friday, may 1,1981
page 14
daily nebraskan
Student filmmakers portray varied backgrounds
By Cydney Wilson
Tonight 10 university students will show their films at
Woods Hall from 7 pjn. to 10 p.m. The films, made in
connection with Art 265, are from a beginning filmmak
ing class taught by Dr. Edward Azlant.
Azlant, who splits teaching duties between the art and
English departments here at UNL, said the class is "as
close to the first course taught-in most major film
schools."
"It's a different approach to films. We're looking at it
with the widest eye, looking at it as an art medium."
It is not a class in cinematography, Azlant said, or
strictly documentary films which are more television
oriented and leaning toward journalism, it's more of an
art form.
Of the 10 films which are being presented, most are
narrative films. In the class, each student must make
three films-a documentary, a formal film which can be
abstract, and a narrative film.
Mark Coniglio, a freshman music major from Omaha,
feels that the three different types of films are important
because "each form takes you through a different route."
There were no restrictions on possible topics for any
of the films assigned.
"The heart of the, matter is that each film must tell a
story. Because of some financial restrictions, each film
must state the topic as clearly and economically as they
can. Also, the fact that the films are done in Super 8 or
silent film is another restriction," Azlant said.
Scary but good
The films of each class member are critiqued by the
rest of the class from start to finish. Jackie Maurstad,
a senior art major from Lincoln, said this was scary,
but good.
"You're not allowed to say anything until they're
done," Coniglio said, "and that's hard at first, and really
frustrating, because you can see in your head what you
are going to do, and they're just dealing with the facts."
Members of the class come from aff different areas
of study. Some are English majors who took classes from
Azlant in the English department (film study classes,
film history and film criticism), journalism students look
ing at a different approach to films other than news
formats and art students.
Coniglio said he felt the varied background really
helped.
"It lets you see more points of view and the critcism
is much better," he said.
Each background of study was highlighted by the
three different assignments, he said.
"For example the journalism majors did a super job
on the documentary," he said, "and the art majors with
their color sense were best featured on the formal film."
Get out and do it
"I'm a music major," he said, "and the reason that
i .a:- tuto .incc ic hAvincf Arlittno film is verv much
like music. It involves rhythm, tempo and blending
images. I'm interested in scoring music for films, and I
think this will give me a better understanding."
Jackie Maurstad said she became interested in this
class after taking a film history class.
"I became interested in the whole filmmaking experi
ence and I wanted to learn in a practical, experiential
way," she said. "I wanted to understand what they're
doing in films. Since this class I've found that there's
so much more to see. It's creative, it's not just a technic
al process."
"You start seeing things you never realized were there
before" Coniglio said, "and you start noticing what it
really takes to put a film together. In Azlant's class we
don't just learn the principles but we get out there and do
it."
Film is fast becoming a major part of the world of
media, whether it's in art or journalism. Azlant said he
wants students on this campus to have the opportunity
to take a film class without having to go far away.
"Film is not just a fad or a frill," he said, "with the
coming of film and the new kinds of media that are
developing with it."
Series debuts with blues
"33rd Street Sessions," a new, local- "Little Jimmy Valentine and the
ly produced music series featuring Heart Murmurs" was one of four groups
"homegrown" music from Nebraska chosen to be featured on the first four
groups, premieres with the blues of - programs of the 33rd Street Sessions
"Little Jimmy Valentine and the Heart series. Other groups appearing on the
Murmurs," Thursday at 7:30 pm. on musical series in May will include "The
NETV. The program will be repeated Neoclassic Jazz Orchestra," the rock
Saturday May 9 at 10:30 pjn. v. group "Blackberry Winter" and the
The Heart Murmurs, who play tradi-vbluegrass band "The Sandy Creek
tional blues a& well as rhythm and bluesilfickers.' v.
and rock V roll, perform a Variety of 33rd Street Sessions is a production
songs, including "Standing at the Cross- of the cultural affairs unit of University
roads," "One Way Out," "In The Even-
ing" and "Get Your Business Straight."
The 30-minute program was taped be
fore a live audience in the Nebraska
ETV studios.
The four-piece blues group features
of Nebraska Television. Producer for the
series is Gene Bunge, with Michael
Farrell, producerdirector for the
"Little Jimmy Valentine and the Heart
Murmurs" program. Luise Fuzy is unit
director for the series, with Art Kuhr,
Sean Benjamin, guitar and vocals; Jim scenic design; Dan Wright, sound mixer
"Cid" Cidlik, piano and vocals; Dave and Foster Collins, lighting design. The
Kasik, bass guitar; and Marc Wilson, series is financed in part by Nebraskans
drums. for Public Television, Inc.
j 111 t's.
