I know I said that all you had to do was "click a link", but the more of these comedy youtube videos I drive traffic to the more I will be winning and the closer I will be to that sweet sweet comedy internship.
Click away friends:
http://www.youtube.com/watch?v=X5r6mt-wdGM
http://www.youtube.com/watch?v=LroClVHA1qw
http://www.youtube.com/watch?v=XThTc5HkQq4
http://www.youtube.com/watch?v=bEM9u3LyTSY
http://www.youtube.com/watch?v=qA5OfAMpXWU
http://www.youtube.com/watch?v=DGRz1vAnuTU
http://www.youtube.com/watch?v=YA8o9UVrSIk
http://www.youtube.com/watch?v=YetTt8lf708
BONUS POINTS: If you've made it this far, it's time to pass this blog post on to your own friends! You're the best. All of you.
Monday, July 4, 2011
Monday, May 9, 2011
6 bye 1
This class has been a one of a kind experience and hard to predict. I came in knowing we would complete some projects in goofy ways, but I didn't realize how much I would learn from each project and how much fun I would have.
That's the key to this class, the main criteria to judge a film doesn't have to be it's technical or narrative accomplishments. A film can be judged by its innovativeness and spirit. This class was sort of an antithesis to my 495 narrative class and it was enlightening to be experiencing both viewpoints at opposite ends of the week.
So without further a do, here is a list of every project that may or may not be in the order of which I enjoyed least to most.
G. Cameraless Filmmaking
I learned a lot from this assignment that I could definitely apply to films of all styles in the future. However, I'm not the kind of guy that likes to get messy and not knowing how the film would turn out before it was projected was frustrating.
*. 48-hour Video Race
It is an odd thing to say, but I wish I had had more time to devote to the video race. That weekend was jam packed with filming my 495 and other assignments so I was really only able to devote about 8 hours to the race. It would have been cool to really hit the grindstone and work on the race for a longer period of time. I was happy with the result as it stands though.
.59. Found Footage
This assignment was a whole lot of fun. The result wasn't quite what I had set out to do, but I couldn't find enough footage to make my more ambitious plan a reality. The project was a lesson in improvisation because I had to work with the footage that was available and went to great lengths to attain silly clips.
0101. Stop Motion
This assignment was the most loose planning-wise. We brought our media in and went straight to work without much talking. We never really knew what exactly was going to happen over the next few frames and the film turned out very dreamlike as a result. I was impressed with Sheena and Jon's
™. Rhythmic Edit
I was amazed at how well this turned out with the shaky footage I shot. When editing so quickly the individual shots stopped mattering so much and I was able to create something great out of what I considered to be sub par footage.
:). The Long Take
This was the best class I've ever had on a Saturday. I had so much fun with the group plotting and rehearsing our complex long take. Editing the film with Ian was fun. We didn't have to cut, only worry about the sounds. It was neat work.
TL;DR 6x1 was super fun, made new friends, learned new film techniques that are fun and applicable
That's the key to this class, the main criteria to judge a film doesn't have to be it's technical or narrative accomplishments. A film can be judged by its innovativeness and spirit. This class was sort of an antithesis to my 495 narrative class and it was enlightening to be experiencing both viewpoints at opposite ends of the week.
So without further a do, here is a list of every project that may or may not be in the order of which I enjoyed least to most.
G. Cameraless Filmmaking
I learned a lot from this assignment that I could definitely apply to films of all styles in the future. However, I'm not the kind of guy that likes to get messy and not knowing how the film would turn out before it was projected was frustrating.
*. 48-hour Video Race
It is an odd thing to say, but I wish I had had more time to devote to the video race. That weekend was jam packed with filming my 495 and other assignments so I was really only able to devote about 8 hours to the race. It would have been cool to really hit the grindstone and work on the race for a longer period of time. I was happy with the result as it stands though.
.59. Found Footage
This assignment was a whole lot of fun. The result wasn't quite what I had set out to do, but I couldn't find enough footage to make my more ambitious plan a reality. The project was a lesson in improvisation because I had to work with the footage that was available and went to great lengths to attain silly clips.
0101. Stop Motion
This assignment was the most loose planning-wise. We brought our media in and went straight to work without much talking. We never really knew what exactly was going to happen over the next few frames and the film turned out very dreamlike as a result. I was impressed with Sheena and Jon's
™. Rhythmic Edit
I was amazed at how well this turned out with the shaky footage I shot. When editing so quickly the individual shots stopped mattering so much and I was able to create something great out of what I considered to be sub par footage.
