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This month, a couple of designers approached me with their story and offered their experience up as a cautionary tale in the design world’s legal issues. This case study will take a look at a number of issues, ways to address and perhaps prevent the events that occurred here. The Secret Life of Bees is based on the bestselling book of the same name by Sue Monk Kidd and centers around the plight of 14-year-old Lily (Dakota Fanning). The Secret Life of Bees doesn’t try to pass itself off as a historical documentation of race relations in the 1960s.
Though the film is written to show the disparity between blacks and whites, there is always a strong sense of hope, thanks to the lead actresses who bring empathy and dignity to their roles.
Latifah has the part of wise matriarch down pat, even when she’s playing a sister rather than a mother. And it’s clear that Fanning is making a seamless transition from kid to young adult roles. Andrew Sarris in Notes on the Auteur Theory in 1962 he points out the important premise of the theories are “the technical competence of a director as a criterion value” and “the distinguishable personality of the director as a criterion of value”.
Pauline Kael in her article e Circles and Squares rips apart Sarris article and basically discredits it by attacking all of his premises on Auteur Theory. Kael seems to think so; she states “that artists borrow from themselves all the time and how the same devices, techniques and themes reappear within their work….
Another important point of Auteur Theory according to Sarris was “the technical competence of a director as a criterion value.” Kael believes “An artist who is not a good technician can indeed create new standards, because standards of technical competence are based on comparisons with work already done” She brings up a director names Coceau and says that his greatness is being able to achieve his own personal expression and style.
Sarris’ rebuttal in the Film Quarter, The Auteur Theory And The Perils Of Pauline, wasn’t a strong argument. Over all, when it comes to Auteur Theories I think it’s important to understand these theories but you should definitely not follow them blindsided. In first reading Michael Allen’s I was wondering when he wrote this because CGI has leap forward in technology that this article is in a way outdated.
What Allen does is look at how CGI technology changes the aesthetics of shot length, framing, timing and actual shots of the film (placing the live and the virtual) in the same shot.
But what does worry me was last month when I went to see Tim Burton’s Alice in Wonderland I saw it on IMAX 3D and I came out of that movie theater in awe.
The three things that have transformed televisual viewing is the VCR, Cable and the remote control. Also we have to take a look at digital cameras and video recorders, and computer programs, or the MAC which makes it easy for anyone to edit a produce mini “productions”. I don’t believe technological advancements are leading to the death of cinema, I feel it is drastically changing cinema, and making it more difficult for Cinema to independently define itself.
I came across this article which I found interesting claiming that Hollywood is slowing reconstructing the archetype of the Mammy… but its a new age Mammy.
When black people in the US had the opportunity to watch film and TV they did so fully aware that “mass media was a system of knowledge and power reproducing and maintaining white supremacy”. Black female gaze has its own category, for black females went to the cinema never expecting to see compelling representations of black femaleness, “they were acutely aware of this cinematic racism, it’s violent crasure of black womanhood” When female representations were on screen they were merely there to serve, enhance, and maintain white womanhood “as the object of the phallocentric gaze”.
I’m going to start off saying I had trouble with this reading and I don’t think I fully comprehended her article. Mulvey says “the function of woman in forming the patriarchal unconscious is twofold, she first symbolizes the castration threat by her real absence of a penis and second thereby raises her child into the symbolic.
Another point made in the article is about some of cinemas possible pleasure, one of which is schopophilia.
This leads me into Mary Ann Doane article “Film and the Masquerade: Theorizing the Female Spectator” which I also had some trouble with. Doane also points out that when the gaze is reversed, and we have female spectatorship, the dominant system is only reinforced.
In Solanas and Getino’s reading towards a third cinema he discusses how third cinema, also known as Latin American cinema came about. Solanas and Getino are two Argentinean activist and they directed, wrote and produced an independent documentary call La hora de los hornos.
Espinosa in his article For an Imperfect Cinema, he is questioning what art is, and what is cinema. Perfect cinema is technically and artist fully masterful and is almost always, in some way reactionary cinema, and is structured.
Rocha in An esthetic of Hunger, The article compares Brazil and Europe with the case of Cinema Novo. Then he moves on to talk about Cinema Novo, stating that it remains marginal to the economic and cultural process of Latin America.
South Carolina in 1964, is the moving tale of Lily Owens (Fanning) a 14 year-old girl who is haunted by the memory of her late mother (Burton).
