Media Studio | Week 6

This week we were given time to go and shoot our artist for our Project Brief 3, and the artist we were elected was Arie Rain Glorie. We emailed him to meet us outside building 9 as conveniently he was working at RMIT that day. We struggled to find a location for us to film, as we had plan to use the Photography classroom but they were locked, and therefore, Arie suggested we could film in his office instead. The lighting was very low, and fluorescent which was hard to work with but we set up a Media 1 camera at a afar, and a Canon DSLR up-close and we begun to interview him.

Unfortunately we only realised halfway through one of the cameras had not been recording, so we only had up-close shots, therefore, we had to re-interview him again, it took a while but we received a lot of great audio from him, as Arie had a lot to say about the art world, especially about himself and what he wants to achieve amongst it.

Backpack projection night

Tonight was so fun, instead of going to classes this week, our entire class shared a night of drinks and food beside a fire, while exploring the backpack projections at Testing Grounds. Everyone contributed with food, and conversation and it was a really nice night to get to know more about my peers and tutors. The best part of the night was when we got to utilise the backpacks, Linda, Jordan and I were in a group and we plugged my iPhone into the projector and we roamed around the city projecting a music video along the water, walls, signs, it was very exciting. Here is some of the footage we captured below:

 

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Media Studio | Thurs Wk. 5

Today was our second lot of presentations for Project Brief 3 and today mine was displayed. I gave an introduction of how my video aimed to present the idea of a carpark being a “nonplace”, and I received great feedback. My classmates and Robbie were very supportive, giving my advice on things to fix as well as stating things that they liked about my work.

Second half of our class was dedicated to the arrangement of our BBQ backpack night at the Testing Grounds, everyone was getting amongst their groups, and we arranged food, times, equipment and allocated jobs to certain to students. This was to ensure the night ran smoothly and was to be enjoyable for all. We also were given our artist that we were to interview for our Project Brief 3, I am in a group with Elle and Nicolette and our artist is named Ari, I’m excited to start working on it.

 

Media Studio 2 | Wk. 5 Wed

Today in class we presented our Project Brief 2 in class this week, we didn’t get to go through mine but i got to see majority of the classes work. It was really interesting to see how other people interpreted the assignment and the work they produced. Majority of the videos consisted of old infrastructure that was in use anymore, demonstrating the place’s lost of purpose, questioning it’s purpose as a place at all. It was interesting for people to capture places that may have come across asa “non-place” nonetheless they were still active. For example, Dusty’s film was set in a empty warehouse that seemed to no longer have it’s original use, nonetheless, the second day she went there was a knife stabbed into a cushion which wasn’t there the day before. Showing that the public, still had use of a place for this, especially the homeless, who had found a new “home”.

One of my favourite’s was Rose’s, I love how she questioned the meaning of specific places, she contrasted the action of one place on the set of polar place. Usually bathrooms are thought about to be unhygienic and private, and Rose had a young woman eating all sorts of food around the entire public bathroom, she was eating noodles on the toilet seat, lollies on the floor, and I was really grossed out by it. However, it did get me thinking about how a place can have it’s own specific meaning and certain things apply to certain places, I have always been told to not take my food into the bathroom, and to always make sure I’m very clean before I go to a restaurant, especially before I eat, and contrasting the specifics between the two sites was very interesting to observe.

Project Brief 2 | From Here to There

In a city that is over-populated with shops, restaurants, offices, and schools for society to socialise, eat and live within, there are limited parks for these destinations. Car parks are essentially a “place” to leave your car to go to your real “place”, and therefore sparks the question is a car park considered a place or non-place? “If a place can be defined as relational, historical and concerned with identity, then a space which cannot be defined as relational, or historical, or concerned with identity will be a non-place” Marc Auge (1995). Although a car park may contain history with customers, it doesn’t form a significant historical reference or a sense of identity and thus lies the question is a car park considered a place?

The reason we chose to photograph and film this inner city car park was due to the lack of maintenance. Places usually attain some form of respect and require hygiene and preservation. The car park was painted in dust and dirt, the graffiti and tagging from strangers is the main source of colour, as well as there were broken pipes, wires, glass, windows, and rat position on the floor. There is no value for this space, this four wall concreted public space, with faded paint and broken windows are employed as a seven levelled garage.

I aimed to construct my film with a sense of repetition as well as an exploration of non-place. I utilised three different audio clips of cars driving, electricity sparking and a car locking and played them on a loop. The structure of my film was set by displaying a few photographs followed by a short piece of footage to match the photographs of different areas of the car park. This was done to mimic the cycle of the public’s abuse of the car park, collect ticket, drive in, park, drive out, dispense ticket.

Another focus on my film was to question the meaning of the text on most of the walls, as across all levels of the spacious parking lot were plastic signs. The Government’s signage possessed titles such as “no parking”, “no standing”, “exit”, “no exit”, “no entry” and “entry” all over the walls. From a non-place perspective, the car park is never considered a place that you would stay. It is a pathway to where your real destination is, the arrows lead you in, and lead you straight back out again.