:). The Long Take
This was the best class I've ever had on a Saturday. I had so much fun with the group plotting and rehearsing our complex long take. Editing the film with Ian was fun. We didn't have to cut, only worry about the sounds. It was neat work.
TL;DR 6x1 was super fun, made new friends, learned new film techniques that are fun and applicable
Monday, May 2, 2011
Just Say Yes
As a fan of improvisational comedy and general havoc-causing antics, I was surprised that I had not heard of The Yes Men before this class. The film was more thought-provoking than well produced. I felt like key moments were missing from the film and some of the uninteresting segments were drawn out too long. These holes in the film had the effect of making me more curious about the group.
I was left wondering how these men make a living when they put so much effort into their absurd work. Most of all, I was left with a profound respect for these guys who devote their lives to something that they couldn't explain to anyone easily. I imagine them telling their mom's that they were going to a conference in Australia, not as a real presenter, but an imposter seeking to illuminate the hypocrisies of the WTO.
They might have a hard time convincing others that their work is essential, but it really is important. The world needs people that don't play by the rules and use this rule breaking to spread a message.
I'm reminded of the internet use of the word "trolling", urban dictionary, if you would:
"Trolling is trying to get a rise out of someone. Forcing them to respond to you, either through wise-crackery, posting incorrect information, asking blatantly stupid questions, or other foolishness. However, trolling statements are never true or are ever meant to be construed as such. Nearly all trolled statements are meant to be funny to some people, so it does have some social/entertainment value."
The Yes Men are the real-life equivalent of a troll. Their actions aren't meant to be taken as the truth by everyone, in the documentary they expressed the desire to get a rise out of their audience, and their disappointment when they did not.
For our found footage assignment I wanted to use clips that would cause an emotional backlash. In the same way as The Yes Men, who use a context that should be mundane, a business conference, I used a soothing announcer until the film's firry conclusion. The clips at the end contradict what the view is expecting, the soundtrack speeds up, but the clips slow down. I took from The Yes Men their knack for making the usual unusual. I was inspired by this to create something that could not exist without contradictions.
I was left wondering how these men make a living when they put so much effort into their absurd work. Most of all, I was left with a profound respect for these guys who devote their lives to something that they couldn't explain to anyone easily. I imagine them telling their mom's that they were going to a conference in Australia, not as a real presenter, but an imposter seeking to illuminate the hypocrisies of the WTO.
They might have a hard time convincing others that their work is essential, but it really is important. The world needs people that don't play by the rules and use this rule breaking to spread a message.
I'm reminded of the internet use of the word "trolling", urban dictionary, if you would:
"Trolling is trying to get a rise out of someone. Forcing them to respond to you, either through wise-crackery, posting incorrect information, asking blatantly stupid questions, or other foolishness. However, trolling statements are never true or are ever meant to be construed as such. Nearly all trolled statements are meant to be funny to some people, so it does have some social/entertainment value."
The Yes Men are the real-life equivalent of a troll. Their actions aren't meant to be taken as the truth by everyone, in the documentary they expressed the desire to get a rise out of their audience, and their disappointment when they did not.
For our found footage assignment I wanted to use clips that would cause an emotional backlash. In the same way as The Yes Men, who use a context that should be mundane, a business conference, I used a soothing announcer until the film's firry conclusion. The clips at the end contradict what the view is expecting, the soundtrack speeds up, but the clips slow down. I took from The Yes Men their knack for making the usual unusual. I was inspired by this to create something that could not exist without contradictions.
Sunday, April 24, 2011
2fort2furious
Is there anything more communal than a fort? NO. There isn't. Forts have protected mankind for centuries so there's that. Making a fort is something that kids do with blankets nowadays. Some of my fondest childhood memories involve stacking chairs and blankets on rainy days just to chill.
Making a fort in class brought back these memories and I could tell it did the same for many others. There was a communal nostalgia that spread. Making the fort was a bit less chill than in the old days, some taking charge, time limit, some guy with a clipboard observing(?)etc., but the end result was fantastic.
A fort to end all forts that everyone in the class could fit under. Watching our films on a sheet gave the whole thing a hipper feel and the laughs were even more contagious in such a small area.
Being a rough theater, I expected adding food would make the whole affair a bit messier, but everyone remained civil. Food always seems to be tastier when eaten in a class setting and this was no exception. Little Ceasars was actually very delectable. The real winner on the food front was the buffalo chicken dip I was sitting in front of the projector so I had to do this awkward sit/lay thing and I was afraid I would end up in the lap of one of the folks sitting behind me.
