Format Mapping

 

I hate titles. I mean, they’re useful, but I still hate them. I hate the title “Sherman’s March.” I think that it’s misleading, because the march is not the center point of the movie. It feels unoriginal, because there are more interesting things that McElwee could have named his documentary that also relate closer to the fact that McElwee is the main character not Sherman. He could have called it “Tracing Sherman’s March” or “The Failed March” or even “Total War.” That said, McElwee didn’t name is documentary any of these things, so why did he name it the way he did? Continue reading

I Love You Too

 

Have you ever looked into someone’s eyes, and for a moment, the rest of the world around you fades into nothingness? For that one moment, you feel entrapshermansmarchped by an unexplainable feeling. This short but deep infatuation is what so many strive to share with one they can call their own. Many don’t know what love is until they see it. And when they see it, they know. Continue reading

Diaries and Mirrors

It seems I’m filming my life in order to have a life to film, like some primitive organism that somehow nourishes itself by devouring itself, growing as it diminishes. … It’s a little like looking into a mirror and trying to see what you look like when you’re not really looking at your own reflection. –Ross McElwee

The confusion between field report and self-portrait; the confusion between fiction and nonfiction; the author-narrators’ use of themselves, as personae, as representatives of feeling states; the antilinearity; the simultaneous bypassing and stalking of artifice-making machinery; the absolute seriousness, phrased as comedy; the violent torque of their beautifully idiosyncratic voices. –David Shields, Reality Hunger

The line between field report and self-portrait is constantly stepped over again and again in Sherman’s March: A Meditation on the Possibility of Romantic Love In the South During an Era of Nuclear Weapons Proliferation. McElwee’s life experiences becomes the audience’s entertainment, his own thoughts narrating the story for us. One would expect a documentary that strives for objectivity and reporting accurate facts at first glance of the title Sherman’s March. But McElwee surprises his audience by making the documentary almost a personal diary, by openly sharing his struggles, his parents’ expectations and the pressure they put on him, and his feelings towards the women he sees along his journey.

And yet Ross describes the experience similar to “looking into a mirror and trying to see what you look like when you’re not really looking at your own reflection”. Although he turns the camera on himself during the whole movie, he becomes alienated with himself. Filming self becomes more haunting than filming others, because one suddenly becomes the audience of himself too. And suddenly, the idea of self becomes uncanny.

It’s a unique experience watching McElwee create what he does not expect to create. How often do we create something totally different from what we intended? I know that’s happened to me a couple of times. When I write down my thoughts, I’m still in the process of processing my own thoughts, so as I write I’m still discovering new ideas that I didn’t know I had in my mind. I wonder whether this is the same with McElwee’s filming experience, whether he felt as if he were “looking into a mirror and trying to see what [he looked] like when [he wasn’t] really looking at [his] own reflection” because he saw so many things he did not recognize. “It seems I’m filming my life in order to have a life to film” indicates how McElwee’s filming shaped his life while simultaneously his life was shaping the film. Is he the potter or the clay? This blur between self and the object of the filmmaking seems to be what makes McElwee’s movie so intriguing.

 

Eh

Charles Bukowski once said of creativity and art, “Don’t try.” This apparently stuck with Ross McElwee as he shot his autobiodocumentography, Sherman’s March. McElwee let loose his camera and lateraled the storyline and ultimately the overall message to his subjects — primarily family members and female love interests — as he set off on a journey to overcome a painful breakup. And, I guess unsurprisingly, it sucked. A lot. Maybe I missed some important nuances, or maybe I’m just not high enough of mind to see the significance (aside from the obvious cultural value it earns by being the first film of its kind) but it honestly was just depressing — and not in a good way. Continue reading

The Vulnerability of Fault

In my experience with creative non-fiction I’ve come across many techniques for delivery of information. What I think Ross McElwee has used is a sort of braided essay, albeit with some stray threads (ahem, Burt Reynolds). In Sherman’s March we originally start with Civil War Sherman and his rampage to the sea, but then we get slightly distracted when Ross is broken up with by his girlfriend for another man. It is then that McElwee begins his own sort of march through past relationships, new relationships, and possibly what’s wrong with his own inability to couple happily. We also gain such interiority from McElwee that is not usually seen in a normal documentary, he is unafraid to turn the camera on himself and be intimate with his audience, which I think is just another characteristic of creative non-fiction. Just on a side note, it seems so funny that McElwee builds himself on a man that is solely known for the destruction of his home region. Although, McElwee acknowledges that Sherman liked the South regardless, even had friends in Charlotte–so he does provide a certain complexity.

