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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.
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734‑996‑1991
FOR RENT
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all positions FT/PT.
Call 734‑834‑5021.
HELP WANTED
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Make lifelong friends.
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help in all areas: Front Desk, Bell
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Dorm Housing, bonus,
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Condo. Info and pictures:
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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
CHECK OUT OUR COOL
www.michigandaily.com
WEBSITE.
Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
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