We made a 3D short ourselves, Mr. Cameron eat your heart out. It was easier than I expected.
I think it'd be cool to make an old-school 3D horror movie and really turn up the camp. It'd be a great gimmick at festivals, passing out glasses and all. It's cool that a normal projector can still produce such a profound three-dimensional effect.
The 48 hour films were great. I loved seeing everyone tackle the same thing "my secret" from different angles. There were some really impressive moments and many of the films I would not have guessed would have been made in such a short timespan with such technique limitations.
The output of the class gets more and more creative as we go along. I think this is because everyone is getting used to the format of a one minute film, and everyone is bouncing ideas off one another as we press to see just how far we can go.
Making a fort in class brought back these memories and I could tell it did the same for many others. There was a communal nostalgia that spread. Making the fort was a bit less chill than in the old days, some taking charge, time limit, some guy with a clipboard observing(?)etc., but the end result was fantastic.
A fort to end all forts that everyone in the class could fit under. Watching our films on a sheet gave the whole thing a hipper feel and the laughs were even more contagious in such a small area.
Being a rough theater, I expected adding food would make the whole affair a bit messier, but everyone remained civil. Food always seems to be tastier when eaten in a class setting and this was no exception. Little Ceasars was actually very delectable. The real winner on the food front was the buffalo chicken dip I was sitting in front of the projector so I had to do this awkward sit/lay thing and I was afraid I would end up in the lap of one of the folks sitting behind me.
We made a 3D short ourselves, Mr. Cameron eat your heart out. It was easier than I expected.
I think it'd be cool to make an old-school 3D horror movie and really turn up the camp. It'd be a great gimmick at festivals, passing out glasses and all. It's cool that a normal projector can still produce such a profound three-dimensional effect.
The 48 hour films were great. I loved seeing everyone tackle the same thing "my secret" from different angles. There were some really impressive moments and many of the films I would not have guessed would have been made in such a short timespan with such technique limitations.
The output of the class gets more and more creative as we go along. I think this is because everyone is getting used to the format of a one minute film, and everyone is bouncing ideas off one another as we press to see just how far we can go.
Monday, April 18, 2011
A Rough 48ish Hours
My 48 hour video race was rough. The race coincided with my final 495 shoot dates so I knew I would not have much time. As a result, I thought a long time about the concept when I was not working on the race and I think it shows.
The movie came to me in two parts. The first of which was a fairly logical leap in thinking and not too shocking. I heard the theme "my secret" and the initial image that came to my mind was dirty laundry. I couldn't use a camera so I went with my trusty cellphone.
I piled up my actual dirty laundry and shot a stop motion animation of a sort of laundry centipede escaping my house. I also added to the secrecy by making a cryptic series of numbers out of my clothes. (The numbers are part of my student id)
The result was interesting if a bit shaky and typical. A day later, I went to the digital arts lab with my pictures and got to work. The animation totaled about 20 seconds when I put it at the desirable speed. This class ain't called 6x20seconds- what was I to do?
I pondered the assignment and remembered that the ideal of using no camera would call attention to the fact. BOOM.
What if I made a transparent film? One that reveals how it was made while you watch it?
I took pictures of my cell phone with a Mac. I took pictures of the Mac with my cellphone. I even through in a few tricks that make the whole thing a sort of puzzle. The one minute film has a twist.
The film was rough because not using a camera is like painting with dirt. The quality of anything else pales in comparison to the footage of a camera. In this roughness lies intrigue. I think the theme of "My secret" was perfect for what we discussed in class. The roughness of the medium added a sense of voyeurism and "I'm not supposed to be seeing this" mojo.
I cannot wait to see what other folks in class have come up with in such a short time. (Not just because I am intrigued as to what everyone's secret is) It might get super personal and that sort of rawness is key in "the rough theatre".
Side note- there is no theater rougher than stand up comedy- lonely, simple - just a human, a mic, and a crowd. I think this is why in stand up, the truly open comedians are the transcendental ones.
The movie came to me in two parts. The first of which was a fairly logical leap in thinking and not too shocking. I heard the theme "my secret" and the initial image that came to my mind was dirty laundry. I couldn't use a camera so I went with my trusty cellphone.
I piled up my actual dirty laundry and shot a stop motion animation of a sort of laundry centipede escaping my house. I also added to the secrecy by making a cryptic series of numbers out of my clothes. (The numbers are part of my student id)
The result was interesting if a bit shaky and typical. A day later, I went to the digital arts lab with my pictures and got to work. The animation totaled about 20 seconds when I put it at the desirable speed. This class ain't called 6x20seconds- what was I to do?
