Comments for Trespass http://www.trespassmag.com Wed, 22 Feb 2012 07:33:31 +0000 hourly 1 http://wordpress.org/?v=3.1.1 Comment on Review: The Grey by Andrew Peterson http://www.trespassmag.com/review-the-grey/comment-page-1/#comment-186713 Andrew Peterson Wed, 22 Feb 2012 07:33:31 +0000 http://www.trespassmag.com/?p=29267#comment-186713 Saw it yesterday and really enjoyed it. P.s Thanks for the tip about staying til the end Beth. ;-) Saw it yesterday and really enjoyed it.

P.s Thanks for the tip about staying til the end Beth. ;-)

]]> Comment on Review: War Horse by Review: Buck http://www.trespassmag.com/review-war-horse/comment-page-1/#comment-184887 Review: Buck Fri, 17 Feb 2012 23:26:07 +0000 http://www.trespassmag.com/?p=28523#comment-184887 [...] who coined him “The Horse Whisperer”. If Steven Spielberg’s War Horse got on your nerves as much as it did mine, then consider Buck the alternative. Simple and pristinely told with nary a manipulative music [...] [...] who coined him “The Horse Whisperer”. If Steven Spielberg’s War Horse got on your nerves as much as it did mine, then consider Buck the alternative. Simple and pristinely told with nary a manipulative music [...]

]]> Comment on Review: The Descendants by Review: This Means War http://www.trespassmag.com/review-the-descendants/comment-page-1/#comment-183239 Review: This Means War Tue, 14 Feb 2012 00:02:17 +0000 http://www.trespassmag.com/?p=28941#comment-183239 [...] I was thinking The Descendants had a monopoly on the woman-hating game for early 2012, This Means War finds all new ways to insult [...] [...] I was thinking The Descendants had a monopoly on the woman-hating game for early 2012, This Means War finds all new ways to insult [...]

]]> Comment on I Can’t Believe I’ve Never Seen… Jules et Jim by I Can’t Believe I’ve Never Seen….Bande à part http://www.trespassmag.com/i-cant-believe-ive-never-seen-jules-et-jim/comment-page-1/#comment-183187 I Can’t Believe I’ve Never Seen….Bande à part Mon, 13 Feb 2012 21:32:45 +0000 http://www.trespassmag.com/?p=28335#comment-183187 [...] cinema, you may notice that the plot sounds eerily similar to one of Francois Truffaut’s films, Jules et Jim.  However, while some elements of the plot are similar – two men fighting over the same girl – [...] [...] cinema, you may notice that the plot sounds eerily similar to one of Francois Truffaut’s films, Jules et Jim.  However, while some elements of the plot are similar – two men fighting over the same girl – [...]

]]> Comment on Interview with Barry Watterson by Martin http://www.trespassmag.com/interview-with-barry-watterson/comment-page-1/#comment-181061 Martin Thu, 09 Feb 2012 22:22:36 +0000 http://www.trespassmag.com/?p=8983#comment-181061 It's a shame that the Australian Film Festival can't support more independent (non-government) and micro-budget (<$50k) films. This is the true breeding ground for talent, and they need all the support they can get. It’s a shame that the Australian Film Festival can’t support more independent (non-government) and micro-budget (<$50k) films. This is the true breeding ground for talent, and they need all the support they can get.

]]> Comment on Most Anticipated Films of 2012 by Does ‘Any Questions for Ben?’ live up to expectations? http://www.trespassmag.com/most-anticipated-films-of-2012/comment-page-1/#comment-179543 Does ‘Any Questions for Ben?’ live up to expectations? Mon, 06 Feb 2012 23:31:51 +0000 http://www.trespassmag.com/?p=28717#comment-179543 [...] I listed Any Questions for Ben? as one of my most anticipated titles of 2012 I had my reasons. The two previous films from the Working Dog production team had become instant [...] [...] I listed Any Questions for Ben? as one of my most anticipated titles of 2012 I had my reasons. The two previous films from the Working Dog production team had become instant [...]

