April 5th, Coming Soon
First, respond to Tribulation 99 in relation to Zryd's description of student responses in his own classes.

Michael Zryd, “Found Footage Film as Discursive Metahistory: Craig Baldwin’s Tribulation 99”

1. Explain Paul Arthur's distinction between the "realist" use of found footage and the "figurative" use of found footage. Which becomes important in Tribulation 99 and why? the realist footage shows real events, and the figurative is only graphic representations of things. Pharoah for Castro.

Marc Masters, “The Offenders: No Wave Cinema”

2. Name at least three similarities between the punk music scene and the punk/no-wave filmmaking scene, in terms of technology, style, and community.
Going out and doing it, not learning particular medium, angry sensibilities.

William Wees, “Peggy’s Playhouse: Contesting the Modernist Paradigm”

3. According to Wees, what are the 5 characteristics of the modernist paradigm dominating North American avant-garde filmmaking before the 1980s? Medium specificity, unique sensibilities of the artist, universal significance, disctinction of high art vs low art, and the autonomy of art

4. Given the 5 characteristics above, how does Awhesh reject or question each of them (give examples from throughout the article).

5. What does Ahwesh mean by rejecting the “aesthetics of mastery” and how is this related to punk filmmaking? doesnt force a particular viewpoint on the film

6. Why does Wees argue that The Color of Love subverts conventional wisdom about mainstream pornography?

7. In what ways does Awhesh transform images from Tomb Raider in She Puppet?
she shoes croft going about the fictional world