I pondered the assignment and remembered that the ideal of using no camera would call attention to the fact. BOOM.
What if I made a transparent film? One that reveals how it was made while you watch it?
I took pictures of my cell phone with a Mac. I took pictures of the Mac with my cellphone. I even through in a few tricks that make the whole thing a sort of puzzle. The one minute film has a twist.
The film was rough because not using a camera is like painting with dirt. The quality of anything else pales in comparison to the footage of a camera. In this roughness lies intrigue. I think the theme of "My secret" was perfect for what we discussed in class. The roughness of the medium added a sense of voyeurism and "I'm not supposed to be seeing this" mojo.
I cannot wait to see what other folks in class have come up with in such a short time. (Not just because I am intrigued as to what everyone's secret is) It might get super personal and that sort of rawness is key in "the rough theatre".
Side note- there is no theater rougher than stand up comedy- lonely, simple - just a human, a mic, and a crowd. I think this is why in stand up, the truly open comedians are the transcendental ones.
Wednesday, April 13, 2011
Monday, April 11, 2011
BEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
Ian and I planned to listen to the entire 24 hours of a stretched out symphony. Unfortunately I haven’t been around at my house enough for that so I only listened to the required hour. Andre suggested the entry level movement, the third, was a chill place to start in the Beethoven’s ninth beet stretch. I started there but quickly moved on.
The parts I listened to seemed to always be on the rise, a seemingly never ending crescendo. The music could almost be considered triumphant were this same thing not continuously happening. The triumph became monotonous.
Once I zoned out though and closed my eyes for a bit the music started to make more sense. It seemed headed to a point, but one that I could never understand. It was music for hyper-intelligent alien sloth beings.
This puzzle did not dissipate. Instead of boring the swells became intriguing. Was there meaning here? Gone were the musical tropes of a Beethoven suite and earthly sounding instruments, but there was something new there.
The instruments became even more organic at such a slow speed. The sound of trumpets became the cries of whales.
An interesting thing to consider in all this is what a musician performing beethoven's 9th might feel were he to hear this. His hard years of practice abstracted into an art piece. Each carefully constructed progression blown up into a movement. Would a musician able to perform this piece be able to more easily distinguish each part?
I had a tough time comparing the beet stretch to the actual piece. Even side by side I couldn't put my finger on quite which part was being played. The length of the notes definitely gave the piece a life of its own.
Beethoven is turning in his grave all right. Very slowly.
The parts I listened to seemed to always be on the rise, a seemingly never ending crescendo. The music could almost be considered triumphant were this same thing not continuously happening. The triumph became monotonous.
Once I zoned out though and closed my eyes for a bit the music started to make more sense. It seemed headed to a point, but one that I could never understand. It was music for hyper-intelligent alien sloth beings.
This puzzle did not dissipate. Instead of boring the swells became intriguing. Was there meaning here? Gone were the musical tropes of a Beethoven suite and earthly sounding instruments, but there was something new there.
The instruments became even more organic at such a slow speed. The sound of trumpets became the cries of whales.
An interesting thing to consider in all this is what a musician performing beethoven's 9th might feel were he to hear this. His hard years of practice abstracted into an art piece. Each carefully constructed progression blown up into a movement. Would a musician able to perform this piece be able to more easily distinguish each part?
I had a tough time comparing the beet stretch to the actual piece. Even side by side I couldn't put my finger on quite which part was being played. The length of the notes definitely gave the piece a life of its own.
Beethoven is turning in his grave all right. Very slowly.
Monday, April 4, 2011
The Ecstasy of The Ecstasy of Influence and The Molotov Man
If I were cheeky enough I would right this response entirely from quotes from the two articles. Though I am cheeky I am also under a time constraint and that would take a lot of effort. It would take a lot of effort because as The Ectasy of Influence implies (great segway) true appropriation comes from a filtering of material through one’s life and vision. I am now appropriating from EVERYTHING I’ve ever read/seen/heard/experienced automatically.
The Ecstasy article spelled out clearly something I’ve been struggling with for a while. What are the limits of influence? Is it okay to be inspired by someone else? Of course it is, but to what extent? I didn’t know that Lolita was based in some part, perhaps accidentally, perhaps not, on a book of the same name. The article tackles the issue of plagiarism and emphasises that what we love about cultural blessings are not the things they steal, but the way they contextualize influences in new ways.
