This sketch was created to explore the idea of progress in order to create a narrative. In Art In the Streets, Melanson uses the device of a timelapse to show progress of a wall being painted. This short clip contains a lot of information presented in a short period of time, with the graffiti artist being shown to paint a wall, a job that (presumably) would have taken hours/days.
What this sketch seeked to explore was the difference in narrative/attitudes surrounding narrative when a time lapse video was used. Videos of the two of us studying are shown in both normal motion (100%) and fast motion (5000%), with essentially the same information presented. The sped up version of the clip made us look more positive, motivated and energetic, while the natural speed video created no excitement/feel of montage.
This sketch is informed by the time-lapse sketch, and builds on similar ideas and themes. This isn’t featured in the case study, however, this sketch features in our investigation because of it’s relevance in relation to a hybrid narrative, in relation to quickly and visually explaining a message.
This is an alternate way to a time lapse to show progress, but I believe it focuses more upon the craft than the actual creation/labour that is involved, as what you see is far more based upon the results than anything else. For example, by not seeing the hand moving rapidly around the paper, it slightly removes a human aspect from the video.
I find it difficult to categorise jump cuts as specifically a narrative or non-narrative device, as it works primarily visually rather than in a storytelling context.
In this sketch I used music to help to identify/create a different mood, and how this can affect audience engagement. I completed muted the sound on the first modification, then added a slower track over the same footage, and finally using an up-tempo song. Music is one of many clues that people use to identify/frame a piece of media, and can create an emotional impact based upon the connection of the music and the content.
The music in Art in the Streets helps to build the foundation of the mood, while also actively contributing to the narrative. As the hybrid narrative piece interviews insert artist name and his musical pursuits, the music ties in, not only in the traditional way, which I would consider a contributing factor to the narrative, but in a more involved fashion. It seems that the video was edited, especially the skateboarding aspects of it, to fit this music.
This sketch explores the relationship between linear and non-linear events. How is narrative created using a series of linked events? And if those events are taken out of order, how does this affect the creation of meaning? I took a simple task such as washing a dirty dish, and changed the order of it. While the content is still there, the reading of it is slightly altered, often suspending/distorting the audiences perception of the reality of the piece.
This relates to the specific shot in Art in the Streets, where the wall has already been shown to be completed, prior to the time-lapse where the wall is painted. While this may cause confusion in a traditional narrative, the hybrid aspect of this form makes it more acceptable to have inconsistencies within the continuity of the piece.
Juxtaposition is a stylistic element that features heavily throughout the case study. The act of skateboarding, music and graffiti art are compared simultaneously, with a narration linking common themes such as creation, artistic passion etc.
Non-narrative comes into play here, with the images directly following each other not necessarily building on meaning, but rather explaining different themes of the video.
My sketch relates to the process of linking various contrasting videos, of varying degrees of difference. When you watch a video, you automatically try to create meaning based on what is shown and the relationship between the two. This sketch aims to push this idea further, by showing objects/events that are not clearly linked to one another, and seeing whether any sort of narrative is formed by the viewer.
Juxtaposition #1 creates quite a straightforward connection/two-point narrative between setting up a skateboard and skating down the street.
Juxtaposition #2 shows the same footage of a skateboard, followed by a band playing. There is little to no connection between the two, but naturally you attempt to connect the two.
Juxtaposition #3 is a linking video, which puts a skateboarder in the same time and space as the band. This logically explains how these two very different elements can be combined.
The third video relates indirectly to a part of ‘Art in the Streets’, when the artist and the skater fade into each other. While this is not quite the same as juxtaposition #3, it creates a similar sense of time and space, and ties the identity of the two people together, rather than coexisting separately from each other.
I have been trying to define the form of the case study (Art in the Streets, Julian Melanson), weighing up whether it is a hybrid between a skate video and an art video. There is definitely a juxtaposition between the interview, which as a device is quite formal, and the skateboarding, which is far more freeform. The way that these two interact is interesting, with the skating aspect borrowing elements from music video culture.
This relates to when a video project I that made in 2010, which incorporated both elements of skateboarding and a narrative short film. Even though this is quite a different experience, there are overlapping aspects between the two pieces.
One of the reasons that this issue that was so prominent is that I haven’t come across a video that is covering two subjects that are so obviously different.
The concept of a non-narrative/anti-narrative is also at play here, with the images sometimes completely contrasting what it being said by the narrator/artist. This is a concept that can cause some confusion if you are approaching this video with the mentality of being a traditional narrative. Even though there is a narrative in the case video, it is chopped up heavily, so cohesive meaning from it is hard to gauge.
For future understanding, I realise that I should fully understand the prompt before starting on sketches etc. This may involve spending more time analysing the concepts behind the video and taking apart forms true to each genre (art/interview) and skate (more freeform).
Prior to class today, Nethananiel and I explored concepts in relation to the adjusted prompt:
‘How has video, computers and the network reshaped online skateboarding video practice?’
Within this, we explored the following topics in detail:
After speaking with Seth, we have changed the style of our investigation, and instead have focused much more on our chosen case study (TBC), and the ten sketches surrounding it. Our initial exploration was far too broad, and did not relate closely enough to online video practices. However, this still provided us with some background information, and aided with creating our framework.
From this point on we will work together to analyse our case study closely, in relation to the prompt. From here, we are going to develop 10 sketches, which relate directly to this video. These will fall under the headings of production elements, narrative/structure and themes.
1. Talking naturally to the audience (confidence)/ Monitor the speed at which you speak – not too fast but not too slow.
2. Stance/Posture/hand gestures/make eye contact
3. Consider who you are presenting for, think about your audience while you are presenting.
4. Tone/pitch/volume of your voice
5. Use visual aids to keep the crowd engaged
6. Try not to read right off the paper
7. Be clever about what items you use to present, i.e using projector/TV, to best back up your points.
Create a design/aesthetic for your presentation/slides to keep it visually engaging for the audience.
Have a strong point, which is reiterated throughout the presentation.
A thought that sparked some thought was the idea of pre-conceiving ideas before viewing video content online. An example of this is viewing a video embedding in a social networking site, framed by positive comments and affirmation by friends, as well as brands that appeal to you/your demographic.
Contrary to this, imagine that you watched the same video with no prior knowledge on a site such as Youtube. You would be applying knowledge from similar content, but your awareness of the videos importance/relevance within a social context would be unknown.
An example from a social situation would be a friend raving about a film you haven’t seen, constantly building up ideas in your head without actually making any of those decisions for yourself. When you finally do see the film, your experience can feel tainted. Even if you do enjoy it, it can still feel like a comparison to your friend’s idea of it. This, of course, doesn’t have to be a negative experience, as it can occur in the opposite way also, with a recommendation giving you a more confident mindset to accept something you may have questioned initially.