Japanese Dog That Stays By His Friend After the 2011 Tsunami: Unfortunate but Not Cry-Worthy?

2011/08/29 by andrei

Here’s the video:

The video features two reporters who happen upon a pair of dogs in the wreckage of the 2011 Tōhoku earthquake and tsunami. I found the video through this article, which claims that the video might make you cry. Naturally, I was pretty curious, but the video itself turned out to be pretty flat. Why is that? The subject matter is certainly there: a bedraggled dog, sticking through the tough to stay by its injured friend. It’s the sort of sad scene you’d read about in a young adult book, or cry over in a movie. What went wrong?

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Jeremy Gilley’s TED Talk “One Day of Peace”

2011/08/28 by andrei

Now, I’m pretty sure I’ve seen other moving TED talks, I’d have to rifle through the list and double check which ones they were, though. I would not rate Gilley’s talk as one of the best, but it still touched a chord off in me. It’s probably because deep down, I’m a sappy idealist. Well, you probably don’t even have to go that deep.

In general, I think that what sold Gilley’s talk was the tenor and pacing of his voice. There is just a hint of a nervous quaver, and he speaks so fast, but doesn’t stumble over anything. He gesticulates constantly and he’s usually got this furrowed-brow about-to-cry look on his face. It really puts forth an image that he is supremely passionate about his project. Which he most likely is. At the very least, he’s a good actor. Which he also is. Or used to be before he started Peace One Day. Peace One Day is his project and what he probably considers his life’s work. Is goal is to have a global ceasefire day, September 21, that all nations and groups observe. The idea is roundly endorsed by the United Nations, a good number of countries, organizations, individuals, etc. His hope is that it will at least be a seed that will eventually germinate into lasting, well, peace one day.

There were two parts that I thought especially touching. The first starts around 6:00 and hits its stride at slightly before 7:00. It’s when he’s discussing how his perception of his project changed. It was his thoughts of his experience with children who had suffered from violence in Somalia; one of them had been a child soldier and another, who he’d held in his arms, had been a little girl permanently maimed by a landmine. He described how his thoughts flipped from (my summaries, not his exact words), “We’ll give it our best shot  and if it doesn’t work out then at least we learned something,” to “I cannot stop trying no matter what.” That sentiment and the combination with the pictures of him with the children was what touched off my tears.

The second snippet occurs starting around 11:30, when he talks about a trip to Afghanistan with Jude Law. It begins with him describing how everyone told him he needed to get everybody there involved if the ceasefire would have a chance of working. So after all the networking and selling of his idea to various groups around the country, he describes (at 12:25 or so) how they received a letter from the Taliban stating that they would respect the ceasefire for that day. And on that day humanitarian groups in the country went out to give aid and vaccinate people without any retaliation. The seemingly impossible nature of that success, or perhaps just the sheer oddity of it, is very moving, and it just makes you profoundly happy and hopeful that at least peace for one day is possible.

And, finally, here’s the Peace One Day website.



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Sydney Schanberg and Dith Pran’s Tearful Reunion in the Final Scene of “The Killing Fields”

2011/08/21 by andrei

This is the final scene from the 1984 movie “The Killing Fields,” which is based on events that occurred in Cambodia under the rule of the Khmer Rouge:

This scene is interesting for two reasons. First, it is not likely to make people cry on its own. It’s touching, but seeing it divorced from the rest of the film leaves you with more questions than answers. However, when you couple it with everything that came before it, it takes on an entirely different character. Second, in a film filled with death and other horrors, it’s this final peaceful moment that truly moves the audience to tears. It’s not the senseless violence of war and political struggle, not the tragic and inhumane treatment of other human beings, not the outrage at an atrocity and the inability to prevent it; while all of those moments have you feeling many things, it’s this final embrace between two long separated friends that gets you bawling.

In the rest of this post I will consider: the elements of the larger story that make such an emotional reaction to this scene possible, the effect of the story being set during a terrifying era of human history, and the composition of the final scene itself.



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Is It Easier to Convey Emotions Through Books or Video? Through Text or Images?

2011/08/21 by andrei

In the past month, there has been a recent spate of articles discussing the current state of publishing and reading. There is a changing appreciation for the written word, and a paradigm shift going on in how individuals access information. Not just news-and-numbers information, but emotional data. Information has always been presented in such a way that it makes individuals feel angry, sad, or relieved about the subject matter, but the decline of words (or, long series of complex words) and the rise of visual transmission makes such manipulations even more powerful.

The State of Publishing and Reading

Old books.On the publishing front they cry “books out, ebooks in.” Jeff Bercovici at Forbes.com points out that hardcover sales have been declining and that top-selling authors are increasingly gaining the greater portion of their revenue from digital ventures. At the Washington Post, Techcrunch.com describes soaring e-book sales and predicts a resurgence in sales of essays, long-form journalism, serial novels, and other such genres that require low time investment on the part of the reader.

