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Arts
Monday, January 29, 2018 — 5A

3 & 4 Bedroom Apartments
$2100‑$2800 plus utilities.
Tenants pay electric to DTE
Showings scheduled M‑F 10‑3
w/ 24 hour notice required.
1015 Packard
734‑996‑1991

5 & 6 Bedroom Apartments
1014 Vaughn
$3250 ‑ $3900 plus utilities
Showings scheduled M‑F 10‑3
w/ 24 hour notice required
734‑996‑1991

 ARBOR PROPERTIES 
Award‑Winning Rentals in 
Kerrytown 
Central Campus, 
Old West Side, Burns Park. 
Now Renting for 2018. 
734‑649‑8637 | 
www.arborprops.com 

CENTRAL CAMPUS
7 BD furnished house, 
LR, DR, 2 baths,
kitchen fully equipped, 
w/d, int.cable,
parking 4 ‑ 5. 
MAY to MAY. 
Contact:
706‑284‑3807 
or meadika@gmail.com.

FALL 2018 HOUSES

# Beds Location Rent
 6 1016 S. Forest $4900
 4 827 Brookwood $3000
 4 852 Brookwood $3000
 4 1210 Cambridge $3400
Tenants pay all utilities.
Showings scheduled M‑F 10‑3 
w/ 24 hr notice required
734‑996‑1991

FOR RENT

DOMINICK’S NOW HIRING 
all positions FT/PT. 
Call 734‑834‑5021.
 

HELP WANTED

WORK ON MACKINAC 
Island This Summer – 
Make lifelong friends. 
The Island House Hotel and 
Ryba’s Fudge Shops are seeking 
help in all areas: Front Desk, Bell 
Staff, Wait Staff, Sales Clerks, 
Kitchen, Baristas. 
Dorm Housing, bonus, 
and discounted meals.
(906) 847‑7196. 
www.theislandhouse.com

SUMMER EMPLOYMENT

SPRING BREAK: SPI. Beach 
Condo. Info and pictures: 
956‑459‑4806. Email: peterl@
border‑tech.com

TICKETS & TRAVEL

ACROSS
1 Pearl Harbor site
5 Breaks under
pressure
10 Fabric woven with
metallic threads
14 Dec. 25
15 Aerosmith
frontman Steven
16 Apple tablet
17 “Blueberry Hill”
R&B singer
19 Telephoto, for one
20 Had lunch, say
21 Cry from one
who’s all thumbs
22 Boot camp
nickname
23 Title passenger
train with an
“ever-lovin’ light”
27 Integer after zero
28 Bank job
29 Frosty coat
32 Plant’s sticker
34 Arabic “son of”
37 Cho-Cho-San
story on which a
Puccini opera
was based
41 “Total Request
Live” network
42 Bedouins, e.g.
43 90 degrees from
norte
44 Ear-related
46 007 creator
Fleming
48 Body of water
bordering most of
Connecticut’s
coast
55 Ancient
Peruvians
56 Place to order a
Reuben
57 __ Paulo, Brazil
58 Chow or lo
follower, in
Chinese cuisine
59 Undesired
medication
consequence ...
and what can
literally go with
the end of 17-,
23-, 37- and 
48-Across
62 Marching
musicians
63 Opinion pieces
64 Fishing decoy
65 Gold medalist
Korbut
66 Bottom-of-the-
barrel
67 Copies

DOWN
1 Britain-based
relief agcy.
2 Prized violin
3 Abhorrent
4 Navy sub initials
5 Moe, Curly or
Larry
6 Lorelei, for one
7 Roster of invited
celebs
8 Signer’s writer
9 Sign of a sellout
10 Purple flowers
11 Pre-dinner drinks
12 Japanese comics
13 ’50s Ford flop
18 Bump off
22 River through
Paris
24 Screenwriter
Ephron
25 Attempts to
score, in hockey
26 Saucy
29 “I’m thinking ... ”
30 Grain in Quaker
cereals
31 Getting
promotions
32 Little League
precursor
33 Center of a wheel
35 Sandwich letters
36 “Science Guy”
Bill

38 Roger who broke
Babe’s record
39 Times often
named for
presidents
40 Alternative to
Vegas
45 Where Amin
ruled
46 Least active
47 “Yeah, right!”
48 Dance under a
bar

49 Tatum of “Paper
Moon”
50 Puff __: snake
51 Requires
52 Exhaust
53 Mother-of-pearl
54 Adores to death,
with “on”
59 Spread, as
discord
60 NYSE debut
61 Ga.’s southern
neighbor

