You will write a personal reflection of 800–1000 words which creatively responds to the prompts below. This reflection will be posted on your individual Mediafactory blog.

1. consider in what ways you hope your final work engages its audience and communicates a key concern of the studio? Draw upon your experiences from attending the studio exhibition.

I hope that our work of sweet Lilies on the waterfront is seen as something experimental and outside of the box. Our final product is less about the narrative that is hidden in soliloquy and more about the emotional response it provokes. The piece does not adhere to any type of traditional film storytelling due to the constraints and freestyle flow style of the piece itself, using multiple layers of B-roll to carry the story along with an audio that consists of a poem that hits at the overarching plotline. The studio exhibition all fell under different genres as well as styles, and how they worked with/around their constraints.

2. Outline the singular most successful and singular most problematic aspect of your process/finished work

The most successful aspect was probably the way the constraints worked with our overall piece. Most of our film was b-roll shifting through the film, which meant that, for our constraint, cut when someone blinks, we could continuously cut to a shot of b-roll and emphasise its role as a memory, which our film is about, without it looking out of place.

The most problematic period was during our production phase, when I felt we were underprepared for what to film and what was needed practically.  The free-flow production style didn’t work for my specific work style, often needing more communication and structure for filming schedules. I think, based on what Rabinger states in Developing a Crew was that there was more communication needed to establish the style that we’re going for, which may have been lacking on both part of the listeners’ and the discussions (Rabinger, 2003).

3. imagine you are going to keep working on that media piece, what would be the core things you would want to improve and extend and why?

I would like yes to give more shops that give background depths to the characters as well as the story being told, needing more dialogue and an in-depth look into the character itself. Shelton includes a trinket set design that gives more insight into the character’s personality and background. I feel this would help the audience connect to the character more emotionally, as well as giving context to the missing memories would help the audience form a cohesive narrative, as well as be invested in the character’s emotions and storytelling, and build the world of the film. I feel like we didn’t have time to add these elements of our film which were included in some feedback of earlier screenings which is why I would want to improve and extend this part of the story however with the time frame and conflicts we were unable to dive more into that aspect of the character on the story.

4. outline one key thing you’ve learnt from your studio experience that you will take into your future thinking and practice

These constraints we had given can also lead to more unique pieces and create elements for a film that were not originally there. Working with constraints can help cultivate creativity and build a style that is unique to the piece. Understanding what your constraints are is the foundation of bringing your work to life practically and pragmatically. I work best with a clear work structure, and preparation is the best for me for production schedules. In terms of production, I felt like I work best with structure, but I also learned the navigation between a director’s vision and the editors vision and how to compromise on those and produce a piece of work that you are both proud of as well as staying true to both the editors and the directors creative vision. My role as editor meant that I had to listen and also respect my director’s vision, develop a relationship with the piece and the director’s vision, at symbiotically work and compromise together (Bendon, 2022).

5. what’s one key takeaway about working collaboratively?

Compromising and working together to breakdown the creative vision which the best foundation is communication I learned how to navigate my own vision with my director’s vision and the multiple versions of editing and different styles in order to compromise between those two which meant vetoing certain aspects of an edit that I was happy about that the director did not agree with as the director did the same for me building a relationship with the piece and how it looks must be symbiotic with the directors vision in order to do it justice. It is also helping practice genre editing as suggested by Rosenberg in The Healthy Edit, which took studying the inspiration pieces and how they work to create the genre, which was drama and road trip, and how that plays without constraints (Rosenberg, 2017).

6. include at least 3 x references to readings from the course/individual research to support your reflection

1- Rosenberg, John – The Healthy Edit / Chapter 8: Genre Editing Styles I (2017)

2- Rabinger, Michael – Developing A Crew

Bendon, H & Lukic, V 2022, ‘Embedding impact in collaborative filmmaking processes: a case study’, Media Practice and Education, vol. 23, Informa UK Limited, no. 2, pp. 188–194, viewed 8 June 2025, <https://www.tandfonline.com/doi/citedby/10.1080/25741136.2022.2056792?scroll=top&needAccess=true>.

