Saturday, October 5, 2019

Critic of A Family Finds Entertainment by Ryan Trecartin Essay

Critic of A Family Finds Entertainment by Ryan Trecartin - Essay Example The genius of the film is not in the plot. The story is generally reflective of a teenager’s life in a highly urbanized environment whose sense of self is driven by consumerism and mass media. It is about a suicidal teenage character named Skippy whose gender is quite difficult to define but easily recognized to be Trecatin (being such, Skippy will be addressed as a boy) being clod in an outlandish costume who started in the film hidden in the second floor bathroom of their home. Skippy was asked and pleaded to come out by family and friends but instead of coming out, indulged in a surreal self assessment in the character of Kafka that drove him to cut himself. The irony was presented with the partying and singing downstairs while Skippy is in a self-mortification mood ready to cut himself/herself up. Strangely, a seashell told him to stop and stop he did. He left home and met a filmmaker but later hit by a car. A band played in electric frenzy followed by fireworks and festiv ity. The idea of the movie was not to conform but rather to challenge which is the genius of the film. ... recatin playing a role of female makes a statement that narration should be gender neutral and characterization should depend on the personality of the characters. This explains the over emphasized dialogues of the characters with Trecatin playing as Skippy and another female character. The construction of the character is not based on physiology but rather on the articulation of its mind. The way it investigate the circumstances and progression of the life of Skippy demonstrates that narration and story-telling can be done in non linear and even unrealistic way. The speech also does not have to taken literally just like Skippy’s seeming existentialist articulation when he was contemplating of suicide. There, it requires the consideration of not just the dialogue of the character but also the accompanying juxtaposition of the character’s body and its facial expression to finally get what the character is saying. This explains why the characters are outlandish because th ey complement the seemingly curt verbiages to complete a full dialogue. To illustrate, one can feel the gravity of the proposition that confounds Skippy when he was attempting to kill himself. Yet, the narration was only a serious of short talk, with series of impressions that were cut short by editing, but we are able to get it when we factored in the facial expression, the altered speech, the unorthodox lingo and body language of Skippy. The message that was delivered by shell or snail for Skippy not to take his life seems Kafkaesque in surrealism, but we get the message clear. Taking the whole context and narration of the film, Trecatin only illustrates that there are other ways of investigating certain phenomena whose story-telling is more contemporary albeit absurd in its presentation but the

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