]]> Comment on Review: Insidious by ImBoss http://www.trespassmag.com/review-insidious/comment-page-1/#comment-178703 ImBoss Sun, 05 Feb 2012 00:38:22 +0000 http://www.trespassmag.com/?p=23339#comment-178703 me and my friends watched the creepy face behind the guy like fifteen times.. xD me and my friends watched the creepy face behind the guy like fifteen times.. xD

]]> Comment on I Can’t Believe I’ve Never Seen… Die Hard by I Can’t Believe I’ve Never Seen…Tootsie http://www.trespassmag.com/i-cant-believe-ive-never-seen-die-hard/comment-page-1/#comment-178145 I Can’t Believe I’ve Never Seen…Tootsie Sat, 04 Feb 2012 02:21:29 +0000 http://www.trespassmag.com/?p=29121#comment-178145 [...] last two editions of this series have seen my fellow Trespassers investigate Die Hard and Stand By Me. Far be it from me to not continue this trend of discovering 1980s classics for the [...] [...] last two editions of this series have seen my fellow Trespassers investigate Die Hard and Stand By Me. Far be it from me to not continue this trend of discovering 1980s classics for the [...]

]]> Comment on Snowtown Interview 1: Daniel Henshall and Louise Harris by Oqqz http://www.trespassmag.com/snowtown-interview-1-daniel-henshall-and-louise-harris/comment-page-1/#comment-175519 Oqqz Mon, 30 Jan 2012 21:07:18 +0000 http://www.trespassmag.com/?p=23440#comment-175519 Agree. Louise did an outstanding job. Fantastic acting! What a talent. Agree. Louise did an outstanding job. Fantastic acting! What a talent.

