Ok, so this is an old video, but definitely worth another watch. :)
Sunday, March 16, 2008
Saturday, March 15, 2008
Wednesday, March 12, 2008
Note to Self
Dear Melissa,
Here you sit staring at your computer wondering what to write your persuasive essay about. The assignment is simple: you either write an Independent Learning Pursuit (ILP) or a letter persuading someone there is either a problem or a solution to a problem. At first you think an ILP would be best. You could get a much needed start on the ILP you said you would write for the Society for Human Resource Management (SHRM®) Essentials of Human Resource Professionals Certificate Program that you took last October. Then you think a letter would be a much more fun format. Maybe you could come up with a unique angle. You could write a letter from a mother to her children about the reasons they should clean their room. But, alas, you have no kids for reference, and channeling your mother this early in the morning would be frightening. You could write a letter from yourself to your husband persuading him to save more for retirement as he pays down debt. However, you had that conversation last night, and you seemed to persuade him to meet you at least part way. So, what should you write your persuasive essay about? You should really get down to business writing your ILP.
After all, you spent last Thursday afternoon coming up with a competency statement for your SHRM® Essentials ILP. Your competence statement is quite a good one too. The Foundations of Adult Learning materials helped you write a clear and concise statement using the appropriate verbs to express exactly what type of learning you achieved. To ensure that the statement you wrote for the SHRM® Essentials did not overlap with other competence statements, you reviewed the six competency statements you will fulfill by taking the Professional in Human Resources (PHR®) exam next year. Your review of the objectives listed in the SHRM® Essentials reference book guided you through the process of creating your competence statement, and the exercise provided you with a brief refresher. So, in the end, you have a great competence statement for a Human Resources 101-type course: “Understands the roles and responsibilities of human resource professionals and the key provisions of legislation that effect human resource activities.” Your hard work in creating this concise and descriptive competence statement should not go to waste.
Do not forget your hard work on Thursday included reviewing your grid and the Quarter-by-Quarter Plan that you submitted to your Academic Committee last September. Last summer and again this week, you thoroughly researched the need and impact the ILP would have in completing your degree program. Although it might mean you will have thirteen focus area competencies by graduation, rather than the required twelve, the SHRM® Essentials program was a great introduction to human resources. You have worked in human resources for three years specializing in U.S. immigration, so the program helped you gain a better understanding of the other human resources areas. This more rounded understanding of the human resources areas is essential to successfully completing the PHR® exam and fulfilling six of your twelve required Focus Area competencies.
Like most people you had a general understanding of the different human resource functions, but this program let you delve deeper into the guiding principles of each function and which legislation is relevant to those functions. This deeper understanding of what your co-workers do in their day-to-day tasks gave you a better appreciation of how these areas are interrelated and depend upon each other to recruit, select, and retain “qualified employees who will assist the organization in achieving its goals and objectives” (Society for Human Resource Management, 2007). The SHRM® Essentials program was necessary to prepare you for the big, scary PHR® exam next year. The PHR® exam will test your knowledge in all human resource areas, regardless of whether or not you plan to work in those functions. You needed the SHRM® Essentials introductory program as a pretest to see which areas you should study further. Your review of the SHRM® Essentials program materials, that you will inevitably conclude to write the ILP, will help reinforce the principles and ideas you learned in the course. Writing the ILP is essentially a refresher and will prepare you for the Human Resources Case Studies course, which you hope is offered at DePaul University’s School for New Learning (SNL) in the upcoming quarters. You need to prepare for the PHR® exam and, the SHRM® Essentials program and the writing of the ILP will help reinforce your basic knowledge of human resources.
The time you spend at SNL is not only for gaining more knowledge of your focus area, human resources; it is for completing your decade long goal to finally finish your bachelor’s degree. You began your pursuit of a bachelor’s ten years ago in community college. It took you three and a half years to finish a “two year” physics degree. That seemed to drag on forever, but then you went on to art school for three years. You studied computer animation, and you loved all of the introductory courses. When you reached the advanced classes you realized how a person sitting in front of a computer for eleven to twelve hours a day could come to appreciate smashing the machine with a baseball bat Office Space style (Judge, 1999). Oh, how satisfying that first swing would be. Now at DePaul you spend a little less time in front of the computer each day (unless you have an online course) and, you predict it will take you three more years to finish your “four year” degree. You need to write your ILP for focus area credit, get your Bachelor’s Degree, and get out of school.
