining her rich roots. Additionally, it is seldom mentioned a Christian when studying Middle-Eastern filmography. I want to improve that by including a woman as well as a Christian. Recently, the Middle-East has done an astounding job in film and many film directors have won recognitions and awards for the representation of women. Where Do We Go Now is the epitome of this, casting a woman as the lead in the film as well as the catalyst within war and peace in a delicate situation such as the tension between a Christian and Muslim community. For this reason, it won Best Picture in the Toronto International Film Festival People's Choice Audience Award.
And then there were none. (2016, January 02). Retrieved March 19, 2016, from http://www.economist.com/news/middle-east-and-africa/21684795-fed-up-and-fearful-christians-are-leaving-middle-east-and-then-there-were
Guide: Christians in the Middle East - BBC News. (2011, October 11). Retrieved March 19, 2016, from http://www.bbc.com/news/world-middle-east-15239529
Which One Do I Choose?!?
There are infinite ways to start an introduction, but which one do I choose??
But first, let me give you the good news: I have come to the point where I can gladly say that I understand the plot that I'm to create with my 2-minute opening that will, as you guessed it, introduce the conflict, setting, and character of my "movie". After far-reaching research on the setting and genre (I'll call it a comedy-independent drama), I would like to share with you a short summary of my film (Just in case the plot has seemed vague with my previous post): A 20 year old woman, born in Lebanon, brought up in the Middle-Eastern Maronite culture gets her world turned upside down when she decides to move to the United States, specifically Florida, in search of a better education and employment. She struggles in school and quite simply outside trying to assimilate herself with the expected American culture. She experiences trials and tribulations trying to grasp her roots while managing to fit in the United States. Yet, even when she thinks she disappoints herself, she little-by-little discovers her future as well as her pursuit of something noble.
Ok, now that we got that cleared up, let's move to the bad news: How am I supposed to make an introduction that presents my main character, the conflict, but at the same time can be captivating? In order to be motivated, I tried researching the greatest movie openings of all time, and I luckily did get a few ideas that could help engage the audience thanks to Andrew Stanton. But at the same time, I'm no Stanley Kubrick or Quentin Tarantino and I thoroughly lack imagination. Nonetheless because I try to make the best that I could possibly do, I have gathered some possible routes for my movie intro and I have included a list of obligatory things to add such as the fact that I am supposed to tell a story, establish the tone, and allude to the conflict. And because of this, I need to make the audience care for what is being shown as well as allowing them to put things together but never reveal them the plot. It is more like a "two plus two but never the four". Stanton's comment of "drama is anticipation mingled with uncertainty" really helped me to understand HOW it is that some directors are truly successful with their movies, initiating with film openings.
So, I have chosen two possible alternatives that I can somehow mix into my own film intro:
1. I could make a Moonrise Kindgom type of opening where it establishes the tone. This is a great course of action in order to present the story as a "lighthearted" one. I don't want it to come off as scary or suspenseful, neither something of drama. Although, yes it technically is a drama, it is one mixed with comedy that can ultimately relate to the audience. Additionally, for the opening credits, I could make a home made montage rather than typed credits in order to create that sense of individuality and thoroughly establish the tone.
2. In Inglorious Basterds, what immensly moved me was the heavy dialogue as well as steady movement. It slowly introduces not only the facade of the charater, but what he is and was made from and, really, why he's the "Jew Hunter"Simplicity worked at its best for the opening sequence and maybe it would work best for my film opening. What I would have to work with is the rhetoric and make an extremely well equipped script. The mise-en-scene also inspires me to make a simple set, whihc hopefully goes with the song that was already approved. I can play the song in the beginning and then move to a similar scene as Tarantino's.
Hopefully, I will get the chance to understand further the direction I want to go. Later, I will introduce my storybord, shooting shcedule, and character schedule and slowly but surely will put what was once imagined into action!
