a and l, welcome back to the usa.
i turn in a huge stack of graded essays for ajjc’s “films of wwII” class tomorrow. in honor of asshole tuesday: notes from the process. unfortunately, i have to keep them to myself (but i will share them here with yall) because ajjc is kind. he is not an asshole. when i tell him i’m behind on my draft, he says things like: “Re: your project: stagefright, anxiety, panic et al. may prove enriching. Not to worry: you can also bring it to me a couple days later.” when I tell him that this quarter’s group is a rough bunch and I can’t tell whether I’m being too mean or way too nice, he says, “Re: too mean? or too nice? a psychoanalytic answer would be that one doesn’t exclude the other.” read these quotes in a thick french accent. imagine them spoken through a smirk that is half smarmy/half demure if that is even possible. so much grace. totally sincere. he’s out there, for sure- but not an asshole. as for me, though….
aaron topol, fun-with-adjectives is not fun to read.
david smith, please be brilliant.
john fishbeck, why when i took your paper out of the sheet protector did it smell like apple juice?
john fishbeck, it seems that the theme for your paper is: in a suspenseful movie like valkyrie the use of tension and suspense is used to create suspense.
erin hourigan, if you want to claim that tarantino’s inglorious basterds is a 20th century romeo and juliet you’re going to have to put in a helluva lot more work than that.
trevor leonardo, did i miss something or is your thesis really how the jew bear is like a golem?
lewis simon, don’t end your essay with a random food-for-thought question.
dean elhag, it’s film analysis. technical writing, not poetry. are you embarrassed that you wrote: the men take a seat, MS [medium shot]. their cool grey uniforms dance in the light.
someone, say something please!!
everyone, stop saying: “tarantino wonderfully uses…” “tarantino elegantly demonstrates…”
………………..these are real sentences……………….
This does not only created tensions within the emotions of the protagonist but also the feelings of anxiety within the emotions of the audience.
On the one hand it is not a major part of the movie, which would leave it unbalanced if it were missing. However it adds to the story and the emotional connection as a hole.
With the exception being Landa, whose impregnable mental prowess and sinister cunning similarly transcend human capabilities establishing him to the viewer on a level that rivals that of the Basterds, a true nemesis.
They started a fair that built partly on “love” and partly on the fact that Hannah traded sex for being read to.
From the first shot, Oskar is not able to take his eyes away from her let alone let her out of his sight.
This was an interesting sequence because it was confusing in the beginning of the sequence and still confusing at the end.
i did not include any of the word salad written by the non-native english speakers. i’m not that evil. but it was there and kind of amazing. i have to admit it’s a little bit fun for me. like watching the limbo stick. can anyone go lower than this paper? holy crap they can!!
did you observe asshole tuesday today?