The author seemed to answer my questions as they arrived in my head. The article explained the political implications of copyright. Much respect for Tdawg Jefferson, but it would have liked a bit more breadth in the citing of founding fathers. I predicted the article would end with a blessing to steal/pirate/appropriate the author’s work, but the author stood by only allowing appropriation and recontextualization. Jefferson was again cited.
The Molotov Man article presented copyright in a way that I had never seen before- from both sides! Basically Joy recontextualized a painting of a man not wanting to know its back story and the original artist sued. The original artist, Susan, felt that context is key to understanding humanity and argued for the perpetuation of Molotov Man’s story (his real name is Pablo Arauz- look it up- so there Susan).
The article demonstrated the hive mind mentality of the internet. Users placed the Molotov Man everywhere when they heard of the lawsuit. Some mistaken participants thought the campaign was against Pepsi and acted accordingly. This misinformation is an example of the recontextualization of a recontextualization. Susan told her story and it was not the first time her image was appropriated- proving that this is not a new issue or idea. Artistic heist is required.
The Ecstasy article spelled out clearly something I’ve been struggling with for a while. What are the limits of influence? Is it okay to be inspired by someone else? Of course it is, but to what extent? I didn’t know that Lolita was based in some part, perhaps accidentally, perhaps not, on a book of the same name. The article tackles the issue of plagiarism and emphasises that what we love about cultural blessings are not the things they steal, but the way they contextualize influences in new ways.
The author seemed to answer my questions as they arrived in my head. The article explained the political implications of copyright. Much respect for Tdawg Jefferson, but it would have liked a bit more breadth in the citing of founding fathers. I predicted the article would end with a blessing to steal/pirate/appropriate the author’s work, but the author stood by only allowing appropriation and recontextualization. Jefferson was again cited.
The Molotov Man article presented copyright in a way that I had never seen before- from both sides! Basically Joy recontextualized a painting of a man not wanting to know its back story and the original artist sued. The original artist, Susan, felt that context is key to understanding humanity and argued for the perpetuation of Molotov Man’s story (his real name is Pablo Arauz- look it up- so there Susan).
The article demonstrated the hive mind mentality of the internet. Users placed the Molotov Man everywhere when they heard of the lawsuit. Some mistaken participants thought the campaign was against Pepsi and acted accordingly. This misinformation is an example of the recontextualization of a recontextualization. Susan told her story and it was not the first time her image was appropriated- proving that this is not a new issue or idea. Artistic heist is required.
Monday, March 28, 2011
The Saturday I Had Class
Our shoot began with a vague idea, two cars full of props, and the oldest of old school film cameras. We knew we wanted to film our protagonist walking while being assaulted by various objects and characters, so we grabbed all the hats, masks, clothes, and props we could find.
I brought confetti and I even went out of my way to buy water balloons. Little did I know the "waterbombs", as they were branded, would be used against their proprietor. That's right; I was a planner in my own demise. The "assault" was to be on me.
We spent a long time setting up the complicated shoot. After a few minutes of talking we noticed that we could divide the props into segments.
Reading on the steps to begin the walk. Throw the book. Jacket gets ripped off, rain jacket handed over. WATER BOMBS. Park scene. Skateboarder passes by. TENNIS BALLS. FRISBEE. Wedding scene. RICE. Alien steals the "husband". Confetti/Streamers. Sign. Applause. The minute is over.
Segments in which I was painfully pelted capitalized for emphasis.
We ran through the shot about 5 times so that we could get the timing perfect and everyone knew where they needed to run and what they needed to put on/throw. Thankfully the run-throughs didn’t require that I get hit with anything but the tennis balls.
Then the water balloons were filled up. I helped.
We did one more run through before time was up. We had to shoot then or never.
Everything went well. Luckily my part was simply to walk because the force and the cold behind the balloons left me dazed for the rest of the minute.
We cleaned up our mess and darted inside to develop the film. Running around to dry the film was ridiculous and went well with the events of the day.
The other group needed help so Ian got in his costume and I kicked a soccer ball around. They didn’t need anyone kicking a soccer ball around, nor did they film it, but it was a nice day and a nice ball.
I brought confetti and I even went out of my way to buy water balloons. Little did I know the "waterbombs", as they were branded, would be used against their proprietor. That's right; I was a planner in my own demise. The "assault" was to be on me.
We spent a long time setting up the complicated shoot. After a few minutes of talking we noticed that we could divide the props into segments.
Reading on the steps to begin the walk. Throw the book. Jacket gets ripped off, rain jacket handed over. WATER BOMBS. Park scene. Skateboarder passes by. TENNIS BALLS. FRISBEE. Wedding scene. RICE. Alien steals the "husband". Confetti/Streamers. Sign. Applause. The minute is over.
