The Bowdoin Orient
Volume CXXXII, Number 1
September 8, 2000
News ... Features ... Opinion ... A&E ... Sports
In her sophomore year at Bowdoin, Kate Maselli had the sort of epiphanic moment
that legitimizes a liberal arts education. All her classes seemed to come
together and relate to one another; in particular physics and photography.
An examination of optics in her physics course led her to understand the diverse
capabilities of her camera and spawned a sense of experimentalism evident in
her latest exhibition. Along with Adam Zimman 02, Kate is currently showing
several of her photographs in the Bohemian Coffee House on Maine Street.
In the photo pictured at right, Kate experimented with the technique of time lapse photography. She attempted several different exposure lengths before settling upon this thirty second exposure. She was startled by the results, particularly the way in which a static image could so potently express continuity and movement.
Kates photography also addresses the concept of intimacy. One print focuses on a single leaf of a plant which Kate selected for its unremarkable, yet somehow undismissable beauty. She emphasizes an element of depth, hoping to invite the reader into her photograph in the same way that the leaf invited her into aesthetic contemplation. Kates favorite photograph consists of a hand stretched sensuously across a pillow, grasping a rose in the early morning light. There is simultaneously a sense of innocence and a hint of sexuality in this photo, playing upon the mythology of sexual discovery. The work is situational, inviting us to invent the narrative which culminates in this photograph.
Kate would not limit her works to one particular implication but it is important that there are implications to what she captures on film. She developed her penchant for photographic dialog during her photography classes at Bowdoin with professor John McKee. She remarks that he is an amazing professor who really makes you think about everything; you have to look at the whole world to take a great photo. Kate has taken three photography classes at Bowdoin and she is currently a teaching assistant for the introductory photo course. She wants to communicate to other Bowdoin students a sense of the existential imperative of photography. Before discovering photography Kate thought she had no artistic talent, joking that she could not even draw a stick figure. While the sentiment borders on the cliché, we might say that Kate Masellis work demonstrates that it is indeed never too late to discover something about yourself.
Kate plans to maintain her dual interest in physics and photography after she graduates from Bowdoin this spring. She hopes to become a high school physics teacher and perhaps teach photography. Even if she cannot find room for photography in her life at an occupational level, Kate says she cannot help but involve photography in her life at a philosophical level in the aesthetically attuned way in which she encounters the world.
For the past few years, a very valuable resource of Bowdoin has been deprived
of public recognition. Proof of this is when one asks most students what The
Quill is, and they are unable to tell you anything about it. However, the staff
of The Quill (Bowdoins one and only literary magazine, for those of you
who dont know) is just as dedicated as that of any other club or sport
The literary magazine is published once a year in the spring, and despite its name, it accepts more than just the usual literary work, such as poems, short stories, plays and the like. It also incorporates original photos, drawings, paintings, sketches, and doodles basically anything creative that can be displayed on a page.
Moreover, the magazine accepts such submissions year round, giving students a chance to submit their pieces as soon as they are written, rather than forcing them to languish in a drawer, forgotten, until some distant date in the spring. Another advantage of this policy is that it allows the author to receive virtually immediate feedback, giving them a chance to edit their submission, as well as guidelines for future submissions.
Because of this rolling admissions policy, the editors must work year round to assess the submissions. So, every Thursday night, rain or shine, the editors of the magazine gather from near and far to discuss student submissions of creative work (and supposedly have fun doing it, although this has not been confirmed).
The submissions are all judged anonymously, ensuring that no petty jealousies, or even full-blown feuds, can thwart the creative process. Not that the staff is jealous of anyone, and they certainly have no feuds, but the measure is in place, just in case.
The meetings are about more than just reading student submissions, though. The staff starts by looking at work from masterful artists and authors of the past, not to use as a standard of judgment (for, after all, who can compete with a James Joyce or an Albrecht Dürer?), but rather to provide some inspiration, ensuring that The Quill never settles for second best.
For the goal of The Quill, as Larisa Reznik, co-Editor in Chief of the magazine, states, is to publish a quality compilation of diverse and vibrant work the celebrates the talent of the Bowdoin student community. Integral to such a mission is the process of examining the work of prior authors, who provide a perspective for the discussions at the Thursday meetings.
For those students who are interested in seeing what The Quill looks like, back issues are available at the Smith Union Information Desk. Also at the Information Desk is the submissions box for The Quill, which is checked regularly by the Editors, Jenny Morse and Larisa Reznik.
Students interested in more information about The Quills submissions policies, or even in becoming part of The Quill staff, should contact the editors, Jenny Morse 02 (firstname.lastname@example.org) and Larisa Reznik 02 (email@example.com).
After spending a semester in Italy, watching way too much Italian television,
I have happily returned to review some of the best direct-to-video films that
Video Galaxy has to offer. While Italian TV was fascinating, I have missed feature-length
films such as Femalien, Killer Tongue, and even Killer Eye.
