In my interview project, I interview a good close friend and aspiring artist Irvin Mesa.
What are your thoughts about a networked “tv” series or “webisode” with social media interaction with the audience? What ideas do you have for such a networked interactive series?
If you asked me about interactive T.V series before reading about “SKAM” I would have said about how much I love the idea. I think it is more of a fun and interesting way to connect with the audience and allow the story to be told how the audience wants to view it. After SKAM however, I know see the cons behind it. It can be a very powerful tool that can waste many people’s talent. The whole teaching “the audience to be stalkers” was not a good outcome in this, and even now I am thinking to a movie known as “Nerve”. The main plot of this movie was this interactive game where the audience got to say and vote its participants to do either very illegal or very dangerous acts. The two main characters must find a way to escape the game. This could also be interpretative as a social media interaction with the audience and show the negativity to these things that either teach or allow unmoral like behavior.
On the other hand however, say you have a love triangle, and the audience gets to vote on who they wish to see the main character end up with. This allows the audience to feel like they are a part of the producing process and makes them feel immersed. But then again, to be, that sort of power strips the program to me of its T.V like substance. To me, it wouldn’t feel like a T.V show anymore. Would it be a new genre of television?
In his essay “What is Digital Cinema?” Lev Manovich notes that the majority of discussion around digital cinema has focused on the possibilities of narrative interaction. Manovich argues that this focus on narrative only addresses one aspect of cinema, which is neither unique nor essential to the medium.
For Manovich the challenge presented by digital media extends beyond the issue of narrative to the very identity of cinema. With enough time or money anything can be simulated in a computer, reducing the filming of physical reality to just one of many options available to filmmakers
On Page 7 of his essay, he talks about how once footage is digitized, it loses its reality. We can alter it just like any other still image and Light is Waiting was a prime example of that. Around the 4:40 mark it began as just a simple video, but through editing it soon became a kaleidoscope of colors. Manovich talked about around page 3 how cinema is a sub-genre of painting and taking a simple video and turning it, and twisting it to start showing a totally different abstract side to the video was an idea of that.
The indexicality of traditional film is being challenged thanks to modern day technology. Film and Cinema is so open in its medium that such strict old ideas of traditional media are being tossed out. Manovich said it himself on page 8, “something that looks as if it is intended to look exactly as if it could have happened, although it really could not” We have so much power in this modern day and age with media and editing. Through this idea we have the power to make Gandhi a bad guy and Hitler a saint. That is both terrifying and a challenge. How could we use this for good though? Hmmm
The Eagle Creek fire was such an emotional experience for a lot of locals. It’s been a few year since, going back to it, I would focus on the locals in that area and how they are rebuilding. Emotion is key in anything you film, if the audience doesn’t feel anything, then you are doing something wrong. For the emotional reaction I would talk to the kids in the area, the teachers who taught school around there. I would talk to the sheriff and firefighters who fought the fire. Ask them what the fire did to them, the emotional aspect that the fire had on their community. It is easy to judge from Vancouver, but the locals who lived in that area, who had to flee their homes, the feelings and emotions are way stronger.
As for some of the B-roll, I would use a mix of fictional shots of fires while also using some of the shots taken from the fire itself as they talked about the damage done. There is still very much damage done to the gorge from the fire so as the interviewee, say a park ranger talks about the damage done, I would show clips of us walking through the patches of trees that were burned down and never replanted. Maybe some still shots of cars and homes being abandoned.
In the wrap-up I would interview the locals again on the growth of the area since the fire and how it is recovering. Clear blue skies, clear water, green trees, baby trees just replanted to replace the burned down ones and animal life. That’s how I would end it, with a positive message.
This is supposed to give the feel of a cold fall morning.
So for this weeks blog post, we had to read Eisenstein – Methods of Montage as well as a Wikipedia page for the Soviet montage theory which went into depth about the different types of Montage. Now at first I had a real hard time detecting the subtle differences between the various forms. I ended up watching multiple YouTube video’s trying to find a good example to show myself as well as the class.
Eventually I stumbled across the widely popular 80’s movie The Karate Kid. Now I had seen this movie a handful of times growing up, but I never realized the types of scenes that can be counted as a montage.
The scene in particular that I am talking about starts at about 1:20 when the main character Ralph is walking through the Karate tournament and watching and partaking in a few matches. This particular scene is an example of Metric Montage.