Segments in which I was painfully pelted capitalized for emphasis.
We ran through the shot about 5 times so that we could get the timing perfect and everyone knew where they needed to run and what they needed to put on/throw. Thankfully the run-throughs didn’t require that I get hit with anything but the tennis balls.
Then the water balloons were filled up. I helped.
We did one more run through before time was up. We had to shoot then or never.
Everything went well. Luckily my part was simply to walk because the force and the cold behind the balloons left me dazed for the rest of the minute.
We cleaned up our mess and darted inside to develop the film. Running around to dry the film was ridiculous and went well with the events of the day.
The other group needed help so Ian got in his costume and I kicked a soccer ball around. They didn’t need anyone kicking a soccer ball around, nor did they film it, but it was a nice day and a nice ball.
Monday, March 21, 2011
Video Race
I am pumped for the video race. I can’t wait to film things and video things on a film or
video camera with a big group of people over a long period of time, and know exactly which
prop will be the focus of the film long in advance.
Wait, what?
Okay, I could see working on a film solo, I’ve done that before and being lonely lends a
certain meditative vibe to the work. I can feel ya’ on the whole “do it in 48-hours thing”.
Time is money, and of the essence, and on my side and so on.
I also understand everyone having to incorporate the same prop. The honor system might
work for checking out groceries but someone would definitely start early if we didn’t have
a bottle of duck sauce/stuffed wombat/high-five machine to keep us all in line. Plus, it
will be fun to see what the other filmmakers do with the same prop.
But what exactly is this gobbledygook about “creating films/videos without a film or video camera”? Doesn’t that defy what film and video is? How can you make something without the thing that makes that something? I can’t make a pizza without an oven! Okay, I did it once- in middle school with the power of the SUN.
Perhaps I could make my movie out of the sun! The sun would be too bright for a film, let alone the contingencies of harvesting a star, and I will not sacrifice my eyesight in order to realize my vision and an “A”.
So I guess I’ll go the old fashion route- scanners, cell phones, webcams, one of these things, throw in some stop-motion and flash animation for good measure. I think the more media I can use the more interesting the film will be. Finding out the prop will probably inspire me as to the narrative or lack thereof and which medium will work best for which section.
video camera with a big group of people over a long period of time, and know exactly which
prop will be the focus of the film long in advance.
Wait, what?
Okay, I could see working on a film solo, I’ve done that before and being lonely lends a
certain meditative vibe to the work. I can feel ya’ on the whole “do it in 48-hours thing”.
Time is money, and of the essence, and on my side and so on.
I also understand everyone having to incorporate the same prop. The honor system might
work for checking out groceries but someone would definitely start early if we didn’t have
a bottle of duck sauce/stuffed wombat/high-five machine to keep us all in line. Plus, it
will be fun to see what the other filmmakers do with the same prop.
But what exactly is this gobbledygook about “creating films/videos without a film or video camera”? Doesn’t that defy what film and video is? How can you make something without the thing that makes that something? I can’t make a pizza without an oven! Okay, I did it once- in middle school with the power of the SUN.
Perhaps I could make my movie out of the sun! The sun would be too bright for a film, let alone the contingencies of harvesting a star, and I will not sacrifice my eyesight in order to realize my vision and an “A”.
So I guess I’ll go the old fashion route- scanners, cell phones, webcams, one of these things, throw in some stop-motion and flash animation for good measure. I think the more media I can use the more interesting the film will be. Finding out the prop will probably inspire me as to the narrative or lack thereof and which medium will work best for which section.
Sunday, March 6, 2011
Zen and the Art of Cameraless Filmmaking
The four elements in cameraless filmmaking form. I had no idea what that would look like or how Ian and I were supposed to accomplish it. After watching the examples presented in class I got a clearer picture. Neubauer’s film was strange but more concrete that the films of Brakhage. I had viewed some of Brakhage’s films before but never within the context of aiming to create something similar.
The films of Stan Brakhage always challenged me- before it was content-wise, Brakhage’s soundless works were hailed as masterpieces by film intellectuals, including my professors, from a higher plane. It was as if it were an assignment or a test to see if I were smart enough to “get it”. In 6x1 they were presented in an even more difficult way, we were to create something in the same vein. (side note, Mr. Brakhage is presenting me a final challenge in the odd spelling of his rare last name)
After tirelessly messing with (scratching, bleaching, marking, photographing, rephotographing, taping) our film I was excited to see the thing projected. In this digital age I’m used to making a change and then obsessively checking it in context with the rest of the film instantly. (See also: Rhythmic Editing Exercise) Direct film manipulation is a last bastion of patience in the film world. Depending on their level of procrastination, students in 6x1 waited days or weeks to see the result of all their multi-media crafting. There was an air of excitement on projection day.
