Film Feature: Analysis of The Exorcist by Chris J.Patiño–Lighting the Darkness

The Exorcist: Lighting the Darkness” a film analysis by Chris J.Patiño

There are many ways to paint a picture of fear. For some filmmakers, it’s all in the monster, in showcasing the boogeyman at the center of the story. Others rely on suggestion and mind games to get inside peoples’ heads. Whichever way you cut, it’s all theatricality, and presentation goes a long way into how an audience will react. The Exorcist stands as one of the greatest horror films because of the filmmakers’ mastery over the language of film. Perhaps the film’s strongest element is its depiction of demonic possession. Director William Friedkin’s grounded documentary approach lends the film a sense of realism that is uncommon within the genre. He pays careful attention to making sure the world and the people in it feel authentic and believable. But that does not mean the film lacks artistry. As it happens, it’s the combination of the real with the imaginary that sells the film’s realistic vibe and accentuates the horror of it all. Of the filmmakers’ many technical wizardries, the cinematography, specifically the lighting, captures the character’s internal landscapes of fear as they contend with great evil. It lends to the film’s overall themes of faith and uncertainty. In The Exorcist, expressionistic lighting is tied directly to the human psyche, portraying the inner turmoil of doubt in the face of evil.

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New Artwork by Lizzy Lunday!

Lizzy Lunday’s work appears in Jet Fuel Review’s Issue #19! Check it out here!

LA Hot Tub

Lizzy Lunday (b.1992) is a visual artist based in Brooklyn, NY. Lunday received her MFA from Pratt Institute In 2019, during which she was the recipient of Pratt’s GSEF grant. Her work has been exhibited both nationally and internationally, including her two-woman exhibition Feminine Constructs in 2018 and Origins in 2019. Most recently, Lunday was named on Saatchi Art’s 2019 Rising Stars Report and was an artist in residence at 77Art in Rutland, Vermont.

Artist Statement
The foundations of my paintings are composed of images that I take during my everyday life, pulling from television, social media, and my physical environment. Working in modes of both representation and mutation, I use paint to meld images together, creating fractured and distorted realities. Through the manipulation of these images, my work touches on themes of gender, intimacy, consumerism, and power.

Steven’s Science in Cinema: Armageddon (1998)

I promised in my first blog that I would do equal amounts of STEM reviews on various movies. I have since realized that I have yet to do a physics review. I was actually excited for  this review as I really enjoy the sci-fi film genre. Most of the films that cover physics concepts are mainly space movies. Among all of them, there are the great movies like Interstellar which beautifully explores the 5th dimension, and then there is the movie that was rumored to be a screening test for NASA astronauts. The astronauts would have to watch this movie and point out the obvious flaws. This movie is Armageddon (1998) by Michael Bay.

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New Artwork by Paco Pomet!

Paco Pomet’s work appears in Jet Fuel Review’s Issue #19! Check it out here!

Social, 2016 Diptych Oil on canvas 120 x 280 cm

Paco Pomet (Granada, Spain, 1970) lives and works in his hometown. Bachelor of Fine Arts from the University of Granada in 1993, he completed studies at the School of Visual Arts (New York, USA, 2004). He has enjoyed several scholarships abroad: Academy of Spain in Rome (1999-2000), Fortuny Scholarship (Venice, Italy, 2000), College of Spain (Paris, France, 2004). In 2010 he received the “Excellent Work Price” at the Beijing Bienniale (China, 2010). In 2015 he took part in DISMALANDBemusement Park, the exhibition organized by Banksy in Weston-Super-Mare (United Kingdom), where he exhibited his work with Banksy, Damien Hirst, Jenny Holzer and David Shrigley among other artists. Between the end of 2015 and March 2016, his work was the subject of the first retrospective of his work in an American museum: The Baker Museum, Naples (Florida). He currently works with the galleries My Name’s Lolita Art (Madrid), Richard Heller Gallery (Santa Mónica, USA), Robischon Gallery (Denver, USA) and Galleri Benoni (Copenhagen, Denmark).

