Fast – multiple shots
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Fast – one shot
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Bright Garden
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Cat Shadow
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Shadow
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Film Essay
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His Long Goodbye 2012: By Georgina Wills, Emily Watt, Cinzia Sammassimo and Sacha Stephan.
For my film essay I have decided to critique and analyse ‘His Long Goodbye’ from the 2012 assessments. This piece stood out to me as having a strong narrative with many patterns within the interface. I found it interesting because it used a continuous voice over of a story that isn’t necessarily represented by the videos of the project. In this essay I will analyse the pattern, interface and content of this piece and attempt to discover a connection between these three characteristics.
Pattern:
The pattern of this piece was consistent throughout the narrative. Each individual video fits the same 4-5 second SNU time frame and was edited into black and white which reflects the 1920’s detective feeling of the project. The film maker has filmed places around what looks like Melbourne city (which is of course a modernised city) but has successfully created a 1920’s American appearance. Another consistent aspect of ‘His Long Goodbye’ is the way it has been filmed. There is not a lot of movement within the frames (with the exception of the cars driving through the intersection). Majority of the shots are still or involve a slow pan of the scene. Intimate close ups of hands, mouths and small objects like women’s makeup are used as well which could perhaps be used as describing a character. Vivian Sobchak talks about the advantages of using techniques such as those seen in this project stating that small pieces like this “draw us down into their own discrete, enclosed and nestled poetic worlds…constructed through the extensive horizontal scope and horizontal vision of cinema” (Sobchack, 1999 pg. 1).
Interface:
The interface of this project has been kept rather simple and straightforward which reflects the story line. An opening video takes the majority of the space while four video thumbnails sit below it. As soon as the opening video begins, so does the voice over which is continuous throughout all the videos. Videos can be selected at random however, each one links well to another that is similar – brick walls to stone staircases, hands to faces, graveyards to dying flowers – a clear indicator that a lot of consideration was taken into making of the IN and OUT points. There are not a lot of other ways of watching this project other than viewing each video not necessarily in order – although it is slightly guided by the thumbnails – whilst listening to the voice over. Judith Aston and Sandra Gaudenzi claim that in a medium such as Korsakow, the audience can “play an active role in the negotiation of the ‘reality’ being conveyed” (Ashton, Gaudenzi, 2012 pg.126) which is portrayed in ‘His Long Goodbye’ as viewers can choose through the thumbnails where it will guide them.
Content:
The story being told in ‘His Long Goodbye’ is that of what sounds like a 1920’s detective who has been shot after being given a case he couldn’t solve. The story sounds cold and sad judging by the tone of voice it is told in. This tone of voice gives viewers a bleak feeling, knowing that something bad will happen along the story line. This is reflected by the also bleak black and white editing of the videos. The videos help set the scenery of the time in which the story is being told successfully, however it does not include any specific characters the detective mentions. The narrative of this project clearly does what it is supposed to do due to its “ability to evoke (the story) to the mind that distinguishes narrative discourse” (Ryan, 2006 pg. 7). However, to convey the narrators feelings further to the audience, music would have enhanced this.
Conclusion:
It is clear that the these three elements successfully narrate a story through its filming techniques, tone of voice and layout. Without the voice over, the story shown in the videos would not be clear. The videos strongly enhance the narrative of the voice over, giving viewers a sense of scenery, place and time. The interface works well with the narrative for it helps link the videos together to achieve that sense to the viewers.
Sources:
- Sobchack, Vivian. “Nostalgia for a Digital Object: Regrets on the Quickening of QuickTime.” Mille 34.Fall (1999).
- [Extract] Ryan, Marie-Laure. Avatars of Story. Minneapolis: University of Minnesota Press, 2006.
- Rascaroli, Laura. “The Essay Film: Problems, Definitions, Textual Commitments.” Framework: The Journal of Cinema and Media 49.2 (2008): 24–47.
- Aston, Judith, and Sandra Gaudenzi. “Interactive Documentary: Setting the Field.” Studies in Documentary Film 6.2 (2012): 125–139.
MILFs get Fit
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A young mother from Cranbourne Victoria has used Facebook to start up her first home based business.
Lizzy Charlton, 20, is the creator of the growing Facebook group ‘M.I.L.Fs’ – Mums in Love with Fitness – which has just recently gained over 2000 followers in the last 8 months.
Starting as a small group of local mums, MILFS has now reached to mothers not only around Australia, but internationally as well.
“We have members all over Australia but also America, Canada, England, Ireland, Germany, Korea, and heaps more too It’s actually so crazy!” says Lizzy.
The Facebook group offers its members fitness, health and well-being tips as well as on-going support. Lizzy has also started selling M.I.L.F singlets and jumpers to her members.
Lizzy wearing one of her M.I.L.F tops
“We have sold around 90 M.I.L.Fs singlets. In the beginning I was painting them myself at home with screen ink and a stencil we made and we now get them made professionally with a local business,” says Lizzy.
As of November 2013, there are 25 million small business pages on Facebook globally, with small business owners sharing their products and services as far as they can.
“One of the greatest things about my business being on social media would be that I’m able to talk to and help women all over the world not just the local ones,” says Lizzy.
Facebook recognises small businesses if they are posting monthly and are actively managed accounts, a standard which Ms Chartlon has exceeded.
“We all share our triumphs and slip ups, progress and photos of our yummy healthy food, our workouts, any questions and of course some photos of our cute kiddies – that’s what us mums do!” says Lizzy who is mum to 18 month old Oskar.
Lizzy’s partner Chris, 26, has been her main source of support since the group began in August 2013.
“I think it’s amazing what she has done, not only for her but hundreds of others as well. Her confidence and leadership skills grow every day. I really am so, so proud of her.”
In the near future, Lizzy hopes to run personal M.I.L.Fs bootcamps and training sessions, as well as create more merchandise for her members.
She is currently studying Master Training at the Australian Institute of fitness and hopes to complete the course by August this year.
The positive feedback from group members
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Watch
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Washing
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Candle
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