At the same time, a number of commentators have begun lamenting the withdrawal of the long-form reader from America’s cultural and intellectual landscape, such as it is. The New York Times’s recent opinion article on the decline of “Big Ideas” had this to say on the subject of how Americans, and increasingly the world, accesses information and how it affects thinking:

There is the eclipse of the public intellectual in the general media by the pundit who substitutes outrageousness for thoughtfulness, and the concomitant decline of the essay in general-interest magazines. And there is the rise of an increasingly visual culture, especially among the young — a form in which ideas are more difficult to express.

…[S]ocial networking sites are the primary form of communication among young people, and they are supplanting print, which is where ideas have typically gestated. For another, social networking sites engender habits of mind that are inimical to the kind of deliberate discourse that gives rise to ideas. Instead of theories, hypotheses and grand arguments, we get instant 140-character tweets about eating a sandwich or watching a TV show. While social networking may enlarge one’s circle and even introduce one to strangers, this is not the same thing as enlarging one’s intellectual universe. Indeed, the gab of social networking tends to shrink one’s universe to oneself and one’s friends, while thoughts organized in words, whether online or on the page, enlarge one’s focus.

Steve Himmer’s essay laments a number of factors that might discourage reading among people, though he doesn’t actually discuss the increasing popularity of reading in short bursts. (“In an era of reduced library budgets and hours, closing bookstores, declining sales, and lost readers, discouraging anyone, of any age, from picking up a book they’re interested in seems like the last thing we should be doing.”) However, Alan Jacobs at the Chronicle, drawing from a 2005 sociology article, comments that this decline of long-form reading is more a return to normalcy than a regression of the American intellect:

[W]hile there was a period in which extraordinarily many Americans practiced long-form reading, whether they liked it or not, that period was indeed extraordinary and not sustainable in the long run. “We are now seeing such reading return to its former social base: a self-perpetuating minority that we shall call the reading class.”

But whatever designations we want to use, it has to be admitted that much of the anxiety about American reading habits, and those in other developed nations to a lesser degree, arises from frustration at not being able to sustain a permanent expansion of “the reading class” beyond what may be its natural limits.

The Impact of Books and Film

I don’t want to tackle whether the death of long-form reading is actually happening or will eventually happen. Though, I am reminded of Neal Stephenson’s The Diamond Age, in which poorer portions of global society, thanks to ubiquitous computing, have largely lost the need for reading and writing. They rely solely on video and on “media-glyphs,” short animations and or symbols, for all of their information needs. For now, I only want to consider some of the differences in how we present emotion in words and in visuals.

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Will Smith’s Heart-Wrenching Monologue in the Father-Son Episode of the “Fresh Prince of Bel-Air”

2011/08/19 by andrei
will_smith_fresh_prince_father_son_sculpture

Embedding was disabled, click this image if you'd like to watch the three-minute clip on Youtube.

This scene is regularly featured on “Television’s Saddest Moments” blog articles or forum posts, so I thought I should definitely include it here. It comes from the fourth season of the Fresh Prince of Bel-Air, episode number twenty-four. It’s called “Papa’s Got a Brand-New Excuse,” and it first aired on May 9, 1994. For the purposes of this website, it’s mainly a study in how an actor can deliver emotional scenes, and is relatively straightforward, but I think there’s also something to be learned from the script and certain cinematic elements.

In this episode, Lou (Ben Vereen), who is Will Smith’s absentee father, shows up in Bel-Air unannounced and rekindles his relationship Will. Over the course of the episode Will becomes more and more enamored with the man who has been gone since his childhood, and they plan on taking a trip together to bond and make up for lost time. In the end, however, Will’s father abandons him again, leading to Will’s angry speech. A more detailed recap is available here.

However, neither familiarity with the episode nor the series is necessary to be touched by the content of this scene. Even in isolation, the moment is extremely heartbreaking. The themes of parental abandonment and attachment are easily identifiable and relatable, and the emotion is heaped on through the intensity of Will’s acting. Especially notable is how Will’s monologue uses his anger to generate heightened emotions on the part of the viewer, culminating in great sadness.

Read on for more analysis and other items related to the scene.

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Why Iñárritu’s “Biutiful” Was Good and Depressing, but Not Moving

2011/08/18 by andrei

I watched Biutiful last night, the first movie I’ve seen since starting this blog (if you don’t count an aborted attempt at Skyline). The buzzwords for this movie are “tragic” and “depressing,” so I was hoping for some tearful moments. I was excited because I would now be watching with more focus, with a notebook out, ready to figure out how the movie connects with the audience.