Metric Montage in it’s most simplest definition is where the editing follows a specific number of frames, cutting to the next shot no matter what is happening within the image. In this scene where the kids are in their matches each kid gets a close up for about 4 seconds each before cutting to the actual fight. Even more so, the editing goes along with the music overplaying the scene. Almost every time a kid lands a kick or a chop on their opponent, the music overplaying has a symbol crash sound that elicits a feeling like the punch had more impact than it actually did. This gives the audience a more immerse feeling. They get excited. People are fighting. Kicks and punches are going on. Music is blasting overhead. And when that blow hits, a crash corresponding overhead with the music it gets them even more ecstatic.
Run Lola Run is a movie that emphasizes the idea of time. This 80 minute long movie is based off of the same 20 minutes that branch out and span over the course of the entire movie. You get the sense of the importance of time at the very beginning when all you see are various clocks and the constant ticking sound in your ears. This gets the audience in the mindset “Okay, something about time, or being late.”
In each one of Lola’s attempts to get to Manni the editing is very fast. Constantly switching back and forth from lola and other various objects. This re-enforces the fact that they have such a small amount time and it’s all very tense for the audience. And vise versa, when something dramatic is happening, usually near the end of the attempt, it is all slow motion to emphasize the lasting moment.
For my continuity video I wanted t film my morning usually when I wake up at 4am for work. I was going to include making breakfast and other minor details like grabbing the cup from the cupboard, washing my face, etc, but due to the 60 second time constraint I felt very limited in what I could do. I knew I wanted to start the video with me waking up, and end with me falling back into bed because that is very much like my mornings.
As far as frames go I was really happy with the frames I have chosen. Starting off with just my legs walking out of the bedroom, the close up on the showerhead, mid body after that and the frame of me grabbing the juice out of the fridge etc. But I do think they could have been cleaner with the stabilization, and even the lightening. The shots are very grainy. I think I did a good job on the continuity, but I could have put more emphasis on the bathroom. The taking the shower part is the longest part of my morning, but in the video it is the shortest part.
I know now to add more subjects, more objects, to emphasis just how much I do in the morning and less of me just walking from room to room.
So in McCloud’s “Time Frame” visual essay, the concept of time manipulation is talked about in the world of Comics and how the use of panels of images can manipulate time without actually having to say anything.
This can be said about digital cinema as well. Say you want to explain the growth of transportation over the course of the last 200 years in about 1 minute. This can all be in one shot where a horse carrying a carriage walks into frame and then off. Then sudden;y the scenery and the color saturation changes. The we see a 1950 mustang roaring into the scene. Once again they drive off frame and the camera floats down now onto a city, the newest Lamborghini now screeching. This gives the audience the notion “Okay time has passed obviously if they started with horse carriages and is now driving a Lamborghini.” All in the span of a minute.
Or you could do something as simple as show a calendar and show someone ripping the months the months off, or have the camera still, recording the daylight go to nighttime and vise versa. Someone growing a beard. The options are limitless.
Time manipulation is very much a possibility in Cinema.
So for this weeks blog post, we were asked to take still frame shots of one our favorite scenes and talk about them. Well obviously I had to choose Lord of The Rings and their reaction to the Balrog entering.
Close Up (CU)
Medium Close Up (MCU)
Close Up (CU)
Extreme Long shot (ELS)
Close Up (CU)
Close Up (CU)
Close Up (CU)
Medium Close Up (MCU)
Now obviously most of the scene are CU’s, with the occasional MCU, but I really enjoy the framing here because of the narrative that is seen in little diversity. From the start we have a CU to really set in the tone, the fear and the seriousness of the situation they were in. From there we get a mix of CU’s and MCU’s of their reaction and that gets the audience into the mind set “Oh no. This is bad. They are all scared.”
The camera pans up an Extreme Long shot to show us that something wicked this way comes.
Followed by some more CU’s and ending with a MCU on Gandalf. But the narrative of this story is shown by their faces, their reaction. That one shot where Legolas is shown, half of his face hidden in shadows, all you can really see is his one eye and it is wide with fear. Their acting is what gives it narrative and this could only really be done with up close shots to capture their fear. The editing and the lighting. The shadows on their faces and the out of focus characters in the back. These factors all play into the narrative. Which are why the CU shots were needed.
Hi. My name is Sarah and I quote movies too much.