While reading the article for SKAM, I thought it was really interesting to create a show via Facebook posts and have it be in real time. It’s definitely a different way to watch a show. It reminds me how 13 Reasons Why made instagram accounts for the characters, and the characters would interact with each other as they would’ve in the show. This makes the characters feel more real as now they’re also a part of the audience’s social media world and not just on their tv screens. Also, the characters would post content that would add more to the show and make the audience try to figure out more about the characters before the new season aired. Same with SKAM, this makes the audience become stalkers to put the clues together to get the answers. I feel like with SKAM, since it was posted without advertising, I can see why people could mistake it as something real and not a show.
I feel like this could be a new form of entertainment where you can follow the characters’ story through social media. Since most the younger and current generation is always on social media, it could work to have a story via social media. For example, a character would post something on Instagram and we’d all get a notification and then see what happens next in the story. They could also make it interactive with the viewers by having the characters put up polls or do a “choose what I do today” poll. But I feel like with having a show on social media that posts through real time, I feel like it can be unsettling to see how realistic it is and it could be hard to distinguish between fiction and reality.
I would love to see a networked series of a sci-fi or thriller genre. Perhaps something crashed on the moon right now and we get to see what the characters who have landed there are going through and what they discover on the moon. It can be similar to the text-based interactive app game “Lifeline” where an astronaut gets trapped on a foreign planet that has monsters and parasites on it and she’ll send you real time text notifications every couple of hours asking for help or giving information on what’s going on for example “okay I think there’s a storm coming up. Should I find shelter or keep walking?” And the audience will get to decide for the character and hopefully save her life. But instead of having it on an app, it’d be interesting to see something like that on social media and with more than one character.
In Lev Manovich’s “What is Digital Cinema?” article, Andrei Tarkovsky says that “an abstract cinema is thus impossible” (Manovich 2). I might have to disagree with that because one of the works called “LIGHT IS WAITING” does show that abstract cinema is possible with the right editing technique and timing. The video shows us an episode of Full House before showing a heavily edited mixed media once the TV is dropped from upstairs. The indexicality of traditional cinema is manipulated because now the audience goes from watching a TV show to watching what’s happening on the TV screen. The combination of the echoing sound and flashing lights from the TV screen creates “a convincing illusion of dynamic reality” (Manovich 4). I also found it very interesting how manipulative digital cinema can be, especially when Manovich talks about “President Kennedy [being] made to speak new sentences by altering the shape of his lips” in Forest Gump. (Manovich 11). This shows that cinema can bring in more than what the camera captures alone. Regardless what one films, they’ll have the ability to change it completely in order to either enhance the story or bring in a new story. I have created mixed media before for previous classes and I find it very fascinating how we can change the original video into something completely different, but also scary.
If I were to make a short documentary about the Eagle Creek fire and its aftermath, I’d go for one that explains what happened, but in an emotional and dramatic way. For me, when watching documentaries, I’ve realized that using emotion really brings in the audience more than anything else. It’s easy to tell someone facts about something, but getting them to stay, listen, and be able to feel/relate to it, is the hard part. I would interview those who were affected by the fire, but while editing, I would take a sentence or two from each interviewee so then all of them are describing a specific thing rather than one person speaking for a whole two minutes. In my opinion, it makes the documentary sound more interesting as it brings in more point of views.
To answer for visual evidence, at first, I thought that was the same as B-roll, but it’s not. The reading says that the difference between B-roll and visual evidence is evidence that the interviewee really did go through what they said, such as an emotional reaction. For visual evidence, I’d let the interviewees talk about what happened and won’t interrupt any parts where they’re silent. Sometimes the silent parts are the good parts as they can bring in more emotions to them. I’ve done a couple of interviews before, and I’ve noticed that if you just let them keep talking about something personal to them, they’ll eventually break down and cry or give some sort of visual evidence to the story they’re telling.
In this scene of The Amazing Spiderman 2, I believe it uses tonal and rhythmic montage since it’s supposed to create sadness and anger within the audience, but it also uses specific cimematic shots and speed to do so. It starts off with quick jumps from the fight/choke scene to the spiderweb to the clock while also matching the fast speed of the music. This does a great job of showing intensity within the scene. And then when the gears of the clock cut off the web that’s holding Gwen, the music stops and it’s silent. Without the music, the scene feels more real and intense because of the suspense of whether or not Peter will save Gwen in time.
The shot durations also switch from being slow and longer to fast and short. The slow motions make the audience really focus in on this scene since it’ll be one of the important parts of the movie. The regular speed shows the realistic speed of the scene, which makes brings the audience back to reality and showing that this is how fast it’s actually going. I think the slow durations mixed with the fast durations helped this scene because if it were to all happen quickly, the audience wouldn’t catch as much detail as they should.
To add more to the scene, the clock is also moving forward as in to show that time is ticking, and Peter is racing against time. And then when Gwen does hit the ground, the clock stops, showing that it’s over and that he ran out of time. The music comes back, but it’s in sad tone rather than fast and action-like. The close-up shots switch between Gwen and Peter to have the audience see the emotions and also making the audience wonder if Gwen will wake up or not. And then it ends with a long shot from above showing the two of them.
