by clarechapman -

Binary Oppositions

In this sketch we will explore the juxtaposition of binary opposites as an embedded and recurrent theme in Horror film narrative.

https://vine.co/v/eBF5DDMTWpt

Binary opposition is a theory closely examined by French anthropologist and ethnologist, Claude Lévi-Strauss. In critical theory, a binary opposition (also binary system) is a pair of related concepts or terms that are opposite in meaning or, simply stated, the contrasts between two opposite things. Binary opposition is the system by which two mutually exclusive terms, such as light and dark, up and down, good and bad, are set off against one another.

Binary opposition can be applied to Horror narrative as there is always the contrast between good and bad, pure and evil, and sanity and insanity. In this sketch we explored some of the common binary opposites represented in Horror film using visual representations to exemplify the common, distinctive opposites essential to the Horror film genre.

 

Dundes, A, Binary Opposition in Myth: The Propp/Lévi-Strauss Debate in Retrospect, Western Folklore,Vol. 56, No. 1 (Winter, 1997) , pp. 39-50, Published by: Western States Folklore Society http://www.jstor.org/stable/1500385

by clarechapman -

Remix Culture

In this sketch we will explore and discuss how remix culture is applied and engaged with using Vine.

https://vine.co/v/eBFJFdKOx5B

The purpose of this sketch was to explore remix culture. The concept of remixing originally spawned from the introduction of multi-track mixers that made remixing a standard practice. With each element of a song (vocals, drums, etc), it became possible to “re-mix” the song.  Gradually the term evolved to represent any reworking of already pre-existing cultural work(s). Lev Manovich, professor of Visual Arts, at the University of California, specialised in new media and digital culture. Manovich theorised and applied the concept of remix frequently in his papers and books. In his article ‘Deep Remixability’ (2007) Manovich explores the way both the production and the consumption of culture has changed with the coming of new media. Through the development of new media software, remix is ubiquitous.

Our exploration of remix culture in relation to the #6SecondScare Vine competition, led us to consider: can you infringe copyright in six seconds? And furthermore, would a remixed video submission be an acceptable submission. We found that a lot of people (including businesses and institutions) have created artificial rules for fair use, for example, the number of seconds a video clip can be. Seemingly the regulations around Vine copyright infringement are vague and flexible.  Creators and consumers may think it is hard to infringe copyright in six seconds (the length of a Vine), as a clip that short is unlikely to defame an original work. As for the competition, we both agreed that a remixed video is still applicable, as the competition is seeking creative ideas, not skilled video practitioners.

 

 

by clarechapman -

Collage/Montage Aesthetic

Vine is a constrained media which limits its entries to six second loops, however it allows the user to combine multiple individual shots (or images) to comprise the six second loop. In this sketch we will explore the use of collage and juxtaposition using the application Vine.

https://vine.co/v/OLqr1iT9ihg

The purpose of this sketch is to define the intentions of the collage aesthetic as a non-linear language, which reflects the visual processes of perception that are common to all of us.

The concept of montage is paralleled in other art mediums; for example an assemblage of magazine clippings to create a whole new image. The Oxford English Dictionary defines collage as “a piece of art made by sticking various different materials such as photographs and pieces of paper or fabric on to a backing.” While collage is foremost a technique for making art, it has theoretical implications, such as the importance of juxtaposition. Juxtaposition of multiple seemingly different things challenges the unity of conventional art forms.

We find this particular loop visually challenging. The flashing of the individual shots in a continuous loop is somewhat disorienting. Furthermore, due to the nature of some of the individual shots, we find it rather sinister (i.e. image of Hitler, and a man being dragged by two policeman). There are, however, moments of beauty: flowers, floral print and sensuous lips. This lends to our exploration of juxtaposition, which we have come to understand as an extension of collage. We found that juxtaposition enhances the appeal and the visceral quality of montage video. Similarly, juxtaposition is an intrinsic quality of collage.

 

by clarechapman -

Reverse Narrative

In this sketch we will explore the three part plot structure of exposition – rising action – climax, and how imperative this is to the effect/success of a Horror film or video.

https://vine.co/v/OLq3Fiex3O6

A narrative film can present a story in two basic ways: as a linear narrative or a non-linear narrative. A linear narrative starts at the beginning and reveals each detail as it each occurs in space and time. Whereas, nonlinear narratives do not follow the rules of space and time. Rather, they can start and end at any point within the trajectory of the plot-line. Nonlinear narratives will often use flash forwards or flashbacks to reveal future or past events through memory or other methods during exposition of a current event. Linear narratives follow a straight line: start to finish.

Horror narratives rely heavily on tension building and interest that culminates in a powerful close, making them better suited to a linear narrative. The purpose of this sketch was to reiterate this point exactly: the importance of linear narrative in the Horror film genre. Without the gradual rise of suspense and tension in the audience, a horror film would lose its appeal completely.

 

by clarechapman -

PROJECT TWO: SKETCHES

Below is the completed list of our PROJECT TWO sketches:

Sketch One: Doesn’t fit

Sketch Two: Condensed

Sketch Three: Isolation

Sketch Four: New Stimuli

Sketch Five: Expressionless Man (Glue) Removed

Sketch Six: Altering Man (Glue)

Sketch 7: Standalone Man

Sketch Eight: Collage

Sketch Nine: Montage and Real-Time on Vine

Sketch Ten: “Meaningless” Vine

Sketch Eleven: Cuts Without Juxtaposition

Sketch Twelve: Kuleshov + Sound + Vine

Sketch Thirteen: Montage / Narrative

Sketch Fourteen: More Narrative in Juxtaposition

Sketch Fifteen: Montage in Other Short Form Video Sharing: Snapchat Story

by clarechapman -

Understanding New Media

Eugenia Siapera provides insightful background knowledge to the understanding of new media, particularly an overview of different theoretical perspectives on new media. Siapera explores the intersection of computing science, humanities and the arts, and illuminates why new media is fast securing a science status. Ultimately, Siapera evaluates how new media is affecting the way society behaves, by exploring and questioning the societal transformations and cultural processes, norms, and practices in modern society. When trying to understand new media, it is imperative to consider the relationship between technology and society. Human beings often ignore or reduce how much of their lives are controlled by technology when, in fact, human beings are intrinsically intertwined with the emergence of new technologies–they both develop in symbiosis with one another.