Studio presentation – Website

For the studio presentation I contributed to the website of the studio. Olivia S oversaw the whole studio and completed the majority of work involved in putting it together. However, in saying that, each individual role of everyone else was broken up into providing small clips of footage to Olivia in order to put together little previews for anyone that went to visit the website. Simple in it’s design, we tried to remain brief in what we said in order to make it a comfortable reading and viewing experience for visitors. Overall I was pleased with the final outcome of the website and what the group created.

Reflection (Brief 2)

The goal of my teams project is to explore the psychological dysfunction within a family. The project is aimed to form the basis of a short film in which we will express these ideas of family through. Another major part of this project is looking at the act of a voyeur in contemporary society. Inspired by the works of Gregory Crewdson, the use of the Voyeur in his photographs was really interesting to explore. Furthermore, in the culmination of ideas for this project we have been drawn to darker tones of a gothic nature, perhaps more stylised and less naturalistic than other genres of films I was originally planning to go down.

This sense of a voyeur is a critical aspect of our film and is an element that will be used to the advantage of the films story. I find the concept of a voyeur really intriguing in the way that it can affect a viewers experience on a scenario. This “experience” that is gained from being a voyeur is both tantalising and frightening, it provokes thought about our own psyche as we critically analyse someone else’s. This analysis of someone else’s life is part of how we contextualise of own insecurities. Acknowledging these insecurities and brining them to the surface is an important role of the Voyeur. It provides individuals with a way to see what they themselves want to perhaps avoid or embrace in their own lives. Our aim of the film is to generate domestic examples of how family life can be torn apart. This is an aspect of suburban life that is fascinating, because we are all aware of trying to achieve a solid family that has strong family values, devoid of any cynicism. By shining a light on exaggerated domestic scenarios in our film, this will depict plausible outcomes of a family feud. This is aimed to be confronting, pushing the audience to feel uncomfortable as they can acknowledge some sense of reality in each of the scenes in the film.

To gain a broader understanding of this sense of a Voyeur, I found the interview with Crewdson to be a very helpful asset in giving me a broader perspective of what a voyeur is. The interview raises many interesting points about what is means to peer into the world of another. Voyeurism offers a paradox that makes individuals uncomfortable yet satisfied with the level of familiarity and solitude that “peering in” from a distance offers. In each of Crewdson’s images there is this sense of a paradox, creating conflict between the beautiful nature of the photo and the ugly or violent elements of the image. This conflict creates tension within the image and the audience. Opposing elements within Crewdsons images creates deep layers that have to be pealed back to understand the “true” meaning of the image. However what was interesting is that, the more you peel back each image, the more questions are raised and fewer answers are given. His work is almost intentionally ambiguous; frustrating the observer to the point they want to look away but are intrigued at what’s going to happen next. Adopting this sense of tension is an important level of conflict that we are trying to achieve within the film. As evident in Crewdson’s work, tension is paramount to the image, it draws people in and helps solidify the photograph into the memory bank of the viewer.

Understanding what a paradox is, has allowed for a better grasp over not only Crewdson’s work, but over the way it can be used in our own project. When exploring ideas, I made an effort to try and come up with conflicting elements of bittersweet love and connection, which are relevant to our given prompt. Through these different tensions that arise within a variety of relationships, whether it be romantic or a friendship, I was able to get a better grasp over what direction I wanted to head in. This led me to family values, and through the collaboration with others in my group, we were able to arrange our ideas into a coherent piece that represented this concept of Voyeurism and paradoxical ideas.

In the process leading up to our film it will be important to not lose track of the underlying “theme” of our piece, which is concerned with family values. Although it will be great to dive into the technical elements of the film, I believe you can easily get carried away with these components of the film. We will need to discipline ourselves and make sure that we maintain a balance between working on the story to the actual production of the film. Story should always be in the forefront of our minds. At the end of the day story is a crucial aspect of the film, without it the film is meaningless, everything should be purposeful to support our story. As our roles gradually form, and we move into our given departments, I want to make sure we maintain a level of support for each other as we continue to craft the film. Furthermore, although this project is ongoing, we need to be aware of time and how easily it will slip away from us. We need to make time and put the effort in to see this film through, otherwise we will get to the end of the project and have little idea of what we did and accomplished. Accomplishments provide motivation and I don’t want to finish this semester feeling like I have wasted time or could have done something different. This will leave me feeling demotivated for future projects.

