Gaby's Devotional Cinema Response

There are several ways I might apply the ideas that Dorsky spoke about in the book to inspire my own filmmaking, especially on the current documentary project. He stresses several times the importance of meaning and how to create new meanings in different ways, which I took to mean that one must not sacrifice meaning and emotion for the aesthetics of a film. Film has a way of moving people emotionally and is one of the reasons I found myself drawn to it in the first place. Documentary films allow you to tell stories that engage the audience and can even move them to action. As I would like to start my filmmaking career in social documentaries, I find this advice to be particularly useful. One has to be able to show the realities of your subject without alienating the audience and therefore evoke an emotional response within them. Dorsky mentions how some film has just become “mere wallpaper in support of spoken information” (29.) This can be readily applied to documentary filmmaking as many docs tend to only be informative without engaging the audience emotionally, and in turn tend to look as if they were news clips. Documentary films weren’t meant to be visual newspapers (with the exception of propaganda). Therefore, we should allow the film to take on a more poetic sense and find meaning through themes that would be explored in the film, without being constrained to them. To do that, I would use Dorsky’s idea of intermittence using techniques such as montage or moments where there is not much action or information. Though it is difficult for me to move away from wall-to-wall information, so I would need to be more selective in the information I want presented in my documentary that would be most effective and meaningful to allow for the moments of intermittence. This way, the audience doesn’t become too aware of the fact that they are watching a film with lots of information, causing an information overload for them and perhaps evoke a negative feeling towards the documentary as a result. Dorsky also explained how the use of the self-symbol could bring more meaning to the film without having the film explicitly state the meaning. In my current documentary project, we intend to use the juxtaposition of Dale’s life in prison and the constrictions of life in the junkyard.

Devotional Cinema by Nathaniel Dorsky

Response by Bethany Day

Reading this book was an enlightening experience.  A lot of what Dorsky talked about I had an idea of, or could relate to somehow, but he expertly articulated his thoughts and backed up his arguments with historical references. I like the structure of his book, and how he started out with the idea that “there was a concordance between film and our human metabolism… We are both appreciators and victims of material existence” (Dorsky, 17).  Dorsky makes a good point especially when he talks about film being a form of alchemy, a way to relieve repressed emotions and transform your way of thinking.  I thought it was especially interesting how he kept returning to historical references, including the reference to facts about Greek theories of medicine and how “it was taught that illness came from a dreamlike absorption, a state of imbalance” (Dorsky, 21).  I also thought it was interesting that in order to correct this imbalance, the sanctuary of Epidaurus was built in order for people to have “temple sleep” (long periods of relaxation) after performances.  This reference to the past is definitely applicable to the future and the effect films can have on their audiences.  I also found it enlightening that the author believes that in order to lay the foundation for devotion, the film must draw attention to the medium itself, it “must obey its own , materiality” (Dorsky, 23). 

I loved his continued references to different art forms throughout history.  His references made it easy to understand his argument about how people’s view of the world has become more objective over time.  I am glad he talked about imbalances, bringing up that a film needs to have an “awareness of the formal dignity of existence” (Dorsky, 26).  Single-mindedness is the other side of the imbalance.  These ideas made me think about myself as a filmmaker, and how I want to achieve a connection with my audience; allow them to see what I see and make them feel what I feel.  I want my audience to have a good experience.  One of my favorite lines is when he says that “concepts or spoken language are ornaments in the context of visual space” (Dorsky, 27).  It reiterates the fact that as a filmmaker you need to show the story visually, not just tell it through language and dialogue.  I agreed with his arguments about intermittence and how “allowing intermittence into a film activates the viewer’s mind” (Dorsky, 29).  I identified with relinquishing all control, and suddenly being enlightened by everything around you.  The world is ever-moving, ever-changing, and full of poetic images and language that one could only hope to translate or transform successfully through film.  The ideas presented by Dorsky in his book definitely made me look closer at myself as a filmmaker, and how I want to achieve the effects he mentioned.

Finalized Project Description

Stylistically, the film’s visual style will incorporate interviews that are shot using shallow focus with a tight frame around the subject’s face. In some instances, the composition will use the junkyard items to frame the shot. Static shots will be employed, using slow pans and tilts for revealing with a tripod to create fluid shots. The film will also incorporate experimental techniques such as playing with the use of light, and some animation interspersed within the film. Along with shooting digitally, our goal is to also use either 16mm film or Super 8 film, depending on the costs of the film and processing. If possible, the 16mm film will be hand processed in order to save on the cost of processing.

Visual themes to be used in the film will include one of man versus nature, juxtaposing scenes of Dale Varnam and the junkyard that he calls home. Narratively, the themes to be explored in the film will include the confinement of prison transitioning to the confinement of the junkyard. The question will be asked of how and when did Dale become a collector of eccentricities, along with where he fits within the community of Holden Beach and how his junkyard compares to other Junkyards within the Holden Beach area.

This film will be made to target an audience interested in art collections and the roadside attraction style, along with audiences who are interested in hometown celebrity personas with unique stories.

