"How do you measure a year in the life: How about love?" (Rent- Jonathan Larson)

Thursday, November 30, 2006

Naked in Baghdad.


What surprised me about this book was the way Anne Garrels talks about her experiences. She does it with a very close approach, focusing in personal things that happened to her, by which I could understand the general situation, better even than if she had just talked about the general situation itself.
I learned a lot about how the war in Iraq was seen by the Iraqis. I didn’t know anything about that, only stories from the press, that often only focused in the bombings and the military fronts.
It’s incredible all the trouble she had to go through to broadcast, even though she went in the country as a journalist. Also, it is very good to know that there is such a good relationship between journalists in those hard times. She really knows who to talk to in each situation, and I think that is very important for a journalist.
It is moving how she remembers people who helped her in other situations where she was a correspondent. She seems a very self-sufficient person, but she shows that she knows she needs other people’s help to succeed in her job. I think this is very important in journalism; one should never forget to be humble, because we always need someone else to get our stories done.
Journalism isn’t an easy job, and it takes a lot of love for it to tolerate its inconveniences. Garrels shows through her words a deep love for her profession. I didn’t understand why she would prefer to be where she was, instead of staying with her husband and their apparently happy and comfortable lives.
This book is a personal tale: how Garrels experienced her stay in Baghdad. Therefore, I don’t think its lack of objectivity, which doesn’t appear very often anyway, harms the journalistic intention of the book at all. She reports a lot of opinions, and we can see which ones she agrees with and which ones she doesn’t.
The book is told in first person, Garrels voice, as in a personal diary. But there are also interventions by her husband Vint: emails that he wrote to family and friends interested in Garrels’ situation. As a radio reporter, Garrels has the ability to describe things so we can see them.
The following passage resonated with me on an emotional level because I can understand her feelings. It’s not easy to part with such a strong experience, even when some of its moments have been bad. She has gone through a very drastic experience, and she has experienced true feelings that she may not experience again.
“I wake Amer up one last time with ‘our knock’. He comes downstairs to the lobby. We don’t talk, and with the phones out and e-mail cut, I don’t know when we will be able to again. Finally I hug him and we both start to cry. I climb into the car, and I look back as the convoy pulls out of the Palestine. We wave. (…) When I get to the hotel in Amman, I turn on the shower and stand in the streaming, steaming water and find myself sobbing uncontrollably. I have left a part of me in Baghdad, an intense, cherished relationship that can never be recaptured. The story is far from finished. But I want to go home. I want to see Vint. I want to thank him for understanding. I call to say I am on my way.”
I like this passage so much because she opens herself to the reader, and tells her feelings in a very simple way. I also like this passage because it’s very visual. I can see how they come down the stairs, hug each other and say farewell.
The passages I like more are the ones where Garrels describes the situation of Iraqi families. I think that is where we see the real consequences of the war. The Iraqis are the ones suffering and struggling to survive in their own home. And the war doesn’t discriminate for age, gender or any other characteristic. It affects every one in a different way.
“Though only fifty two, Sakhara looks much older. Afflicted with high blood pressure and diabetes, her legs are swollen and she moves to the couch with difficulty. I stupidly tell her we are the same age, looking for some common ground. She looks at me sadly, touches my cheek, and then touches her own mottled skin. She says she can’t bear to live through another round of missiles and bombs and if necessary will go, alone, to stay with a daughter outside the capital”.
In just one paragraph, Garrels has made a complete portrait of this poor woman, who is older than she would be in other circumstances. I feel sorry for her, as Garrels felt in that moment. She transmitted her feelings to me.
The main idea of the book as I see it is how Iraqis experience the war. Garrels is able to put aside her concerns and let us know the concerns of others, which are greater, for they can’t get away from them. While she is there she shares some of these concerns, and has some other different ones.I think Garrels was trying to unify her experience in Baghdad under one “roof”, that is, to let know the readers her story as well as the Iraqis story at the same time. I think she did a great job. I felt compelled to read her story; I was interested to know what would happen to her next. She was the main character to go back to.
Her professional background covering other wars makes it easier to understand all the process she goes through. She explains as necessary, that is, when a question came to my mind while reading, the answer would be in the next line or in the next paragraph.

Más chocolate, pero ahora con agua.

This is the movie we did in class for "Like water for chocolate." There is some lack of continuity from one shot to another, but is the best I could do froom the raw footage we got.

Monday, November 27, 2006

Need a little bit of love today?


hug[huhg]
–verb (used with object)
1.to clasp tightly in the arms, esp. with affection; embrace.
2.to cling firmly or fondly to; cherish: to hug an opinion.
3.to keep close to, as in sailing, walking, or in moving along or alongside of: to hug the shore; to hug the road.
–verb (used without object)
4.to cling together; lie close.
–noun
5.a tight clasp with the arms; embrace.

Origin: 1560-70;perh. hugga to soothe, console; akin to hogian to care for

definition from dictionary.com Unabridged (v 1.0.1)

Monday, November 20, 2006

Writing Sample of Japanese 2.