During the summer I considered changing the format of this column a bit. At first I wanted to cover a terrific program on Italian television that I watched with some frequency, titled Colpo Grosso, which loosely translates to Blow Fat. The program is a game-show of sorts, which involves contestants stripping for money, and also a regular cast of talented female co-hosts who also strip when contestants answer questions correctly. While I never fully understood the rules of the show, I found myself consistently captivated.
Another direction I considered taking the column was more towards the seedier side of the video market, namely pornographic films, and their relationship to popular film in the more mainstream market. For instance, I could review the role of male/ female relationships in Disneys popular animated release Pocahontas, as compared to Vivids less well known Poke-a-hot-ass. Or, I could compare the revolutionary visuals in Stanley Kubricks 2001: A Space Odyssey with those in the softcore classic 2069: A Sex Odyssey. And how about plot-development in Pokemon: The First Movie versus Shut Up and Blow Me Part 4. Well, maybe that last one doesnt work quite so well, but I think you get the idea. After much consideration, I realized that in order to do a column such as this, I would have to watch quite a bit of porn. While that may be well and good, I would have to frequent the adult section of Video Galaxy on a weekly basis; and lets face it, Im way too shy for that.
So by default, its back to the same old grind. For those of you who are not familiar with my column, each and every week I will review a new direct-to-video film. These movies are so innovative and ahead of their time, that a wide release in theaters would not make financial sense, since only a small audience is sophisticated enough to fully appreciate them. This week I am reviewing the fifth installment of the ever-popular Leprechaun series, Leprechaun in the Hood, starring Ice-T. After success as a solo rap-artist, his bands controversial classic single Cop-killer, and the lead role as an under-cover police officer in the influential film New Jack City, it is only natural that Ice-T would choose to move on to more avant-guard work such as Leprechaun in the Hood. While Leprechaun 4: Leprechaun in Space was a telling and introspective spoof on the sci-fi genre of film, its successor takes on a more serious tone. Leprechaun in the Hood is a revealing study of three up-and-coming rap artists from the streets of Compton struggling to make their way to success, and one bad-ass leprechaun who gets in their way.
Three young rap-artists, Butch, Stray-Bullet, and Postmaster P, need some funding to enter themselves in a rap contest which could send them to the finals in Vegas and win them a record deal. But when the local pimp/record-producer Mac Daddy (Ice-T) turns them down, our down-on-their-luck rappers decide to break into the big mans office and steal his gold. A flash-back sequence reveals the secret to Macs success: years ago he stole his wealth and a magic flute from a leprechaun who had been turned to stone. Our boys botch the heist, and awaken the wrath of the leprechaun, sending the little man after them, as well as one grumpy Mac Daddy. The remainder of the movie is spent in chaotic violence as both Mac Daddy and the leprechaun hunt for the three rappers. The leprechaun spends his time chillin with his zombie fly-girls, and smoking the chronic. A friend with weed is a friend indeed, the stoned ghetto leprechaun rhymes. When hes not smoking a blunt, hes seducing women with his new urban-flava of seduction, Come closer, come closer my lass, let me get a look at you before I tap your ass. The leprechaun even has a sexual encounter with a transvestite male prostitute. As the little green bad-boy hunts down Butch, Stray Bullet, and Postmaster P, he kills a lot of people. He cuts their fingers off, dismembers them and pickles the body parts in separate jars, blows holes clear through their chests, and impales someone with his arm. But our three heroes dont leave the leprechaun unscathed. They yell insults at him like, Yo shorty, you aint even as big as my dick! They set fire to him, and with a little help from the book Leprechauns for Dummies they get him stoned off some weed mixed with four-leaf clovers. With a cameo appearance by Coolio, a bumpin leprechaun rap sequence at the end, and lines like Man, bitches and hoes aint all the man knows, Leprechaun in the Hood is one of the finest films I have ever had the pleasure of watching. A++!
Once again you find yourself on the Bowdoin campus. The summer is now past, along with the rather lackluster bunch of summer movies you thought it would be a good idea to spend eight bucks on, each. Classes have begun and you are slowly remembering why you hate homework so much. Then you pick up the first Orient of the year and you read something that brightens your day: the Bowdoin Film Society is back with a semester jam-packed with lots of great, free movies. What a wonderful time to be a Bowdoin student. You are so overcome with joy, you feel like you could burst out in song. Well, I wouldnt recommend doing that (especially if you are secretly reading this in class), but dont fret, because this weekends movies will satisfy your urge to sing and dance. As always, the movies will be shown in Smith Auditorium, Sills Hall, and are open to everyone.
