During the silent film era, early filmmakers had to rely primarily on cinematography and mise-en-scène to establish setting and mood in order to engage the audience. Naturally, with the advancement of technology, films became more developed and complex, adding dialogue and making actors’ delivery and performances more important. But through all the developments of the film industry, one factor remains the same: a film must have great cinematography; and, a good cinematographer can make, or break, any film, especially on the independent circuit. John Carpenter knew this when gathering his crew for a small independent film titled Halloween, now historically preserved as one of the greatest films in history, and he chose a man who would end up changing not only his own career but Carpenter’s as well—that man is Dean Cundey.
For our Spring 2019 issue of Jet Fuel Review (with cover art by artist Delano Dunn) there is a special section that presents collaborative writing, which is writing that multiple artist’s crafted. As a way to celebrate the successful launch of our 17th issue, we’ve asked some of students, faculty, and alumni to join in and construct a piece, or multiple, that they created with their peers.
Presented below is a segment of the Special Section’s introduction as written by JFR Managing Editor, Zakiya Cowan, and a collection of fantastic collaboratively written pieces by some of our very own editors of Jet Fuel Review as well as some members of the Lewis University community. In summation, each of these pieces remain as a showcase of the bridge of collaboration and we are excited to present this talent.
Found below are two reviews of Jennifer Kent’s 2014 film, The Babadook, written by Lewis University students Margaret Gotsch and Elise Rosenberger.
Margaret Gotsch: The “Black Dog” in The Babadook
Research shows that mental illness remains one of the strongest taboos and that people with mental illness face wide-spread stigmatization and discrimination. Mental illness is often described as a black cloud. Portrayals of mental illness frequently appear in films and the media; for instance, the 2010 film by Darren Aronofsky, which detailed a dancer’s struggle with schizophrenia, was entitled Black Swan; and, Winston Churchill – reportedly a manic-depressive – called his mental illness the “black dog.”
In director Jennifer Kent’s 2014 film, The Babadook, the black dog of mental illness is depicted as a large, amorphous black shape. In the film, Amelia is reeling from the loss of her husband, the demands of single parenthood, and the troubling behavior of her only son, Samuel. At first, it appears that Samuel is the problem, but like a canary in a mine, it becomes apparent that Samuel’s misbehavior merely foreshadows greater problems within this nuclear family. Samuel has violent outbursts and is expelled from school for hurting a classmate. Samuel blames Mr. Babadook, a character from a book, for his misdeeds. Babadook – “a bad book” – predicts that Mr. Babadook will come to a child and ask to be let in and will then ask the same of the child’s mother.
Found below are two reviews of Jordan Peele’s 2017 film, Get Out, written by Lewis University students Sarah Bettag and Anton Levitin.
Everyone has felt like an unwanted outsider at some point in their life. Get Out, directed and written by Jordan Peele, takes this feeling to a whole new level. This horror film seems to stray from the stereotypical horror genre with its distinct lack of creepy monster or dark, foreboding woods. Instead, the audience is treated to repeated close-up shots to give us an understanding of how Chris (Daniel Kaluuya), the main character, is feeling, while also highlighting that he’s a photographer. We are constantly at Chris’s eye level, which allows us to sympathize with his plight. However, Peele ditches the often clichéd use of extreme close-ups for an unshakable sensation of being constantly watched. The audience is treated to several jump scares at the beginning to create the sense of never quite being alone–underscoring the sense of surveillance throughout. Get Out also replaces the overt, thrilling hunting scenes of John Carpenter and Tobe Hooper with the perplexing impression that a noose is tightening around Chris’s neck. The non-diegetic music, which are screeching violins and unsettling Continue reading
Found below is a collection of exceptional charcoal portraits and close-up by Shannon Washburn, a Lewis University student that we’re excited to feature here. We’ve included Washburn’s bio, reflection, and eight unique pieces in this post. See for yourself the dedication and artistry of this talented individual.
Shannon Washburn’s Bio:
Shannon Washburn, currently a senior at Lewis University, is pursuing a career in art therapy, a specialization within the realm of counseling. Double majoring in both General Studio Art and Psychology, alongside a minor in Spanish Language and Culture, she has a background identifying and interpreting human expression outside of the studio.
Washburn has gained experience working and/or volunteering at several organizations serving a variety of populations, including children, teens, and adults with various intellectual and developmental disabilities, in addition to older adults diagnosed with dementia.
Found below are three reviews of Richard Kelly’s 2001 film, Donnie Darko, written by Lewis University students Hannah Cross, Megan O’Brien, and Joseph Pryzdia.
Donnie Darko, directed by Richard Kelly, sends its audience down the rabbit hole (almost literally) into a twisted idea of time travel. The movie is suspenseful and brilliant as it alludes to other great works, notably: Alice in Wonderland. Donnie is followed by a white rabbit, which is the basis for his hallucinations and visions throughout the film. This movie’s genre lies somewhere in the spectrum of mystery, sci-fi, and teen angst in the John Waters tradition. The audience can easily relate to the feelings that Donnie has about being the outcast, not only in school but also in his family. Its satirical elements bring out some of the darker and dry humor in the movie. The canted cinematography and jagged editing of this film add to the eerie, chaotic, and unsettling feelings to the audience. While the majority of scenes are bright and colorful, every scene with the rabbit becomes visibly dark and muted by design to foreshadow the impending dark side of the film. Continue reading
Fernando Meirelles and Kátia Lund’s 2002 film, City of God, is a vortex that swallows the audience into its cyclic narrative that emphasizes the dangers of toxic masculinity and consequences of the notion “being a man.” As observed in the film, a twisted perspective of manhood can be a bullet that passes through one generation to the next, destined to extinguish them all.
Meirelles and Lund’s film is a stunning execution of a labyrinth-like storyline in which the audience delves into the lives of multiple characters. Then, through cinematic moves such as foreshadowing and flashbacks, seamlessly intertwines these plots that become a metaphorical domino effect. As the film progresses, and gradually strips down the plot, we observe how the actions of one character cause a steady disruption in the lives of everyone else. From the jarring, handheld camera scenes, to the drastic shifts in color gradients from deep, saturated blues, to honeyed yellows, the audience experiences the chaotic and disruptive life of the film’s gang members. Similarly, to the characters in the story, the audience is overtaken by this whirlpool narrative, trapped in “the slum [that had] been a purgatory.” But, “now it’s hell.”