While no one thinks these events could happened to them, the fact is that these are common events, even if they don’t always happen to one person at one time.
So why has design education been largely absent in conversations about K12 education reform?
Assuming the burden for her mother’s premature death, she has a precarious relationship with her abusive father T.


Lily runs away with her to a town she believes may hold the secrets of her mother’s life. But the fictional slice of life still resonates because of the feelings of injustice that it stirs up. Hudson exhibits some of the same quiet grace that Regina Taylor brought to her role as the family housekeeper in the superb TV series I’ll Fly Away. Whether she’s giving an impassioned monologue or listening thoughtfully, Fanning brings nuance and intelligence to her role.
Basically the first premise states that is a director makes bad movies doesn’t necessarily make him a bad director as long as he has technical competence, because that is what will be criticized. Kael excerpts a paragraph from Sarris articles discussing two films by Raoul Walsh which he was able to see a “crucial link” between Every Night at Eight and High Sierra with thanks to Auteur Theory. Take in all elements and judge the film for its content and execution, not on the director’s reputation. Then I realized what he was pointing out and I think that is extremely important to look at. Then when I thought back on it I couldn’t remember if I liked the movie because of the actual film or if I was just so caught up with the visual.
With the VCR and the remote, viewers have the ability to edit at their fingertips, they can pause, mute, rewind, fast forward commercials and even change what they are viewing, without even getting off the couch. Its a short article and breaks down all the mother figures in The Secret Life of Bees labeling each figure into as a different type of mammy. White slave-owners denied slaves their right to gaze, and slaves were punished for looking. Grown black women resented the way screen images like Sapphire from Amos and Andy could assault black womanhood, meanwhile younger black women accepted it as a form of entertainment. I took the 346 course and I felt I learned and understood a lot, but we really didn’t focus on the female spectator and where she stood in all of this. Once this has been achieved her meaning in the process is at an end.” I am not at all familiar with Freud’s psychoanalysis but I do find this last statement to be a bit absurd, and I can’t bring myself to believe in what its saying.
Which refers to the pleasure in looking at oneself, the reversal applies as one, in being looked at.
Doane states that “spectorial desire, in contemporary film theory, is generally delineated as either voyeurism or fetishism, as precisely a pleasure in seeing what is prohibited in relation to the female body”. It’s impossible to just watch a film and not have any reactions to it and I do find this whole psychoanalytical aspect interesting even if I don’t buy into it 100%.
Solanas describes it as a mechanistic takeover of a cinema, structured, and to be sure to satisfy the commercial interests of the production groups. The demand of a filmmaker to be free to express himself in a non-standard language and inasmuch as it was an attempt to at cultural decolonization. An imperfect cinema finds a new audience; those who are struggles and its themes revolve around this. Europeans hunger is for a strange tropical surrealism and Brazils hunger is its national shame. Another criterion value is if we are able to link together the director’s work, because his hand in the film is obvious. Kael describes this “crucial link” as an uninteresting and obvious device, which was used in a worse earlier movie.
This idea of the film-maker and his films being one, therefore even the worst of them will always be in the image of its creator. He felt the need to justify his arguments by throwing numerous amounts of references to directors and films. The CGI creatures had to be given short, fleeting appearances on screen therefore “the spectator could not settle upon them, could not ‘see through’ them” (Allen; 825) CGI images have lead to “changes in editing patterns and scene construction”. But shortly after this they were able to overcome this objection and they started finding complex way to use the camera around the CGI creature images. I don’t know when this article was written but she mentions the DVD will be the new VCR, and that is exactly what has happened. I disagree with her that hollywood is recontructing the mammy, but Its definitly interesting to think and debate about. Black figures were stereotypically degrading and dehumanizing, a famous example is the Amos and Andy show (which were in fact white men doing the voices). They didn’t long to be on screen, but they still laughed at this female character “who was not us”. And if I never would have read this article I don’t think I would have ever thought to analyze it.
Freud associated schopohilia with taking other people as objects, subjecting them to a controlling curious gaze.
She goes on to explain how the female role is not written for women, in actuality it is written for the men, for what they want to see women projected as. Using Sweet Sweetback’s Baadasssss Song and discussing the blaxploitation movement in film. These oppressed third world countries that are in need of a revolution and he sees that films can be used as a revolutionary tool.


It must show the process which generates these problems, “to submit it to judgment without pronouncing the verdict.” The audience for imperfect cinema believes they can transform the world in a revolutionary way.