Meanwhile, you love school; you love learning. But you have a life and career that you want to move forward with. In fact, now that work is taking up more time, you have less time with family and friends. Writing your ILP and finishing your bachelor’s degree will free up your personal time. Dragging this on more is just tiring. Yes, you are tired now, and you long to make jewelry, decorate cakes, and have fun at cultural events with your husband. However, the guilt you will experience if you do not finish your bachelor’s degree is not worth those distractions. After all, you make jewelry about once a week, and you decorate cakes for special occasions. You also cannot forget that your husband took you to see an opera earlier this month. So it is not like you are missing out on the things you say you would rather be doing. You are just not free to do them every night.
Finish your ILP and you will not have wasted your time or your life. The human resources knowledge you will reinforce by completing your ILP is applicable to your job now and will be needed next year for the PHR® exam. You already cleared the idea of writing an ILP for the SHRM® Essentials program with your Academic Committee; they loved the idea. Then you spent the time in the program and learned many principles and best practices in human resources that you had only a fuzzy idea of what they were. The review of the relevant employment legislation was a valuable and necessary exercise to help you understand why policies are drafted the way they are and make sure you are operating within the law. Least of all, you have written your competency statement for the ILP. That is your ILP’s thesis statement. The hard part is over! Now all you have left is to write your ILP, fulfill a focus area competence, and bring yourself one step closer to graduating.
Did you hear me? Graduation is closer with every competence you complete. No matter how tired you are or how much you want to go do other things they will not make you feel as relieved and empowered as graduating will make you feel. Just think, when you graduate, you can run to the top of the Philadelphia Museum of Art’s steps and dance around the top with your fists in the air, just like Rocky (Avildsen, 1976).
Bibliography
Avildsen, J. (Director). (1976). Rocky [Motion Picture]. United States: Chartoff-Winkler Productions.
Judge, M. (Director). (1999). Office Space [Motion Picture]. United States: Twentith Century-Fox Film Corporation.
Society for Human Resource Management. (2007). Introduction. Develop your HR Skills: SHRM Essentials of Human Resource Management Certificate Program. Alexandra, VA: Society for Human Resource Management.
---
This essay is ungraded.
Here you sit staring at your computer wondering what to write your persuasive essay about. The assignment is simple: you either write an Independent Learning Pursuit (ILP) or a letter persuading someone there is either a problem or a solution to a problem. At first you think an ILP would be best. You could get a much needed start on the ILP you said you would write for the Society for Human Resource Management (SHRM®) Essentials of Human Resource Professionals Certificate Program that you took last October. Then you think a letter would be a much more fun format. Maybe you could come up with a unique angle. You could write a letter from a mother to her children about the reasons they should clean their room. But, alas, you have no kids for reference, and channeling your mother this early in the morning would be frightening. You could write a letter from yourself to your husband persuading him to save more for retirement as he pays down debt. However, you had that conversation last night, and you seemed to persuade him to meet you at least part way. So, what should you write your persuasive essay about? You should really get down to business writing your ILP.
After all, you spent last Thursday afternoon coming up with a competency statement for your SHRM® Essentials ILP. Your competence statement is quite a good one too. The Foundations of Adult Learning materials helped you write a clear and concise statement using the appropriate verbs to express exactly what type of learning you achieved. To ensure that the statement you wrote for the SHRM® Essentials did not overlap with other competence statements, you reviewed the six competency statements you will fulfill by taking the Professional in Human Resources (PHR®) exam next year. Your review of the objectives listed in the SHRM® Essentials reference book guided you through the process of creating your competence statement, and the exercise provided you with a brief refresher. So, in the end, you have a great competence statement for a Human Resources 101-type course: “Understands the roles and responsibilities of human resource professionals and the key provisions of legislation that effect human resource activities.” Your hard work in creating this concise and descriptive competence statement should not go to waste.
