High School Musical Brought Back the Musical Movie

I remember waiting anxiously for High School Musical to premiere on Disney Channel in 2006. It was not a very highly anticipated movie because it was "just another DCOM." However, this movie's fame blew up immensely as soon as it came out and paved the way for musical movies to come back into the scene.

After this movie was released, it became very popular for Broadway musicals to create movies, such as Hairspray or Mamma Mia!. Also, Disney Channel tried to follow up with musicals that were not nearly as popular but still in the limelight, like Camp Rock or Starstruck. High School Musical was a very large part of my childhood that I will never forget. I am obsessed with musical theatre and this just gave me a new genre to fangirl over. It became popular again for teenagers to listen to musical theatre and I finally wasn't THAT big of a loser anymore.

High School Musical was a phenomenon and  released two more movies after the first, with the third hitting the big screen. I will alwayys remember how sad I was at the end of the third movie, because it felt like a significant part of me was over. High School Musical made stars out of many people such as Zac Efron, Vanessa Hudgens, or Ashley Tisdale. It brought new talent to the screen and was a hit of its time. I still love High School Musical and appreciate all that it has done for the musical theatre movie world.

The Grand Guignol: Not for the Faint of Heart

Le Théâtre de Grand-Guignol, literally translated from French as "The Theatre of The Big Puppet Show", was a theatre that formed in a chapel inside Paris' red light district in the late 19th century. Renowned for it's displays of graphic horror and gore, the theatre gained a large cult following. It's actors (no, they weren't puppets) simulated astonishingly realistic acts of violence and sex such as hangings, stabbings, rape and all kinds of beatings.

The shows were so terrifying for it's audiences that it was common that at least two people fainted during the performances, many times up to fifteen people per night. Even the actors were injured and sometimes killed because of the shows. A doctor was kept on call every night in case of these events.

The Grand Guignol eventually closed in the sixties, unable to compete with the effects of cinema. But, the subgenre of horror movies known as splatter film was heavily influenced and based on the naturalistic effects invented at The Grand Guignol. Things such as inflatable animal bladders and pumps hidden under actor's clothes to spew out blood when cut were used at the theatre and adapted for the screen.

        

Many of today's splatter films such as the Saw franchise and movies like The Evil Dead were impacted by the shock factor that The Grand Guignol brought. The gore we know today started on the stage, and grew into a cinematic genre all of its own. The theatre pushed their actors and their audiences to the limits, exploring the horrific and bizarre, paving the way for horror cinema. Now, The Grand Guignol has reopened for special performances, allowing audiences to see what inspired the great gore films throughout history.

"Les Miserables 25th Anniversary Concert" PBS coverage

Over spring break I watched the "Les Miserables 25th Anniversary Concert" on PBS. Although I've watched many of the shows that this station has covered on Great Performances and other programs, I was completely blown away by this special. Since theatre is most powerful when it is seen live in the audience, I did not expect to be as moved as I was by this televised event. Though the actors were of course phenomenal and the music itself is timeless, I believe it was the coverage and camera work that added to the overall feel of this piece. The cameras were cut with such precision that the viewer never got bored of seeing a singular shot for too long. I know this has a lot to do with studio production since it was directed from a remote truck, many of the features such as interviews and backstage tours can be viewed as field production.

Old Forms New Conventions

View from the Window at Le Gras, Joseph Nicéphore Niépce

To quote Hamlet on the Holodeck:

"...the inevitable process of moving away from the formats of older media and toward new conventions in order to satisfy the desires aroused by the digital environment."

How long does it take for people to start using the peculiarities of a new medium creatively?

Digital media is so new and moves so fast that we cannot even begin to recognize the difference with what has come before, because of the fact that digital media is itself an eternally shifting and morphing media.

When photography came into being all photographers could do to cope with such technology was to borrow from the portrait or landscape painting of their time. It took visionaries like Christian Schad, Man Ray, and Laszlo Moholy-Nagy, almost a hundred years since Nicéphore Niépce captured the view from his attic in 1826 to break away from the convention of the borrowed and explore the potential of the medium, but alas, it was short lived because the masses demanded their likeness more than that which they could not understand.

Then came film, which borrowed the narrative of theater (I am simplifying of course) and continued with the tradition of recording "reality" (that word...) while in fact it was, and always has been a mere optical trick and a little more that is hidden from the viewer

So now, when digital media arrives, we seem to be unable to grasp the potential, and how could we, if we look to the past instead of the future? Why does SL or any other VR looks as pedestrian as a mall, a battlefield, an airport, a castle, a house? What is it that we need that prevents us to discover the new?

The capability of Machinima was unprecedented in the world of Media, until the advent of FPS games. In a way it is similar to the advent of 8mm and then Super8 in the 60's. Lot's of people started making movies and that led to some interesting careers since some of those people are now known filmmakers.

One problem, that can be seen as an advantage as well as a step backward is that precisely the fact that production can be made on the cheap (or "free) and that anybody can swing a "camera" around makes for very poor end product. Machinima, despite its potential as a cheap story-telling medium or prototyping tool, an animatic of sorts (and I am interested in those aspects myself I should say), is that it also misses the point and becomes comfortable with emulating the rich uncle. Understandable though, since it lives and has grown precisely in that protected environment where the fascination with the new becomes very quickly a reflection of the old.

There is the chance of being one of those pioneers who dared to see outside of the box, if only for a short window of opportunity before it fossilizes into the same old crap dominated by corporations and transnationals to keep you under their control.

I think it is very exciting possibility to be one of those pioneers.

The Creator Short Cut

Baby Step Digital Design for theatre and dance

Tomorrow evening in the REVE from 7pm to 9pm Digital Design students from the School of Theatre and Dance will be presenting research regarding teledramatics, SecondLife virtual venue, polycom video conferencing and pidip and pdp, motion control DMX and remote Internet2 performance

Come check it out!!!