Photo Courtesy of NETV
Movie critic's authority comes with experience
By Pete Schmitz
I often am asked, "What makes your opinion about
movies so valuable?" My only response to this is that
my opinion about movies is, for the most part, no more
valuable, or right, than the observations of any other
person who truly is interested in film. The only thing
that distinguishes me from the rest is that I choose to
express my feelings on paper. Period.
Movies have message
The topic of "objectivity" versus "subjectivity" is
another big concern among readers and writers. Let me
say that a good critic recognizes and embraces a "slip
page" between the two.. On the one hand, most films are
made with a specific intent and message in mind. Even
o
reuisiv
the ones that are made only for commercial appeal must
have some gimmick to catch an audience. But on the
other hand each of us gets something a little bit different
out of a movie because our unique experiences shape our
perception.. If you don't believe this, try seeing a movie
that you saw 10 years ago.,
I can guarantee that it will be a totally different ex
perience for you. In junior high I saw The Prime of Miss
Jean Brodie with some friends and hated it, two years
ago I watched it on television and became convinced that
it was a masterpiece.
Exposure brings objectivity
But while 1H never deny the importance of subjectivity
(even choosing what film to review is a subjective deci
sion), 1 can say that exposure will render more objectivity,
a well as a greater knowledge of film, to the viewer.
My biggest criticism trom others is that I focus on the
political and sociological aspects of film without giving
etjual consideration to its aesthetic qualities. To this, I
plead guilty as charged, but without shame.
Although I view film as an art, I recognize it as a pol
itical act, as well as an attempt to represent reality in
some way (even the expressionistic film-makersr whose
art lies in the distortion of reality, must rely on a reality
to distort). When most audiences view a certain director's
or writer's reality as given, then it is the duty of the critic
to judge how the film-maker imposes his or her vision on
the audience.
Subjective decision
And as for film -maker's objectivity, I would say that
those who claim to be are lying. Choosing what to film,
how to film it, and how to put it together, are all subjec
tive decisions that are balanced, usually for the worse, by
what the public wants to see.
When asked, "What's wrong with film today?", I am
hard put for a simple answer, but there is one plausible
explanation. Film, unlike many other art forms, is a very
expensive pursuit. Even the little 12-minute piece, done
by a student, may run up to $200 or more.
While it is possible to write a story, paint a picture, or
compose a poem without an extensive monetary invest
ment on the part of the artist and hisher sponsors, mak
ing a movie requies a lot of money and collective energy.
In fact, the expense of making a movie practically requires
that one make a movie to make money. To do this, one
often must appeal to the lowest common denominator.
And television is where films are headed. To recover
costs and guarantee a profit, movies must now rely on
television and cable sales. And in order to guarantee a
television sale, a movie must look more like a television
show. Today films are increasingly casting television stars
(e.g. John Travolta, Robin Williams, Chevy Chase and
Mary Tyler Moore). They are shot to fit the small screen
(this is true in the case of the more acclaimed movies such
as Kramer Versus Kramer and Ordinary People), and they
are edited with commercial breaks in mind.
Studios even go so far as to demand a separate "movie
ending" and "television ending." My prediction is that the
television factor in movie-making will destroy the careers
or integrity of such directors as Woody Allen, Hal Ashby,
John Huston, Robert Altman, John Cassavettes, and
Martin Scorsese.
Finally, people often will tell me, "But analyzing a
movie takes all the fun out of it." This is true for bad
movies. And if I have ruined any enjoyment that you
might have derived from something like Caddyshack or
Ordinary People, all I can say is that I am glad.
If movies are to get any better, we all will have to
analyze them and play the part of the critic, whether we
do it in print or just among friends.
Grace Slick back
in Starship album
Review by Pat Higgins
The Jefferson Starship, of all people, have released a
new album called Modern Times and it is a surprisingly
list enable record.
The big news is that Grace Slick has rejoined the
band after an extended leave of abscence.
She sings lead on "Familiar Stranger" (intended
for Paul Kantner?) and backing vocals on the other songs
which brings back those soaring harmonies of times past.
However, the basic sound of Jefferson Starship 1981
is mainstream FM rock. Gone are the psychedelic excesses
of the always overrated Airplane, or the sappy middle-of-the-road
love songs that Marty Balin was cranking out
for the easy listening set. Incidentally, Balin's replacement
is Mickey Thomas, who did the vocals on Elvin Bishop's
"Fooled Around and Fell in Love." He has a decent
set of pipes. Modern Times is the closest the Jefferson
Starship have been to conventional rock as we know it.
Continued on Page 15