After some difficulties with the projector (that served to raise the tension more) our partners’ film strip was played. I can’t picture the specifics in my mind, but their bleaching was very nice and I was humbled by the work. Our film was next. Ian loaded the film and the excitement of the projector’s hum mirrored mine. I was assaulted by colors and spent most of the time trying to recognize which bits were which and then it was over. It was so fast. All those hours spent crafting gone by in one minute.
In many ways the exercise seemed Zen. You build something up only to have it destroyed. There will never again be a first time viewing of that filmstrip. We recorded it digitally, but that’s just not the same. The hum of the projector, the bits that flaked off can’t be recreated digitally or even if we run the film again. Much like a stone garden, the process, not the product, is the point.
Monday, February 28, 2011
Sound Walking and 4'33"
Reading about sound walking reminded me of John Cage's 4'33".
http://www.youtube.com/watch?v=gN2zcLBr_VM&feature=related
Did you hear that? Silence is never truly silent and both John Cage's piece and sound walking intend to raise awareness of this fact.
The hum of the A/C, the typing of fellow editing lab patrons, my own breath. All these sounds are present around me and have been for a while, but it was only after focusing in on them that I even realized they were there.
http://www.youtube.com/watch?v=gN2zcLBr_VM&feature=related
Did you hear that? Silence is never truly silent and both John Cage's piece and sound walking intend to raise awareness of this fact.
The hum of the A/C, the typing of fellow editing lab patrons, my own breath. All these sounds are present around me and have been for a while, but it was only after focusing in on them that I even realized they were there.
Monday, February 21, 2011
The Wells article is a picture of the arts through the lens of animation. Wells concisely draws the line between who he sees as “us” and “them”. Wells calls traditional animation “orthodox” as if it’s a religion. From the tone of the piece I feel that he’s an animation atheist and believes that orthodox animation squanders unorthodox pursuits.
It’s interesting to see the ways to subvert conventional animation that Wells lays out. The article is an anarchist cookbook for those that want to experiment. If abstraction, Specific non-continuity, interpretive form, evolution of materiality, multiple styles, presence of artist, and dynamics of musicality were followed, as the article suggests, the product would be the kind of highly personal experimental films that I enjoy.
These techniques can be applied to all art forms when the media is taken into account. The ingredients sound like the trappings of modern art.
I found the article easy to understand and made it clear what many feel an experimental film should be, but I fear having these guidelines might counter intuitively make experimental animation more formulaic.
It’s interesting to see the ways to subvert conventional animation that Wells lays out. The article is an anarchist cookbook for those that want to experiment. If abstraction, Specific non-continuity, interpretive form, evolution of materiality, multiple styles, presence of artist, and dynamics of musicality were followed, as the article suggests, the product would be the kind of highly personal experimental films that I enjoy.
These techniques can be applied to all art forms when the media is taken into account. The ingredients sound like the trappings of modern art.
I found the article easy to understand and made it clear what many feel an experimental film should be, but I fear having these guidelines might counter intuitively make experimental animation more formulaic.
Wednesday, February 16, 2011
Cameraless Filmmaking
Cameraless filmmaking is selfish filmmaking. Cameraless filmmakers get to experience the excitement of a film in nearly the same way an audience would. Normally, filmmakers spend hours digitally editing so that they actually become desensitized by the material.
When a cameraless film is first projected, the filmmaker can view it as if for the first time, as if her or she were an audience member. The film can even chip or bump and change with each viewing.
Thursday, February 10, 2011
Cut Copy
"Cut Copy's music successfully achieves synesthesia on its own throughout the Aussie quartet’s third full-length."
via
The AV Club
Here's a track from the album. The whole LP is like a dance party.
via
The AV Club
Here's a track from the album. The whole LP is like a dance party.
Tuesday, February 8, 2011
Monday, February 7, 2011
The Synesthete
I fooled myself into thinking I had synesthesia. I had read about Carol Sheen and her painting Vision, which is based on what she saw when she closed her eyes during acupuncture. I was mulling this over in the library, ready to type this blog post. I closed my eyes and leaned my head back. The girl next to me was clicking her mouse over and over. She was probably on Facebook. The “click click clicks” were sporadic but constant. In the center of my vision every single time flashed a pale blue circle.