By John Guzzetta
©2018 Tribune Content Agency, LLC
01/29/18

01/29/18

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Monday, January 29, 2018

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

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In 
“Lebanon,” 
Israeli 
director 
Samuel 
Maoz 
experimented 
with 
confinement, restricting the 
entire film to activity within 
a single tank. “Foxtrot,” his 
latest film, which played last 
September 
at 
the Venice Film 
Festival and won 
its Grand Jury 
Prize, explores 
a different kind 
of confinement. 
A 
tragedy 
in 
three 
acts, 
“Foxtrot” is a master class 
in extracting tender feelings 
from audiences, then stomping 
on the last remaining hope 
one might have. It’s absolutely 
devastating.
It would be cruel to be 
clued any plot details, so I’ll 
try to be as vague as possible. 
“Foxtrot,” 
whose 
three 
acts each feature a single 
mistake and the ripples that 
emanate from it, begins with 
sad news: When two Israeli 
soldiers knock on the door 
of Michael (Lior Ashkenazi, 
“Norman: The Moderate Rise 
and Tragic Fall of a New York 
Fixer”) and Daphna Feldmann 
(Sarah Adler, “Tsili”), Daphna 
collapses in shock, before even 
hearing that her son, Jonathan 
(Yonatan Shiray, “A Tale of 
Love 
and 
Darkness”) 
has 
been killed in the line of duty. 
Michael, too, becomes nearly 
catatonic; he’s unresponsive 
and lashes out at the family dog 
when it comes to comfort him. 
He’s just broken inside. And 
we, thanks to Maoz’s excellent 
camerawork, are right there 
with him. Repeatedly filmed in 
a tight close-up, it’s impossible 
to avoid Michael’s anguish 
and, as uncomfortable as those 
moments are, it’s an intrepid 
effort in empathy that strikes 

one 
as 
almost 
impossibly 
hopeful. At the same time, 
a number of birds-eye shots 
reveal his confinement and his 
entrapment, forced to confront 
his grief with no forewarning.
In 
the 
second 
act, 
we 
witness Jonathan in action, 
and it’s a mixture of unbridled 
joy and harrowing fear. The 
first mention of the film’s title 
comes when a fellow soldier 
explains 
that 
the 
foxtrot 
is 
actually a dance 
and, in a musical 
interlude, 
dances 
with 
explosive 
energy, in stark 
contrast to when 
the soldiers must actually do 
their job, which is to monitor a 
supply route, checking to make 
sure 
everyone 
who 
passes 
through will not pose a danger 
to them or to the country. How 
often are we lucky enough to 
experience such a cavalcade 
of raw emotion, and wildly 
variant emotions at that? That 
we may move from grooving 

in our seats, to laughing at 
passing 
camels, 
to 
white 
knuckling as a car is slowly 
and methodically examined in 

the dead of night is a testament 
to Maoz’s careful and humane 
direction.
The 
last 
act 
returns 

to 
Michael 
and 
Daphna, 
confronting their grief. Though 
they 
remain 
more 
distant 
than before, their melancholic 
reunion 
is 
both 
quietly 
heartbreaking and somewhat 
uplifting. Maoz’s screenplay’s 
slight vagueness is resolved 
at the film’s conclusion, in 
a devastating shot, but the 
preceding half hour or so can 
be obfuscated by lingering 
questions left unresolved. It’s 
a shame, because after the 
film’s middle third, which is 
some of the most staggeringly 
intoxicating filmmaking I’ve 
ever seen, the film doesn’t 
quite match itself. 
In an interview with Film 
Comment, Maoz described the 
film as an emotional journey: 
first act as shock, the second 
as hypnotization and the third 
as being moving. It’s no stretch 
that Maoz has found success 
in his latest film. As allegedly 
controversial as it may be in its 
home country, “Foxtrot” is a 
film that undoubtedly shocks, 
hypnotizes and moves us. It’s 
definitely worth seeking out.

TORONTO INTERNATIONAL FILM FESTIVAL

I know, I know. I know what 
it sounds like.
Let me start off by saying 
that no, I’ve never straight-up 
copied somebody else’s work 
and tried to pass it off as my 
own. I’ve never, for instance, 
meticulously 
unearthed 
some obscure passage from 
Joyce Carol Oates 
or Katherine Anne 
Porter and turned 
it in for a fiction 
workshop and been 
like, I hope it’s good, 
it’s only a first draft! 
(Which I’m realizing 
now probably sounds 
like 
a 
weirdly 
specific example. I 
haven’t. I promise.)
But let’s take the 
fact that most of us aren’t 
conniving schemers and set 
that aside for a moment, shall 
we? Barring the fact that we 
all rock, I think there’s a little 
more here to explore. And I 
think that when we say we’re 
only here for original ideas, 
there’s a hidden truth there 
that we’re not really telling.
Maybe it would help if I strip 
away the word “plagiarism.” 
It’s 
understandably 
kind 
of a buzzword. There are a 
million other words I could 
use that would make it easier 
to get behind this argument: 
“Riffing.” 
“Reworking.” 
“Reimagining.” Even words as 
harmlessly vanilla as inspire 
and influence have their place 
on this list.
My dad is a composer, 
and a couple of days ago, 
I went to a concert where 
one of his pieces was being 
performed by the Orion String 
Quartet. The piece was a 
string quartet, “Astral.” The 
second movement was called 
“Starry Night,” inspired by 
Van Gogh’s painting of the 
same name; the fourth was 
called “Wintu Dream Song,” 
and was based off of a Native 
American funeral song text 
from the Wintu tribe of the 
west coast. This is something 
I’ve noticed my dad, and some 
other composers, doing a lot 
in their work: setting their 
music against ideas borrowed 
from poetry, stories and other 
forms of art. One of the other 
pieces performed that night, 
Brett Dean’s String Quartet 
No. 2 (“And once I played 

