curator's noteFor the final MUBIVIEWS of the summer, our writers to consider Vic Sarin’s THE BOY FROM GEITA (2014), a harrowing documentary that examines albinism within Tanzanian culture and the people that are persecuted because of it. OTHERINGGEORGE LEEOthering is a process in which a majority of people are treated as ‘us’ and the remaining minority are seen as ‘them’. The ‘them’ are then referred to in less than human terms and treated as completely alien from the seemingly normal society. They are no longer seen as people but ultimately seen and therefore treated as less than. Othering is often applied to a member of society who does not adhere to societal norms. This is often the case in cinema which has a long a sordid history of enhancing these stereotypes, from early cinema’s treatment of women to recent African American representation. The film THE BOY FROM GEITA (Vic Sarin 2014) attempts to not only highlight these issues but show them in an honest and subsequently horrifying light. The film follows a young Tanzanian boy, Adam and his persecution for being an Albino. The film focuses heavily on this aspect of othering. The characters in the film tell their stories of how in Tanzania albinos are especially vulnerable to persecution. These scenes are heartbreaking as the children experienced truly atrocious events but even more so is their complete confusion as to why they are being discriminated against. Adam is violently attacked, all because he is deemed as different. In this particular case, his attackers violent remove his limbs as they are under the impression that body parts of Albino people contain magical powers. Rather than delving into this belief, the film chooses to focus on the futility of othering, that no one is really that different and much less so should be in any form persecuted for it. It does a fantastic job of showing the albino characters' humanity as they themselves try to come to grips with why they are being persecuted for something they have no control over. Every day this week a different writer will provide their perspective on our MUBIVIEWS film and each post will be open to comments from our readers. Watch THE BOY FROM GEITA on mubi.com until 13 July 2017 and join the discussion!
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curator's noteFor the final MUBIVIEWS of the summer, our writers to consider Vic Sarin’s THE BOY FROM GEITA (2014), a harrowing documentary that examines albinism within Tanzanian culture and the people that are persecuted because of it. DEATH OF THE AUTHORSUMMER MANNINGTHE BOY FROM GEITA (Vic Sarin 2014) features testimonials from people with albinism who have suffered persecution and physical violence. In the documentary, the eponymous boy, Adam Robert and a Tanzanian woman named Mariamu Staford both describe how they were mutilated. The audience later learn that this was part of the barbaric industry of witchdoctors using albino body parts to create strong potions which superstition dictates will bring luck and wealth. The director intended to build tension by cutting between Adam and Mariamu’s stories, however this is disorienting for the viewer. While the editing of the piece causes confusion throughout, it is especially prevalent in the recreations of the violence. Recreated scenes are used to present the events that Adam and Mariamu describe, such as point of view shots of an attacker with a weapon walking through a house which are intertwined with the narration. As the editing quickly cuts between them, it becomes increasingly difficult to understand the nuances of the individual stories. While Sarin perhaps chose this technique to illustrate the similarities between the stories, it is ineffective and may have had a bolder impact had the interviews been shown one after the other as it would make more sense to the audience. THE BOY FROM GEITA suffers from issues with editing from the beginning. Key figures are suddenly introduced and each simply begin by talking, with little initial explanation as to who they are or where they fit within the narrative. It is detrimental to the film that the details of each person’s significance are revealed gradually. This is unconventional for a documentary and off-putting as it defies audience expectation of the genre in a jarring fashion. Sarin’s reasoning for making those editing choices no longer matters when the final product is delivered to the audience, as we all take our own interpretations from the text. Attempting to evoke sympathy, THE BOY FROM GEITA’s illogical editing style only manages to confuse its viewer. Every day this week a different writer will provide their perspective on our MUBIVIEWS film and each post will be open to comments from our readers. Watch THE BOY FROM GEITA on mubi.com until 13 July 2017 and join the discussion!
