It's official.
There is a post-credits scene at the end of Iron Man 3, so don't let anyone you love walk out of the film early! This is a spoiler alert, so if you don't want to know what it is, just skip down: the post-credits scene is Tony Stark, on a couch, talking about his problems and what has happened; we then see Dr. Bruce Banner (the Hulk), sleeping because Tony is so boring; Banner wakes up and tells Stark, "I'm not that kind of doctor," and then goes back to sleep. Why is this important? First, if billionaire playboy Tony Stark is reflecting on what has happened, we should, too. Secondly, if Banner isn't the doctor Tony needs to be telling his problems to, that means we are the doctor and it's up to us to help Tony through his problems. Supposedly, Tony has been having problems with nightmares (I thought the problem was he couldn't sleep, but that might be an issue as well), and whenever "sleep" and "nightmares" are involved (not to mention someone on a couch talking about their problems) that's an invitation to psychoanalyze the art and we most certainly will.
Here is General Zod's message to the world from Man Of Steel:
What he says isn't as important as how he's saying it.
You may recall, when studying the trailer for Ridley Scott's Prometheus, and clips of Bane from The Dark Knight Rises, we utilized the tool known in information theory as "noise," one of my favorite analytical tools, except for all my other favorite analytical tools. Anyway, in the clip above, we are treated to both visual noise--the static appearance of the clip and the lack of detail about the identity of who is speaking--as well as audio noise: the bleeps, high-pitched noise and static we hear making it difficult to understand what Zod says. Why do this? In this era of High Definition, when hundreds of millions--even billions--are spent to provide and receive the crispest images and the best sound, why intentionally deliver to audience members a garbled message like the one above that could risk turning people off of the film and decrease release profits?
Because this is art.
Into the White, which has all ready been released in the US:
And now The Red:
Well, those are pretty self-explanatory. What might not seem so explanatory is, why make another version of Romeo and Juliet when there are all ready so many? Well, when we discuss the zombie film Warm Bodies--which is based on Romeo and Juliet--we'll see how each generation identifies with the struggles presented in Shakespeare's classic, not only because of how he articulates some of the timeless truths we have found to still be timeless truths, but how we in our own time understand how his writing applies to us (not to mention that this does look top quality):
Director Joss Whedon (The Avengers) has remade Much Ado About Nothing in a contemporary setting but in black and white; we have viewed this clip before, but now, let's ask ourselves, what two factions that are always fighting might fall in love with each other (and, yes, this is supposed to apply to Romeo and Juliet as well):
Could both of these remakes be a message that, if capitalists like myself just put aside their irrational fear and hatred of socialism, instead of always fighting with the deplorable consequences of what fighting entails, we would actually be much happier being joined to socialism? That's your call.
Eat Your Art Out,
The Fine Art Diner
There is a post-credits scene at the end of Iron Man 3, so don't let anyone you love walk out of the film early! This is a spoiler alert, so if you don't want to know what it is, just skip down: the post-credits scene is Tony Stark, on a couch, talking about his problems and what has happened; we then see Dr. Bruce Banner (the Hulk), sleeping because Tony is so boring; Banner wakes up and tells Stark, "I'm not that kind of doctor," and then goes back to sleep. Why is this important? First, if billionaire playboy Tony Stark is reflecting on what has happened, we should, too. Secondly, if Banner isn't the doctor Tony needs to be telling his problems to, that means we are the doctor and it's up to us to help Tony through his problems. Supposedly, Tony has been having problems with nightmares (I thought the problem was he couldn't sleep, but that might be an issue as well), and whenever "sleep" and "nightmares" are involved (not to mention someone on a couch talking about their problems) that's an invitation to psychoanalyze the art and we most certainly will.
Here is General Zod's message to the world from Man Of Steel:
What he says isn't as important as how he's saying it.
You may recall, when studying the trailer for Ridley Scott's Prometheus, and clips of Bane from The Dark Knight Rises, we utilized the tool known in information theory as "noise," one of my favorite analytical tools, except for all my other favorite analytical tools. Anyway, in the clip above, we are treated to both visual noise--the static appearance of the clip and the lack of detail about the identity of who is speaking--as well as audio noise: the bleeps, high-pitched noise and static we hear making it difficult to understand what Zod says. Why do this? In this era of High Definition, when hundreds of millions--even billions--are spent to provide and receive the crispest images and the best sound, why intentionally deliver to audience members a garbled message like the one above that could risk turning people off of the film and decrease release profits?
Because this is art.
Into the White, which has all ready been released in the US:
And now The Red:
Well, those are pretty self-explanatory. What might not seem so explanatory is, why make another version of Romeo and Juliet when there are all ready so many? Well, when we discuss the zombie film Warm Bodies--which is based on Romeo and Juliet--we'll see how each generation identifies with the struggles presented in Shakespeare's classic, not only because of how he articulates some of the timeless truths we have found to still be timeless truths, but how we in our own time understand how his writing applies to us (not to mention that this does look top quality):
Director Joss Whedon (The Avengers) has remade Much Ado About Nothing in a contemporary setting but in black and white; we have viewed this clip before, but now, let's ask ourselves, what two factions that are always fighting might fall in love with each other (and, yes, this is supposed to apply to Romeo and Juliet as well):
Could both of these remakes be a message that, if capitalists like myself just put aside their irrational fear and hatred of socialism, instead of always fighting with the deplorable consequences of what fighting entails, we would actually be much happier being joined to socialism? That's your call.
Eat Your Art Out,
The Fine Art Diner
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