Ophelia”) did the same thing 
with 
scattered 
lines 
from 
“Hamlet.”
That 
concert 
got 
me 
thinking, and the more I 
think about it, the more I 
realize that “riffing” on other 
people’s work is a trademark 
of nearly every type of art, 
including literature. The first 
example that comes to mind 
(perhaps a problematic one) 
is Bob Dylan’s “Chronicles: 
Volume 
One,” 
which 
came 
under 
criticism 
for 
appropriating a wide variety 
of sources without attributing 
proper credit. When I brought 
this up to my friend who loves 
Dylan, she said yes, she knew 
it didn’t look good, but this is 
what Dylan does — he’s a folk 
singer, he borrows old lines 
and ideas and rearranges them 
and finds a way to make them 
his own. I think that this is 
fair up to a certain extent, but 

if I were one of those people 
whose words Dylan had used, 
I might feel differently.
But then again, there is 
a definite tradition, in folk 
music and in folk literature 
— in all literature — of 
borrowing. “Borrow” is the 
word that we often use because 
it sounds a lot nicer 
than “steal,” which 
after 
all 
means 
“plagiarize.” 
But 
isn’t 
stealing 
what 
it 
is? 
It’s 
not like we give 
anything 
back, 
right? 
There’s 
a 
famous 
quotation 
attributed to Pablo 
Picasso: 
“Good 
artists copy; great 
artists steal.”
I’ve been writing since I 
was very little, but even back 
then, it never came completely 
naturally; I paid attention 
to the way it looked on the 
page, the lengths of sentences 
and the distribution between 
paragraphs and dialogue, and 

mostly just copied the way 
that I saw other people doing 
it. These days my writing style 
is a little bit more specific 
to me, but I still borrow 
extremely heavily from other 
people. Just within the last 
year or so I’ve written one 
short story based entirely on 
the lyrics from a John Prine 
song, and another with a 
narrative voice that I basically 
shoplifted from John Updike’s 
story “A&P.” The stories are 
independent 
creations, 
of 
course, but I still would have 
written them very differently 
— or not at all — if it weren’t 
for Prine and Updike.
But “plagiarism” is indeed 
a sharp word for this sort 
of 
thing, 
and 
one 
that’s 
inherently 
negative. 
Of 
course, it’s negative for good 
reason, and it’s not up to me 
to try to figure out where 
the line is between the bad 
kind of stealing and the good 
kind. For instance, one could 
argue — and many have — 
that fan-fiction is also a form 
of plagiarism. I personally 
think that, like any other 
type of writing, there is value 
in fan-fiction as a writing 
exercise, but that’s a topic for 
another time. Maybe the line 
is 
between 
acknowledging 
your source and leaving it out. 
Or maybe it has something to 
do with the division between 
what you’re saying and how 
you’re saying it — and as long 
as you’re doing one of those 
things in a new way, you’re 
doing something right.
Obviously, I’m not going to 
defend people who straight-
up copy other people’s work 
and try to take credit for it. 
But on the other end of the 
spectrum, I’m not sure that I 
entirely believe people when 
they say that their work is 
completely original. I think 
the truth really exists in some 
middle ground, one in which 
reworking other people’s ideas 
— as long as you do it in an 
original way and acknowledge 
their influence — is one of the 
best-established 
and 
most 
time-worn traditions in any 
art form. It’s not really for me 
to say either way, but I think 
it’s at least worth thinking 
about.
And yes, I know I’m not the 
first person to say that.

In the defense of 
plagiarism in art

DAILY LITERATURE COLUMN

Sundance: ‘Foxtrot’ is joy and fear

DAILY SUNDANCE COVERAGE

DANIEL HENSEL
Daily Arts Writer

LAURA 
DZUBAY

 I’m not sure 

that I entirely 

believe people 

when they say 

that their work 

is completely 

original

There’s 

a famous 

quotation 

attributed to 

Pablo Picasso: 

“Good artists 

copy; great 

artists steal”

“Foxtrot”

Sony Pictures Classic

Sundance Film 
Festival 2018

“Foxtrot” 

is a film that 

undoubtedly 

shocks, 

hypnotizes and 

moves us. It’s 

definitely worth 

seeking out

