ħ.Temporal and geographical alienation are forbidden. (Music must not be used unless it occurs where the scene is being shot).
Props and sets must not be brought in (if a particular prop is necessary for the story, a location must be chosen where this prop is to be found).Ģ.The sound must never be produced apart from the images or vice versa. Here, for the record, are four of the 10 ‘vows’ that adherents to the Dogme film movement were expected to comply with:ġ.Shooting must be done on location. The scene in Manifesto prompted me to revisit both. The Dogme 1995 film manifesto, apparently drafted over a bottle of red wine by Lars Von Trier and a handful of his Scandinavian film-making buddies, was, of course, the stimulus for the Dogme ELT manifesto. Hovering over the kids as they complete an assignment, she gently corrects one of them: “Shooting must be done on location.” And another: “The camera must be handheld.” And on.īut my favorite sequence has to be the one near the end, about film, in which Blanchett plays a primary school teacher with a pitch-perfect ‘teacherly’ voice, talking her class through the Dogme 1995 manifesto.
I am for the art of mama-babble…’ and so on. The Pop Art manifesto, for example takes the form of Blanchett, with a broad Southern accent, saying grace in advance of a turkey dinner, while her long-suffering family roll their eyes at each successively outrageous pronouncement, taken verbatim from Claes Oldenberg’s 1961 text ‘I am for an art…’: “I am for an art that is political-erotical-mystical, that does something other than sit on its ass in a museum….I am for the art of punching and skinned knees and sat-on bananas. Each of its thirteen segments has Blanchett reciting and/or enacting a manifesto, or a cluster of related manifestos, that launched various 20 th century art movements: Dadaism, Futurism, the Situationists, Surrealism, etc. Originally conceived as an art gallery video installation, it has now been spliced together as an art-house movie.
#TEACHING UNPLUGGED MEANING MOVIE#
If you get a chance to see Julian Rosefeldt’s movie Manifesto, starring Cate Blanchett, do – if for no other reason than to see Blanchett at the top of her form, playing 13 different roles and as many accents, to often hilarious effect.
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