This is the second writing sample I had to do for my Japanese class. It is a description of my room.
The image is the first draft I did, with the corrections of my classmates and the teacher. After, I've copied the document word (it was an odissey to get it done, typing in Japanese is no joke), which was the final draft.

Sunday, November 19, 2006

Chocolate y Fresa.

This is the fourth movie from the series of Spanish Cinema for Conversation. The scene is from the Cuban movie Strawberry and Chocolate, which deals with homosexuality, friendship and totalitarism.

Goya's painting stolen.


"Children with a cart," a painting from 1778 by the Spanish master Francisco de Goya y Lucientes, was stolen last week while it was being transportated to New York Guggenheim Museum from the Toledo Museum of Art (Ohio).
The painting was stolen in a motel in Pennsylvania, where the two truck-drivers had stopped to spend the night. The truck, with the valuable painting inside, was left unattended in an unlightened parkign lot. This is one of the main concerns for the FBI: why did the truck drivers proceed in such way, and how did the thieves (or thief) know that the truck would be in that spot without surveillance. Those concerns are heading the investigation of the case to a point where an insider of the organizations might be implicated.

The exhibition to where the painting was headed is "El Greco to Picasso: time, truth and history."Its organization was promoted by the Spanish Ministry of Culture and has been described as "ambicious, rigourous and revolutionary" by Carmen Calvo, the Spanish Minister for Culture.

The exhibition, which opened November 17th, is divided by diferent topics, such as childhood, women in public, knights and ghosts,landscapes, among others. This reunites great masters, like Picasso, Velázquez and Goya, in the same room.
Woman Ironing, Picasso (1904)

Francisco de Goya y Lucientes and Diego Rodríguez de Silva Velázquez are both very well known for their portraits of the royal family.

Las Meninas (Velázquez, 1656) is one of the most recognized paintings of the artist, and it hangs at El Prado Museum, in Madrid.
In the Guggehnheim's exhibition "The Needlewoman" (1660),
can be admired, among others.
His ability to capture the human body can be observed in "The Rokeby Venus" (1651), which hangs now at the National Gallery of London in another exhibition called "Velázquez."

Goya portrayed the Duchess of Alba (1797) in one of his many magnificent paintings of the Spanish royal family.
Nevertheless, his most intriguing paintings come from his dark phase, provoqued by his becoming deaf. The contrast between his joyful paintings and the depressing ones shows his ability to cover any aspect of life in his art.
The shooting of May 3rd (1814)
The Parasol (1777)


News: Goya's painting has been recovered. Read the full article.

Thursday, November 09, 2006

VOLVER US opening

Pedro Almodovar’s Volver opened last weekend in LA and New York, and it’s having a great response from the public and the press.

“Pedro Almodóvar, the benevolent deity of this world, revealed it –or, rather, created it- piece by piece from one film to the next,” said A.O. Scott, in the New York Times.

Volver means “to return” in Spanish. And that, according to Almodóvar, is what he has done with this movie: he has returned to comedy after the acclaimed Bad Education and Talk to Her; he has returned to Carmen Maura, with whom he hadn’t worked for 17 years; he has returned to his motherland, La Mancha.

In this video, Almodóvar and Penélope Cruz talk about the movie in a press conference at the 44th New York Film Festival.





Quoting Almodóvar, the movie is about “three generations of women (who) survive easterly wind, fire, madness, superstition and even death through goodness, lies and an unlimited vitality.


Penélope Cruz offers a great performance of Raimunda, the strong sister of lonely Sole (short for Soledad, which means loneliness) and mother of teenager Paula. The sister’s mother, dead in a fire long ago, comes back in spirit in a moment where the sister’s lives are following strange paths.





The movie opens in a graveyard. There’s a lot of movement of widows polishing headstones and changing flowers. Even one of the neighbours, Agustina, is polishing her own grave. Raimunda explains to her daughter, Paula, that in the town this is a custom.





The movie is full of this kind of random facts: hilarious to some point but sad in essence. That’s how the movie goes: telling a story if suffering with a hopeful tone. As if Almodóvar wanted to say: life is hard, but there’s always something worth living it for.


As A.O. Scott’s review title says, the movie tells “The Darkest of Troubles in the Brightest of Colours.


In the next videos, you can see a feature about "Volver" that appeared in "Informe Semanal", a weekly tv program that offers a deep insight look to current events.




Wednesday, November 08, 2006

Goya's Ghost Featurette

I just found this featurette about Goya's Ghost in iKlipz.


The movie is onening this weekend in Spain, and apparently there has been some problems in the premiere. Natalie Portman, who is filming The Other Boleyn Girl in London, didn't attend the event. Milos Forman said that "Ms. Portman wasn't aloud to come to Spain." Javier Bardem didn't attend either, because he's filming in Colombia "Love in the time of Cholera."


I really can't wait to watch it, but it seems that it will be a while before it gets screened in the U.S.