Students in prof. Protasi’s Spring 2023 Philosophy of Film and Performing Arts class (Phil 353) worked collaboratively on a final project for the course, and produced a short film titled Cinematic Utterances.
The film is composed of three shorter films: a horror, a comedy, and a drama respectively.
Each short film is followed by an interview with the director explaining the research question driving each of them. The class was inspired by the The Five Obstructions, dir. by L. von Trier, so the overall film was produced in a documentary/mockumentary style, such that not only directors’ commentaries but also behind-the-scenes cuts are included in the film. The nature of documentary was one of the class topics, investigated through reading an article by Enrico Terrone.
The shorter films were also driven by research questions discussed in the class. The horror was inspired by a discussion of Cynthia Freeland’s “Realist Horror”; the comedy aimed to be a “good-bad movie” such as the ones discussed by Mathew Strohl in his book Why It’s OK to Love Bad Movies; the drama was motivated by discussions on cinematic realism (as famously defined by André Bazin) and on how emotional engagement with movies is possible (as analyzed among others by Deborah Knight)–in the drama, one particularly powerful scene was an homage to the ending scene of Vive L’Amour dir. by Tsai Ming-liang. The whole project was also a way of deepening understanding of the vexed question of who is the author of a film. The title itself, Cinematic Utterances, alludes to an article by Paisley Livingston on cinematic authorship. Several students reflected on how working on the film production shifted their previous views on the topic.
In some cases, however, the process solidified and provided further evidence for their views, and also allowed students to put into practice what they had thought about in the abstract. Ainsley Feeney, who starred in all three short movies, wrote:
when we talked about auteur theory, I was a big proponent of the actor taking a significant portion of the authorship. A film wouldn’t be what it is without the actors and the specific choices they make. […] All in all, my philosophy of acting centers around […] experiencing the characters. It’s important to me to be as real and true-to-life as possible, and feel what the characters would feel. […] Acting is a window into reality, and I brought as much of my real self into my characters as I could.
The movie was shot with no additional funding and only using resources available on campus on short notice so students had to be creative and adaptive. Nevertheless, important learning goals were achieved as highlighted by Emma Cole:
Stylistically I had a vision that, while mostly unable to achieve, I attempted at doing in our film. A pivotal feature in a lot of cult classic or good bad films is a specific stylistic utterance, one that is distinctly campy. Susan Sontage, in her Notes On Camp, acknowledges that camp is often found in bad films. It is a naive art that comes out of unintentional absurdity and extravagance. I attempted to pull from this idea when doing set dressing for the date scene taking time to fill the table up with colorful objects and leaning into maximalism. While in classic low budget fashion I was unable to go as far as I wanted, I think the absurdity of having a fully set dressed table with flowers, candles, and a table cloth in an otherwise empty hallway added to the campiness.
The film was shared with the Puget Sound community during a showing in Wyatt Hall on May 9th. The showing was followed by a talk-back with the cast. (Unfortunately not everyone could be present at the showing, but the whole cast is listed in the credits at the end of the film.)
Students from the class present at the showing: Harry Gers, Phoebe Bock, Joseph Alvarez, Jules Obbard, Emma Cole, Annika Freeling, Ainsley Feeney, Mei Pacheco-Leong, Emmet O’Connor, Mia Holbert.