curator's noteFor the final MUBIVIEWS of the summer, our writers to consider Vic Sarin’s THE BOY FROM GEITA (2014), a harrowing documentary that examines albinism within Tanzanian culture and the people that are persecuted because of it. NOT SO BLACK AND WHITEMATTHEW WEARSDocumentaries have the unique ability to expose topics that otherwise do not get the attention they deserve. They employ narrative techniques that present their audience with a character or characters that fit into a grander theme. Vic Sarin’s harrowing and uncompromising THE BOY FROM GEITA (2014) does exactly this. However, the documentary struggles to make what should have been an engaging, captivating story into a cohesive piece of work. Difficult editing is arguably the film’s most problematic characteristic, with a lack of focus causing major issues throughout. Many sequences and characters are either hard to follow, or just hard to understand why they made their way into the film in the first place. There are two distinct halves to the documentary with the first following Adam Robert’s tragic life of unimaginable abuse and injustice due to his albinism, whilst the latter half focuses on the intervention of wealthy Canadian entrepreneur, Peter Ash, who also has the same condition. The jump between the two separate characters can be jarring and it is confusing as to what the main focus of the film is. This confusion is increased with the addition of other characters, such as an older male whose introduction at the beginning of the film would have the audience believe he would be a pivotal character throughout. This is also the case for the mother who lost both arms in a horrifically barbaric attack. While her story is shocking, her character is not developed fully at all and, after her story is told, she fades into obscurity. Despite its flaws, THE BOY FROM GEITA still manages to engage its audience enough to get the core message of the film across. The stories are devastating to the point where it is hard to believe they are true, and the film’s unrelenting approach to graphic images only adds fuel to its fight. It must be commended for bringing such a specific and painfully under-discussed topic to light for Western audiences, but could have been executed in a far more cohesive manner in order for it to reach its full potential. Every day this week a different writer will provide their perspective on our MUBIVIEWS film and each post will be open to comments from our readers. Watch THE BOY FROM GEITA on mubi.com until 13 July 2017 and join the discussion!
curator's noteFor the final MUBIVIEWS of the summer, our writers to consider Vic Sarin’s THE BOY FROM GEITA (2014), a harrowing documentary that examines albinism within Tanzanian culture and the people that are persecuted because of it. TANZANIAN DEVILSSTEVEN FEGANAt its core, THE BOY FROM GEITA (Vic Sarin 2014) explores the personal struggle of Tanzanian individuals who suffer from Albinism. However there are wider implications of the documentary that suggests that the government is complicit in the sale of albino body parts and therefore a more serious issue of potential corruption throughout the East African region is presented. The documentary for the most part follows teenager Adam Robert, whose hands were mutilated and sold to witch doctors as it is believed that the body parts of those with Albinism will bring good fortune. By having the narrator speak candidly with Adam and other members of his community, the documentary provides a personal account and this inevitably resonates to a far greater extent than focusing on potential government involvement alone. By doing so, the documentary sheds light on an issue that may not have been as prominently covered in the media before and exposes the murdering of albino people throughout Tanzania and wider Africa. Adam's personal story is prevalent throughout the documentary and it is the young boy’s lack of actual dialogue that makes his plight that much more sorrowful. Instead of addressing the brutal attack that left him without several fingers, the documentary instead focuses on Adam’s personal life goals and ambitions and even goes so far as to re-enact dreams and nightmares that the young boy has. By doing so, we are drawn into Adam’s life and are along for the journey to America where he is due to get a life-altering operation. Ultimately, what we can see carries far greater emotional impact than what we are told. Every day this week a different writer will provide their perspective on our MUBIVIEWS film and each post will be open to comments from our readers. Watch THE BOY FROM GEITA on mubi.com until 13 July 2017 and join the discussion!
curator's noteThis week our writers return to MUBIVIEWS with the classic American vigilante film TAXI DRIVER (Martin Scorsese 1976). As a regular favourite on lists of the greatest film of all time, what will our writers make of this critically acclaimed Neo-noir? "WHAT IS YOUR NAME?"SUMMER MANNINGIn TAXI DRIVER (Martin Scorsese 1976), we get a glimpse into Travis Bickle’s (Robert De Niro) relationship with women from an important interaction at a cinema concession stand. The attendant, De Niro’s then-girlfriend Diahnne Abbott, is credited as "Concession Girl", a name that suggests she is a child, lacking autonomy. She is hunched over reading a magazine when he approaches her and rarely meets his eye during their conversation. He repeatedly asks for her name and slowly leans into her, only backing away when she calls for her manager. Travis continually ignores her demonstrations through body language that his advances have made her uncomfortable until this moment. Travis later demonstrates an apparent lack of boundaries once again when he asks the object of his obsession Betsy (Cybill Shepherd) on a date, even echoing his earlier personal space breaching as he leans dominantly on her desk. He delivers a speech about how she is lonely, admitting that he has been watching her from afar. He seems to be completely unaware that his behaviour is inappropriate and that she has only accepted his invitation to go on a date out of fear of him. His persistent pursuit of her continues even when she leaves the porn theatre he has taken her to on the date and refuses to answer his numerous phone calls afterwards. Whether Scorsese believes that the way Travis treats women is a flaw or strength of character is somewhat ambiguous. While Travis is introduced and given a backstory, the woman at the concession stand is given no context and so the audience may be inclined to sympathise with the more familiar Travis. His relationship with the women he is attracted to is dysfunctional. He assumes that he is entitled to their time and romantic interest but he only ever makes them feel uneasy. Every day this week a different writer will provide their perspective on our MUBIVIEWS film and each post will be open to comments from our readers. Watch TAXI DRIVER on mubi.com until 4 July 2017 and join the discussion!