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Vimeo Link Short film

https://vimeo.com/1088653758?share=copy

SharePoint production Folder

https://rmiteduau.sharepoint.com/sites/SBMediaStudios/Media%20Studios/Forms/All%20media.aspx?id=%2Fsites%2FSBMediaStudios%2FMedia%20Studios%2FConstraints%20As%20Creative%20Fuel%20%28Sem%201%202025%29%2FA4%20Production%20Documentation%20Folders%2FGROUP%201%20%2D%20Sweet%20Lillies%20on%20the%20Waterfront&p=true&ga=1

My media factory blog post links

https://www.mediafactory.org.au/alexandra-kovanidis/2025/05/30/pre-production-c…s-and-creativity/

https://www.mediafactory.org.au/alexandra-kovanidis/2025/05/30/production/

https://www.mediafactory.org.au/alexandra-kovanidis/2025/05/30/post-production-…s-and-creativity

Post-production presented different obstacles, the role as editor being one that I asked for and then became harder to navigate in terms of relating the product to a vision of the director, which was hard to understand at certain points through communication errors are both with myself and the product. Because I felt would be instrumental in my future as a video editor and relating the product to what the client or director once and trying to live that best as possible while also having creative integrity within the piece and finding a medium ground to communicate that. The edit itself went through multiple revisions and drafts, taking on critical feedback and incorporating it in a way that serves the piece as well as my own creative needs, for something that I had to feel instinctively. Through the formal process of going back and forth with a client foreign edit became helpful in what I should expect with pieces and building and understanding of not only commercial pieces or films and work with a set structural but working on something that has no structural and rather is more felt then intellectually understood, having of various pieces for My Portfolio. In terms of editing technique I did find that sound and one piece of footage to begin with was where I built the rest of the edit building up a strong sound design was how I figured out where things should go on an experimental piece like this with the constraints of no structure meant that I could play around the scenes that maybe if trying to be portrayed chronologically would be a different fit.

During production, our group may have felt the effect of having a freelance approach to filming. Having not enough or the right technical equipment became a self-inflicted hurdle that we had to cross as best we could. Production was not as expected, as it was hard to understand what needed to be captured for an experimental piece with only 2 lines that are spoken during filming, with the rest being all voice over, it was difficult to know what to film to get enough B-roll to lay over the voice over aid. The filming had a relatively low impact, but still had all the appropriate permits, which was something I hadn’t considered or given much thought to, other production crews and how the process ultimately finalised. So, navigating the production was the hardest part for our group. Motorola sound recordist mainly came in and using the lav mic switch I’ve never had experience using and that set up during production I realise that I may should have had more time with the equipment to get used to it as we had some technical difficulties during filming but ultimately worked around them and was able to capture the sound efficiently. The experience of production for something experimental and close to the director’s heart was interesting to watch because they exclusively had a vision that cannot be shared simply through verbal communication or visuals learned, which is something I realised, which is why the piece itself is more emotion-driven than plot.

During the creation of our short film, the process of making the Pitch Deck was instrumental in gaining an understanding of the narrative as well as the vision for the short film. Putting effort in different areas to make a strong product with both visual and narrative distinction was all a part of the process of trying to make the best and most collaborative short film we could. The story itself was on that was close and personal with the director/writer/performer, which ended up being the source of research; her lived experience and emotions are what we were trying to capture, rather than any formal research about our subject matter of memory loss, as our work was abstract and experimental, and more surrounding themes of memory loss rather than the actual scientific cause but instead the emotional and psychological harm. Therefore, tone and mood for the film became a large part of our focus. This may be why some traditional aspects of film production were lost, like the storyboard and shot lists, opting for more freelance film production, with audio being a focus for us, as our director is that audio would be a strong component that would carry the visuals for this piece. This then played a large role in navigating the script and that edit, given the constraints of cutting during blinks, and no scene can be done in chronological order. Using our constraints, we had to think about how that would work with our script, that still experimental had a structure that we had to make distinct with the constraints given, like how to apply the constraint of fractured timeline through the no chronological scene order despite our film being taken place over one night/ a few hours. These are all things we had to have a repeated meeting to discuss how they would look in the edit and how to utilise the constraint as best we could.

Research Genre: Comedy

Comedy films are a key part of cinema, offering escapism, and providing the ability for audiences to relax and laugh. These films often take everyday situations and turn them into humorous moments. The comedy genre is not refined to its broader character but the multitude of subgenres of humour within it that hold its fanbase, such as slapstick, dark comedy, romantic comedy, and satire, each catering to different tastes. According to Kuhn & Westwell (2020) in A Dictionary of Film Studies, comedy often mocks traditional social norms, using plot, characters, and situations to challenge these norms funnily. Characters within the comedy genre stereotypically react to the situation around them in unusual ways, often implementing exaggerated situations, behaviour and personalities that make the audience laugh. Fundamentally comedy works by displaying the difference between what we expect to happen and what occurs, often poking fun at life’s challenges and societal expectations (Kuhn & Westwell, 2020).