A. S. (2012, February). The clues to a great story. Retrieved March 19, 2016, from https://www.ted.com/talks/andrew_stanton_the_clues_to_a_great_story?language=en
Inglourious Basterds (1/9) Movie CLIP - The Jew Hunter (2009) HD. (n.d.). Retrieved March 19, 2016, from https://www.youtube.com/watch?v=QfSjs_6MZOQ
Mecca, D. (2010, September 03). The 25 Most Memorable Opening Scenes In Film. Retrieved March 19, 2016, from http://thefilmstage.com/features/the-25-most-memorable-opening-scenes-in-film/
Moonrise Kingdom. (2013, September 17). Retrieved March 19, 2016, from http://www.artofthetitle.com/title/moonrise-kingdom/
But first, let me give you the good news: I have come to the point where I can gladly say that I understand the plot that I'm to create with my 2-minute opening that will, as you guessed it, introduce the conflict, setting, and character of my "movie". After far-reaching research on the setting and genre (I'll call it a comedy-independent drama), I would like to share with you a short summary of my film (Just in case the plot has seemed vague with my previous post): A 20 year old woman, born in Lebanon, brought up in the Middle-Eastern Maronite culture gets her world turned upside down when she decides to move to the United States, specifically Florida, in search of a better education and employment. She struggles in school and quite simply outside trying to assimilate herself with the expected American culture. She experiences trials and tribulations trying to grasp her roots while managing to fit in the United States. Yet, even when she thinks she disappoints herself, she little-by-little discovers her future as well as her pursuit of something noble.
Ok, now that we got that cleared up, let's move to the bad news: How am I supposed to make an introduction that presents my main character, the conflict, but at the same time can be captivating? In order to be motivated, I tried researching the greatest movie openings of all time, and I luckily did get a few ideas that could help engage the audience thanks to Andrew Stanton. But at the same time, I'm no Stanley Kubrick or Quentin Tarantino and I thoroughly lack imagination. Nonetheless because I try to make the best that I could possibly do, I have gathered some possible routes for my movie intro and I have included a list of obligatory things to add such as the fact that I am supposed to tell a story, establish the tone, and allude to the conflict. And because of this, I need to make the audience care for what is being shown as well as allowing them to put things together but never reveal them the plot. It is more like a "two plus two but never the four". Stanton's comment of "drama is anticipation mingled with uncertainty" really helped me to understand HOW it is that some directors are truly successful with their movies, initiating with film openings.
So, I have chosen two possible alternatives that I can somehow mix into my own film intro:
1. I could make a Moonrise Kindgom type of opening where it establishes the tone. This is a great course of action in order to present the story as a "lighthearted" one. I don't want it to come off as scary or suspenseful, neither something of drama. Although, yes it technically is a drama, it is one mixed with comedy that can ultimately relate to the audience. Additionally, for the opening credits, I could make a home made montage rather than typed credits in order to create that sense of individuality and thoroughly establish the tone.
2. In Inglorious Basterds, what immensly moved me was the heavy dialogue as well as steady movement. It slowly introduces not only the facade of the charater, but what he is and was made from and, really, why he's the "Jew Hunter"Simplicity worked at its best for the opening sequence and maybe it would work best for my film opening. What I would have to work with is the rhetoric and make an extremely well equipped script. The mise-en-scene also inspires me to make a simple set, whihc hopefully goes with the song that was already approved. I can play the song in the beginning and then move to a similar scene as Tarantino's.
 |
| Inglorious Basterds (2009) |
Hopefully, I will get the chance to understand further the direction I want to go. Later, I will introduce my storybord, shooting shcedule, and character schedule and slowly but surely will put what was once imagined into action!
A. S. (2012, February). The clues to a great story. Retrieved March 19, 2016, from https://www.ted.com/talks/andrew_stanton_the_clues_to_a_great_story?language=en
Inglourious Basterds (1/9) Movie CLIP - The Jew Hunter (2009) HD. (n.d.). Retrieved March 19, 2016, from https://www.youtube.com/watch?v=QfSjs_6MZOQ
Mecca, D. (2010, September 03). The 25 Most Memorable Opening Scenes In Film. Retrieved March 19, 2016, from http://thefilmstage.com/features/the-25-most-memorable-opening-scenes-in-film/
Moonrise Kingdom. (2013, September 17). Retrieved March 19, 2016, from http://www.artofthetitle.com/title/moonrise-kingdom/
Wednesday, March 16, 2016
The Setting Dilemma
I have come across my first problem, or we can call it a dilemma: How am I supposed to get footage of a country I'm thousands of miles away from? And since everything I use has to be created by me, as in original, I'm in quite a predicament. If only during Spring Break (which is next week), someone can magically offer me a plane ticket to Lebanon, or really anywhere in the Middle East so I can film in several prominent locations that gives the feel of something ethnic, foreign, not America. So instead of dreaming for the impossible, I have come up with several solutions (Thank you, brain for functioning today!):
1. A location here in South Florida reminiscent with some famous architectural structures in Lebanon is Viscaya. It is a Renaissance Villa (Although most structures in Lebanon were influenced by the Phoenicians and Romans), but since it has a rather Mediterranean atmosphere being that it is surrounded by water and antique-looking, it could most likely pass by as a foreign land. But, here's the problem with choosing this filming location: IT'S EXPENSIVE! some 20 grand that is surely out of my budget. Additionally, I casually went to their website to see if they require any proper documentation or reason and hooray for me (that was sarcasm if you didn't catch it) they are very strict with it, stating "shoots require a detailed written request and are approved on a case-by-case basis". So I had no other choice than to cross this idea off my list unless I wanted to carry a debt for the rest of my life and waste my time getting my project approved on their terms.