Do not forget your hard work on Thursday included reviewing your grid and the Quarter-by-Quarter Plan that you submitted to your Academic Committee last September. Last summer and again this week, you thoroughly researched the need and impact the ILP would have in completing your degree program. Although it might mean you will have thirteen focus area competencies by graduation, rather than the required twelve, the SHRM® Essentials program was a great introduction to human resources. You have worked in human resources for three years specializing in U.S. immigration, so the program helped you gain a better understanding of the other human resources areas. This more rounded understanding of the human resources areas is essential to successfully completing the PHR® exam and fulfilling six of your twelve required Focus Area competencies.
Like most people you had a general understanding of the different human resource functions, but this program let you delve deeper into the guiding principles of each function and which legislation is relevant to those functions. This deeper understanding of what your co-workers do in their day-to-day tasks gave you a better appreciation of how these areas are interrelated and depend upon each other to recruit, select, and retain “qualified employees who will assist the organization in achieving its goals and objectives” (Society for Human Resource Management, 2007). The SHRM® Essentials program was necessary to prepare you for the big, scary PHR® exam next year. The PHR® exam will test your knowledge in all human resource areas, regardless of whether or not you plan to work in those functions. You needed the SHRM® Essentials introductory program as a pretest to see which areas you should study further. Your review of the SHRM® Essentials program materials, that you will inevitably conclude to write the ILP, will help reinforce the principles and ideas you learned in the course. Writing the ILP is essentially a refresher and will prepare you for the Human Resources Case Studies course, which you hope is offered at DePaul University’s School for New Learning (SNL) in the upcoming quarters. You need to prepare for the PHR® exam and, the SHRM® Essentials program and the writing of the ILP will help reinforce your basic knowledge of human resources.
The time you spend at SNL is not only for gaining more knowledge of your focus area, human resources; it is for completing your decade long goal to finally finish your bachelor’s degree. You began your pursuit of a bachelor’s ten years ago in community college. It took you three and a half years to finish a “two year” physics degree. That seemed to drag on forever, but then you went on to art school for three years. You studied computer animation, and you loved all of the introductory courses. When you reached the advanced classes you realized how a person sitting in front of a computer for eleven to twelve hours a day could come to appreciate smashing the machine with a baseball bat Office Space style (Judge, 1999). Oh, how satisfying that first swing would be. Now at DePaul you spend a little less time in front of the computer each day (unless you have an online course) and, you predict it will take you three more years to finish your “four year” degree. You need to write your ILP for focus area credit, get your Bachelor’s Degree, and get out of school.
Meanwhile, you love school; you love learning. But you have a life and career that you want to move forward with. In fact, now that work is taking up more time, you have less time with family and friends. Writing your ILP and finishing your bachelor’s degree will free up your personal time. Dragging this on more is just tiring. Yes, you are tired now, and you long to make jewelry, decorate cakes, and have fun at cultural events with your husband. However, the guilt you will experience if you do not finish your bachelor’s degree is not worth those distractions. After all, you make jewelry about once a week, and you decorate cakes for special occasions. You also cannot forget that your husband took you to see an opera earlier this month. So it is not like you are missing out on the things you say you would rather be doing. You are just not free to do them every night.
Finish your ILP and you will not have wasted your time or your life. The human resources knowledge you will reinforce by completing your ILP is applicable to your job now and will be needed next year for the PHR® exam. You already cleared the idea of writing an ILP for the SHRM® Essentials program with your Academic Committee; they loved the idea. Then you spent the time in the program and learned many principles and best practices in human resources that you had only a fuzzy idea of what they were. The review of the relevant employment legislation was a valuable and necessary exercise to help you understand why policies are drafted the way they are and make sure you are operating within the law. Least of all, you have written your competency statement for the ILP. That is your ILP’s thesis statement. The hard part is over! Now all you have left is to write your ILP, fulfill a focus area competence, and bring yourself one step closer to graduating.
Did you hear me? Graduation is closer with every competence you complete. No matter how tired you are or how much you want to go do other things they will not make you feel as relieved and empowered as graduating will make you feel. Just think, when you graduate, you can run to the top of the Philadelphia Museum of Art’s steps and dance around the top with your fists in the air, just like Rocky (Avildsen, 1976).
