Author: Rylan Eisenhauer

Rylan Eisenhauer Blog Prompt #2 (Brumes d’automne (Autumn Mists))

Rylan Eisenhauer

Brumes d’automne (Autumn Mists) is another strong example of the artistic creativity that comes from “silent films” tasking to present a story or in this films case, ideas and thought processes. The usage of music is key as it helps bring out tone and direction that the film is working to express visually. Not to mention being made in 1928 during black and white filming also creates a sense of tone that may have been natural and fit in with other black and white film, but has since adopted its own unique sense of artistic expression different from how film is presented today.

An aspect of Brumes d’automne that I noticed early on is how the character expresses emotion very reservedly and most of the emotional impact is shown through her eyes. In moments of putting the papers into the fire, you can see small shivers that she has as the papers burn. Perhaps these papers hold or held value at one point and she has a desire to let go in order to move forward? Or possibly the papers were love notes from a old relationship that she feels pain remembering.

Another detail I noticed while watching was the use of focus to almost show the audience memory in how well she can and cant remember details based upon how clearly the imagery is, or perhaps the glossiness of her eyes indicate the tears, maybe the visuals are based upon how sad specific details may make her cry more. It shows its intention as non of the shots of the women are blurry and we have an assortment of very clear images that keep showing up (the tree branch over the water, the mud water tire marks, and shots of water dropping on what appears to be a lake.) meanwhile new additional pieces like the silhouette of the person, and specific locations can change its clarity like tears are forming or memory is failing.

The editing is unique but almost seems sporadic. As if someone is trying to tell a dream they had and in the time you try to make sense of what you just heard, even more information has come to process. The cuts between shows flow often through the relation of certain elements such as the fire burring then cutting to the smoke coming out the top and then having more shots be done outside. I get the feeling that she is thinking on the past or going through a mixture of emotions leading her overall expression to at times feel blank almost letting her eyes solely convey how she feels.

I believe that the montage work does work for the sense that is doesn’t have sound besides music and creates its sense of tone by almost having a rush of different imagery reflect on our minds racing thoughts on locations and feelings. Although as much as it evokes its purpose, the style doesn’t really evoke anything from me. The lack of an exact story doesn’t make me feel very invested in the woman or in the shots it is showing because of the imagery changing so quickly it seems like the film doesn’t care if I am “caught up” or not. It makes me just keep asking “why are there so many shots of water, ponds, rain, and even a beach?” leading me to create my own sense of story such as the woman having a love interest that she lost to the ocean and her sorrow is so strong she wants to rid of the pain by forgetting the memories of him while having regrets doing so.

I can see the vision that Kirsanoff was going for and can see the benefit it holds towards a specific feeling to evoke with your audience. but because the film is so “long” (for what is being conveyed) it almost was leaving me confused as to if the points I was drawing from it were correct, like the movie was showing me more because I might have drawn an incorrect conclusion so it keeps showing more to potentially clear that up. But for me it kind of makes it seem like the movie is trying to hold my hand explaining it carefully and cautiously, but its in words I can’t fully understand. So visual queues and music work helps try to put my brain into the right mindset to possibly make my own connections to what the woman is feeling. Maybe I myself was losing my density and unity as a result being shown so much imagery and scenic shots working to evoke those feelings.

-Rylan Eisenhauer

Rylan Eisenhauer DTC491 Making Space

Rylan Eisenhauer

This was shot on Sunday after sitting in my recording room brainstorming ideas when I realized I left my headphones in another room. I was struck with the idea of making continuous space by shooting multiple shots on the same camera direction but in different spots to create the illusion of my arm stretching to grab something while my body sits in a chair.

The music was an intentional addition as the audio of me breathing and making other sounds would break the illusion as you could hear the rest of my body being closer to the camera than I would like it to seem. The grabbing of incorrect items in different spaces I believe helps add to the effect that I am blindly letting my arm move through space while making educated guesses due to having no visual queues. I had a lot of fun trying to ensure my arm moved as straight forward and back as possible so that the stretch  illusion would work best rather than it seeming like I have a bunch of joints all extending outward.

Rylan Eisenhauer DTC491 One Day in 30 Seconds

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Rylan Eisenhauer

This was shot on Friday my day off from school. I hung out with my best friend Landon at his place and later met up with some other friends at Round One. We got back and played some Fortnite, went home to watch a movie before going to bed.

