Kind of a practices for an experimental film this time. It is a daily thing. Obviously, I could make it better because it seems to short to illuminate what I wanna say. Bowl, water, tomato and bubble are all the element in this video. It is not a narrative but list. Bowl, water , tomato, and bubble seems not relate to each but what if give a verb to everyone. Bowl contains tomato and use boil water to make the bubble.
[a]ssociational formal systems suggest ideas and expressive qualities by grouping images that may not have any immediate logical connection. But the very fact that the images and sounds are juxtaposed prods us to look for some connection — an association that binds them together .
The potential advantage of lists is that we don’t have to think everything like a narrative. As audiences, we can be easier to deal with thing because of lists. The list is an approach that permits a sense of cohesion at the same time as it increases the gap between project elements. The list as a structuring device in creative screen based documentary is a formal approach that also speaks of the infinite possibilities in combining and making connections across a networked field of elements.
A category draws different things into different groups by the measure which is ruled by the producer of this category. As Adrian mentioned in week3 lecture “What kind of measure is that? It is nonsense.” Initially, a thing is a thing that never belong any types or groups. List is represented as things are things. List is the initial relationship within different things we have to find out the relationship by ourselves, like creating a category in which we make a rule.
“The only great problem of cinema seems to be more and more, with each film, when and why to start a shot and when and why to end it.”
—Jean Luc Godard
Every cut is a form of judgment, whether it takes place on the set or in the editing room. A cut reveals what matters and what doesn’t. It delineates the essential from the non-essential. To examine the cuts of a filmmaker is to uncover an approach to cinema.
The happenstance of Vittorio De Sica’s Terminal Station and David O. Selznick’s Indiscretion of an American Wife offers a rare opportunity to compare two cuts of the same film from a leading figure of neorealism and a leading figure of Hollywood.
If neorealism exists, it is in contrast to the dominant approach to moviemaking, shaped and exemplified by Hollywood. In comparing Terminal Station to Indiscretion of an American Wife, we must ask, What difference does a cut make?
Bogost writes ‘lists do not just rebuff the connecting parts of language but rebuff the connecting of being itself.’ How do lists do this?
The lists seems to be infinite because items of the lists are from around the world. The role of lists is gathering different kind of things. Adrian says, “In that list making, you start to see there is no center, there is no privilege to it.” We hardly find a relationship in lists as easy as in narrative or language. Lists deny the connections. What we can receive from the lists is a distinct list of item and we can clearly know what they are.
We are listing all the time, especially in our social network. Twitter, Facebook, Instagram and Flickr are more like a listing machine than a narrative machine. They are certainly no narrative, are certainly not the way of telling story when they give the way to tell stories. Take a flashback to our past posts, we will realise we are actually making our own diary on network platform rather than telling a story. Some people might say “I’m telling my story”, I would say no because they are just listing things on social media. The way of “telling story” actually is shifting the way of telling your life from a book to a open social media. It might be make sense if you show your diary in public.
Narrative must be constructed by structure. A constellation of set events happens one by one in a storyline. This is the notion of narrative.
look at the other side about Cause and effect.
Cause and effect, as you see, is explain why things happen. Cause and effect is anything but structure because of accidental factor. We never tell a story within a frame of random cause and effect. One cause might lead to different effects We only can assume the effects but never control over the effects.
In Geld. Gr – Money and The Greeks, Florian wants to find out how do Greeks react to the crisis? He find a very unique way to make this documentary
This project started in late 2011 when Florian Thalhofer and his later wife Elissavet Aggou traveled trough Greece to chat with people about how they are dealing with the economic situation they are in. While on the road, they wrote a blog about their experiences.
Money and The Greeks is different from other conventional documentaries because it is operated by Korsakow film system.
Over this documentary, it has a constituent background music. It feels like kind of sci-fi style with someone talking or digital sound. It consists of different content of video, some of them are produced by voice-over commentary and some of them are interviews. The interface style is different over the project. The formation of the videos is changing along with audience clicking into another new page.
Florian utilises the non-diegetic title to guide audience. The texts will come out when audience hold their cursor on the thumbnails. In a way, audience will not lose their track. Another amazing thing is Florian generates a rolling subtitle for four languages Greek, French, German and English. Honestly, this technique is indeed because of the content of interview. By the way, I wanna learn this technique as well. It would cool on my Korsakow.
Over the lectures, Adrian talked a lot of the idea of narrative and story. This week’s lecture, Adrian explain how the narrative differs from cause and effect.
What is the point in redefining narrative as anything more than cause and effect?
In Adrian’s word, beautiful cinematography is just beautiful cinematography but nor the narrative storytelling. The fascinating images evokes our feelings but it is the embodiment of narrative. The images is only the cause generates some effects on us.
We are surrounded by causes and effects because everything can be a cause and effect, like walking down the road and being wrecked by truck. Causes and effects happen all the time in our life. However, only a tiny part of cause and effect is narrative.
Basically, what I get from Adrian is cause and effect is a constellation of random things happen in our life. They are not story but just non-narrative accident because they are unsequenced. We never know what would happen next moment and, of course, we are not ready for the coming. Nevertheless, narrative is a chain of arranged events with cause and effect. In other words, people are inspired by the random cause and effects for writing a story. Only a small string of the cause and effect can be used over the time.