He has participated in the following art fairs: The Armory Show, Expo Chicago, Miami Project, Pulse New York, Scope New York USA),  Scope Basel (Switzerland), Art Brussels (Belgium), ARCO, Estampa Contemporary, Drawing Room (Spain), Art Herning and Enter Art Fair (Denmark). His works can be found in several public and private collections such as Ministry of Cultural Affairs, Coleccion SOLO, IVAM Valencia Institute of Modern Art, Santander Art Museum, (Spain); Spanish Academy in Rome, Luciano Benetton Collection (Italy); Hall Art Foundation, The Patchett Collection, (US).

Antonio’s The Rare Review: Freedom and Tradition Clash in Netflix’s Unorthodox

Being a hero does not always mean wearing a cape or fighting off foes with superhuman strength. For some individuals they become the heroes of their own stories simply by demonstrating uncharacteristic bravery in the face of insurmountable odds. They face something horrifyingly daunting but pressing forwards nonetheless. That is the case for a determined young woman in Netflix’s original mini-series, Unorthodox.

The four part program packs quite a bit of drama and emotion into such a short viewing time. The story centers on Esty, a young woman residing in an Ultra-Orthodox Jewish community in New York City’s Williamsburg neighborhood. Perhaps Ultra-Orthodox doesn’t do justice to the fundamentalist nature of her situation. Though the community exists in Brooklyn and the United States of America, she and other women have limited freedom and limited options due to the patriarchal nature of their lives. Her prison has no physical bars, but she is trapped by tradition and a sense of obligation that has been instilled in her for her whole life. The rabbi is the ultimate authority, and Esty enters into an arranged marriage as women are essentially relegated to being child bearers. Their sole functions are to increase the numbers of the community and keep their husbands happy. 

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Modern Cinema From Around the World: A Review of Mathieu Kassovitz’s “La Haine”

La Haine follows three friends, Vinz, Hubert, and Saïd through their wanderings in and around Paris. The film begins in the aftermath of a riot, where police arrest and injure their friend, Abdel Ichacha. News stations begin to plaster Ichacha’s image all over the headline news, highlighting his importance immediately. Vinz (Vincent Cassel) is a Jewish man who is more aggressive than his friends and who openly, and actively, participates in the riots. Vinz is a character who has a vendetta against police and promises to murder a police officer if Abdel Ichacha dies. He is the wild-card of his friends and preoccupies himself with street culture. He says he was raised on the street, even quoting the famous, “You talking to me,” scene of Travis Bickle from Taxi Driver in a mirror with an imaginary pistol. Hubert (Hubert Koundé) is probably the most “on the level” of the three, he is an Afro-French man who gets his gym burned down during the riots. Hubert’s goal is to leave the projects to live a better life, away from violence. Hubert is more level-headed towards his family than the others; Hubert gives his family money for utilities. Saïd (Saïd Taghmaoui) is a North African Muslim who portrays himself as the ringleader. He is a big-talker, who is not afraid to voice an opinion between the other two friends.These characters live in the banlieues, or the projects outside Paris, where there is a large police presence after a riot turned violent.

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Musings of a Future Librarian: A Lesson In Truth: Tim O’Brien’s “How to Tell a True War Story”

Snapshot of O’Brien in Vietnam.

 “One doesn’t lie for the sake of lying; one does not invent merely for the sake of inventing. One does it for a particular purpose and that purpose always is to arrive at some kind of spiritual truth that one can’t discover simply by recording the world as-it-is.” – Tim O’Brien.

            Speaking the truth brings an admiration that cannot be coerced from those around us and thus explains why we revere it with such intensity. We are often told by our parents and society to simply tell the truth. They adhere to this standard  from the moment we can babble — scolding us any time we fix our mouths to lie. We are shown via communication outlets and within our homes, that there is honor in speaking into the world only what we have been told is proven. However, as we have learned throughout our developments the truth is never exactly the same for everyone. There are those versions of the truth we tell for the sake of those like our children, who are too young to comprehend the gritty details of realities such as war; and then there are those truths that we call memories. In Tim O’Brien’s, “How to Tell a True War Story” excerpt, we venture through a world in which actual events are contrasted against psychological truths that leave us questioning what is real and what is fabricated. 