Furthering our understanding of the many concepts we are trying to explore in the film will be a critical aspect of our project that will allow our ideas to develop and be translated on screen. There are a few ideas that will be important to focus on, such as:

  • How can humans be a paradox within themselves?
  • What is the real bond between two people?
  • Can violence be justified?
  • How does one person’s mindset affect that of another?
  • What triggers outrage?
  • Can supressed memories be brought to the surface in times of conflict?
  • Is there always a level of tension within a family?
  • How do two people become more alike within a relationship?

These questions will offer our group a path to branch out on as we continue to explore characters within the film and craft scenarios that are emotionally challenging for an audience to digest and make sense of. As we continue to branch out on the various ideas we have developed, now is the time to really start organising the film. This is a daunting task that we need to approach otherwise we will not get anything achieved. Effective planning limits time wastage and allows for a low stress environment through all stages of the film. In addition, we must recognise each stage of the film from Pre-production, Production and post-production. We need to set out a plan for each of these stages and make use of our resources to ensure that our goals are met.

References:

Gregory Crewdson; Author: Gregory Crewdson and Bradford Morrow; Journal Title:  Bomb

Tattam, A. The psychology of relationships. [online]. In-Psych; v.23 n.6 p.16-18; December 2001. Availability:<http://search.informit.com.au.ezproxy.lib.rmit.edu.au/fullText;dn=114914;res=AEIPT> ISSN: 1441-8754

Hall, T. (2013). People are more comfortable with paradox than commonly believed: paradox in film and fiction. Journal of Experimental & Theoretical Artificial Intelligence, 25(3), pp.287-290.

Khan, Z. (2012). Domestic violence. Nursing Standard, 26(22), p.59.

Anon, (2016). [online] Available at: http://search.proquest.com/docview/1566638045/citation/3942BBBE20CC4784PQ/1?accountid=13552 [Accessed 30 Mar. 2016].

Geraerts, E., Hauer, B. and Wessel, I. (2010). Effects of suppressing negative memories on intrusions and autobiographical memory specificity. Applied Cognitive Psychology, 24(3), pp.387-398.

These references all relate to the psychology of the human condition and how people can manifest themselves in destructive behaviour. Furthering my knowledge about issues such as domestic violence, the psychology of relationships and beliefs surrounding a paradox will allow our group to create unique scenes and characters in response to these real life scenarios. I think it is important for films to deal with real issues to some extent, whether it is the psychology of characters or real life events, this allows for a better grasp of the films concepts and offers a more substantial film.

Nights

 

 

 

 

 

 

 

 

Listen Closely

The relationship between sound and image has been married with confusion for a long period of time from an audiences perspective. Effectively using sound has never been in the forefront of peoples minds when they view a film. People don’t walk out of a cinema describing how amazing the sound of a plane complimented the realism of the characters surroundings. No one says that, and it’s for a good reason. It sounds weird to compliment a film on it’s ability to select distinct sounds to reinforce a certain theme or atmosphere of a scene because we have been taught to ignore these factors. Too often we watch films without listening. Sound is… just there, it is seen to serve no purpose because we forget about the reality of it’s importance. To the more extreme use of sound in an action film, imagine James bond walking away from exploding car, but all you hear is Bond heavily breathing, because the sound department forgot to put in the piercing sound of the explosion, an integral part in creating the illusion that the fire ball behind him is real.

Sound doesn’t just relate to the “sound track”. Sure, this is a crucial part of a film, but sound is more than that. Music is important to compliment the mood of a film, but how are you going to sustain this tone. You can’t have Biggie Smalls dropping bars every second in a New York gangster film, just to reinforce how tough and badass the characters are. It won’t work. An important soundscape is the backbone of a film. It provides context to scenes, it reinforces moods and the illusion that what you are seeing is real. It draws you into the film, immersing you in the experience of the characters, allowing you to empathize and relate to a film that amazing visuals can’t achieve by themselves. David Lynch suggested that a film is “at least 50% sound”, highlighting not only the importance of sound, but how much sound actually goes “unheard” in films.

Although sound designers will always pin point fine details that a mere mortal film viewer will never pick up on, it is important to listen to films as much as watch them. When you begin to listen, you pick up on a range of sounds that begin to immerse you even more in the experience of the characters and makes you appreciate the technical efforts of a sound team to heighten the audiences involvement in a film. Nearly every part of the film is backed with a variety of layers that contribute to the soundscape of a film. Do you really think they would record dialogue in a Transformers film when explosions were going off? Or perhaps in Fast and the Furious where they slam the accelerator and you hear the roar of the engine? Of course not, all these sounds are added into the scene to compliment the image.