I really enjoyed the movie and I found it very interesting. It was unique to see the many cinematic and narrative techniques that were used in “Run Lola Run” that helped to tell the story. Examples were showing a fast-forwarded crowd of people or playing a fast tempo song as Lola was running. Both of them showed that time was passing by quickly. Showing that time is rapidly passing is important since screen-time isn’t the same as real life’s time. The movie would take forever if the director didn’t incorporate the techniques previously mentioned.
The narrative space of the movie is different from most conventional movie narratives because it forces the audience keep up with its quick jumps, rapid zoom ins, and spatial montages. The spatial montages were very interesting since I’ve never seen those used to tell the speed of a movie. I’ve only seen them during phone calls (example: four way call in Mean Girls).
There are some techniques that are similar to the Classical Hollywood style, though, such as showing where the characters are looking. For example, the shot shows Lola’s face looking at something, and then the next shot shows a clock, indicating that the clock was the subject she was looking at. I believe that the narrative continuity and order still maintained itself even with all of the jumps because all of the shots worked perfectly to still match the scenario and the speed of the music.
The aspects of McCloud’s visual essay makes me think of the possibilities of time manipulation in digital cinema because of the simultaneous frames and how certain panels have wider durations or longer durations. This helps the audience see the division of time and space. Digital cinema also has its own way to showing time manipulation. Time manipulation in digital cinema can either be fast-fowarded or slowed down. An example of being slowed down is watching a character struggle to diffiuse a bomb. Even if the bomb says there’s five seconds left, the audience won’t actually see it go off in five seconds since digital cinema rarely follows real time. The purpose of this is to create anxiety and suspense in the scene, making the audience wonder when the bomb is going to go off. Another way to slow a scene is by using slow motion. For example, a group of teenagers walking in slow motion down the school hallway as everyone watches. This gives time for the audience to see specific details about those characters that should be focused on. An example of being fast forwarded is using a time lapse to go into the next day or morning to night within seconds. This can be shown through the sky turning light to dark or a clock going from 3pm to 9pm.
This scene is from 50 First Dates. The scene starts off by showing the restaurant and the type of weather that’s happening outside. Then it shows Henry walking into the restaurant and showing his whole body before he goes to sit down. Sue comes to speak to him and it shows a medium shot. Then Lucy walks in and it shows a medium long shot because it needs to keep Henry’s face in the shot with Lucy walking into the restaurant. Then it goes to medium close up as Henry gets up to walk to Lucy. Then it goes to a close up to Henry’s face as he has a serious conversation with Lucy. I thought all of the shots and editing worked perfectly in the scene and liked how it kept getting closer and closer to the characters as the scene got more and more serious.
I believe that iPhone “movies” are similar to film because they both capture and produce video, but iPhones offer a bit more such as they’re more portable and already has everything on its own. For example, a stabilizer is already included in the new iPhone and doesn’t need an attachment for it. One can also edit on the iPhone instead of transferring it onto a separate device to edit, and then post to a platform directly from the iPhone. It’s all done on the same device from where the video was taken on.
As both the creator and consumer, I use digital video to be able to make/watch any video at any time. I believe digital video is about all three: entertainment, knowledge, and human connection. For example, social media. With Twitter, Instagram, Youtube, and many more, we’re able to easily document and share our experiences with others anywhere in the world. Not only are we entertained by it, but we learn from it and by what others go through. It’s also human connection because we’re able to like, subscribe, follow, and comment on each other’s accounts. It may not be a real life interaction, but the human connection is still there. This has also become automatism for people who have social media, whether as a career or just to stay connected with friends. It doesn’t take much thinking/effort to post something now.
Hi, my name’s Moneca and I’m majoring in DTC. I love movies and I also love making videos. The process of making a video is very fun and I hope to get more experience from this class 🙂
A video I’m sharing is the Black Mirror Season 5 trailer because it doesn’t spoil the season as most trailers do, but it still shows enough to make you want to watch it. I also love videos that are fast-paced and quick to the point.
For my continuity assignment, I did a video of my little brother having to do his reading homework but instead wants to watch Netflix. I did this because I also wanted to create a video that showed tension and time passage without using words. With continuity, it can help make time go by faster. For instance, the video shows that about 30 minutes have passed, when in reality, the video only lasted about 30 seconds (showing of the clock). When it comes to framing, getting closer to the subject and character can help build tension. So I made sure to focus on getting close ups at certain parts. When it comes to continuity, it’s important to make sure that when switching cuts, it’s best to keep the 180 degree rule and have the actions still match. For example, when my little brother got up and the cut switched, the action of him getting up should match up. I will admit that it didn’t match up in the video (he wasn’t feeling it today and I wasn’t going to make him do multiple takes if he didn’t want to). Also, due to lack of time, I also messed up when I let the scene go from my little brother laying on the sofa to him grabbing the remote. If I had more time, I’d have him sit down and grab the remote, and then switch to the close up of him grabbing the remote so then it switches smoothly. It would work better to tell a visual story if the action matches up, or maybe that’s just me. We both had a lot of fun filming this and I love filming these types of videos.