One important aspect of comedy is the norm-breaking character, someone who challenges authority, social order, or the usual expectations of behaviour. Pioneers of the genre like Charlie Chaplin, Mel Brooks, Eddie Murphy and many more are noticeable due to their characters that play against social norms. The purpose of comedy is to give the audience a chance for entertainment by highlighting the comedy in everyday life, providing a temporary escape from the daily pressures and seriousness of reality.

The disaster Film genre utilises disastrous events, like natural phenomena, such as natural calamities, technology failures, or environmental concerns. This genre emphasises how humanity would adapt to these extreme situations. Known as the “Cinema if Catastrophe” by Keane, Disaster films often implement thrilling action scenes and realistic visual effects like CGI, disaster films often leave audiences feeling a mixed sense of anxiety and stunned shock at the visuals and circumstances. Often being fast-paced and high-adrenaline films often have a political undertone through their themes, like the vulnerability and fragility of society and humanity, the weakness of society, and the necessity for people to unite in a crisis
(Keane, 2006). Disaster films typically feature a group of characters from different backgrounds who must come together to survive. The genre taps into modern anxieties, like climate change, technological failures, and global instability, reflecting concerns about large-scale catastrophes. It offers both excitement and a deeper insight into the challenges humanity faces.

Bibliography:

KEANE, STEPHEN. Disaster Movies: The Cinema of Catastrophe. 2nd ed., Columbia University Press, 2006. JSTOR, http://www.jstor.org/stable/10.7312/kean567403. Accessed 27 Mar. 2025.

Kuhn, A., & Westwell, G. (2020). Comedy. In A Dictionary of Film\ Studies A Dictionary of Film Studies 2025, Oup.com, viewed 27 March 2025, <https://global.oup.com/academic/product/a-dictionary-of-film-studies-9780198832096?cc=au&lang=en&>.

Reflection:

• How did using genre as a starting point help you decide on an idea to write about?
• How did the thematic elements, iconography and narrative tropes serve as creative opportunities?
• There should be some moment of discovery, an epiphany. If you didn’t have one that was naturally occurring, dig deeper. There’s gold there, but you gotta dig for it.

I found the genres as a good way to begin guidelines for the tone of my script. But found it harder to use it to create the overall plot. It became a good point to bounce ideas. I found that rather than focusing on one overarching plot it was easier to focus on one scene and build on both characters and plot from that one scene/ dialogue. While I decided to focus on the genre of comedy over the Disaster film, it meant that I focused on the archetypes of character, implementing a ridiculously laidback character, using ridiculous and exaggerated situations in order to incite humous reactions, like that of two low life scammers trying to get away with fake high-end art, getting involved with a multitude of high jinks and schemes which fail and propose many obstacles. First, I began some research outside of my initial research piece, i.e. by watching iconic comedy films and viewing different levels of comedy and styles and which one most resonated with me. I found that utilising archetypes and extreme situations worked better rather than using slapstick or dark comedy suited to my plot. My moment of epiphany probably came through the self-imposed limitations of genre restriction being something that propelled the script through and scene-by-scene basis. I worked first on dialogue, being a strong backbone of the Comedy genre, using irony, sarcasm, and character exaggeration to illicit a reaction from the audience. I also found that I was about to visualise the scenes and characters and dialogue before I was writing out, taking the time to sit with a scene and play it out in my head became instrumental in the writing process, as well as noting down how I would visualise it in a cinematography scene.

Script Draft #2:Alexandra Kovanidis- Draft #2.pdf

Research Genre: Comedy

Comedy films are a key part of cinema, offering escapism, and providing the ability for audiences to relax and laugh. These films often take everyday situations and turn them into humorous moments. The comedy genre is not refined to its broader character but the multitude of subgenres of humour within it that hold its fanbase, such as slapstick, dark comedy, romantic comedy, and satire, each catering to different tastes. According to Kuhn & Westwell (2020) in A Dictionary of Film Studies, comedy often mocks traditional social norms, using plot, characters, and situations to challenge these norms funnily. Characters within the comedy genre stereotypically react to the situation around them in unusual ways, often implementing exaggerated situations, behaviour and personalities that make the audience laugh. Fundamentally comedy works by displaying the difference between what we expect to happen and what occurs, often poking fun at life’s challenges and societal expectations (Kuhn & Westwell, 2020).

