Ranking the Assignments

1) Rhythmic Editing: I was a big fan of this assignment. The creative way of forming a pattern by editing a certain amount of frames at a time was an awesome idea. I really wish I had the opportunity to do this assignment again as I though that the final product evoked inspiration to do even more rhythmic edits.

2) Long Take: Probably the most fun we had in class. I love how fun it was to design, film, and edit this project. I really felt the working as a team dynamic of this assignment.

3) Cameraless Filmmaking: I felt that my creativity was unleashed on this assign. While at first I though it was basically the film studies equalivilent to arts and crafts, I really likes the final product. It’s as if the whole project relies on the filmmaker’s artistic “id” to create something that is extremely bizarre and cool. I really dug this assignment.

4) 48 Hour Video Race: Now this was just crazy. I loved how we had little time to conceive and execute this project. The small window of production inspired the type of creativity that thrives off of impulse. Even though in the end I would have preferred more time as I could of done a lot more with the project, I really appreciated the idea behind the assignment.

5) Multi-plane Animation: Stop animation was the only form of animation that I understood and enjoyed. Although it was a couple of hours of constantly moving an object not even an inch every couple of seconds, I enjoyed working with my group and the final product was terrific.

6) Found Footage: It was a cool assignment I guess, but I have already done something similar in my intro to editing class. Also since it was the last assignment, I was more preoccupied with other assignments in different classes.

6X1 Cont.

I thought that 6X1 was an extremely interesting class primarily because it gave us film students a chance to actually work with… film! I know the business is steadily changing in this regard but it was still an interesting experience none the less. Anyway, if there were to be an 6X1 part 2, I think I would try to invent new experiences working with film stock. I would embrace the cameraless filmmaking and long take animation experiences (maybe do something that combines the two together maybe?). Furthermore, I would continue with the rhythmic editing assignment, as it what perhaps the coolest thing we did (and it’s extremely simple to boot). Maybe we can combine stop-motion animation with the rhythmic edit and do something really crazy? I would also embrace shooting in 3D, as that was an assignment that had the potential to really be exciting only if we had more time.

Mystery Workshop

I must say that Star Wars is one of the defining films of my childhood. Since nostalgia is what defines us as people as well as a civilization (culture), I would say that the film is one of the reasons why I want to be a filmmaker. Some people don’t understand why the films are such a cultural phenomenon, and I believe that is because they did I grow up with it. However, that being said, I can understand why they are befuddled by it, considering how ridiculous the films actually are. Fortunately, both dynamics make it extremely fun to parody, which we did during the mystery workshop. The scene our group filmed was a recreation of the bit where the heroes discover the remnants of the planet Alderaan. It an absolute blast recreating the cockpit of the Millinium Falcon using phone parts and Christmas lights. Also, simply saying the (albeit corny) dialogue gave me flashes of childhood nostalgia. Basically, this workshop reconfirmed my love for a film that has been a part of me my whole life. Awesome idea for a workshop I must say.

Scratch Film Junkies (II)

Expeiriencing the second film by the Scratch Film Junkies after working on our own camera-less film granted me more of an appreciation for the vast amount of intent that goes into these types of films. While watching St. Louise, I was enamored by the technique of the artists. I especially appreciated their bold use of horizontal animation design. The incorporation of stock footage was interesting as well, as their work with the medium was far more impressive than my own. Overall, the rhythm the filmmakers managed to create was quite impressive, as it was not even present in my work. Although this type of work is clearly not my forte, I believe that I can perhaps incorporate aspects of film manipulation as a way to creatively enhance more narrative forms. I believe that this is where bold filmmakers experiment with their ideas before revealing them to the masses.

Wells

I feel that Wells had some intriguing ideas pertaining to animation as a film medium. Similar to most kids in my generation, I grew up on mostly Saturday morning cartoons produced by both Warner Bros. and Disney—a far cry as what is perceived to be abstract. In essence, I equate his notion of orthodox animation as a character based structural form and unorthodox as focusing on abstract form and rhythm. It is essentially similar to how people respond to narrative film when compared with avant-garde. Personally, I admire the form as far as creativity and experimentation involved in producing unorthodox animation, but for whatever reason I am stuck in my conservative notions of compelling stories. Our minds are either hardwired or conditioned to create connections through images and sound that create a story, even when it is against the desires of the filmmaker. When emphasis is on the media itself without attempting to create a narrative structure it is difficult for me to see it as “complete”, it is an element which can be appreciated in itself but falls short of constituting something for the mind to create associations that are more concrete. Cell animation, above all else, is extremely laborious and time consuming. Before computer animation took over, traditional animation almost did not make it because of the vast amount time and resources it takes. Because of this, I do appreciate the creative effort involved with experimental animation, and I would like to think that experimentation is essential to progression.

