Hello subscribers! Here is another Meet the Editor for you all. This week’s featured editor is Cassidy Fontaine and she is in quite a few editorial positions this semester. She is a layout editor, assistant fiction/creative nonfiction editor, and copy editor. Here is some more about her:
Cassidy Fontaine is a junior at Lewis University, majoring in English with a concentration in Writing, as well as minoring in Computer Science. She is also a writing tutor at the university’s Writing Center and an employee at her local park district. Outside of Lewis, Cassidy participates in writing groups with the Community Writing Project. In her free time, she enjoys cooking, working out, reading, and writing. Some of her favorite authors are Gillian Flynn, Terry Tempest Williams, and Michelle Alexander. Her work has appeared in Windows Magazine.
The Lighthouse, directed by Robert Eggers, is a black and white nautical thriller starring Willem Dafoe and Robert Pattinson as a pair of lighthouse keepers sequestered to an island off the coast of New England in the 1890s. As their time wears on, strange happenings begin to root, and the lines between sanity and madness blur into a murky mess.
So, two people, stuck in a cramped space together, with no way out, forced to keep close together for fear of harm or death by the natural elements right outside their front door. That doesn’t sound too familiar, huh? Honestly, who’d have thought this strange tale of seafaring superstition and folklore/mythology remixing would ring so true to now. Sadly, I’m not sure where I’d rather be: here or there.
In addition to writing film reviews, I will use my Cinematic Syntax to engage in Adaptation Analysis. This semester, my film adaptation course, Stories Into Film with Dr. Christopher Wielgos, gives me a space to closely examine the process of adapting a text by comparing it to its film adaptation. Ultimately, my job is to determine what is kept, dropped, and added in order to bring attention and interpret the filmmaker’s choices. For example, practical decisions can often be made when the director does not have the technology to adapt a scene accurately. So, I will speculate on the reason for each choice based on my knowledge of both mediums. Our main text, Adaptation: Studying Literature and FilmbyJohn Desmond, outlines the film techniques that convey meaning as opposed to literature— performance, words (spoken or written), music, sound effects, and photographic images.
Film is a multi-track medium that brings meaning through those techniques. While writing can be interpreted innumerably, the written word is considered a single-track medium creating meaning through its words. An issue Desmond brings to the forefront is the problem with fidelity. He explains that when it comes to adaptation analysis, fidelity terminology such as “original material” and “faithful adaptation” often engages in glorifying the writing over the film. As a rule of thumb, I will try my best not to elevate the written material over film by avoiding and/or recognizing such loaded terminology. The end goal of each adaptation analysis is to determine whether I consider the film a close, loose, or intermediate adaptation. Although subjective, I will try my best to determine the category through countless examples between both mediums reasonably. I will engage with both microcosmic and macrocosmic applications.
Based in 1950’s Paris, Giovanni’s Room is a novel that expresses the realities of requited love, destroyed by social ideologies concerned with man and his sexuality. Told from the viewpoint of the protagonist simply known as David, Giovanni’s Room is centered around the relationship between our narrator, and a beautiful Italian named Giovanni, who he meets at a bar. When David first meets Giovanni, he is battling the ideals of American manhood, and only speaks to him under the guise that he is doing so for the sake of his companion, Jacques. However, as the story progresses, the men begin to enjoy one another and they eventually develop a relationship in the safety of Giovanni’s room. While in Paris with Giovanni, David’s partner, Hella, is off in Spain discovering whether or not she would like to be with David, who does not love her but rather the idea of her. Hella eventually returns to Paris and David’s worlds collide, destroying the peace and joy in both.
One of the most intriguing aspects of this novel is its ability to seek you out in the day. Whether it be over toast and coffee, or in the car ride home while sitting in traffic, the love and agony Baldwin writes into the relationship between these two men, stirs the reader — jolting them with the demand to understand the crushing realities that accompany those living at the edges of an underdeveloped culture. Baldwin showed America the beauty in being gay, before it was ready to accept such a thing. Giovanni’s Room in essence gives one a taste of the biting consequences and insecurities that come with love. Go ahead and pick this classic up, you won’t be disappointed.
— Andrea Rodriguez, Blogger.
Andrea Rodriguez’s Bio
Andrea Rodriguez is a senior at Lewis University. Prior to attending Lewis, she completed her associates at the College of DuPage. Rodriguez is studying English Literature in order to pursue a career as an academic librarian. As for her interests, Andrea loves spending time with her family, being in nature, taking care of her plants, writing, cooking, and traveling when she can. Andrea also enjoys exploring unique writing styles. Some of her favorite pieces include The Autobiography of an Ex-Colored Man by James Weldon Johnson and “Girl” by Jamaica Kincaid. In addition to being a fiction/poetry editor for Jet Fuel Review, Rodriguez is the editor-in-chief of Lewis Voices, and the administrative director for Sigma Tau Delta, of which she is also a member.
This semester is going quick, and this is the third Meet the Editors post already! This week we present a member of Jet Fuel Review who is our assistant fiction and nonfiction editor and copy editor. Brittney Crosse is this week’s featured editor for Jet Fuel Review, and here is some more about her:
Brittany Crosse is a junior at Lewis University who has previously attended Moraine Valley Community College. She is majoring in English with a concentration in Creative Writing, and hopes to one day make a career out of writing short stories, which has been a goal of hers ever since she was little. In addition to writing, she also plans to teach fiction writing at the university level. Her interests outside of writing include TV shows, anime, music, video games, and books, her favorite authors being Neal Shusterman, Stephen King, and Haruki Murakami. Brittany spends most of her time with her dog Cordelia, a.k.a. “Cordy.”