Bibliography
Avildsen, J. (Director). (1976). Rocky [Motion Picture]. United States: Chartoff-Winkler Productions.
Judge, M. (Director). (1999). Office Space [Motion Picture]. United States: Twentith Century-Fox Film Corporation.
Society for Human Resource Management. (2007). Introduction. Develop your HR Skills: SHRM Essentials of Human Resource Management Certificate Program. Alexandra, VA: Society for Human Resource Management.
---
This essay is ungraded.
Saturday, March 1, 2008
If Monsters Really Attacked Manhattan by MLynnC
WARNING: This essay contains spoilers for the film Cloverfield.
Forty-six million dollars is the box office record for a January movie opening. The highly anticipated and unconventionally filmed monster movie, Cloverfield, achieved this record the weekend of January 18, 2008, despite or possibly because of the reputation it achieved for making viewers nauseous through the use of a handheld camera. No one from my group of friends felt ill while watching Cloverfield even though it was dark and jumpy. Despite the unlikely event that a giant monster might actually attack Manhattan, the film Cloverfield was created in such a way that it feels like a real event. The realness has a powerful effect on the audience and the movie’s scenes linger in your mind. In short, Cloverfield comes across like a real event because of the limited information given in the film, the director’s presentation of the film, the familiarity of home movies to the audience, the lack of a score or soundtrack, and the restrictive nature of the camera work through one of the main character’s handheld camera.
No one in our group researched the movie prior to seeing it opening weekend, and I think that was the best way to see it. Rarely does a move challenge me to ask questions and really care about finding the answers. Cloverfield made my fellow moviegoers and I pose many twisted questions to each other later that evening over beers and burgers as we tried to figure out the story.
Had we researched the film we would have found several fake websites that were designed to give back-story. These websites were made to look like real companies, advertisements, or video letters from one lover to another. None of them explicitly explain the movie. Instead, they force you to piece together their significance, creating the sense that you are investigating a real story.
Bloggers speculated what the monster was, where it came from, what the movie title might mean, and many other details. The URL 1-18-08.com eventually served as the film’s official website even though it provided few indications regarding the movie’s plot or characters. The fake corporate websites for Tagruato and Slusho (tagruato.jp and slusho.jp) along with the fake activist website Tidowave (tidowave.com) provide the most hints to answer the larger picture of why and how of the monster attacks. These sites are cleverly designed to look legitimate and at the same time give fictional answers to the movie’s plot. The websites jamieandteddy.com (password: jllovesth) and blog.myspace.com/robbyhawkins served as supplements to side-stories within the movie. These side-story websites help provide links between the other corporate and activist websites. Each of these websites fueled the discussion boards and entertained bloggers with ideas of back-story and plot. Just like a real event, the public was left only clues to piece together for answers.
“What’s going on?” popped into my mind when the film opened with the color test bars you see when TV stations are off the air. I actually thought the movie was messed up. Then basic white text on a black background read that the following US Department of Defense file was a recovered digital SD card from site “US-447,” what used to be called “Central Park” (Reeves, 2008). “How realistic,” I thought as I settled in for an unconventional movie experience. This plain introduction sets up the audience to watch a home movie of the attack and implied destruction of Central Park. The director’s unconventional opening to the film was intriguing.
The film is unedited in the traditional Hollywood sense. It contains long shots, jumpy camera moves, people confused about how to work the camera, and times when the camera is forgotten about while running or fighting. Glimpses of Rob and Beth’s Great Day, a month earlier, are dispersed throughout the film because the going away party and attack were filmed over old footage. This unsettling and unprofessional camerawork is expected in a home movie, and it is familiar to us through “America’s Funniest Home Videos” and YouTube, lending to the realness of the film.