As sporadic as the video may be, it almost perfectly encapsulated the type of day I have with Landon. I enjoy having many segments show I just like to goof around and do random funny stuff and just like many people just relax and wind down after a long day. I made effort to try and have some connections to feed on video into another such as in the background of the skeleton video you can hear my friend playing the piano in the background and it cuts to the cat playing the piano. Another example is the shot of us doing a shocked face at Miku on his computer leading into both of us playing Fortnite in the same room. Even at the end of the video winding down, the shots within the recording room (the curtain, the movie stack, and watching the movie) are pretty close together in time to represent things slowing down at the end of the day.

Rylan Eisenhauer Blog Prompt #1 (Run Lola Run)

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Rylan Eisenhauer

Run Lola Run clearly presents itself as a more experimental exploration of continuity and the awareness of time’s flow throughout the film. I appreciated these alternative approaches and ideas, which leave viewers feeling as though they can piece together what might happen next based on subtle details introduced earlier in each new “timeline.”

The film maintains its narrative and momentum by making details from the previous “runs” impactful, altering how the characters feel or what they know about a situation. The best example of this is in the first “run,” where, at the end, Lola exclaims that she doesn’t know how a gun works, prompting Manni to tell her to take the safety off. (See the image below.)


Then, once Lola resets into a new run, we, as the audience, assume it’s a completely fresh start where she loses all the knowledge she gained the first time. However, in the scene where she threatens her father at gunpoint, he exclaims, “You don’t know how to use that.” She then proceeds to take the safety off and fire the gun with ease. At this moment, we understand the rule: Lola is almost like a video game character, learning from previous attempts and failures. (See the image below.)

This film drips with intensity and suspense, with time being the most crucial factor at play. Each decision Lola makes could either help her save Manni or, as we see in other scenarios, lead to his or her death. The importance of time also permeates other aspects of the film, such as the recurring presence of the number 20. Lola has exactly 20 minutes to reach Manni before he robs a bank, marking a near “no turning back” point. The number 20 also appears as the one she bets on in roulette.

Each decision in the film feels deliberate and is captured in a way that keeps the audience on edge. The use of slow motion in moments when a character dies, nearly achieves their goal, or experiences something impactful is particularly effective. This technique complements the film’s alternative visual style, such as the use of animation when Lola runs down the stairs. The animated sequence ensures Lola remains visible in every frame, effectively portraying both her speed and the urgency fueled by adrenaline.

Another notable detail about the animation is the depiction of the staircase. The bottom is never shown, and the animation loops several times, creating the illusion that Lola isn’t getting any closer to the end. This choice emphasizes the immense distance she must cover to save Manni, further heightening the tension.

As a final thought from my first viewing, I found myself questioning the point of the flashback changes for the minor characters Lola bumps into. While it is intriguing to see how their lives unfold differently based on small changes, it doesn’t significantly alter how Lola interacts with them. Perhaps another watch of the film would help me better understand those segments. That said, the rest of the film was highly entertaining, and I enjoyed feeling involved in piecing together how the “rules” of the film worked.

-Rylan Eisenhauer

Rylan Eisenhauer Test Post Assignment 1/7/2025

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Rylan Eisenhauer

My name is Rylan Eisenhauer. For most of my life, I have had a strong interest in both video production and consumption.

I was drawn to video media through shows and cartoons I watched as a child. I consumed various formats, including live-action, 2D animation, 3D animation, stop-motion, and more. I never had a strong preference for one type over another, and I believe that open-mindedness helped me enjoy many forms of content.

The big leap into my passion for video came when I learned from my childhood best friend about running a YouTube channel. I was inspired to start uploading a series of gaming videos by simply recording TV and computer monitors that we used to play games on. For a couple of years, it stayed in this “simple” format until around 2019, when I rebranded myself as “Bunkatron” (my current YouTube channel).

The style of my videos leans more toward quick-cut comedy, working to keep audiences entertained throughout while also including important early setups for future bits. Below is a favorite scripted video of mine, which I hope to pursue further in this class. It’s called “Meet Team Bunkatron,” where my YouTube team and I created a mock interview comedy segment, as if my co-host and I were interviewing them, asking funny questions with random responses.

I picked this video because it was fun to poke fun at those clichéd introductory videos you often see at starter jobs. It was enjoyable to combine multiple comedic styles by having each member play a “character” version of themselves while also giving glimpses into who they are and what they enjoy. This video is also listed as my “channel trailer,” as I believe it is a great way to be introduced to who we are, what to expect, and to have a good laugh.

-Rylan Eisenhauer