{"id":166,"date":"2014-09-10T11:07:36","date_gmt":"2014-09-10T11:07:36","guid":{"rendered":"http:\/\/reframe.sussex.ac.uk\/audiovisualessay\/?page_id=166"},"modified":"2014-09-15T08:22:50","modified_gmt":"2014-09-15T08:22:50","slug":"timo-cromm","status":"publish","type":"page","link":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/reflections\/intransition-1-3\/timo-cromm\/","title":{"rendered":"TIMO CROMM"},"content":{"rendered":"<h2><strong>On DOLCE FAR NIENTE<br \/>\n<\/strong><\/h2>\n<p><strong>By Timo Cromm<br \/>\n<\/strong><\/p>\n<p style=\"padding-left: 30px;\">Curated at <a href=\"http:\/\/mediacommons.futureofthebook.org\/intransition\/2014\/09\/14\/inwardoutward-turn\" target=\"_blank\"><strong>[in]Transition<\/strong>, 1.3, 2014<\/a> by <a href=\"http:\/\/mediacommons.futureofthebook.org\/intransition\/2014\/09\/14\/inwardoutward-turn\" target=\"_blank\">Adrian Martin<\/a> (<span dir=\"ltr\">Goethe University, Frankfurt and Monash University, Melbourne)<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/103411896?title=0&amp;byline=0&amp;portrait=0&amp;color=6b1307\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><strong>A Lazy Way of Life<\/strong><\/p>\n<p><strong>By Timo Cromm<\/strong><\/p>\n<p>Facing a laziness that erupts into violence as presented in <em>Bully<\/em> (Larry Clark, 2001) as well as one that does not seem to harm anybody as seen in <em>The Big Lebowski<\/em> (Joel Coen, 1998), making <em>Dolce far niente <\/em>quickly required an answer to the question of comparison: how to emphasise these different forms of laziness without disregarding their obvious similarities?<\/p>\n<p>I started by creating a simple juxtaposition: \u2018inner unrest\u2019 versus \u2018inner peace of mind\u2019. Then I continued by finding representations of each position. The car scenes show the characters from <em>Bully<\/em> driving around without seeming to have a concrete aim. Combined with a dark, monotonal and driving beat, this gives a hint to the characters\u2019 restlessness, as expressed in movement, and again underlined by the music\u2019s lyrics: \u201cInside, everybody burns\u201d.<\/p>\n<p>On the other side there is <em>The Big Lebowski<\/em>, whose characters mostly attract attention through literally \u2018doing nothing\u2019 \u2014 they are alternately sitting or lying around. It is this representation of stagnation that I tried to express by showing the stagnation of the camera and the <em>mise en sc\u00e8ne<\/em> itself.<\/p>\n<p>Besides the topic of movement, I figured out four additional representations of laziness, namely: cursing, sex, nudity and drugs. Three of these representations get introduced via fitting movie quotations \u2014 a method which I also used to create dialogues between the two movies. During the making, I recognised the extreme power of hard, fast montage to emphasise differences.<\/p>\n<p>The biggest similarities were to be found in the consumption of drugs. The movies\u2019 characters drink alcohol and smoke weed all the time. I used split-screen and rapid montage to emphasise the extent of this consumption, enabling me to distinguish between the most consumed drug in each: cocktails in <em>The Big Lebowski<\/em>, weed in <em>Bully<\/em>.<\/p>\n<p>Starting with the largest differences regarding the movies\u2019 forms of laziness, the chosen order of representations constantly works its way toward an overlap, concluding with one final film quotation from <em>Bully<\/em> to give a final explanation to what the spectator has just experienced: a way of life.<\/p>\n<p>&nbsp;<\/p>\n<p><em>Timo Cromm is a student at Goethe University, Frankfurt.<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>\u00a9 Timo Cromm August 2014<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: right;\"><em>Edited by Adrian Martin and Catherine Grant<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>On DOLCE FAR NIENTE By Timo Cromm Curated at [in]Transition, 1.3, 2014 by Adrian Martin (Goethe University, Frankfurt and Monash <a class=\"more-link\" href=\"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/reflections\/intransition-1-3\/timo-cromm\/\">Continue Reading<span class=\"screen-reader-text\">TIMO CROMM<\/span><span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":120,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-fullwidth.php","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-166","page","type-page","status-publish","hentry"],"jetpack_shortlink":"https:\/\/wp.me\/P4VcpT-2G","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/pages\/166","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/comments?post=166"}],"version-history":[{"count":7,"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/pages\/166\/revisions"}],"predecessor-version":[{"id":741,"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/pages\/166\/revisions\/741"}],"up":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/pages\/120"}],"wp:attachment":[{"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/media?parent=166"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}