curator's noteThis week our writers return to MUBIVIEWS with the classic American vigilante film TAXI DRIVER (Martin Scorsese 1976). As a regular favourite on lists of the greatest film of all time, what will our writers make of this critically acclaimed Neo-noir. TAXI FOR ONEMatthew WearsLoneliness is a theme that can be extremely difficult to portray on the silver screen as it often relies entirely on both the actors performance and the space given to them by the camera to allow an audience to fully understand a character’s feelings. Director Martin Scorcese explores this masterfully and extensively in his 1976 neon-laced noir, TAXI DRIVER, a film where cinematography plays an enormous role in creating the distance between Travis Bickle (Robert De Niro) and the gloomy, bleak streets of 1970s New York City. Michael Chapman’s camera work constantly emphasises Bickle’s isolation within his surroundings, using techniques and shots that shows him to be the outsider that he believes himself to be. The film is doused in shots that directly inform the complex, twisting narrative, however none more intriguing than the slow and rather unconventional tracking shot in which Travis pleads to Betsy (Cybil Shepherd) to give him a second date having spectacularly blown his first one. The camera shifts from initially framing Travis, tracking right until he is left off screen to show nothing other than a dull, desolate hallway leading out into the dark and dangerous New York streets. This is a visual representation of the remoteness that Travis feels, even when surrounded by one of the most iconic cities he finds himself alone. He is around the corner, hidden from the outside world, perhaps a metaphor questioning the ex-marine’s sense of existence after serving in the Vietnam war. TAXI DRIVER is a film created with such astounding attention to detail, that every shot can be analysed in order to gain a greater understanding of the psyche of enigmatic anti-hero, Travis Bickle. Every shot has significance in constructing the warped and lonely world in which he lives, and only a handful of films use camerawork in such a visually expressive manner. It is for this reason that this landmark New-Hollywood film projected both director and lead into stardom, cementing itself as one of the most enthralling character studies ever produced. Every day this week a different writer will provide their perspective on our MUBIVIEWS film and each post will be open to comments from our readers. Watch TAXI DRIVER on mubi.com until 4 July 2017 and join the discussion!
curator's noteThis week our writers return to MUBIVIEWS with the classic American vigilante film TAXI DRIVER (Martin Scorsese 1976). As a regular favourite on lists of the greatest film of all time, what will our writers make of this critically acclaimed Neo-noir? VOYEURISTIC TENDENCIESJACK BISHOPIn Martin Scorsese’s TAXI DRIVER (1976), the morally ambiguous Travis Bickle (Robert De Niro) is an outcast who lives in isolation. His claustrophobic apartment causes his obsessive thoughts to take over, forcing Travis to have restless nights. Subsequently, Travis becomes a New York taxi driver, endlessly driving through the darkness of the city to occupy his sleepless nights. While Travis navigates this tedious job he is able to keep himself alert by watching members of the public. The first time we witness Travis’s voyeuristic tendencies is when he first gazes upon the character Betsy (Cybill Shepard), a political worker. He admires her from afar from the safety of his yellow cab. After gaining enough courage, he takes her on an awkward date to a porn theatre in the hope of finding companionship and comfort with her. However, Betsy is disgusted with his choice of date and flees. Travis craves contact with others but, due to his unstable mindset, he scares off everyone he interacts with. Travis’s voyeurism reflects upon his mindset, implying loneliness and isolation. He stares at members of the public with a jealous eye. When he first lays eyes on Betsy, she is playing around with her colleague Tom (Albert Brookes). This is interpreted by Travis as her being flirtatious and contributes to his jealously directed at her co-worker. Later in the film Travis comes across the young prostitute Iris (Jodie Foster) and is immediately captivated by her. He watches Iris from afar with the intent of protecting her, stalking her in his cab to make sure she is safe from the “scum” of the streets. Overall, voyeurism demonstrates the instability of Travis’s mindset, it not only reflects his loneliness and isolation but also indicates a damaged and unstable mind. Every day this week a different writer will provide their perspective on our MUBIVIEWS film and each post will be open to comments from our readers. Watch TAXI DRIVER on mubi.com until 4 July 2017 and join the discussion!
