David Charpentier has a Master's Degree in Architecture from the University of North Carolina Charlotte. His thesis work involved a discourse on the relationship between cinema and architecture. He is currently earning a MFA in Film Production at Boston University. He has worked for several architecture firms and independent production companies over the years, but his passion for writing and interests in spatial dynamism has led him to write for PopMatters and pursue cinematography.
He also likes to travel, ski, go to concerts and try new foods--if only he could afford to do those things. No kids, one lovely wife, two cats and a whole lot student loans.
Popular culture creates its own nostalgic image of a time period that is both fact and fiction. When combined with the shaky foundations of our own memories, who can really tell what happened? How will pop culture translate the tragic events of today?
In storytelling, the past dictates the future. Plots are laid out like traps that our heroes inevitably fall into. And we, watching Bruce Willis in Looper, or reading of Dream in The Sandman, are thus fated, as well.
In the works of many New Wave auteurs, a sense of alienation often leads to disillusionment. Unlike the pessimism of many of her contemporaries, Agnes Varda views alienation as a quest for identity, one that offers hope and freedom, no matter the uncertainties.
Everyone bemoans the remake, the bastardization of their memories, of something they hold dear. But times are constantly shifting, and our heroes cannot exist in a static universe. Without proper reinterpretation, would our pop icons still be relevant?
I can't be a movie theatre zombie. I can't just sit there and accept average. I want a film to swell up some sort of feelings, make me question what I’ve seen, think about things on a larger scale or go for a far flung freaking mind trip.