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe is a 2005 fantasy film co-written and directed by Andrew Adamson. The film is based off of the 1950’s novel, The Lion, the Witch and the Wardrobe, by C.S. Lewis. This story centers around four siblings named Peter (William Moseley), Susan (Anna Popplewell), Edmund (Skandar Keynes), and Lucy Pevensie (Georgie Henley) who have been sent away to life in the countryside of England because of WWII. They are living with the strange Professor Kirke (Jim Broadbent), who’s large home is filled with many interesting things. One day when the children are playing hide and seek the youngest, Lucy, finds herself in an empty room with nothing but a wardrobe to hide in. The wardrobe is a doorway into the fantasy world of Narnia, where Lucy meets a faun named Mr. Tumnus (James McAvoy) who tells her all about Narnia and the Witch Witch who tyrannically rules over the Narnians.
When she returns to “our” world, Lucy tries to tell her siblings what happened but none of them believe her. Later that night Lucy sneaks out of her room and goes back to Narnia through the wardrobe. Edmund follows her into the strange land realizing she has been telling the truth, but when they get back he tells their siblings that Lucy was just making it all up. A few days later, when they are trying to hide from the strict housekeeper, the children wind up in the empty room and have no choice but to go in the wardrobe. The four siblings escape and find themselves in Narnia. Soon the Pevensies find themselves playing a large part in stopping the White Witch in the coming war. In this blog post I will be looking at how the film changed the beginning of the story, and how it sheds light on different facets of the Pevensie children.
Hello again! For our second entry to the Meet the Editors series for the Fall semester, we present our prose editor, assistant art and design editor, and copy editor— Madeline Brzeczek. They are excited to be in Jet Fuel Review, and here is some more about them:
Madeline Brzeczek is a senior at Lewis University, majoring in English Studies with minors in Creative Writing and Art with the goal of becoming an author. They are also a tutor at the Lewis Writing Center. Madeline spends most of their time knitting scarves and marathoning bad horror movies with friends, usually at the same time. They collect antique goblets and are a proud parent to many house plants. Their favorite book is Reckless by Cornelia Funke, Madeline’s favorite author and inspiration to start writing. Their favorite genres are fantasy, science fiction, and horror. They prefer the realm of imagination to real life. Madeline enjoys writing short stories and poetry, and was recently published in Lewis Voices and Disquiet Arts literary magazine.
Do you like scary stories? The tales that send a wriggling, crawling feeling beneath your skin. The kind that has you skirt the edge of a forest, look under your bed, check the closet and cower beneath the sheets. As strange as it may seem for a species that comes into this world afraid, human beings love to scare each other. And campfire stories tend to be a particular time-honored tradition. What more could you ask for? A dark, chilly night, friends huddled together, the sound of rustling tree branches, chirping crickets and a crackling fire to set the mood. It’s perfect! Those are the types of stories I want to explore.
With this blog, I want to look at a specific horror subgenre: folklore. Now, I won’t pretend to be any kind of folklore expert; however, it struck me as the most fascinating in deciding on this blog’s focus. I want to use this space as an opportunity to learn along with you, dear reader. We’ll take this stroll into the shadowy never-ever together!
Minor Feelings: An Asian American Reckoning by Korean poet and essayist Cathy Park Hong, is a novel that consumes readers with the prickling realities of Asian Americans, and the political issues that brought many to the United States. Hong’s familiarity with the essence of poetry can be felt within the details surrounding mental health issues and racist experiences, both of which Hong attributes to the narrow ideals constituting what and who is American. What I find most endearing about this work is the sarcastic tone that develops when Hong or one of her counterparts are forced to tolerate the ignorance minorities often encounter. These moments call one to understand the parallels between Hong’s life and that of the black comedian, Richard Pryor, who night after night, presented the cringe worthy realities of intersectionality between Black and White America. Hong displays this in her choice to include this joke of Pryors, “ I was a kid until I was eight. Then I became a Negro (Hong 38).”
Welcome back, readers. Christian’s Cinematic Syntax is back for the fall semester, and I am excited to share my thoughts on a new batch of films that really caught my attention. Unlike last semester, I will be less strict on what I review, but I will continue selecting based on my world film preference. My “Modern Cinema From Around the World” series was last semester, and now I intend to just publish reviews as their own, without a series attached. Without further ado, I will begin with the 1957 Palme d’Or winning drama, The Cranes Are Flying.
An anti-war film that battled censorship at its release, The Cranes Are Flying focuses on a young couple facing tragedy. Boris (Aleksey Batalov), a factory worker, and Veronika (Tatiana Samoilova), a nurse, are thrust into a harsh reality of life during wartime. Boris volunteers for service, leaving Veronika with a toy squirrel, a birthday gift, and her only memento of him. The couple, now separated, fight their own battles. Veronika resists the romantic advances of Boris’ cousin at home while Boris fights the enemy on the front lines. As the film progresses, these characters change, and tragedy strikes. Veronika and Boris lose the most so the Soviet Union and allied forces can continue on.