Marc Auge states in his Non Places – Introduction to an Anthropology of Supermodernity (1995), “the distinction between places and non-places derives from the opposition between place and space.” I strongly agree with this statement as it explores the importance of place and the insignificance of space. My definition of a place is somewhere that attains value, that’s respected and is of liveable conditions, a space is empty, only utilised when it is necessary, no one would choose to go to the car park unless they were to utilise it for it’s purpose, to park your car, or take it home, no one just wants to “hang out” at their local parking lot.

References:

  1. Auge, M 1995 “Non-Places – Introduction to an Anthropology of Supermodernity”, Verso, London and New York.

Blog Post 2: Scheduling and flow during ‘The Bachelor’

The on-screen media industry have manipulated the timing of advertisements and television programs in accompany with flow to increase positive response form target audiences. They aim on working according to a daily schedule, having news programs being aired relating to work patterns, the morning hours are usually filled with talk shows, the evening is usually aimed at a family audience and as the night continues, television begins to develop an adult focus. The death of broadcast TV has been predicted since the mid-1990s (Van Den Bulck & Enli 2014) and as of the last century, television has been very particular about scheduling which programs to be broadcasted to attain higher attraction from its target viewers.

As a result, notions of channel identity, flow, and continuity were key factors in television production, television output, audience experiences, and television theory (Gripsrud 1998). For instance, ‘The Bachelor’ airs as majority of society have come home, and are eating dinner, this allows them to relax and enjoy themselves with light entertainment to end their day. When I sat down to watch the advertisements during this segment I had never realised the relevance of them until now. With prime time programming being placed between 8:00 and 11:00pm (Lotz 2010) broadcast television can plan, schedule and earn most the revenue from advertisements and programs being viewed during this time slot by analysing audience behaviour. Thus, the problem is to obtain the schedule of advertisements that best satisfies the advertisers’ requests and which increases the revenues and productivity associated with the TV network’s sales. (García-Villoria & Salhi 2015)

When I sat down and viewed ‘The Bachelor’ on a Thursday night, I took note of what advertisements were broadcasted and tried to relate it to the particular viewers they were aiming to target. Usually the family sits around the television at this time and therefore Optus had aimed their campaign around family orientation, with newest data plan being entitled as the “family plan”. Woolworths also based their advertisement to appeal to family values by implying that their food and products will “help us, help our kids”. However, young adults who live alone or with friends also watch these entertainment programs during this time and thus, adverts such as Maybelline and Volkswagen aimed at appealing to these viewers to keep up with modern society.

‘The Bachelor’ itself was scheduled on 7:30pm – 8:30pm, a prime spot for a high amount of viewers to be active. Programs given this time slot must undergo certain regulations to be able to be considered appropriate for the viewers at this time to avoid any controversy or discrepancy. With television having over sixty years of history, the medium has been defined by its schedule and particular patterns of use that developed in response (Lotz 2010). With prime time being so familiar to majority of viewers, broadcast television plays an important role in scheduling television programs and utilising flow with advertisements to maximise our enjoyment and experience with television.

 

References:

  1. Garcia-Villoria, A. & Salhi, S. 2015, ‘Scheduling Commerical Advertisements for Television’, International Journal of Production Research, vol. 53, no. 4, pp. 1198-1215
  1. Lotz, A 2010, ‘Beyond Prime Time Television Programming in the Post-Network Era’, 1st edn, Routledge, New York, New York
  1. Van den Bulck, H. & Enli, G.S. 2014, ‘Flow under Pressure: Television Scheduling and Continuity Techniques as Victims of Media Convergence?’ Television & New Media, vol. 15, no. 5, pp. 449-452, viewed 14 August 2015, < http://tvn.sagepub.com.ezproxy.lib.rmit.edu.au/content/15/5/449>

 

 

 

Blog post 1: On a course screening: ‘Britain’s Got Talent’

The entertainment industry will forever grow and develop according to the public’s taste and the popular culture at that time. Overall, it is the audience’s decision to decide who will stay famous and who will fade into nothing, as studies have shown that audience involvement is primarily identified in playful and uncommitted contexts of popular entertainment (Enli, 2007). However it is producers, record labels, and directors that decide to put who on the screen. It wasn’t until Simon Cowell’s SYCOtv Company conceived a program that the audience had a major decision on who would begin the journey into the entertainment industry and not just by singing.

The ‘Got Talent’ program series aired on television in 2006 and it is now renowned as one of the most popular talent shows, branching off with multiple spin offs in 58 countries such as, Thailand, America, and ours truly, Australia. The program began in Britain, where judges were seeking talent from all ages in areas of entertainment, such as dancing, singing and comedy etc. Popular culture creates an alliance with audiences as advocates for everyday people, against the abuse of power found among the elites (Enli 2009) and therefore the aim of the show is to provide viewers with ordinary people who attain extraordinary talent, with fame, such as Susan Boyle, the unemployed, matured aged woman who had no appearance for stardom but who could produce an “incredible performance” (Piers Morgan, 2009, Britain’s Got Talent judge).