Sound and Image should always be seen as autonomous. It is like a dance of sorts throughout the film, where one element takes the lead and then comes back together in a uniformed flow. Sound enables characters to grow, it highlights certain ideas and concepts and it reinforces a certain environment the character it in. The relationship between sound and image is always shifting, both of these are important aspects of a film and should not be viewed as separate. To often the images reduce the sound to mere noise and we are not invited to hear the intricate details that make up the environment of a scene.

Silence can also be classified as “sound”. In a film there is rarely any real “Silence” even when characters are not talking, the absence of sound can be classified as “silence” and is just as powerful to reinforce the drama or perhaps the comedic merit in a film. Sometimes the ongoing onslaught of sound can reduce a scene to sheer noise, which is usually an attempt to cover up the “deafness” of a film and how much the film actually lacks in a narrative.

When viewing films in the future, take notice of the finer details that go into a scene. The creaks and cracks of floor boards in a horror, the sounds of traffic and echoes of people in an urban city, or the stillness of air and rustles of leaves in a long environment shot. Treat sounds like visuals and allow yourself to become immersed in a scene and feel different emotions that come through each sound. Perhaps take a moment to close your eyes and just listen. Listen carefully to all the layers of a scene, how carefully constructed the sound designers have laid each sound, acknowledge the hard work that has gone into creating an illusion that “you were there”. Perhaps, block your ears and just watch. You will notice how bland a film is, how much information is lost, not just through dialogue but through your ability to participate in the film. Listen closely and a whole other reality will emerge from the complex depths that often goes amiss in a film.

Pigeons, children and firecrackers

New Media Art

In an age where digital media is constantly evolving and progressing at an alarming rate, new creative ideas are being implemented to transform this new form into art. This use of digital media and tools to create art is known as “New Media Art”, generating a complex narrative comprising of socio-political, cultural and intellectual climate for artists to branch out on. In the argument for “what is truth” and how it is expressed in a creative way, “New Media Art” is argued to be one of most effective art forms that can speak to the present time. Art is a complicated and loosely defined aspect of our life. Through a variety of subjective interpretations, art can be misconstrued and given meanings from a variety of different sources. When this subjectiveness is accounted for, art is seen to represent the spiritual inner life of an individual and how that person assigns their own present reality to their given creative sphere. Art is a complicated pursuit to represent the current issues, questions and experiences that an individual has in the present moment of their life.

A wider concept of art, relates to it’s ability to represent the present time. This is where “New Media Art” is believed to triumph, in it’s ability to relate to the spirit of the time which is clearly unprecedented when we look at the many examples of how “New Media Art” is created. This new form of creative output allows people to focus on the current zeitgeist of a contemporary society. Doing this allows people to capture the current trends, thought processes and information that is relevant to the present day. It does not just provide information but also provokes thought about the current state of society at any given moment in time.

“New Media Art” has the ability to capture the spirit of the age. It can hone in on current trends in the digital realm and can create artistic pieces that are up to date with current news events. However, despite it’s ability to represent the current state of a society more effectively than any other art piece, “New Media Art” is often disregarded in contemporary art. It is viewed as a “lower quality” of art that is inferior to other established art forms. Yet, in an age of progression, adopting “New Media Art” seems to be the most relevant and logical step in an artistic endeavour to capture real time information in the digital world.

If this is the digital age, only time will tell when “New Media Art” is recognised as a coherent art form that can relate to the individual lives of people in any given society.It's life Jim, but not as We know it.

 

Paradox

Gregory Crewdson is a remarkable photographer who ambitiously, but successfully, creates images that reflect a sense of paradox, providing viewers with more questions than answers. Crewdson’s images create a level of tension between two opposing elements in the frame. At one point the viewer is drawn into the image through the sheer beauty that each carefully composed frame offers, yet as individuals reflect on the image, delving deeper into the subjects and surroundings, there is an underlying ugliness that disrupts the scene. This disruption causes tension, creates questions and prompts viewers to imagine themselves in the scene.

Crewdson utilises this tension to reflect the current society that is on display in contemporary America. As a viewer we have a glimpse into the unique, yet often mundane world that is American suburbia. Observers of Crewdson’s work are invited to act as a voyeur, gazing into the world of each subject matter, scrutinising their behaviours and responses to the world around them in an image. As individuals gaze at Crewdson’s images, they are met with a sense of frustration that comes with not knowing. In each of Crewdson’s images, something is missing, ignored or just not quite right. This sense of ambiguity creates a tension within viewers as they strive to find answers, yet, like the important reoccurring motif in Crewdsons’ photography, this thought process goes around in a circle, constantly questioning but coming to no definitive answer.