As the film shifts from the character setup in the “normal” home movie scenes of Rob and Beth’s Great Day together and Rob’s going away party, as seen through Rob’s camera, to what seems to be earthquakes and explosions you settle in for a good monster scare. However, the cameraman, Hud, does not get a good look at the monster for quite a while. After all he is not in the right place to see the monster from his vantage point. What is seen through the camera is an enormous high-rise collapse reminiscent of 9/11. This is immediately followed by the terrifying hallmark of thick dust clouds raging through the streets of Manhattan, enveloping tall buildings, and swallowing up chaotic bystanders. The heart wrenching and helpless memories of New Yorkers evacuating Manhattan during 9/11 set the stage for the first goal of Cloverfield’s main characters to get out of the city. I believe the writers chose to evoke memories of 9/11 to relate the invasion of the monster to the death, destruction, confusion, and fear American’s experienced during the first few hours after the first plane struck the World Trade Center. The director’s choice to use images American’s associate with total destruction and mass murder lends to the authenticity of the character’s fear and confusion, and to the audience’s belief that what they are watching could be a real home movie.
As with a home movie, the director did to not “add” sound to the film through a soundtrack or score. The sounds of the monster’s roars and explosions of glass and steel usually announce its approach. In a few scenes, the sound of military gunfire, tanks, bombs, and fighter jets indicated its proximity. Since the movie did not use ambient music or a score there were no clues that something dramatic was about to happen or misleading clues to toy with your anxieties. As in real life, the only sounds heard during the movie were those the camera picked up from the environment. For example, there is an eerie scene where the main characters are traveling through the city by following the dark subway tunnels. They discover all the subway rats running in the same direction away from something behind the group. They attempt to be quiet to see or hear what has scared the rats. One of the main characters hears the squeaks and chattering of the smaller, parasitic monsters before the monsters are close enough for the camera to pick up their sound. The camera’s night vision function does not pick up the image of the monsters until they are just a few feet away on the ceiling. Just as you would expect, the sounds closer to the camera are easier to hear and some things are just not picked up at all or are distorted in a way that you cannot distinguish what exactly they are. Again, this common frustration with imperfect sound in real home movies reinforces the real feel of the film.
The frustration with imperfect sound accompanies the frustration with imperfect camera work. By choosing to only show the events through a first- person point of view, the movie never strays away from the realness and the frustration you would have with your own home movie imperfections. For instance, the large scale of the monster and the fact that the monster is walking between high-rises means that Hud gets very few good vantage points to really see the monster. If Hud is running or being attacked, the camera is left to swing wildly or be dragged in a way that you are not sure what is happening to him or anyone else. The fight scenes are especially confusing and frustrating since you cannot see what is happening to everyone in the group from a third person view. This lack of an omniscient viewpoint is effective in heightening the suspense since you do not know what might come from behind the camera or if Hud has missed looking at something important. This makes the experience seem real since the director never leaves first- person point of view.
In fact, what we see is almost entirely what Hud is interested in seeing for himself—like his love interest, Marlena. The audience’s close connection to Hud’s experience creates empathy for Hud and his friends. There is a particularly suspenseful scene where Hud is trying to make it back across the roof of Beth’s broken apartment building, which is resting against a standing building. I found myself leaning forward in my chair, trying to help Hud cross the sloping roof quicker to avoid the approaching monster. This was pure suspension of disbelief! Then towards the end of the movie, when the monster is staring Hud down as he stands over him, you are left to panic with Hud about the inevitable. When the monster chews on Hud, you feel like you are there with him in its mouth and that this is it: the end. However, when Hud’s body and the camera drop to the ground you have renewed hope that Rob and Beth might still make it out of this tragedy alive. Their final comments to the camera, as they hide under a Central Park bridge in Central Park while the US military’s bombs the area, leaves you with the sad realization that they have no hope of surviving. The intensity of these scenes is achieved because the first- person view from Hud’s experience makes you feel like you are living through this catastrophic event with the group of friends.
The director successfully portrayed the film as a recovered SD card from a catastrophic event. My friends and I were left thinking that this could have been one of many recorded views of that night’s events. As seen on the Brooklyn Bridge, other people filmed the events and their footage must be out there somewhere. Just like in real life, there are always multiple perspectives of an event. The producer has discussed making a sequel to Cloverfield using someone else’s recovered camera footage from that same night. The many questions regarding what actually happened and the back-story add to the mystique of the film and drive lively discussions. This encouraged me to find more information by reading through discussion threads to find the websites listed in the introduction. The realism of Cloverfield draws you in and lingers in your mind.