My heart started to race. Was I special? I mean, beyond the “everyone is a special snowflake” special. Really, supernaturally, impress-my-friends special.
I have always seen colors when I close my eyes- tracers from what I was looking at before closing my eyes, orange from the warm rays of the sun. At night I see colors floating around the room before going to sleep that I’ve learned to ignore. I have a condition called myodesopsia, or floaters. During the day when I stare at the sky or whiteboards I see semi-opaque blobs in my vision. Wiki that.
I rarely talk about any of these eccentricities because no one has ever been impressed. The problems were either too common or too benign for the various audiences I’ve opened up to.
Synesthesia would have combined all these issues into a narrative that I would talk about daily. “Hey, how ‘bout this party? I know we just met… but when I close my eyes and hear a sound it becomes a splash of color. Try it- say something and I’ll tell you what it looks like.”
That’s a freaking superpower. The Synesthete to the rescue! Colorsound Man! Watch as he picks out whodunnit based on the color of voice. Watch as he finds a kid in a well from the shouts. I’d be a less disabled Daredevil.
Alas, I am not a synesthete. I tried it later and the colors behind my eyes did not at all correspond to any sound. So, unless I have a very specific mouse click-based synesthesia I am no superhero. Besides I have tinnitus in one ear, so the application of my synesthetic powers would be limited anyway. Wiki that.
My heart started to race. Was I special? I mean, beyond the “everyone is a special snowflake” special. Really, supernaturally, impress-my-friends special.
I have always seen colors when I close my eyes- tracers from what I was looking at before closing my eyes, orange from the warm rays of the sun. At night I see colors floating around the room before going to sleep that I’ve learned to ignore. I have a condition called myodesopsia, or floaters. During the day when I stare at the sky or whiteboards I see semi-opaque blobs in my vision. Wiki that.
I rarely talk about any of these eccentricities because no one has ever been impressed. The problems were either too common or too benign for the various audiences I’ve opened up to.
Synesthesia would have combined all these issues into a narrative that I would talk about daily. “Hey, how ‘bout this party? I know we just met… but when I close my eyes and hear a sound it becomes a splash of color. Try it- say something and I’ll tell you what it looks like.”
That’s a freaking superpower. The Synesthete to the rescue! Colorsound Man! Watch as he picks out whodunnit based on the color of voice. Watch as he finds a kid in a well from the shouts. I’d be a less disabled Daredevil.
Alas, I am not a synesthete. I tried it later and the colors behind my eyes did not at all correspond to any sound. So, unless I have a very specific mouse click-based synesthesia I am no superhero. Besides I have tinnitus in one ear, so the application of my synesthetic powers would be limited anyway. Wiki that.
Monday, January 31, 2011
Andre’s shuffling around the room did not seem out of place with the soundtrack. The rhythmic sampling sounded to me like a song by The Books. The group uses human sounds in abstract ways and the mumbles and incoherency of the film’s soundtrack was reminiscent of that. The real world sounds contrasted with the abstraction of the film. This contrast forced me to look for relationships between visuals in the film from the real world, but there were none to see. The visuals to me appeared closer to the nature of the sounds themselves. It might not be a coincidence that our reading this week involves synesthesia, hmm….
I was tired, so that might be why the film reminded me of what I see when entering the hypnagogic stage of sleep- the weird colors and shapes I see right before becoming completely unconscious every night. The shapes were well drawn and I was surprised that I could be entertained by it all for 7 minutes- they went by quickly. I think this is because the film subtly induced a hypnotic state. The hypnotic nature of the film reminded me of an especially high quality music visualizer on a computer. The title sequence was cool- it looked like radioactive rain and appeared alien.
The film had high production values for an experimental film- the visuals were crisp and well drawn. From the credits I saw that the director created both the music and the film. It is hard to tell which came first so the music and film were probably conceptualized simultaneously.
I enjoyed this film and although Brackage would not agree, I think the music and film together gave way to a better sort of synthesis between both that would not have existed separately.
I took 6x1 because I heard good things about the class. I was recommended the class from multiple past students and graduates from the program (i.e. Rob Leon and Oliver Mellan). I hadn’t had either of the Silva’s yet and I had an opportune spot in my schedule so I filled it. I haven’t taken any experimental focused classes either.
I hope that this class will give me a wider perspective on film. Each film professor I have taken has had a unique perspective on film that has helped shape my own. I also enjoy writing blog posts that are exactly four-hundred words long. exactly four-hundred.
Subscribe to:
Posts (Atom)