There is a certain level of comfort that comes with peering into the familiar world of Crewdson,s images. As viewers we can connect the dots to familiar people, events and locations that we come across every day. However there is an eerie undertone that contradicts these recognisable situations. Perhaps it is this familiarity that drives us to believe there is something wrong. When confronted with these images, there is a certain level of self sacrifice that you put into the photo. You can envision yourself appearing in one these domestic conflicts that Crewdson depicts. This scares people, it frustrates individuals as they attempt to ignore the facts of  life that shine through these delicately constructed images. The plausibility of Crewdson’s images makes for a unique experience, these beautiful compositions draw you in quickly, making you ignore the dark undertone that each photograph evokes. If you allow yourself to analyse each photo deeply, you understand that this intriguing aspect of being a voyeur, that initially sucks you in, is merely a tool to prompt a personal reflection of your own life. Some would call this a trick, perhaps this true, but it is more complex than that.

This duality between the serene and violent qualities of Crewdson’s work collapses time around the photo, capturing a moment in time that each person can relate to. It reflects the nature of life and the way we are drawn to the familiar yet get put off by the unknown. This unknown could be a reflection of our deepest insecurities that come out of each photograph. In reality each individual strives to be there own unique person. In this process and search for individuality we often loose sight of the “truth” around us. This truth lies in the fact that despite our different personalities, past mistakes, dreams and aspirations, we are all the “same”. Same in the sense we all strive to be intricately connected to one another, we all share similar emotions and on the whole, similar experiences throughout our lives. It is this familiarity that brings people together and allows for information to be shared amongst others and the world around us. Crewdson shines a light on these familiar objects and scenarios in our life. What we are drawn into, is really the visceral impact that is reality. We are subdued by these common questions that arise in this unique viewing experience. This relationship between nature and domesticity highlights the uncanny and absurd nature of our very own beings.

Each image provokes a paradox, in the sense that there is a beautiful ugliness to each photograph. It provides a glimpse into the unusual experiences of others, yet serves as a mirror, reflecting back our own experiences and bizarre scenarios, prompting us to look into the deeper “truth” of our lives.

The Galaxy is calling me

Sensing Lynch

David Lynch is one of cinemas most interesting directors. His films and artwork capture his intrinsic need to explore the duality of beauty and darkness.

Senses of Cinema is a profile of Lynch, describing his work, whilst discussing the undercurrent of common themes that Lynch constantly explores. The profile brings meaning to the surreal images and work that Lynch is involved in. It allows readers to understand Lynch in more detailed ways, bringing attention to the various elements that make up his personality. Often the darkness and aesthetic qualities of Lynches films can disconnect viewers, removing them of the ability to comprehend the main message that is present in each of his films. What comes out of this article is Lynch’s fascination with family values and society at large, his pursuit to explore the tensions between dysfunctional elements of any situation that embodies both positive and negative elements.

For me the psychology of human interaction that seems to play out in Lynch’s films is very interesting. It is this idea of alter egos and the innocence of individuals and how people battle with their dark desires. Lynch’s films appear to have an underlying stand against societal conventions. He questions the role of large industries and appears to exhibit the deterioration of his characters in a light that relates to their separation with the world at large.

Understanding more about Lynch’s thought processes has motivated me to explore more about human interactions with their internal dark fantasies. The frustration that comes from these questions about life is intriguing to me. The fact that an ideology or an idea can affect an individual in such a profound way is interesting. Perhaps, Lynch is trying to highlight the way that each person has internal turmoil, which can plague people in such a way that it affects their ability to function as a normal person.

In future research directions, I would like to explore the darkness that is often found, but suppressed, in all individuals. Likewise, mental deterioration is something I find really fascinating and would be something I could see myself exploring further as I wish to grasp a better insight into the internal functioning of the mind.

Reference: David Lynch; Author: Thomas Caldwell; Journal Title:  Senses of Cinema

Illinois, Chicago, 42d Ward

Photogenie

Jean Epstein discusses the growing role of cinema and the elements of this media form that differ from others such as painting. The characteristics and soul of different subjects that are enhanced in film is what Epstein refers to as the Photogenie. It is this idea that cinema can bring clearly defined expression and meaning to the otherwise mundane aspects of life. Cinema gives value to subjects and allows an audience to be engaged in moments of time that would have rarely seen the light of day.