By ‘Britain’s Got Talent’ utilising public voting, everyday contestants, and working mostly unscripted, this enhanced the reasoning behind the talent show being considered in the reality television genre. The reality TV within these talent programs consists of forming intimate connections between the audience and the real life contestants of the show. These talent shows are not only driven by the surprised talent sprung form ordinary and or misfortunate people but by their background story and what empowers them to try place themselves next to the elites of the entertainment industry. Therefore, by employing the contestants’ stories of individual empowerment through transformations of everyday people rising into stardom, the audience draw an emotive connection towards the show and it’s competitors. As, Mark Watson (2010) states “we are increasingly not interested in people unless we’ve seen every detail of their “story”: the dead-end job, the supportive relatives cajoling them into having a go, the triumphant first audition, the overnight success story”.

Nonetheless, the ‘Got Talent’ series alone have been running for over ten years now, and issues are arising. Talent shows never last long in the television industry once the viewers understand the concept of the program. The show averaged 9.95 million viewers in 2011, compared with the year before being 10.6 million (Rachel Barnes, 2011). With the many other competitive talent shows around the world such as ‘The X Factor’, ‘The Voice’, along side with all the spin offs of ‘Got Talent’, television are producing too many stars for society to keep up with. Therefore, stars do not tend to succeed as much, and there is a decrease in audience activity, for example Australian Idol ending in 2009. Nonetheless, television programs like these are essential in being produced as they allow viewers to watch an individual be provided the opportunity to change their lives. They provide a strong relationship between television entertainment and the public engagement.

 

References:

  1. Barnes, R 2011, ‘Britain’s Got Talent’, Brand Health Check, 11 May, p. 20, viewed 13 August 2015, <http://search.proquest.com.ezproxy.lib.rmit.edu.au/docview/869067214/fulltext/F8EE7B3176694076PQ/2?accountid=13552>
  1. Enli, G.S. 2009, ‘Mass Communication Tapping into Participatory Culture’, European Journal of Communication, vol. 24, no. 4, pp. 481-493.
  1. Watson, M 2010 ‘Britain’s Got Talent Show Overload’, Watson My Mind, 14 June, p. 61, viewed 13 August 2015, <http://search.proquest.com.ezproxy.lib.rmit.edu.au/docview/521949002?accountid=13552&OpenUrlRefId=info:xri/sid:primo>.

 

Media Studio 2 | Thurs Wk. 4

This class was a very relaxed class in which we could have time to edit some of Project Brief 2 assignment, I used this to catch up on blog posts and begin to make a plan about how I would structure my film. It was very difficult, I was struggling a lot to connect the pieces, I’m used to making some form of narrative with my work, however, this place did not have much meaning, and there was literally no story. All I had was footage of a place, and the goal was to employ these materials into a film that presented this car-park into a non-place. I did notice I had much more photographs than footage so I decided to make more of a montage of a place in a specific sequence, to highlight the continuous cycle of abuse people do with a carpark using the iMovie program on my Mac.

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Media Studio 2 | Wed Wk. 4

Today Siobhan and I skipped class to go film our “non-place”. We decided on a car park off Elizabeth St. in the city. I mainly took photographs of the place, trying to find abstract viewpoints, and capture the multitude of signage around the building. It was seven levels high, and it was relatively quiet, therefore you were able to hear the sounds of the carpark very easily, such as the electricity moving through the circuits, the inner city traffic, the lights flickering. The entire space had an eerie aesthetic, although many people come in and out of this place, no one stayed, society utilises this place as a stepping stone to their actual destination, their real “place”.

I’m not quite sure how I am going to put the footage together to be honest, I have quite a lot of photographs, and a few sound recordings and video footage but I don’t know how to structure the piece together in a sense that conveys the message I wish to portray.

Media Studio 2 | Thurs Wk. 3

This class we had an excursion to ‘Testing Grounds’, located behind the Arts Centre, this was a space provided for artists to display artwork and other art purposes. It was a sacred Aboriginal land originally before becoming the first Hoyts Cinema, to then becoming a car park before its time as a place for art culture. It’s interesting that the place is directly next to such high arts centres such as the Arts Centre and the NGV as this place is provided for emerging artists.  Joseph discussed the overall structure of the place, I love how the crates are formed in little clusters surrounded with plants and flowers, it’s almost as if the area was a mini city with rooftop gardens with the different levels of woods and crates. Another thing I admired was how this small space of dirt, grass and nature was contrasted against the sky scarpers, brick buildings and city landscape, at first I didn’t notice the place and now it seems so out of place. From afar, without knowledge, the place seemed meaningless, as if someone had given up on a project, a “non-place”, however that was the exact opposite, this is project made for the emerging art culture.

Here is a link to the site: http://www.testing-grounds.com.au/

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