Friday, May 3, 2013

White House Down Trailer #2 & The Conjuring Intl Trailer

Still, there is no villain, there is no conflict they are willing to own up to.
As we have been discussing, the villain Stenz is played by a white male, and it's white people they want to see the film, so they are not going to risk alienating their biggest base of movie-goers until after they have bought their ticket. "Help is not coming,"" I wonder if they told the hostages at Benghazi that. I wonder if anyone told the film makers that no one is getting to tour the White House anymore because of the Obama-enforced sequester? That's going to make the film look back because, when people see the passes, they are immediately going to think of that, oh, wait, if you are Muslim, you do get a tour of the White House, so it will be interesting to see if Channing Tatum's character is Muslim or the film was made at a time when Americans had access to the White House unlike now.
An interesting nugget of info has become available on the summer release for The Conjuring. It's not so much a horror story, as I am understanding it right now, rather, a biography on the investigators Ed and Lorraine Warren  (and Lorraine is still alive). The UK trailer for The Conjuring:
There are a couple of things in this new one we should note. First, when they are driving, it appears there is a rosary hanging on their rear view mirror; this is not uncommon among Catholics and the interview/consultation with the priest at 1:04 (Ed, in real life--I don't know if this will be part of the film or not--was a demonologist, who studied demons and their powers). They are doing the initial interview with the Perron family--the owners of the house--in the kitchen (if I was meeting someone for the first time in my home, I would probably "entertain them" in the living room, just to say) so the kitchen is perhaps a indication of the appetites being at work ("The truth will consume you" the title card says; additionally, we see Lorraine falling into the basement which indicates the primal appetites) or--because the kitchen is the traditional "place" of the woman (women traditionally do the cooking in the home), it might indicate the role of women in the narrative (Lorraine is in a non-traditional role as a medium, for example).
This scene is loaded. First, anytime there is a mirror, window or glass in general, it invokes the active principle of meditating or self-reflection to achieve self-awareness. The little girl tells Lorraine in the trailer to look in the mirror and when the music is done, she will see "her" standing behind her; the music ends and Lorraine looks behind her and there's nothing, ugh! "She" is standing in front of Lorraine! Generally, I think we can say that "behind" Lorraine would be indicative of the past (that which is behind us) but "her" standing in front of Lorraine might refer to that which is in the future, still to come or encounter. Lorraine's shirt with all the ruffles is out of place, even for the 1970s: it's almost Elizabethan in it's high neck (experts in costumes might want to aide me on this) but it's a strange shirt and even a strange color. In this light, it looks blue but it might be lavender; what does blue communicate to us? It is both the color of wisdom and the color of suffering, and we know from another trailer that Ed (her husband) says she loses a bit of herself every time she does an investigation, so that self-loss would refer to the suffering (perhaps being communicated to us by the blue shirt) but also the wisdom she has gained by doing this because she can tell the family what no one else can tell them.
November 1, 1971: the date the first interview is being done places us, once again, in the 1970s; what will be really important is when the deaths happened (or the event, time frame in which the spirits haunting the house) occurred, because the film will be making the connection that (just for an example) if they want to blame events during the Civil War for what happened in the 1970s--like with Civil Rights--what happened to create the ghosts haunting and threatening the family back then has created the situation in which we are living today; further, they aren't real.y talking about the 1970s, they are talking about us as the family (symbolic of America) being haunted by something and that something which is very "hateful."
On the far left is the poster for Tim Burton's The Nightmare Before Christmas; please note the curling of the cliff highlighted by the moon in the center of the poster and how that is similar to the shadow cast on Lorraine's face as she looks in the mirror in the image above (this is just a comparison). The second image on the left is the tree of the dead from Tim Burton's The Legend Of Sleepy Hollow; please note the similarity to the tree in The Conjuring poster beside it: the barrenness of the branches and the unnatural leaning of the two as if there was a great weight causing it to grow in a crooked manner. Also at the bottom of The Conjuring poster is in the bottom, right-hand corner, there is a shadow of a person wearing a gown in the dead leaves (it's difficult to see). With the "colonial style farm house in the background, and the fog over the property, the clouds hanging in the sky get a bit lost, but there are thunder clouds in the sky indicating a storm (a symbolic storm, of course). Now, the last poster for The Conjuring on the far right is an image we have just seen in Oblivion when--just like Carolyn Perron in the poster above--Malcolm Beech (Morgan Freeman) is in the dark and lights a match so Jack Harper (Tom Cruise) can see, then he blows it out. Why is the recurring lighted-match theme important? The subtitle of the new Hunger Games films is Catching Fire, and while the recurring image of a lighted match might not have anything to do with it, it's something to keep on the back burner.
"Look what she made me do," I have no idea to what that refers, but it at least suggests that will power was over-ridden, which is an inter-personal crime: free will is a gift from God every person has; when we force someone to do something, we negate their humanity as the children of God by negating that free will (animals, for example, do not have free will, but instincts controlled and compelled by their appetites, but we have the power to over-ride our appetites).
It would appear, by the unfinished walls, the wooden shelves and the randomly stacked chairs beside Ed, that they are in the basement. Ed has a Cross around his neck and the book in his hand may be a prayer book containing exorcism prayers but what is most interesting is that his shirt is untucked and hanging out below his sweater vest. I don't know a whole lot about the styles of the 1970s, but that seems to suggest that Ed is coming apart. Looking at Lorraine, her hair is down (whereas it was up earlier) and we know hair symbolizes the thoughts, so when Lorraine's first at the Perron home, her hair is up because she is disciplining her thoughts and being objective about what she is hearing and seeing; in this scene, her hair being down, communicates that--like her hair--Lorraine has let go of her thoughts and she is thinking wild things, she can't keep the cool, objective demeanor up anymore; it's possible the same ideas apply to how Ed's shirt is being worn.
Short but imperative.
In the newest Man Of Steel spot for TV, the discussion is on choice, "society" deciding instead of the individual; why would this come up? In American society, don't we get to decide for ourselves what we want to be and do (it doesn't always work out, but we have freedom to decide and pursue our dreams)? In socialist societies, you don't decide, the government decides based on your skills, talents and intelligence. This is a point of conflict with the trailer above for White House Down, it makes it sound like whatever job you want, regardless of how unqualified you are, you get to do that; that's why this statement is important, it re-establishes the idea of standards to live up to, not standards to be brought down to the level where everyone can reach them:
Oh, this looks bad!
Remember, please, that the word "perverse" literally means "upside down," so when, for example, a person participates in child pornography, we say they are a pervert because a child who is innocent is being used for base sexual pleasure (innocence has been turned upside-down to sexual pleasure). What happens in the clip below? The USS Enterprise is turned upside-down so this is something to focus on in the upcoming film: what has been perverted to cause this?
Oh, this looks funny! Kirk complains about Uhura's boyfriend Spock. Not knowing what part of the film's narrative this takes place in (before or after his being trapped in the volcano) does, however, provide us with a insight into Spock's character development at this point in the franchise:
I am finishing up the notes on what to be looking for in Iron Man 3 right now, and will get those posted before going to see it this afternoon!
Eat Your Art Out,
The Fine Art Diner