⌛ Disconnected In The Film Elephant By Van Sant
In Disconnected In The Film Elephant By Van Sant way, Thomas L. Friedmans Argument Against Abortion gestures beyond the frame to where an elevated perspective might suggest more mysterious causes at work. There is also a comment Disconnected In The Film Elephant By Van Sant made on the inherent hypocrisy of those with authority. Retrieved Disconnected In The Film Elephant By Van Sant 13, As he combines with his alter ego, he loses himself and his true feelings. Retrieved March 6, Retrieved July 1, This duty lies upon the sub-divisional police Disconnected In The Film Elephant By Van Sant.
Gus Van Sant - Elephant
Like the brainy rich-kid criminals Leopold and Loeb see the film Compulsion , the Columbine killers were looking for meaning and chose the immortality of infamy, the cold ninth circle of the damned. Such a shocking event as the Columbine shootings surely provokes an intensive inquiry into its causes, and there is much debate surrounding the event. Theories, of course, only go so far, and Van Sant is much more interested in the real life stuff of the teenagers who are the subject of the film.
This mean he absolutely avoids promoting a sense of entertainment, and instead pares down characters and dialogue to allow the action to unfold with an apparent naturalism. There are a handful of characters in the film who are given equal screen time; their days intersect and loop around one another so that we view the action from each perspective. The result has a peculiarly unsettling effect on the viewer, enabling a deeper engagement with some of the issues it raises. While Bowling for Columbine attacks gun legislation in the US, some theorists, such as Tony McKibbin in Senses of Cinema , have criticised it for appealing to a smug leftist audience, whereby the spectator is secured in an already familiar and comfortable position:.
McKibbin argues that, in contrast, Elephant is a far more significant work in its ability to destabilise and detach the viewer. The cumulative impact of the slowly unfolding events leads viewers to a point where they are forced to examine how exactly it has all taken place, both by having to fit together the looping narrative, and placing it in the larger social context. While Elephant is essentially a film about two teenage boys who gun all their classmates down one day, Van Sant does the remarkable thing of refusing to foster moral or emotional alignments. The adult characters are revealed from the start as impotent. The opening scene begins with a high-angle shot of a Mercedes Benz lurching down an autumnal tree-lined street.
John is then bailed up by the principal, who seems to enjoy this little power game with the always-late-to-school student. John briefly takes refuge in an empty room where he sheds a few tears. There it is: nobody is in control, nobody is watching out, and nobody knows how to deal with the consequences. We have the Elephant. With this opening scene, Van Sant presents a slice of the social issues familiar to many adolescents.
There is also a comment being made on the inherent hypocrisy of those with authority. The scene presents a culture in which the organising social principle is unworkable, but also unquestioned. Elephant depicts a world untethered from certainties and authority, and in this way it can be seen to reflect postmodern anxieties. We might regard the killers Alex and Eric as embodying the disenfranchisement that many teens and not just in the US feel. Viewing their apparently left-field violence in this context reveals a failure within society to deliver a secure place for their emerging sense of identity.
In the same interview, Zizek compares the idea of foreclosure and its implications with the Nietzchean opposition of active and passive nihilism. In Elephant we can roughly align the characters according to the idea of active and passive nihilism. We see Alex and Eric attempting to break out of their transparent, but nonetheless prescribed realities: a bid for active nihilism. The pair succeed or at least Alex, as the mastermind behind the assault, does in an act of self-destruction that draws attention to their plight. We are cued to an omniscient point of view right from the opening time-release shot of the sky as it turns from day into night.
The human voices of the soundtrack are very much in the background, while the sky darkens ominously. The foreboding is momentarily relieved as the next scene opens with a high-angle shot of a sunny, tree-lined street. The autumn tones of the leaves are a striking contrast to the vivid light of day. We see the kind of paradoxes inherent in freedom, individuation and peer pressure, and the various characters present the typical array of teen issues. Each character bears a stoicism which never quite plunges into resignation. We see this even in characters like the self-conscious Michelle. The scene moves in slow-motion — another moment where Van Sant delivers us back to the Big Picture. Van Sant's minimalist style and use of tracking shots mirrors Clarke's film.
A drawing of an elephant as well as an image of an elephant on a bed throw can be seen in Alex's room while he plays the piano. The film competed at the Cannes Film Festival in May Van Sant claimed audiences in attendance at Cannes argued over its quality, leading to altercations. Elephant premiered in North America at a benefit for the Outside In youth shelter at the Arlene Schnitzer Concert Hall, in Portland, Oregon ,  on Saturday, October 4, , with several teenagers who appeared in the film in attendance.
The film was released for incremental distribution by HBO in 38 theaters in the United States, beginning October 24, The film is notable for being the launch title for the Italian channel Rai 4. The critical consensus states "The movie's spare and unconventional style will divide viewers. Roger Ebert praised the film and gave it 4 out of 4 stars writing "Gus Van Sant's Elephant is a violent movie in the sense that many innocent people are shot dead.
But it isn't violent in the way it presents those deaths. There is no pumped-up style, no lingering, no release, no climax. Just implacable, poker-faced, flat, uninflected death. Truffaut said it was hard to make an anti-war film because war was exciting even if you were against it. Van Sant has made an anti-violence film by draining violence of energy, purpose, glamor, reward and social context.
It just happens. I doubt that Elephant will ever inspire anyone to copy what they see on the screen. Much more than the insipid message movies shown in social studies classes, it might inspire useful discussion and soul-searching among high school students. The Red Lake shootings that occurred in were briefly blamed on the film, as it was viewed by gunman Jeff Weise 17 days prior to the event. Although they talked about the film afterwards, Weise said and did nothing to make anyone suspect what he was planning. From Wikipedia, the free encyclopedia. Release date.
May Cannes October 24, United States. Running time. Box Office Mojo. Retrieved 21 June Retrieved 9 December Filmmaker Magazine. CBC News. Rotten Tomatoes. Retrieved 8 July Chicago Sun-Times — via Rogerebert. The Hollywood Reporter. Krishnakumar 22 August The Hindu. Going into the film, Van Sant anticipated controversy, as he told the L. The U. Van Sant returned to the low-key style of his early independent efforts with this semi-improvised exploration of how violence infiltrates a typical American high school. Eric Eric Deulen and Alex Alex Frost , close friends and students in a middle-class suburb of Portland, look ordinary but they are misfits. In their leisure, the boys show fascination with Nazi iconography, enjoy violent video games, explore homoerotic desires, like a quick masturbatory sex in the shower, which is implied but not shown.
A long tracking shot reveals Mr. We immediately get the idea that the adult world, represented by Mr. McFarland, is not to be trusted. The individuals are shown in elegant tracking shots that position and dwarf them against the setting. One pupil diverts a teacher and then throws a spitball at Alex during a science class.My Own Private Idaho. Archived from the original on December Disconnected In The Film Elephant By Van Sant, Orwell uses strong resource of language such as symbolism, metaphors and imagery to Disconnected In The Film Elephant By Van Sant his disdain for British imperialism.