curator's noteThis week our writers return to MUBIVIEWS with the classic American vigilante film TAXI DRIVER (Martin Scorsese 1976). As a regular favourite on lists of the greatest film of all time, what will our writers make of this critically acclaimed Neo-noir REFLECTING INSANITYSteven FeganIsolation is the most prominent and recurring theme throughout TAXI DRIVER (Martin Scorsese 1976) and Travis Bickle (Robert De Niro) is a lonely and detached outcast throughout the film. In what is arguably the film’s most iconic scene, Travis practises with a gun in the mirror, evidence of his depressed and isolated mindset and represented by a subtle camera movement. While we are originally introduced to Travis in this scene as he sets himself up in front of the mirror, the camera quickly becomes the mirror, reflecting Travis exactly how he sees himself as he repeats the same words while confronting his own image: "You talkin' to me?" While at first Travis’s words could be interpreted as being directed at the audience, the mise-en-scène tells a different story entirely. As Travis asks his reflection who he is talking to, the noticeable de-centring of the character as he appears to the right of the screen, not looking ahead but instead to his left, combined with the diegetic sounds of the world outside creates a scene that echoes and questions Travis's psychological state. Furthermore, the hustle and bustle of the outside world reflects the demons that Travis battles as an isolated character with past traumas and his anger at society is represented by the recurring presence of these overwhelming sounds throughout the sequence. The scene in its entirety reflects insanity, as evidenced when Travis repeatedly asks his reflection the same question. This is followed by the repetition of words from his diary, intercut with scenes of him lying down and attempting to sleep. These moments signify a character with little grasp on reality, instead being governed by his thoughts with the same question running through his head. In this way, Travis is not confronting a potential antagonist in the mirror scene but rather himself as his grasp on sanity continues to slip away. Every day this week a different writer will provide their perspective on our MUBIVIEWS film and each post will be open to comments from our readers. Watch TAXI DRIVER on mubi.com until 4 July 2017 and join the discussion!
curator's note This week our writers return to MUBIVIEWS with the classic American vigilante film TAXI DRIVER (Martin Scorsese 1976). As a regular favourite on lists of the greatest film of all time, what will our writers make of this critically acclaimed neo-noir A STUDY IN YELLOW George Lee At its heart TAXI DRIVER (Martin Scorsese 1976) is a character study. The film delves deep into the twisted and confused mind of Travis Bickle (Robert De Niro), a Vietnam veteran forced to stalk the streets of New York in his taxi cab. The film is nearly completely shown through Travis’ unreliable point-of-view, spending a significant amount of time depicting the less than glamorous side of New York. This works as a metaphor, demonstrating the truly seedy aspects of Travis’s warped mind. It is evident that Travis is traumatised from his time in Vietnam but instead of addressing this directly, his trauma manifests itself in a chaotic web of self-sabotage and brutal violence. He sees the biggest hindrance to his happiness is the state of New York itself. Although he constantly complains about the “scumminess” of New York, he is contradictory in nearly all his actions. He takes his date to a porn theatre and drives around prostitutes in his cab. This demonstrates his truly fractured mental state, that while he is externalising his anger at the state of New York it is really himself he is angry with. It is at this point in the film where Travis, seeing no other option, turns to violence. He takes up arms against his targets, the people he sees as ruining New York: the politicians and the pimps. Perhaps the most accurate scene that illustrates his character is not the deranged monologue into the mirror or the bloody slaughter but the precariously balanced television. As Travis tilts it further and further he knows it will eventually fall off and much like his own fragile sanity, it inevitability smashes. Every day this week a different writer will provide their perspective on our MUBIVIEWS film and each post will be open to comments from our readers. Watch TAXI DRIVER on mubi.com until 4 July 2017 and join the discussion!
Next up on #MUBIVIEWS is Martin Scorsese's haunting psychological neo-noir TAXI DRIVER (1976) about a mentally unstable war veteran who scours the nighttime streets of New York. The film was nominated for four Oscars - Best Picture, Best Actor in a Leading Role (Robert De Niro), Best Actress in a Supporting Role (Jodie Foster) and Best Original Score (Bernard Herrmann) - and Martin Scorsese was also awarded the prestigious Palme d'Or award at Cannes Film Festival.
Every day next week, starting on Monday 19 June, five writers will provide their perspective on our MUBIVIEWS film and each post will be open to comments from our readers. Watch TAXI DRIVER on mubi.com until 3 July 2017 and join the discussion! Watch the trailer here. |
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