2. In Miami, there is this one Lebanese Bakery that really catches my eye every time I pass by it in which, hooray (that was not sarcasm), the street it is in resembles the streets of Beirut. It is busy, ethnic, and could well work to create that atmosphere that I really want in order to allude to the fact that my main character is still in Lebanon as well as provide that contrast from Lebanese small towns to American small towns. I have two options with this alternative: I could film my main character inside the bakery, choosing Mediterranean food, or film her outside, still eating some ethnic food, but interacting with people. The latter could be a problem because the people she may interact with may not look native to the country I'm trying to insinuate. Also, because the song I chose has to do with an eggplant ( Refer to post 3), it favorably may fit ideally with the scene I am trying to create!
3. I have, as of now, established that my main character is going to be a Maronite Catholic Lebanese. The intention for this includes the fact that Lebanon is the only country in the Middle East that a slim less than half of its population is Christian (21% approximately from the Maronite Rite). A thorough explanation for this will be revealed in a post to come... But, since my main character is Maronite Catholic, I was thinking of filming in a Maronite Church, which is in Miami and, lol, it's next to the aforementioned Lebanese Bakery. I want to introduce something significant of my main character, and not that she's just Lebanese, so I thought why don't I just as well film some interesting aspects of the Lebanese Catholic Rite to show how important this tradition has shaped her life and views. but the possible effects of including this feature would be to rule out the already approved song or play it out later. The reason that I can't play Raksit Leila while a ceremonial ritual is presented is due to the solemnity of the hymns, therefore providing an imbalance (mixing in something upbeat with seriousness is a no-no). I would also have to ask the priest of this Church for permission to film, which I think is least problematic of this alternative. But, still an idea I can surely play around with.
I have explored some great alternatives for the setting of my film, to substitute and allude to Rafka's mother country. But even before I start filming, I would have to clearly identify the plot of this story as it is still quite elusive...
Commercial Photography and Filming. (n.d.). Retrieved March 16, 2016, from http://vizcaya.org/facility-photo-commercial-photography-filming.asp
Fjunur. (2015, June 23). Streets of Beirut - unfiltered. Retrieved March 16, 2016, from http://ireport.cnn.com/docs/DOC-1251736
The World Factbook. (2016, March 3). Retrieved March 16, 2016, from https://www.cia.gov/library/publications/the-world-factbook/geos/le.html
 |
| Side view of Lebanon showing the Mohammad Al-Amin Mosque (Citing below). As you can see, it is not very industrialized. |
1. A location here in South Florida reminiscent with some famous architectural structures in Lebanon is Viscaya. It is a Renaissance Villa (Although most structures in Lebanon were influenced by the Phoenicians and Romans), but since it has a rather Mediterranean atmosphere being that it is surrounded by water and antique-looking, it could most likely pass by as a foreign land. But, here's the problem with choosing this filming location: IT'S EXPENSIVE! some 20 grand that is surely out of my budget. Additionally, I casually went to their website to see if they require any proper documentation or reason and hooray for me (that was sarcasm if you didn't catch it) they are very strict with it, stating "shoots require a detailed written request and are approved on a case-by-case basis". So I had no other choice than to cross this idea off my list unless I wanted to carry a debt for the rest of my life and waste my time getting my project approved on their terms.
2. In Miami, there is this one Lebanese Bakery that really catches my eye every time I pass by it in which, hooray (that was not sarcasm), the street it is in resembles the streets of Beirut. It is busy, ethnic, and could well work to create that atmosphere that I really want in order to allude to the fact that my main character is still in Lebanon as well as provide that contrast from Lebanese small towns to American small towns. I have two options with this alternative: I could film my main character inside the bakery, choosing Mediterranean food, or film her outside, still eating some ethnic food, but interacting with people. The latter could be a problem because the people she may interact with may not look native to the country I'm trying to insinuate. Also, because the song I chose has to do with an eggplant ( Refer to post 3), it favorably may fit ideally with the scene I am trying to create!