Yes Men

Okay, what a terrific film. I was disappointed that we could not finish watching it, but I was left intrigued as to how they recycled footage. The Yes Men incorporated the reuse of footage in a highly creative and innovative matter. A opposed to simply taking video clips from various sources to create something akin to found footage, they incorporated it into a website template. Their website offers a critique of the owner (more specifically, the World Trade Organization). By duplicating their website, the Yes Men provide a damaging critical deconstruction of their organization. What was shocking to me is that they uncovered the apparent fact that many people actually do not read what is on the WTO’s web page. It is amazing that simply by making something appear to be authentic to the original source, how easy it is for people to be fooled. I mean, it is hard to fathom how if a group was going to invite an important speaker from the WTO, they would not read the website at the very least to gather information to ask him about, or in this case to make sure that the site is truly authentic.

As a film, Yes Men is brilliantly constructed. The personal story of the two people was quite interesting to me, as I love their bold determination to achieve their goals. The film never loses sight of the fact that they are doing something important, despite their often ridiculous and rather humorous methods of achieving it. Above all else, it is simply a really cool story of how a small group of people managed to take material, re-contextualize it, and then release back to the public as a satirical farce. It just saddens me as to how it relatively easy it was for them to do it.

Molotov and Ectasy

I personally thought that the Molotov reading was very interesting as I was intrigued by the dynamic of having it being written by both people on the opposing sides of the story. What this does is offer a more complete, objective viewpoint while maintaining emotional resonance that is only attainable through the subjective. In other words, this style is better than having a third party telling the story for both sides. Initially, I was perturbed that Meislas was angry over other people using her photograph. Joy attempted to adapt the photo for her own needs artistically, and actually provided her a credit. Personally, it would be an honor for someone to steal my work as it clearly indicates that it inspired at least one person. However, I came to understand Meislas’ point of view, as she did not want to re-contextualize her subject. In essence, what I gathered from the essay is that art is that it can be interpreted in an infinite amount of different ways, and I think everyone should be allowed to express themselves in any way they desire. However, it is important to be respectful of the original artists that inspired them.

The Ectasy reading was rather intriguing as well, as it approach the subject from an perspective that is unique to my own. It is indeed absolutely impossible not to be influence by other works of art. As film students, we are encouraged to watch films to learn about various styles and techniques that have been traditionally past down in film’s rather brief history. In a sense, speaking in terms of narrative filmmaking, every filmmaker is guilty of ripping off DW Griffith. I believe that the idea is to “steal” other people’s ideas and use them to tell the most personal story that you possibly can. That is where originality really lies. Art is a dialogue between people, and once you release what you have to say you public, you must encourage people to take what your statement and see how it relates to their own lives.

Saturday Shoot

Reflecting on this past Saturday's shoot helped me realize the sheer value in filmmaking. In my opinion, I feel that making a film may be more enjoyable than watching one. Furthermore, I think watching the film who help create is even more of an exhilarating experience. I have never worked with a bolex before and I consider as quite an unique experience. I was enthralled by the process of loading the relatively ancient device-- how I was easily well acquanted with its inner workings (unlike a digital camera, where I am still left in a ball of confusion as to how all the little buttons work). Just the sound the bolex makes as the film slides through the gate inspires me to create.

Our idea was to create a short that was similar to an old action serial combined with a Charlie Chaplin film. As exploration of greed, it was a minor comedy about various people searching for treasure. Essentially, it leads to a massive fight, ending with people trampled and even pimp slapped (think of it as a music video for the Village People b-side as directed by Michel Gondry and you;ll get the picture. Anyway creating it was a lot of fun—lots of spontaneity, which is great. You could really sense that everyone had a blast in doing it, and I was surprised by how little takes it took to pull it off.

I am willing to admit that I was first annoyed that we were spending such a beautiful day in class, but I honestly would not have anything better to do. What made it all so cool is that it did not even feel like we were in class. One small moment that sticks out for me is when we were rolling five deep in Brandon’s car. It really felt like my buddies going out and making a silly little film. It is a great feeling to have.

I finally learned how to develop film (sad I know, considering that I am a Senior majoring in FILM studies). Despite all of the chemicals, I love how “organic” it feels. Although arguably not as practical, I seriously wish that film does not go the way of the dinosaur. The “of the earth” style (this is the best way I can convey how I feel) is as mysterious as it is wonderful. I also wish that I can get my hands on one of those bolex cameras in the future. I think I come up with a few things that I can do with it…

Chion

Empathetic music (described as the ability to relate to the feelings of others) is an interesting concept addressed by Chion. Basically, both music and sound is designed to make the audience feel more involved in the action. For instance, during comedic films the music will usually be upbeat or dopey to match the character’s ineptness or the lack of sound when an horror film prepares for a “jump” scare. What is interesting is how this is effective at a subconscious level as we as the audience have been so accustomed to this idea. That being said, the best score/ sound design is thought to be not noticeable at all in its technique (which makes you question sometimes how the Academy always tends to notice). Sometimes, however, the score does indeed call attention to itself to brilliant results. Take Shutter Island for instance, the bombastic score completely sells the feeling the film is attempting to evoke, that is, a classic Hitchcock film.

