This is my third and final production task in the form of a simple visual essay.
Background Music (royalty free)
Audience sound (royalty free)
The topic of focus of this week was found footage. The concept basically revolves around…well the concept of finding footage to put together, and consequently tell a story. However, it is not restricted to just videos. It can comprise of analogue projects as well. A famous artist in this field is Joseph Cornell, with his ‘memory boxes’.
When it comes to found footage films, there are several of them in circulation all over. However, a few names do stand out. Virgil Widrich came out as an inspiration for me; so much that I decided to base my final project on a found footage film. The Fast Film was exceptionally detailed and the animations really drive the film. My project will be a little more simpler than that, but I will be basing it closely on the same concept.
And the concept is the film maker will compile segments of videos to form one story. The videos will be pre-existing. Only the needed scenes are kept, this means that the video segment taken from a movie might only last a second or two. Furthermore, the sound can be changed to add a specific meaning to the segment.
Also, by next week, I will have my third production task up. It will be a visual essay in a letter format…watch this space!!!!
This week was all about “haptic visuality”.
The main concept behind this is to make the audience feel a certain way through use of textures rather than obvious visual aids. For example, footage of an old dusty room is supposed to convey the sense of obsolescence through use of texture.
The texture does not pertain necessarily to the surface close-up of one particlar item. Rather, it could range from a simple close up to wide angle shots of an entire scene. Haptic visualisation is acheieve if the audience can feel what it would be like to be in the scene.
During the opening scenes of The Street Of Crocodiles, the camera shot a musty room with stained windows to portray a feeling of being inside a really old house.
This we were introduced to the experimental genre of Audio-Visual Essay (‘essay’). The concept behind this is that the camera focuses on one character either from a third person or first person perspective. The film then exhibits what the character goes through/sees during a particular time from. Activities could range from just travelling to other more personal events. This genre is experimental because the ‘essay’ does not have to follow a linear chronology; instead they can, and often do, jump between various points in time.
Some of the key features of Audio-Visual Essay are:
Argument/Images/Sounds to support
Personal P.O.V/Presence of makerSpecific Structure
Also, watch this space, my third production task will be an Audio-Visual essay in the form of a letter.
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This week was focused on the underground movie genre. A few notable names, such as Andy Warhol, Martin Scorsese and many others, were thrown around
Underground films tended to focus on more obscure, even taboo, topics of the era. One good example was Kustom Kar Kommandos by Kenneth Anger. This music video combined shiny cars with tight leather attires that were stereotypically associated with gay men.
The major focus was, however, on Superstar: The Karen Carpenter Story by Todd Haynes. For this movie Haynes used a combination of Barbie dolls as well as real actors. Most of the film features the Barbie dolls with a few segments of live actors here and there. Haynes also used a Narrator to convey the story. Text was also used to describe specific parts of certain scenes.
I already knew I wanted to do a sequence on realism for one of my production tasks. The second one, however, I did intend on creating a short surrealism movie based on shadows. However, I had already created a rather unusual ad for Artline ViVix Highlighters. So, seeing as I am stuck for ideas, I decided to use this ad instead of a surrealism movie.
In this piece, I decided to emulate the style of James Benning. The focus is more on the clouds. You can also notice the changes of shadows on the water as well as a general lighting change. This indicates the shift in time during the, well duration, of the shoot.
My second piece, well, here it is. I wanted to include my manifesto, or part of it, in here. The rough editing is exactly that. The clock’s ticking couldn’t be any lower in quality so the video was toned down very much. People can still understand it’s for Artline ViViX Highlighters. The random logo in the corner of the ad is from the use of freeware software to compile the stop-motion. I might edit the manifesto to try and include something similar in future projects as well
The tick tock was sourced from freeSFX.co.uk
This week was all about Avant-Garde movies from America.
Although American Avant-Garde was similar to its European counterpart, there are some elements that set it slightly aside. The biggest difference was that American Avant-Garde also usually incorporated a narrative into their films.
One of the prominent people that were mentioned was Maya Deren. The focus of this week was on Meshes of the Afternoon, by Deren.
Meshes of the Afternoon was a surreal experimental film by Deren; hence why it’s classified as Avant-Garde. But it’s also a surreal piece due to the recurring dreamlike scenes in the movie. Main characters are Deren herself, and her husband Alexander Hammid. Some of the plot involves repetition, at least three or four times. However, the movie also had a narrative. Hammid was the protagonist of the film who ended up killing Deren. Another reason this movie is surreal as well is the fact that the ending could be interpreted in various ways, but with a similar story.