Instead Cinema Novo is a phenomenon of new people everywhere and it depends on the freedom of Latin America.
Starring Queen Latifah and Dakota Fanning, The Life of Bees is the moving tale of Lily Owens, a 14 year-old girl who is haunted by the memory of her l. The debate here is simply just because a director has a certain style or repeats certain devices throughout his film, is that enough to make and an Auteur?
You can’t justify a bad film as good just because a director has technical competence and a distinguishable personality. The question which is usually brought forth in my mind is if CGI and special effects are in the movie to further the story and proved a deeper meaning in the story or just is it there simply because its innovative technology and we want to stun the spectator. When it comes to framing, due to the technologic limitation it was difficult to mix the CGI with live action. When you’re being taught about filmmaking, one of the standards you learn about is the 180 degree and other techniques designed so the audience doesn’t notice the role the camera plays in the film.
The relationship between actor and audience is moving further away because of this technology, which is not something I’m thrilled about. I think of how we can rent Casablaca on Netflix, have it streamed through the internet to play and watch it on our T.V. And this happens all the time everybody has different tastes when it comes to films, but I’m not really talking about whether they will like a film or hate it, I’m talking about a more psychological reaction. According to Hooks it produced in them “an overwhelming longing to look, a rebellious desire, an oppositional gaze. The oppositional black gaze responded to these by producing black independent cinema as “a response to the failure of white dominated cinema to represent blackness in a manner that did not reinforce white supremacy”.
Taken to the extreme it can “become fixated into a perversion, producing obsessive voyeurs and Peeping Toms, whose only sexual satisfaction comes from watching, in an active controlling sense, an objectified other.” Mulveys whole argument here I can understand and I see the basis of it.
It truly causes you to be an active viewer, and that is one of the goals for this type of film, to get people to stand up and react to it. Starring Queen Latifah and Dakota Fanning, Watch The Life of Bees full online film cinema [2008] streaming HD 720p free Jun 2015.
He also goes on to say that silent directors invented forms while sound directors perfected styles, I can see some truth to this, but his following statement about directors oriented to realism being the “Drones of Cinema” I do not agree with.  He goes on to talk to about neo-realism and again more references to directors and films. The camera is the third narrator which allows us to see only what it wants us to see, but it is not supposed to be recognizable nor disrupt our attention.
One women said that “she could only get pleasure from movies as long as I didn’t look too deep”. The cinema of the revolution is at the same time one of deconstruction and construction: deconstruction of the image of neocolonialism and a construction of a living reality which recaptures the truths. Allen says that the camera’s “extravagance, their overt sweep and style, are intended to be noticed by the spectator. Another well known character is the Mammy, which I find interesting Hooks discussion of it.
As a realistic portrayal of life in rural South Carolina in 1964, " Life of Bees" is dreaming. They are in some sense pulled out of the constant and invisible flow of images that go to make up the scene and allowed to stand apart as moments for awed appreciation”. To me the Mammy is another extremely racist sterotype but Hooks describes her experience when watching Imitation of Life as a comfortable image. Bringing us back to the whole idea of the spectacle, and the question I posed earlier about if CGI is used to further the narrative or is it simply there as pure spectacle. I understand that she related her to a hard-working blacking woman, who loved her daughter so much, she said the mammy figure reminded her of the hardworking, church going big mamas.
What worries me here is also how much we are sacrificing the content of the film in order to accommodate for the CGI technologies. The Mammy character in this film was definitely different from all the others, the Mammy had more substance, and was an actual character in the film rather then a mere entertainer but she was still happier to be the servant and live downstairs, that’s where she wanted to be.
This accessible literary criticism is perfect for anyone faced with The Life of Bees essays, papers, tests, exams, or for anyone who needs to create a The Life of Bees The has a symbolic function in the novel because as Lily learns about Augusts community Every character represents a working part of the (see above). So, I do Dramatic Interpretation in Forensics League, I just saw the Life of Bees and really wanted to do a compilation of different things that Lily says in the. Clip from The Life of Bees: June Boatwright (Alicia Keys) explains to Neil (Nate Parker) that she doesnt want to get married. Posted on November 12, 2008, the book is called " life of BEES" not " life of humans, and some bee facts". Life of Bees - Search for plot, trailers, cast and crew, photos, reviews, and tickets online at Moviefone " Sweet Life of Bees is a film of sad stories with sad situations.



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