What so interesting about sound is that, in film, it is almost entirely constructed in post-production and yet we the audience accept it as a reality. Essentially sound in film is no more real in its representation of reality than computer generated imagery. That being said, the absence of this construct makes the world of difference within the scenes. This is especially the case with Shutter Island. It’s the score of the film that sells the unsettling nature of the insane asylum that DeCaprio’s character is trapped on. The lighthouse in the film would just be another lighthouse if it were not for the bombastic score that accompanies the visual of it.

Chion also discusses how our attention as an audience constantly diverts to whoever is talking as we are trying to figure out who is speaking and what they are talking about. After we discovery this, Chion discusses how we will then get distracted by other noises as we are now comfortable with what is going on. If you think about it, the concept makes complete since and it is really interesting that we do that. Once we gather our bearings so to speak, we then become multi-taskers. That is why I think the sound design usually tapers off when a character is speaking onscreen. Yes, we more than likely need to here what he is saying, but we also do not need to be distracted.

My experience in cameraless filmmaking has been quite a bizarre one thus far. I don't mean bizarre in a negative sense, but as the best word to capture the feeling of creating a film with the only lens being our own eyes. Some people are a theory based, while others are more hands on. I am definitely a hands on type of guy, so in truth, I am actually sort of digging this approach to filmmaking. The idea of experimentation, as in creating something through the process of trial and error (what works, what doesn't) is an aspect of the process that I wish to adapt in narrative filmmaking, especially when it comes to working with actors. there is no wrong idea, but a collaborative effort between the actor and director to make sure the performance serves the story the best way possible. To bring it back to cameraless filmmaking, I think that what I am also interested in is how it feels like projecting emotions. To me, there is no sense of logic in the process-- no right way of doing something, moreso than narrative filmmaking it almost feels like we are bringing film to a level of pure art, away from the commercially viable and more towards artistic expression. I have no idea what I am doing, and I definitely have no idea where I am going. however, here's the thing-- I actually like that feeling. The unknown is not something to be feared but to be embraced. the fearlessness needed to make cameraless filmmaking should be applied to narrative filmmaking, so that new ground will be broken.

2nd Response: Synesthesia

What intrigued me the most about the article was the idea that synesthesia is considered a gift-- an additional hidden sense. I first heard of this idea when it was behind Pharrell William's "Seeing Sounds" and I was left hook after initially hearing about the concept since. I love film and understand it as a visual medium, which is why I love the idea of the other senses other than sight being conveyed through visual means. What I think is so amazing about it is that the audience (meaning primarily me perhaps) simply accept it without question. One example of this is from the PIXAR animated film Ratatouille. In the film, the main character’s experience with taste is conveyed visually with a “light show” accompanied by a soundtrack. Basically, the sense of taste is presented to the audience through visuals and music, an odd concept because I never thought of the senses being so connected. When I was reading about the number form of syesthesia, I could not help but to think of the way Neo perceives the world of the matrix at the end of the first film. Once he is “enlightened,” Neo was able to “see” the binary code of the world and can bend it to his will. In a basic sense, that is what synesthesia represents to me—the ability to apply different senses together to fully “understand” the patterns and rhythms of the world. Really cool. I’m assuming the point of reading about this concept is so that we understand the process behind avant-garde filmmaking and apply it when we do our 6X1 projects. Today I am supposed to convey the elements of fire and water on my filmstrip. As opposed to simply creating a perfect recreation of it through visual means, the article about synesthesia is making me rethink my approach. Wait, am I supposed to rethink my approach. Is this all supposed to happen on the subconscious level? I’m not supposed to think about it? I honestly have no clue, but now that it is in my mind, I feel that I am creatively inspired to tackle this project as well as other subsequent projects in the future.

1st Response

"To The Beat" by the Scratch Film Junkies' is perhaps described with two words: poetic chaos. The fluidity of the visuals in sync to the, what I call, "junkyard" beat, evoke a sense of playfulness that intrigues me the most about cinema (However, as far as narrative storytelling is concerned, I'm certainly not much of a fan of Jean Luc Godard. Funny that). For whatever the alloted time of the short was, the filmmakers were hypnotists; utilizing the cinematic form as a way to encouraging me to understand the world as one of infinite possibility. If that doesn't sound coherent, that means I must still be under their spell.
I have never done acid, but, if I did, I imagine that I would see the world similar to what the Junkies had created-- especially if I was in my 7th grade Geometry class or something. The gorgeous arrangement of the various geometric shapes caught my eye, especially the blue figures pulsating to the rhythm of the beat near the film's intro. The way the film actually told stories with the imagery intrigued me, as the idea may seem counterproductive to the film's intentions. These stories were told thematically, as seen in the sequence where a family is steadily revealed before they are seen together in their entirety. What does it all mean? If you know, you probably did drugs once.
In sum, I retract "poetic chaos" as the two words that describe the film. In their place: drugs and playful. They don't that ring to it, but it best encapsulates what I think the film was attempting to accomplish. That is, to cleverly shake up how we perceive film and, in turn, our reality.