3. I have, as of now, established that my main character is going to be a Maronite Catholic Lebanese. The intention for this includes the fact that Lebanon is the only country in the Middle East that a slim less than half of its population is Christian (21% approximately from the Maronite Rite). A thorough explanation for this will be revealed in a post to come... But, since my main character is Maronite Catholic, I was thinking of filming in a Maronite Church, which is in Miami and, lol, it's next to the aforementioned Lebanese Bakery. I want to introduce something significant of my main character, and not that she's just Lebanese, so I thought why don't I just as well film some interesting aspects of the Lebanese Catholic Rite to show how important this tradition has shaped her life and views. but the possible effects of including this feature would be to rule out the already approved song or play it out later. The reason that I can't play Raksit Leila while a ceremonial ritual is presented is due to the solemnity of the hymns, therefore providing an imbalance (mixing in something upbeat with seriousness is a no-no). I would also have to ask the priest of this Church for permission to film, which I think is least problematic of this alternative. But, still an idea I can surely play around with.
I have explored some great alternatives for the setting of my film, to substitute and allude to Rafka's mother country. But even before I start filming, I would have to clearly identify the plot of this story as it is still quite elusive...
Commercial Photography and Filming. (n.d.). Retrieved March 16, 2016, from http://vizcaya.org/facility-photo-commercial-photography-filming.asp
Fjunur. (2015, June 23). Streets of Beirut - unfiltered. Retrieved March 16, 2016, from http://ireport.cnn.com/docs/DOC-1251736
The World Factbook. (2016, March 3). Retrieved March 16, 2016, from https://www.cia.gov/library/publications/the-world-factbook/geos/le.html
Saturday, March 12, 2016
YAY To Music!
How great is this!?! Thank you Karim for not ignoring my email as just another one of those annoying-fan-mails. I am slowly making what was just an idea in the air a REALITY! If you want to hear some great music, seriously check out this band: Mashrou' Leila. Yes, all their songs are in Arabic, but they have such a great rhythm that is reminiscent to antique Lebanese Folk music. The reason I chose Mashrou' Leila in particular is, well for one, they're a Middle-Eastern band who is largely successful even in the U.S. but also within their songs, they seem to envelope a political or societal message on the human condition, specifically in Lebanon. Of course, I'm not making a politically-driven film and the last thing I want to do is cause controversy (I'm saving that for my next film, hehe).
I chose a rather neutral song to represent the introduction of Rafka and her journey to the U.S. Raksit Leila, in its essence is about an eggplant. No joke, when I translate the lyrics for you, it mentions "sing me about the eggplant". But, on a more complex level, and in order not to confuse a part of the audience that speaks Arabic, it talks about a situation. And, specifically, it reflects the situation Rafka is in, which she tries to assimilate to a different world with different customs.
Mashrou' Leila- Raksit Leila Music Video (YouTube)
A Research on Nadine Labaki
So, remember that film (*cough* Caramel) that gave me inspiration for the path I wanted to go for my own two-minute film opening? Yeah, well, I decided to compose some research on the person behind the camera, Nadine Labaki. And you know what? She's the main character of the film AND actually from Lebanon.
Initially, I wanted to get some background for how Rafka, a fictional character of my own film, has lived and what she experienced in Lebanon before making the transition to the U.S. in her teenage years. And not just from my perceptions of a country I haven't visited in over 10 years but from extensive learning of its history (more than what I already know), hearing some first-hand accounts of citizen journalists who document Lebanese quotidian life as well as important current events, finding several viewpoints of the thoughts of people native to Lebanon on the lifestyle and culture of the country (my family included), and finding out how Nadine Labaki characterizes Lebanese people in her own films. I will look at other Middle-Eastern filmmakers throughout my film-creation process, but today I thought I would research a female film director from Lebanon. The reason for this is to provide a top-notch, not faulty representation of a Lebanese character and how they are portrayed in the media, so I may accept or change some representation tropes as I work on this film.
Here it goes (A short summary of my research):
Interestingly, Labaki's interest in film arose when Lebanon was torn by a civil war from the 1970's to the 90's. In a Vogue interview, she mentions the fact that she had to stay in her house for the duration of the war and her only "escape" was watching television.