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McElwee’s March

There is a little bit of everything in Sherman’s March: self-deprecation, Burt Reynolds, war, melancholy, failure, historical reanalysis, and cultural satire (did I mention Burt Reynolds?), all in hopes of reaching some semblance of love, art, and selfhood. Ross McElwee puts everything he has into this documentary equivalent of the epic poem, and to a large degree, succeeds in his efforts. His two hour and forty minute runtime is nothing short of a marathon, and it all comes together to make a truly unique cinematic experience. In a way, too, every single second is necessary for his artistic endeavor to meet its proper conclusion. That’s the thing about Ross… he lets the camera, an extension of his body, take him wherever the camera needs to go. Furthermore, the authorial sincerity behind this intimate journey, no matter the consequence, dictates where and how and why the story unfolds the way it does. Continue reading

Mind Into Matter

I was almost always ready to shoot. I kept the camera within reaching distance, sometimes balanced on my shoulder… even between major portraits, when I was on the road, I was totally open to filming whatever might happen…

-Ross McElwee, 1988

I have a request for you, dear reader: stop thinking. Stop having thoughts about anything. Temporarily erase everything from your mind. Stop thinking about these words, this blog post, breathing–stop. If you’re asking yourself, “Did I do it?”, then no, you didn’t.

Not as easy as it sounds, right?

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Ross, the Tragic Hero

Before discussing the actual film, I’d like to share with you my expectations of it. Hearing a title like Sherman’s March, most people would surely expect a historical documentary (this can hardly be disputed as intentional by the director). But I first heard of the movie last semester in a class with none other than Steve himself, who brought it up with the following description (paraphrased due to the fallacy of memory):

“…he spends the whole movie chasing and flirting with girls and talks about Sherman for maybe ten minutes,” he said through a bout of laughter.

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Silenced Truths

I have been reading Philip NourbeSe’s work for my Major Author class. While, she is a difficult author to tackle, I believe that her work is essential to shift narrow and confined perspectives on truth. Her work leans towards poetry and prose, and so it would be inappropriate for me to claim that her work is CNF. It does not have the structure which qualifies it as CNF, nor does it have the language. Yet, there is something that I can take from her all of her books, but most specifically “Looking for Livingstone: An Odyssey of Silence,” which contributes to my knowledge and perspective on fact vs. truth.

I have struggled with fact and truth since I came to college. The idea that truth is rooted in fact seems wrong to me because it is so often that we find truth within other things that have not been spoken or even proven with evidence. In “Looking for Livingstone: An Odyssey of Silence”, NourbeSe speaks about a journey across Africa throughout which she encounters numerous tribes in search of Dr. Livingstone. The man who has-as history claims-been credited with the discovery of Africa. On her, (based solely on my own interpretation) metaphorical journey, NourbeSe claims to have found her silences, which had been lost. She is shown these silences by the tribes she encounters in Africa.

I understand if you’re confused, I was too. But as I continued to read this book, my mind began to adapt to NourbeSe’s language, to understand where she was coming from. Most of NourbeSe’s work deals with the limitations of a language that has been defined by our ancestors. We were given words and we were taught their definitions; we were not taught to question these definitions. This is the same with fact. We are given facts and we are taught to categorize them as truth, without question. The authority of the label “fact,” carries within it a weight that we prefer not to challenge. Facts must always be true – or as Dewey, from my introductory education course puts it, facts have “warranted assertibility.” They have been justified  as true and thus, it is widely accepted that they should not be questioned. Truth on the other hand, is not always fact. Not all truths have been proven, not all truths have been discovered – recovered. There are truths which hide within facts or behind facts. Facts are pretty or logical. Truth is messy, complex and sometimes misunderstood.  It could even be found in silence and it needs not be spoken.

To wrap things up, because this is a subject that I could rattle on about for days due to its complexity, on pages 67-68 of NourbeSe’s “Looking For Livingstone: An Odyssey of Silence,” the narrator asks Dr. Livingstone is he knows what fact is:

Narrator: Do you know what fact is, Livingston-I-presume? Livingstone: Yes, of course. Narrator: No you don’t – a fact is whatever anyone, having the power to enforce it, says is a fact. Power – that is the distinguishing mark of a fact. Fact – Livingstone discovered Victoria Falls. Livingstone: That is a fact. Narrator: That, Livingstone-I-Presume, is a lie, and a fact, because you and your supporters, your nation of liars, had the power to change lie into a fact. Those falls had a name long before you got to them…

 

 

Control the Reader

As a fan of Welcome to Night Vale, a bi-monthly fictional radio show that focuses on the town of Night Vale through the eyes (and voice) of Cecil Palmer, I’m hardly new to listening to podcasts. There’s something about the way podcasts are made that demand your attention. Unlike a book, you can’t set a podcast down and think, you have to absorb everything the minute it’s said. Sometimes this is fantastic, because the action in the podcast is intense. If this same intensity were a book, you’d read too quickly and skip entire sentences. But in a podcast, everything is already paced for you. There’s no way for a reader to interject their own cadence. Most of the time I find no problem with this aspect of podcasts, and I didn’t have any trouble while listening with Serial. In retrospect, I’m surprised I didn’t. Continue reading