]]> Comment on The Body of Ballet by catherine http://www.trespassmag.com/the-body-of-ballet/comment-page-1/#comment-169977 catherine Sat, 21 Jan 2012 12:38:51 +0000 http://www.trespassmag.com/?p=7206#comment-169977 I have to say that while I can empathise with your sentiment, I disagree with your arguments. First, discrimination. You ask, "in an age in which discrimination based on age, gender or race is considered intolerable in most professions, why is this allowed to continue?" Well the problem is that ballet is one of those professions in which this kind of discrimination might be considered perfectly acceptable. Age, gender and race discrimination is not considered intolerable in those professions in which it is considered unreasonable to stop people from hiring someone based on such traits (at an extreme end, it is perfectly reasonable to discriminate against women if looking for sperm donors). Ballet is allowed to discriminate against people with the 'wrong' body because, yes, it is a visual art form. While the standards of modern ballet companies might be too narrow in terms of weight etc, it seems perfectly acceptable to have some form of physical standard for ballet dancers because a corps of dancers with wildly different physiques is not as visually pleasing as one where the dancers look roughly the same. (This is clearly the view of the ballet establishment but in my experience is generally shared by casual ballet-goers, even if they do disapprove of the harsh body standards of ballet.) This brings up your idea that casual ballet goers don’t care about physique, but only about art. In my experience, many casual ballet goers do care about physique, and some are even attracted to ballet because of the skinniness or long legs etc of ballet dancers. And if we consider the fact that most women buy fashion magazines and admire supermodels despite the fact that modelling is known to trigger anorexia, the number of would-be spectators put off by the skinniness of ballet dancers may well not be that large. And ANY body standard will not get rid of ballet's reputation for destroying feet - this will happen as long as we have point dancing, and may well be less severe if dancers are thinner because there is less weight on the toes. You are obviously angry about the fact that lots of talented ballet dancers are unable to find work (or a place at ballet school) because of their physiques. Yes, of course the body standards of modern ballet prevent the success of some talented dancers, but to be fair it is very unlikely that ballet schools are turning away Fonteyns and Baryshnikovs every year, because a) if a dancer is really really talented, they may well be let into ballet school/company even if they look slightly ‘wrong’ (e.g. Svetlana Zakharova is in the Bolshoi despite her breast size) and b) because Fonteyns and Baryishnikkovs are so rare to begin with. And let us not forget that even if Fonteyn would not be allowed to dance today because she is too big, there was still a standard ballet body in her time (which was curvier) that probably prevented the assent of talented dancers. In other words, even if there are reasons why today’s very skinny standard is particularly bad (encourages anorexia etc), the fact that it prevents talented dancers from ascending cannot be one of them; this has always happened and will always happen with any standard. I guess if it is reasonable to have a standard ballet body, the issue is if it is reasonable to have a skinny standard as opposed to any other standard. Let’s be clear: any standard will prevent some talented dancers from making it, so this cannot be an argument against a skinny standard. I guess reasons for a skinny standard might be related to the fact that skinniness is generally seen as beautiful in our society so if ballet is about beauty this might be a good body standard to have, that skinny dancers have a more beautiful line, look more ethereal etc. Reasons against are to do with promoting anorexia or not wanting female dancers to look androgynous. I have to say that while I can empathise with your sentiment, I disagree with your arguments.
First, discrimination. You ask, “in an age in which discrimination based on age, gender or race is considered intolerable in most professions, why is this allowed to continue?” Well the problem is that ballet is one of those professions in which this kind of discrimination might be considered perfectly acceptable. Age, gender and race discrimination is not considered intolerable in those professions in which it is considered unreasonable to stop people from hiring someone based on such traits (at an extreme end, it is perfectly reasonable to discriminate against women if looking for sperm donors). Ballet is allowed to discriminate against people with the ‘wrong’ body because, yes, it is a visual art form. While the standards of modern ballet companies might be too narrow in terms of weight etc, it seems perfectly acceptable to have some form of physical standard for ballet dancers because a corps of dancers with wildly different physiques is not as visually pleasing as one where the dancers look roughly the same. (This is clearly the view of the ballet establishment but in my experience is generally shared by casual ballet-goers, even if they do disapprove of the harsh body standards of ballet.)
This brings up your idea that casual ballet goers don’t care about physique, but only about art. In my experience, many casual ballet goers do care about physique, and some are even attracted to ballet because of the skinniness or long legs etc of ballet dancers. And if we consider the fact that most women buy fashion magazines and admire supermodels despite the fact that modelling is known to trigger anorexia, the number of would-be spectators put off by the skinniness of ballet dancers may well not be that large. And ANY body standard will not get rid of ballet’s reputation for destroying feet – this will happen as long as we have point dancing, and may well be less severe if dancers are thinner because there is less weight on the toes.
You are obviously angry about the fact that lots of talented ballet dancers are unable to find work (or a place at ballet school) because of their physiques. Yes, of course the body standards of modern ballet prevent the success of some talented dancers, but to be fair it is very unlikely that ballet schools are turning away Fonteyns and Baryshnikovs every year, because a) if a dancer is really really talented, they may well be let into ballet school/company even if they look slightly ‘wrong’ (e.g. Svetlana Zakharova is in the Bolshoi despite her breast size) and b) because Fonteyns and Baryishnikkovs are so rare to begin with. And let us not forget that even if Fonteyn would not be allowed to dance today because she is too big, there was still a standard ballet body in her time (which was curvier) that probably prevented the assent of talented dancers. In other words, even if there are reasons why today’s very skinny standard is particularly bad (encourages anorexia etc), the fact that it prevents talented dancers from ascending cannot be one of them; this has always happened and will always happen with any standard.
I guess if it is reasonable to have a standard ballet body, the issue is if it is reasonable to have a skinny standard as opposed to any other standard. Let’s be clear: any standard will prevent some talented dancers from making it, so this cannot be an argument against a skinny standard. I guess reasons for a skinny standard might be related to the fact that skinniness is generally seen as beautiful in our society so if ballet is about beauty this might be a good body standard to have, that skinny dancers have a more beautiful line, look more ethereal etc.
Reasons against are to do with promoting anorexia or not wanting female dancers to look androgynous.

]]>