Her first film, Caramel (Oscar nominated in 2007 for best foreign language film), in which she wrote, directed, and appeared in became the keystone to her signature and style. This includes a strong female lead, large cast of predominantly females, and an unusual mix of comedy and drama.
Additionally, she mentions continuously that a particular feature of her films is her casting of first-time actors in order to create a more natural scene that audiences can easily relate to rather than them looking at her films with "fictional" characters.
Her second film, Where Do We Go Now, which most of her film locations took place in Lebanon, has also been critically acclaimed because of its universal message and significance. A rather serious plot has been turned into a comedy that reflects many conflicts in the Middle East. She does not cite that her film is located in Lebanon and leaves the setting quite ambivalent in order to reflect on not just one country and its stereotypes. Her characters, especially her female characters, represent the "typical" middle-eastern tropes, but Labaki also highlights the importance of women's actions in society that can provide peace in many war-torn countries.
I have gathered quite sufficient information to create my own main character, although more research may be needed later on. Also, I have enjoyed learning about this director who is quite a big deal in the Lebanese film Industry, if not the whole world, who has broken many rules (for the better) on the portrayal of the Middle-East and its people.
Smith, N. M. (2012, May 09). Nadine Labaki On 'Where Do We Go Now?': "The film is not perfect. People are relating to what the film is saying." Retrieved March 12, 2016, from http://www.indiewire.com/article/nadine-labaki-interview
T. (2012, June 25). Where Do We Go Now? Retrieved March 12, 2016, from http://www.vogue.co.uk/blogs/the-culture-edit/2012/06/nadine-labaki-interview---where-do-we- go-now
Initially, I wanted to get some background for how Rafka, a fictional character of my own film, has lived and what she experienced in Lebanon before making the transition to the U.S. in her teenage years. And not just from my perceptions of a country I haven't visited in over 10 years but from extensive learning of its history (more than what I already know), hearing some first-hand accounts of citizen journalists who document Lebanese quotidian life as well as important current events, finding several viewpoints of the thoughts of people native to Lebanon on the lifestyle and culture of the country (my family included), and finding out how Nadine Labaki characterizes Lebanese people in her own films. I will look at other Middle-Eastern filmmakers throughout my film-creation process, but today I thought I would research a female film director from Lebanon. The reason for this is to provide a top-notch, not faulty representation of a Lebanese character and how they are portrayed in the media, so I may accept or change some representation tropes as I work on this film.
Here it goes (A short summary of my research):
Interestingly, Labaki's interest in film arose when Lebanon was torn by a civil war from the 1970's to the 90's. In a Vogue interview, she mentions the fact that she had to stay in her house for the duration of the war and her only "escape" was watching television.
Her first film, Caramel (Oscar nominated in 2007 for best foreign language film), in which she wrote, directed, and appeared in became the keystone to her signature and style. This includes a strong female lead, large cast of predominantly females, and an unusual mix of comedy and drama.
Additionally, she mentions continuously that a particular feature of her films is her casting of first-time actors in order to create a more natural scene that audiences can easily relate to rather than them looking at her films with "fictional" characters.
Her second film, Where Do We Go Now, which most of her film locations took place in Lebanon, has also been critically acclaimed because of its universal message and significance. A rather serious plot has been turned into a comedy that reflects many conflicts in the Middle East. She does not cite that her film is located in Lebanon and leaves the setting quite ambivalent in order to reflect on not just one country and its stereotypes. Her characters, especially her female characters, represent the "typical" middle-eastern tropes, but Labaki also highlights the importance of women's actions in society that can provide peace in many war-torn countries.
I have gathered quite sufficient information to create my own main character, although more research may be needed later on. Also, I have enjoyed learning about this director who is quite a big deal in the Lebanese film Industry, if not the whole world, who has broken many rules (for the better) on the portrayal of the Middle-East and its people.
 |
| Asfour, N. (2012, March 25). “Where Do We Go Now?” Asks Nadine Labaki - The New Yorker. Retrieved March 12, 2016, from http://www.newyorker.com/culture/culture-desk/where-do-we-go-now-asks-nadine-labaki |
Asfour, N. (2012, March 25). “Where Do We Go Now?” Asks Nadine Labaki - The New Yorker. Retrieved March 12, 2016, from http://www.newyorker.com/culture/culture-desk/where-do-we-go-now-asks-nadine-labaki
Smith, N. M. (2012, May 09). Nadine Labaki On 'Where Do We Go Now?': "The film is not perfect. People are relating to what the film is saying." Retrieved March 12, 2016, from http://www.indiewire.com/article/nadine-labaki-interview
T. (2012, June 25). Where Do We Go Now? Retrieved March 12, 2016, from http://www.vogue.co.uk/blogs/the-culture-edit/2012/06/nadine-labaki-interview---where-do-we- go-now
Wednesday, March 9, 2016
Caramel, not just the sweet thing, inspires even the most restrained mind (Like me).