Bibliography
Reeves, M. (Director). (2008). Cloverfield [Motion picture]. United States: Bad Robot.
---
My grade for this analysis essay was 395 points out of 400. :)
Forty-six million dollars is the box office record for a January movie opening. The highly anticipated and unconventionally filmed monster movie, Cloverfield, achieved this record the weekend of January 18, 2008, despite or possibly because of the reputation it achieved for making viewers nauseous through the use of a handheld camera. No one from my group of friends felt ill while watching Cloverfield even though it was dark and jumpy. Despite the unlikely event that a giant monster might actually attack Manhattan, the film Cloverfield was created in such a way that it feels like a real event. The realness has a powerful effect on the audience and the movie’s scenes linger in your mind. In short, Cloverfield comes across like a real event because of the limited information given in the film, the director’s presentation of the film, the familiarity of home movies to the audience, the lack of a score or soundtrack, and the restrictive nature of the camera work through one of the main character’s handheld camera.
No one in our group researched the movie prior to seeing it opening weekend, and I think that was the best way to see it. Rarely does a move challenge me to ask questions and really care about finding the answers. Cloverfield made my fellow moviegoers and I pose many twisted questions to each other later that evening over beers and burgers as we tried to figure out the story.
Had we researched the film we would have found several fake websites that were designed to give back-story. These websites were made to look like real companies, advertisements, or video letters from one lover to another. None of them explicitly explain the movie. Instead, they force you to piece together their significance, creating the sense that you are investigating a real story.
Bloggers speculated what the monster was, where it came from, what the movie title might mean, and many other details. The URL 1-18-08.com eventually served as the film’s official website even though it provided few indications regarding the movie’s plot or characters. The fake corporate websites for Tagruato and Slusho (tagruato.jp and slusho.jp) along with the fake activist website Tidowave (tidowave.com) provide the most hints to answer the larger picture of why and how of the monster attacks. These sites are cleverly designed to look legitimate and at the same time give fictional answers to the movie’s plot. The websites jamieandteddy.com (password: jllovesth) and blog.myspace.com/robbyhawkins served as supplements to side-stories within the movie. These side-story websites help provide links between the other corporate and activist websites. Each of these websites fueled the discussion boards and entertained bloggers with ideas of back-story and plot. Just like a real event, the public was left only clues to piece together for answers.
“What’s going on?” popped into my mind when the film opened with the color test bars you see when TV stations are off the air. I actually thought the movie was messed up. Then basic white text on a black background read that the following US Department of Defense file was a recovered digital SD card from site “US-447,” what used to be called “Central Park” (Reeves, 2008). “How realistic,” I thought as I settled in for an unconventional movie experience. This plain introduction sets up the audience to watch a home movie of the attack and implied destruction of Central Park. The director’s unconventional opening to the film was intriguing.
The film is unedited in the traditional Hollywood sense. It contains long shots, jumpy camera moves, people confused about how to work the camera, and times when the camera is forgotten about while running or fighting. Glimpses of Rob and Beth’s Great Day, a month earlier, are dispersed throughout the film because the going away party and attack were filmed over old footage. This unsettling and unprofessional camerawork is expected in a home movie, and it is familiar to us through “America’s Funniest Home Videos” and YouTube, lending to the realness of the film.
As the film shifts from the character setup in the “normal” home movie scenes of Rob and Beth’s Great Day together and Rob’s going away party, as seen through Rob’s camera, to what seems to be earthquakes and explosions you settle in for a good monster scare. However, the cameraman, Hud, does not get a good look at the monster for quite a while. After all he is not in the right place to see the monster from his vantage point. What is seen through the camera is an enormous high-rise collapse reminiscent of 9/11. This is immediately followed by the terrifying hallmark of thick dust clouds raging through the streets of Manhattan, enveloping tall buildings, and swallowing up chaotic bystanders. The heart wrenching and helpless memories of New Yorkers evacuating Manhattan during 9/11 set the stage for the first goal of Cloverfield’s main characters to get out of the city. I believe the writers chose to evoke memories of 9/11 to relate the invasion of the monster to the death, destruction, confusion, and fear American’s experienced during the first few hours after the first plane struck the World Trade Center. The director’s choice to use images American’s associate with total destruction and mass murder lends to the authenticity of the character’s fear and confusion, and to the audience’s belief that what they are watching could be a real home movie.