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Spangler’s From Sentence to Screen: Harry Potter and the Sorcerer’s Stone

Harry Potter and the Sorcerer’s Stone (2001) is a fantasy film directed by Chris Columbus and is rated PG. The film stars Daniel Radcliffe, Rupert Grint, and Emma Watson who are a trio of actors that have become widely recognizable since being in the Harry Potter film series. The story is about a boy whose parents are killed by an evil wizard, who also wants to kill Harry (Daniel Radcliffe). For the first decade of his life he grows up living with his neglectful and mental abusive aunt and uncle. Eventually he is accepted to a prestigious school where he learns to use the magic he was born with. Harry must learn to use his powers in order to protect himself and find the secrets hidden in his school. Along the way Harry meets his best friends Ron Wealsley (Rupert Grint) and Hermione Granger (Emma Watson).  Most people know the story of Harry Potter, so I won’t take too much time talking about the actual events of the movie in this post. Instead I will look at some changes made, which would only be recognizable to those who were readers of the original book by J.K. Rowling, Harry Potter and the Philosopher’s Stone.

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Banner Art by Christy Lee Rogers!

Christy Lee Rogers’ work will be appearing in Jet Fuel Review’s Issue #19, which is coming soon!

Evolution by Christy Lee Rogers

Christy Lee Rogers is a visual artist from Kailua, Hawaii. Her obsession with water as a medium for breaking the conventions of contemporary photography has led to her work being compared to Baroque painting masters like Caravaggio. Boisterous in color and complexity, Rogers applies her cunning technique to a barrage of bodies submerged in water during the night, and creates her effects using the refraction of light. Through a fragile process of experimentation, she builds elaborate scenes of coalesced colors and entangled bodies that exalt the human character as one of vigor and warmth, while also capturing the beauty and vulnerability of the tragic experience that is the human condition.

Rogers’ works have been exhibited globally from Paris, London, Italy, Mexico City to Shanghai, Sao Paulo, South Africa, Los Angeles and more, and are held in private and public collections throughout the world. She has been featured in International Magazines, including Vogue, Harper’s Bazaar Art China, Elle Decoration, Global Times, The Independent, Casa Vogue, Photo Technique, Photo Korea, and others. Rogers’ “Reckless Unbound” is currently housed at Longleat House in the UK; the stately home, which is the seat of the Marquesses of Bath and also home to Renaissance gems of the Italian masters, like Titan’s “Rest on the Flight into Egypt.” She is a two-time finalist for the Contemporary Talents Award from the Fondation François Schneider in France, and has been commissioned by Apple to create underwater images with the iPhone 11Pro, as well as being featured in one of their behind-the-scenes process films. Rogers’ art has been featured on several album covers, including “Orchesography” for the 80’s band Wang Chung, and her images were selected for the 2013–2014 performance season of the Angers-Nantes Opera in France. In 2019 she won Open Photographer of the Year at the Sony World Photography Awards.

Antonio’s The Rare Review: A Look at Sci-fi/Drama–Waco: A Relevant Tragedy in Trying Times

In the current pandemic crisis, tensions are running high. This is true in a general sense as people deal with cabin fever and economic hardship, but relations are especially strained between conservative groups protesting stay-at-home orders and the government forces trying to account for the loss of life. There is a rising tide of anti-establishment sentiment based around the idea that individual freedoms hold supreme authority, not government edict. Though I did not start watching the mini-series Waco thinking of parallels between past and present, the 2018 show is strikingly relevant given current events. 

Growing up in the 90’s I knew of the Waco, Texas siege and could remember bits and pieces of information I probably saw in the years after it, but it wasn’t until recently that I read about the full extent of the incident and the group at the center of the conflict. In short, a religious cult known as the Branch Davidians came to the attention of the ATF (bureau of Alcohol, Tobacco, and Firearms) because of suspected illegal activities related to weapons. Their leader, David Koresh, painted himself as a prophetic and messianic figure leading his followers in what they believed to be the end times foretold in the Book of Revelation. Another point of concern for the ATF was that Koresh had taken multiple wives, in fact mandating that only he could have sex with the wives of those who had joined the group, and some of those wives were younger than 18. 

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