I ended up being disappointed. Don’t get me wrong, the movie was okay; I didn’t feel like I’d wasted my time after watching it. It just never moved me. So I was slightly surprised.

My main conclusion was that this movie was actually too good at presenting us with a bleak and empty existence. Everybody’s life sucks, and it sucks hard all the time. The movie was gritty, it presented us with a fascinating world, and it kept you wondering about what bad thing would happen next. The problem? I’ve mentioned it in a previous post: just as a utopian story where everything is great and works out is a boring story, a story that is depressing every step of the way turns out to be equally lifeless. Without the turbulence of ups and downs for the characters, it’s going to be all the more difficult to push a viewer over the edge. Not that this movie didn’t come close, it just didn’t do it well enough.

I’m going to go into my reasons why, but because they contain some spoilers I’ve put them after the jump in case you’d like to watch the movie first.

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Why Is “Christian the Lion” Such an Emotional Reunion?

2011/08/17 by andrei

This video is one of many; other versions and additional footage can be found in the full post:

Christian the Lion has been floating around the internet since 2008 and is well-known as a tear-jerker. This is pretty remarkable, as the original video was only slightly more than two-and-a-half minutes long. Pinpointing the emotional trigger is fairly easy, given that it occurs soon after the first minute during a very suspenseful moment with well-chosen climactic music. So how does this video of two men reuniting with their pet lion in the wild do it? And what can be learned about creating emotional content from the composition? The footage is certainly memorable enough on its own, but putting the entire package together like whoever created this did was pretty damned clever.

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Why the “Married Life Montage” in Pixar’s “Up” Makes People Cry

2011/08/15 by andrei

The actual clip, for those who haven’t seen it:

There is something incredible about a movie that can make you cry in its first ten minutes. Most movies have over ninety minutes of content in which everyone involved in the production end–writers, directors, actors, producers, and others–works to try and connect the characters to the audience. And yet here in Up, they achieve the same result before the movie’s story even begins, by sneaking in a self-contained side story. Carl could have spent the rest of the movie puttering around his house, and we would still remember the movie for its opening. This is a very interesting example of the length and depth of the scene required to provoke an emotional reaction.

Personally, I thought Up was a pretty amusing movie, but not that memorable. I had no strong emotional reaction to any other part of the film. After the many months since I watched it last, I can’t even remember the ending clearly. In contrast, I will remember my response to this opening montage for the rest of my life. I am willing to bet that, if not for that scene setting the tone of the movie and creating a hook for people’s emotional reactions to the film, the critical acclaim would have been more muted than it was. I’d like to look at this scene, out of context from the rest of the film, because I think that it generates its powerful sentiment completely on its own.

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Introduction to the “Make People Cry” Website

2011/08/14 by andrei

Welcome to Make People Cry!

I am putting this website together as part of a book project that will look at a very special type of story found in creative works—-stories that are so powerfully presented that they move us to tears. These stories are found in books, movies, television shows, speeches, music, and even comic strips and commercials, among many other works.

I am going to try and analyze the elements of such stories. What happens in these stories? What types of characters and what levels of connection with the characters are necessary? How much build-up of back story is necessary? What are the various subjective and objective elements that create any one individual’s reaction to the story? How do such requirements differ among genres of creative works? What combinations of audio-visual elements are capable of eliciting tears? Is there truly a “formula” that can be applied to creating moving stories?

I’m asking these questions and many more because there really is a wide range of stories that can make people cry. Sometimes the stories require a whole season of episodes to hit you, sometimes they require only seconds. Sometimes these are happy tears. Joy at someone’s success, or their overcoming of some incredible struggle in their life. More often they are sad tears. Sadness or heartbreak because of death or parting. Every once in the while they are tears of beauty. Words or images so stunning and evocative that they move us in some ineffable way. Sometimes stories that will have one person bawling at the merest thought of them will not move another person’s heart in any way.

I want to look at all of these different types of stories, and I also want to provoke discussion among my readers. What do you find moving in any particular story? What are you unconvinced by and what do you think the secret to writing a moving scene is?

I’ve chosen to focus on the emotions that cause physical tears because, as emotions go, these are more rarely seen than those that provoke amusement or laughter, or other happier responses. For instance, there are many movies out there that provide a cheap laugh, but there are a good deal fewer that will connect you so strongly to its characters or events that you find yourself wiping your eyes before the end of it. While creative works that generate such a moving connection may not be the best you have ever seen or heard, you are nevertheless forced to admit that you have been touched and lifted out of your own life for at least those few moments.

So please enjoy your time on this blog, you might find a few stories that will stick with you for a long time, and you might learn a little about how to create them for others.

 



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