As with a home movie, the director did to not “add” sound to the film through a soundtrack or score. The sounds of the monster’s roars and explosions of glass and steel usually announce its approach. In a few scenes, the sound of military gunfire, tanks, bombs, and fighter jets indicated its proximity. Since the movie did not use ambient music or a score there were no clues that something dramatic was about to happen or misleading clues to toy with your anxieties. As in real life, the only sounds heard during the movie were those the camera picked up from the environment. For example, there is an eerie scene where the main characters are traveling through the city by following the dark subway tunnels. They discover all the subway rats running in the same direction away from something behind the group. They attempt to be quiet to see or hear what has scared the rats. One of the main characters hears the squeaks and chattering of the smaller, parasitic monsters before the monsters are close enough for the camera to pick up their sound. The camera’s night vision function does not pick up the image of the monsters until they are just a few feet away on the ceiling. Just as you would expect, the sounds closer to the camera are easier to hear and some things are just not picked up at all or are distorted in a way that you cannot distinguish what exactly they are. Again, this common frustration with imperfect sound in real home movies reinforces the real feel of the film.
The frustration with imperfect sound accompanies the frustration with imperfect camera work. By choosing to only show the events through a first- person point of view, the movie never strays away from the realness and the frustration you would have with your own home movie imperfections. For instance, the large scale of the monster and the fact that the monster is walking between high-rises means that Hud gets very few good vantage points to really see the monster. If Hud is running or being attacked, the camera is left to swing wildly or be dragged in a way that you are not sure what is happening to him or anyone else. The fight scenes are especially confusing and frustrating since you cannot see what is happening to everyone in the group from a third person view. This lack of an omniscient viewpoint is effective in heightening the suspense since you do not know what might come from behind the camera or if Hud has missed looking at something important. This makes the experience seem real since the director never leaves first- person point of view.
In fact, what we see is almost entirely what Hud is interested in seeing for himself—like his love interest, Marlena. The audience’s close connection to Hud’s experience creates empathy for Hud and his friends. There is a particularly suspenseful scene where Hud is trying to make it back across the roof of Beth’s broken apartment building, which is resting against a standing building. I found myself leaning forward in my chair, trying to help Hud cross the sloping roof quicker to avoid the approaching monster. This was pure suspension of disbelief! Then towards the end of the movie, when the monster is staring Hud down as he stands over him, you are left to panic with Hud about the inevitable. When the monster chews on Hud, you feel like you are there with him in its mouth and that this is it: the end. However, when Hud’s body and the camera drop to the ground you have renewed hope that Rob and Beth might still make it out of this tragedy alive. Their final comments to the camera, as they hide under a Central Park bridge in Central Park while the US military’s bombs the area, leaves you with the sad realization that they have no hope of surviving. The intensity of these scenes is achieved because the first- person view from Hud’s experience makes you feel like you are living through this catastrophic event with the group of friends.
The director successfully portrayed the film as a recovered SD card from a catastrophic event. My friends and I were left thinking that this could have been one of many recorded views of that night’s events. As seen on the Brooklyn Bridge, other people filmed the events and their footage must be out there somewhere. Just like in real life, there are always multiple perspectives of an event. The producer has discussed making a sequel to Cloverfield using someone else’s recovered camera footage from that same night. The many questions regarding what actually happened and the back-story add to the mystique of the film and drive lively discussions. This encouraged me to find more information by reading through discussion threads to find the websites listed in the introduction. The realism of Cloverfield draws you in and lingers in your mind.
Bibliography
Reeves, M. (Director). (2008). Cloverfield [Motion picture]. United States: Bad Robot.
---
My grade for this analysis essay was 395 points out of 400. :)
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