One important aspect of comedy is the norm-breaking character, someone who challenges authority, social order, or the usual expectations of behaviour. Pioneers of the genre like Charlie Chaplin, Mel Brooks, Eddie Murphy and many more are noticeable due to their characters that play against social norms. The purpose of comedy is to give the audience a chance for entertainment by highlighting the comedy in everyday life, providing a temporary escape from the daily pressures and seriousness of reality.

The disaster Film genre utilises disastrous events, like natural phenomena, such as natural calamities, technology failures, or environmental concerns. This genre emphasises how humanity would adapt to these extreme situations. Known as the “Cinema if Catastrophe” by Keane, Disaster films often implement thrilling action scenes and realistic visual effects like CGI, disaster films often leave audiences feeling a mixed sense of anxiety and stunned shock at the visuals and circumstances. Often being fast-paced and high-adrenaline films often have a political undertone through their themes, like the vulnerability and fragility of society and humanity, the weakness of society, and the necessity for people to unite in a crisis
(Keane, 2006). Disaster films typically feature a group of characters from different backgrounds who must come together to survive. The genre taps into modern anxieties, like climate change, technological failures, and global instability, reflecting concerns about large-scale catastrophes. It offers both excitement and a deeper insight into the challenges humanity faces.

Bibliography:

KEANE, STEPHEN. Disaster Movies: The Cinema of Catastrophe. 2nd ed., Columbia University Press, 2006. JSTOR, http://www.jstor.org/stable/10.7312/kean567403. Accessed 27 Mar. 2025.

Kuhn, A., & Westwell, G. (2020). Comedy. In A Dictionary of Film\ Studies A Dictionary of Film Studies 2025, Oup.com, viewed 27 March 2025, <https://global.oup.com/academic/product/a-dictionary-of-film-studies-9780198832096?cc=au&lang=en&>.

Reflection:

• How did using genre as a starting point help you decide on an idea to write about?
• How did the thematic elements, iconography and narrative tropes serve as creative opportunities?
• There should be some moment of discovery, an epiphany. If you didn’t have one that was naturally occurring, dig deeper. There’s gold there, but you gotta dig for it.

I found the genres as a good way to begin guidelines for the tone of my script. But found it harder to use it to create the overall plot. It became a good point to bounce ideas. I found that rather than focusing on one overarching plot it was easier to focus on one scene and build on both characters and plot from that one scene/ dialogue. While I decided to focus on the genre of comedy over the Disaster film, it meant that I focused on the archetypes of character, implementing a ridiculously laidback character, using ridiculous and exaggerated situations in order to incite humous reactions, like that of two low life scammers trying to get away with fake high-end art, getting involved with a multitude of high jinks and schemes which fail and propose many obstacles. First, I began some research outside of my initial research piece, i.e. by watching iconic comedy films and viewing different levels of comedy and styles and which one most resonated with me. I found that utilising archetypes and extreme situations worked better rather than using slapstick or dark comedy suited to my plot. My moment of epiphany probably came through the self-imposed limitations of genre restriction being something that propelled the script through and scene-by-scene basis. I worked first on dialogue, being a strong backbone of the Comedy genre, using irony, sarcasm, and character exaggeration to illicit a reaction from the audience. I also found that I was about to visualise the scenes and characters and dialogue before I was writing out, taking the time to sit with a scene and play it out in my head became instrumental in the writing process, as well as noting down how I would visualise it in a cinematography scene.

1. Write about what you want from this studio? What you think this studio is

my goals for this class are to become more efficient in filmmaking and storytelling, exploring the creativity that comes with constraints, leading me to think outside the box and explore unconventional ways of filming to develop a style.  through the studio prompt, I expect also to learn collaborative filmmaking and hone in on skills we are yet to develop thoroughly through our prac and assessments. I think this studio is to help us learn both our styles of filmmaking through the constraints as well as the roles we wish to pursue through it. The aim is to learn the form of film with constraints being used as positive “fuel” rather than seeing it as a limitation. I am excited about the final assessment, in which all the skills we have learnt over the course would have been used to create a final piece, and having worked in a role I feel more comfortable in.  the roles I am drawn to for the production aspect of this role, being Editor mainly, as I would like to eventually finish my job with a freelance editing job, to begin with. I would also like to explore roles like Cinematographer as I am passionate about great cinematography is what makes a great film and how the compositions come into play as it isn’t something I necessarily think about when creating a shot, which is something I would like to perfect. through these two roles, I am excited about exercising a mock-up of a production team and how my role will work with others in the creation of the final piece.