To whom it may concern:
I am ready to start! (Is this the part where I say "lights, camera, action"?)
Just today, while I was desperately looking for a genre that seemed fitting to my new film, my father (a classic connoisseur of all things Lebanese) was viewing a "classic" Lebanese film, Caramel. My curiosity peaked as my mother joined him and they both laughed uncontrollably at a scene consisting of arguing people. So, I decided to view the film myself. As I was trying to concentrate on the convoluted and dramatic plot as well as translate the Arabic lines to English in my brain, my mind kept escaping to focus on what my film should be, what genre I should place this film, and how would I capture the attention of the audience with whatever I do. Then, as if a bolt of lighting struck down and enlightened me, I was soon geared on, attentive to Layale (The main character played by the director of the film, Nadine Labaki) and her personal problems that seem to resonate the political overtones of the small country of Lebanon. The shots, edits, cuts, representation all moved gloriously throughout the film and I was at once inspired.
Inspired by what, specifically? Well, person reading this, I was inspired by how well the problems of this main character resonated with the audience... Respectively, my mom, dad, and I. We felt her pain. We cried when she cried. We were moved by her actions and most importantly, we learned her history and the history of this one country that is unknown to many, but means whole world to this Layale. And that is exactly what I envision myself creating! I, an amateur film director, want to move the audience with a story of identity, discovering oneself, and the importance of one's roots and background. In small steps, we will uncover a particular original story of individuality. Stay tuned as we embark on this journey with our own main character, Rafka, as she witnesses a strikingly different culture that is America and her transition from hummus and pita chips to macaroni and cheese. Also stay tuned as I try to figure out how this story goes aanndd research, like, a lot!
Freeman, J. (2008, May). Caramel. Retrieved March 09, 2016, from http://socialistreview.org.uk/325/caramel
Scott, A. O. (2008). A Haircut, With an Affair and Highlights of Support. Retrieved March 09, 2016, from http://www.nytimes.com/2008/02/01/movies/01cara.html?_r=0
I am ready to start! (Is this the part where I say "lights, camera, action"?)
Just today, while I was desperately looking for a genre that seemed fitting to my new film, my father (a classic connoisseur of all things Lebanese) was viewing a "classic" Lebanese film, Caramel. My curiosity peaked as my mother joined him and they both laughed uncontrollably at a scene consisting of arguing people. So, I decided to view the film myself. As I was trying to concentrate on the convoluted and dramatic plot as well as translate the Arabic lines to English in my brain, my mind kept escaping to focus on what my film should be, what genre I should place this film, and how would I capture the attention of the audience with whatever I do. Then, as if a bolt of lighting struck down and enlightened me, I was soon geared on, attentive to Layale (The main character played by the director of the film, Nadine Labaki) and her personal problems that seem to resonate the political overtones of the small country of Lebanon. The shots, edits, cuts, representation all moved gloriously throughout the film and I was at once inspired.
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| (n.d.). Retrieved March 09, 2016, from http://www.imdb.com/title/tt0825236/ |
Inspired by what, specifically? Well, person reading this, I was inspired by how well the problems of this main character resonated with the audience... Respectively, my mom, dad, and I. We felt her pain. We cried when she cried. We were moved by her actions and most importantly, we learned her history and the history of this one country that is unknown to many, but means whole world to this Layale. And that is exactly what I envision myself creating! I, an amateur film director, want to move the audience with a story of identity, discovering oneself, and the importance of one's roots and background. In small steps, we will uncover a particular original story of individuality. Stay tuned as we embark on this journey with our own main character, Rafka, as she witnesses a strikingly different culture that is America and her transition from hummus and pita chips to macaroni and cheese. Also stay tuned as I try to figure out how this story goes aanndd research, like, a lot!
Freeman, J. (2008, May). Caramel. Retrieved March 09, 2016, from http://socialistreview.org.uk/325/caramel
Scott, A. O. (2008). A Haircut, With an Affair and Highlights of Support. Retrieved March 09, 2016, from http://www.nytimes.com/2008/02/01/movies/01cara.html?_r=0
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