Little Shop of Horrors - Friday at 7pm
Singing in the Rain - Friday at 9pm
South Park: Bigger, Longer and Uncut - Saturday at 7pm
Everyone Says I Love You - Saturday at 9pm
Friday at 7pm
Little Shop of Horrors (1986)
Directed by: Frank Oz
Starring: Rick Moranis, Ellen Greene, Vincent Gardenia, Steve Martin, Bill Murray, Jim Belushi, John Candy, Christopher Guest, and Levi Stubbs.
Returning film fans will remember the slight mess-up last semester when we tried to show this film, not realizing that the copy we had obtained was actually the 1960 George Romero horror/comedy that this film is based on. Weve made sure that this time youll be able to see the correct musical version.
This musicals story is the classic tale were all accustomed to: boy meets girl, boy falls in love, boys evil space-plant gets a taste for human blood and doesnt want boy to leave with girl. It features some really classic showtunes: Skid Row (Downtown), Steve Martin belting out Dentist! and my favorite, Mean Green Mother from Outer Space. The acting is also top notch. Rick Moranis is perfect as the nerdy, love-struck florist (I think its his best role as a non-Canadian). Ellen Greene is truly unforgettable as Audrey, mainly because of her voice. And Steve Martin, well, is he ever bad? Come on, he plays a maniac dentist who loves to hurt his patients. Is it safe? Indeed. There are also a bunch of great cameos by some of the best comics of the mid 80s. But the real star of the film is Audrey II. She is truly unique in all of cinema. This is one plant Barry Logan hasnt exposed you to, so you better check this movie out.
Friday at 9pm
Singing in the Rain (1952)
Directed by: Stanley Donen and Gene Kelly
Starring: Gene Kelly, Donald OConnor, Debbie Reynolds, Jean Hagen, and Cyd Charisse
This is perhaps the greatest of all film musicals (I guess I can say that since This is Spinal Tap isnt technically a musical). Its a love story set at that famous period in the late twenties when the film industry first began to use sound in the majority of its movies. Because you had to speak well in order to be an actor, your career could be gone overnight. That is the problem facing the beautiful movie star Hagen, who has a voice just as interesting as Greenes Audrey. To the rescue comes the trio of Kelly, OConnor, and Reynolds, who have the great idea of letting Debbie say all of Hagens lines off stage. Many madcap problems arise (though all my old Hitchcock buddies can see what kind of troubles Hitch went through in making Blackmail).
Along the way there are all the musical standards: people falling in love, huge dance numbers, and lots of classic songs, including Make em Laugh, Good Morning, and Gene Kellys classic rendition of the title song. Its one of the most memorable of all film moments.
Saturday at 7pm
South Park: Bigger, Longer and Uncut (1999)
Directed by: Trey Parker
Starring: Trey Parker, Matt Stone, Mary Kay Bergman, Isaac Hayes, George Clooney, Minnie Driver, Eric Idle, Dave Foley, Brent Spinner and Saddam Hussein.
What Mel Brooks did to the Western genre with Blazing Saddles Trey Parker and Matt Stone have done to musicals with this film. This movie takes no prisoners and no one is spared. If you dont want to be offended, then you shouldnt see this movie. But if you dont mind being insulted (along with every other person in the theater), then by all means come on out.
The story is a simple one. The four boys we all know and love happen to catch the vulgar, R-rated Terrance and Phillip movie. This outrages the adults of South Park, and the obvious outcome, a full-scale war with Canada, ensues. This movie is much more than just a silly cartoon, it pays homage to the entire musical genre. Yes, it will help if you are familiar with the television program, but anyone can enjoy this movie. It features such catchy tunes as: Its Easy, Mmmkay, What Would Brian Boitano Do? Blame Canada, and Trey Parkers classic ode to old-fashioned uncle loving.
Saturday at 9pm
Everyone Says I Love You (1996)
Written and Directed by: Woody Allen
Starring: Edward Norton, Drew Barrymore, Natasha Lyonne, Alan Alda, Gabby Hoffman, Natalie Portman, Goldie Hawn, Julia Roberts, Lukas Haas, Tim Roth and Woody Allen.
Woody Allens musical is the story of an upper-class woman from Manhattan, her current husband, her ex-husband, and all of their children. There are trips to Paris and Venice in search of love. Problems arise when new characters are introduced in order to break up the two lovebirds (Hawns daughter Barrymore and Norton).
Although you wouldnt think of these actors as singers, all except for Drew Barrymore use their real voices. Then again, Allen didnt tell his actors that they were in a musical until after they signed the contracts, so I guess it was something of a surprise for all of them. Like South Park, this movie pays homage to the old, classic musicals, so it should appeal to both fans of the genre and of Woodys own brand of humor.
Sneak Preview: Coming next week, a set of movies all you film geeks know and
love: the movies of Kevin Smith. Until then, feel free to get some mid-week
entertainment by checking out the Film Studies 10 and 101 class films: Sunrise
(1927; 9/12 @ 6, 9/13 @ 8) and Scarface (1932; 9/12 @ 8, 9/13 @ 6)