    2. Choose 2 of the workshop activities (in class or homework) that we’ve done so far

The first activity that we did was the practice with filming, we had to begin by setting up the camera or audio and recording a specific list of types of shots including different shapes, people, and elements. through this we were challenged to open our idea of what each shot could look like, developing an idea and seeking out these shots became a task in itself as we began trying to construct the shot in an aesthetic way, unsure what the shots would be used placed a new constraint of being versatile. but i think through these constraints we were able to think outside the box and find the shot within the world, ie the object described in the shot list, but while also giving the freedom of how we shot it.

then we moved into the second activity which was using both audio and the shots together  and creating a short piece that held a type of narrative to it. through this became a challenge of developing coherence between sound and shots that had no relation and through editing creating a bridge between the two and working with that to create narrative. i found this harder because lacking the patience to go through every audio and shot i missed a few ones that would’ve been able to create more coherence between the two. however, i did enjoy the process of developing a low stakes piece that helped me work on editing. i began first with audio tracks and finding a coherence there, once i had the ground work for audio my choice for shots became more concise rather than just aesthetic and what worked within the short piece. This exercise was a good introduction of having to work outside of the box in order to achieve a style because as we watched each video there were all different in style and story.

The initiative post:  Rodriguez and El Mariachi & Adolescence 

This post is for you to research and write on anything related to the aims of the course. Remember, to include your own personal reflections on these media makers and filmmakers, their works, methodologies, style and/or themes.

When researching constraints i came across Robert Rodriguez’s and the making El Mariachi as a case study. This being a example of  external constraints. Rodriguez employed the small time budget of $7,000 for a feature film which is particularly small. in order to achieve quality aesthetics and film making, Rodriguez employed guerilla filmmaking methods that were consequences to constraints such as, limited budget, small crew and lack of quality filmmaking equipment. all constraints served to create innovation and creativity in the filmmaking process. during the process in order to abide by the constraints he employed non-professional or big name actors, handheld cameras and shot in Mexico to keep the location budget cheap and relevant. by filming in Mexico he was able to utilise local and accessible locations, this later became a style of his films often using raw landscape to set his films. Rodriguez’s constraints led him to experiment with action scenes, employing clever editing techniques and guerilla filmmaking methods. Utilising slow-motion shots, quality visuals and cinematography to create the idea of bigger budget action scenes, despite the film’s low budget.

i think Rodriquez style of filming is incredibly relevant to me as a film student, not having nearly enough budget as Rodriguez did for El Mariachi. i see this similar idea of filming in Stephen Graham’s Adolescences, a 4 part series comprised of 50 minute episode of one takes. each episode only has a single one take that consistently rolled around a on location set. The intention is to immersde you within the tragedy and lives of the characters within the series and focus of the role of the actors who had to memories a hour of dialogue and movement as well as constant awareness of where the camera would eventually end up. this lead top the creative aspect of the cinematographers working on how the camera would and should get around, mostly being handheld but employing drones that would get attached while filming and car mounted cameras. this style of filmmaking really intrigues and inspires me as i have been a fan of one take films since 1917 and the way it services the audiences connection to characters in these moments and while Adolescence and 1917 are about two wilding different stories they hold the same purpose of connecting the audiences to the tragedy of events and connectedness to the characters.

i have been practicing this style of constraint through most of my assessments as we have all had to adapt to a smaller budget and way of filming things in order to reflect our original aspirations for a film due to the reality check of a external constraint of budget. i think this becoming a staple of his film making style is something that does intrigue me and the idea that you don’t need a block buster budget in order to create film that can be recognised is something that can bring all film makers hope as the industry builds off of small budget indie films in order for directors to make a name for themselves. overall i think we have all practiced this unintended constraint but to have rodriguez employ it and it become apart of his style kinda connects back to what Von Trier was aiming with dogma and Bjork as he kept repeating he wanted to see style within the constraints which i originally didn’t understand how style can push through such constraints but i also can see as the inverse as challenging yourself through constraints and liking it and utilising it till it becomes apart of your style, i suppose this could also stand true for Triers himself as his use of uncut and live performances without moving the camera like with dog town.

Homework

Script + Notes from rehearsal & Audition

Contents

https://www.mediafactory.org.au/alexandra-kovanidis/2024/08/28/directing-perfor…structing-scenes/

https://www.mediafactory.org.au/alexandra-kovanidis/2024/08/28/my-style-as-a-director/

https://www.mediafactory.org.au/alexandra-kovanidis/2024/08/28/directing-perfor…workshop-reviews/