Funding for the film will be provided from investors from Kickstarter.com, along with the hopes of Southern Documentary Fund. The cost of the documentary without using film will amount to approximately $150 for gas and meals. If the documentary shoots partially on film, costs will be approximately $175.54 on 16mm and $160.92 on Super 8 for colored negatives and $15.32/ 100 ft for black & white (processing costs to be determined.)

The film will be distributed to multiple film festivals such as the Visions Film Fetival, Cucalorus Film Festival, River Run International Film Festival, Full Frame Film Festival, Athens International Film Festival, and many more!

Project Proposal

Our group plans to create a portrait piece on a man named Dale Varnam and his eccentric junkyard.  Located off of US-17 on the way to Holden Beach, Dale’s junkyard is full of stories.  Dale inherited the yard from his father and now runs it as his full-time job.  At first glance it becomes obvious that this is not your typical junkyard.  After fixing up old cars and other “junk” that Dale acquires, he then builds multiple life size scenes in front of the yard.  He adds zombie-like manikins to the sets to enhance the bizarreness as well as individual items that are completely out of place to reiterate the randomness of junkyards.  Dale goes as far as crafting cars to look like police cars but writes “Dales Crack Police” and “Crack Patrol” on them and stages a corrupt cop manikin in the driver’s seat with a hooker manikin on the passenger’s side.  As of now, if you round the corner to Dale’s, you will see a city bus with a giant crack rock on top of it, complete with a giant rolled up $20 bill.  These are just a few of the many scenes Dale sets up in the front of his junkyard, showcasing his creativity and sense of humor.  He does have regular junkyard items like broken down cars, bicycles, and old tires.  However, chickens and roosters are constantly roaming around all of them.  The chickens will makes nests and lay their eggs where ever they please around the yard, and sometimes Dale will go around and drawl faces on an egg here and there just to shock a random customer.  He is a character.

For our film, we want to tell Dale’s story in a visually creative way.  We want to venture into his past to reveal how he came to be where he is at, and how his previous life experiences helped to shape the person he is today.  We expect to encounter some ethical issues concerning the exposition of his past, and will have to make sure Dale is comfortable talking about past in interviews.  Stylistically, we would like to conduct interviews in tight, close-up shots. We also want to focus on him as a member of the Holden Beach community, and the compassion he shows towards his family, friends, and co-workers.  The film will look at the business side of Dale’s junkyard as well as we conduct interviews with employees.  Also, we might look at other local junkyards as comparisons to Dale’s.  We also want to try to incorporate aspects of Dale’s home which is located on the property.  Dale’s house is full of movie memorabilia, including Johnny Depp’s coffin from Sweeney Todd (allegedly) and props from Scarface which make up his dining room table’s center piece.  He even has a tropical themed room complete with an indoor hot tub.  Finally, emphasis will be placed on the junkyard itself, and how it is a direct reflection of Dale.  At this junkyard, every corner you turn you discover something new, and we are excited to learn more about Dale, from Dale, and share what we learn with you.

Bethany's Bio

My name is Bethany Day.  I am a Film Studies major with a minor in English.  My passion for film goes back as far as I can remember, with a movie ticket collection I have had since I was 9 years old to show for it.  I have developed a particular interest in documentary filmmaking and have focused my studies at UNCW around it.  Last year, I served on the editorial board of Film Matters and published my film review on the documentary film, The Horse Boy, directed by Michel Orion Scott.  Most of the documentary was filmed in Mongolia, and the cinematography was just gorgeous.  I can’t help but think about how amazing it would be to travel around the world filming documentaries.  I also have a strong passion for music and would love to film concerts or edit music videos or something!  This semester I am part of the Visions Film Festival and Conference, and so far it has been a great experience that has opened up even more new ideas for pathways after school.

Gaby's Bio

My name is Gabriela Caldera, but I go by Gaby. Note the one 'b'. I'm a Film Studies major with a minor in Spanish. I'd love to go into documentary film making, especially social documentaries, but I also enjoy editing films (when they don't involve crazy hours at the lab, but that's what Cookout was made for.) Last summer I became a Servant Leader Intern with the Children's Defense Fund, which gave me new perspectives on social inequalities regarding education and lower-income children, which pushed my film ambitions towards making social documentaries.
Along with film, I have a passion for music so I can sing, play flute, piano and guitar, so that's nifty :)

Maryosha's Bio

My name is Maryosha Eggleston.  I am a Film Studies major going into Documentary and minoring in Studio Art with my focus in photography.  I love composing interesting and unique frames, within film and photography.  Although I enjoy the ease of digital, I really really love working with film and the development process.  With photography, working in the darkroom is my favorite part of the entire process.  Manipulating and experimenting with negatives until you've gotten the desired outcome is such a rewarding experience. 

Although I am not exactly sure where my career will take me after school, I hope to have some kind of videography job that allows me to travel and exercise my photography skills.  I am one of the Assistant Directors of the Visions Film Festival and Conference this year and I have grown very interested in the possibility of working within the festival circuit after school. We will see where life takes me though!