In relation to time, it is this poetic nature of film that triumphs the ability of other visual mediums to express certain ideas and tell stories. These spatial directions that are discussed by Epstein, relates to cinemas ability to hone in on specific moments of time, bring attention to future or past events in the present moment that viewers are involved in the film

This notion of Photogenie relates to story and the way it is translated on screen. Understanding the purpose and direction around cinema allows creatives to explore unseen areas of life. It allows filmmakers to seek alternative options to visualise an event and creatively tell a story within the spatial parameters of the film “universe”/story line.

Attempting to come up with new ideas to include in a story is often challenging, however with this knowledge about the Photogenie, it makes it easier to explore these ideas in an interesting way. Knowing that cinema is about giving a higher value to certain to aspects of life, will allow me to come up with storylines that are unique and will keep me driven to stay on track with the many elements that go into making a film.

Epstein notes that he believes the Photogenie to be the “purest expression of cinema”. This statement relates to the ongoing debate of truth and how reality is captured. This concept of truth relates to all aspects of the creative field and is a concept that I will continue to explore over the course of my creative career. I think this is an important discussion to keep alive when creating something in a visual medium. Understanding how “truth” is interpreted by people is crucial to creating content that is both unique and satisfying for a variety of viewers.

Reference: Epstein, Jean. 1988, ‘On certain characteristics of photogenie’ in Abel, Richard., French film theory and criticism : ahistory/anthology, 1907-1939, Princeton University Press, Princeton, N.J., pp. 314-318.

The Fall (Explored)

Giving Meaning

Structure and Meaning is a discussion by Robert Mckee that sheds light on the way ideas are created and explored in every story. In my pursuit to understand  the various qualities that a make up the personality of different people, it is important to get a better grasp on how story is formed. Mckee touches on ideas of theme and how developing a story is a path to self recognition. It is this idea of looking at yourself through the lens of a story that will enable writers to develop a deep understanding of themselves. Once writers are able to identify the controlling idea and value that is present in the story, this is when a writer and film can truly excel.

Controlling ideas are raw. They exhibit the passion and authenticity of a writer. A strong idea that is believed in is what distinguishes a great writer, as they can decisively and comfortably pick out the truth of their lives. The emotional connection that comes from a controlling idea forms the basis of truth in cinema. People want stories that are real. The chemistry that forms between an idea and a emotional response to that idea is the real beauty of cinema.

As I move into my own writing it is important to determine what my controlling idea is. I need to ask myself questions about my motives and consider how my personality and life is being expressed through my work. I believe that once a controlling idea is accepted by a writer it can often be a very self fulling experience, relating to ones character. Coming to terms and accepting a controlling idea is this form of self recognition. This will allow me to create more truthful content and establish defined story lines that i’m passionate about.

It would be an interesting task to look at other directors and writers to establish what the controlling idea of their films are. I think some ideas/themes can be carried throughout ones work. Appreciating and dissecting the work of other creatives not only unveils parts of their personality, but also allows me to have a deeper experience when viewing their film as there is an deeper respect for the events that unfold and the meanings associated to them.

Reference: McKee, Robert 1999, ‘Structure and meaning’ in Story : substance, structure, style, and the principles of screenwriting, Methuen Publishing, London, pp. 110-131.

Disconnect

Theme

Story telling is an intrinsic part of film that must never be taken for face value. Stories add true depth and meaning to films that aesthetically pleasing elements are never able to achieve. It is true that a beautiful film is crucial to draw the audience in. Aesthetic elements such as visual styles, audio cues and large productions enable the story of a film to connect with the audience in an emotional pleasing way, giving the weight of the story something to rest on, so audience members maintain interest.

However, if amazing production elements are the only thing the film is giving to the audience, the film lacks substance, offering little and has nothing to say. Stories give meaning and value to visual elements, tying in real life thought processes and ideas that enable a rich understanding of what the film is about. When crafting a story, writing about an event or situation is not enough. Each story must uncover an underlying goal or motive that writers and audience members alike can relate too. This undercurrent that runs through the film is crucial to the story and conveys what a theme is.

This idea of a transparent veil that surrounds a film is called a theme. It describes the conviction of the writer and the overall climax and point of the story. What is the story trying to say? This is a crucial question that all writers must ask themselves when curating a story, for it is the motive for the whole film. The them is the intention of the film and what it’s trying to say. It is the way you get into the “Head and Heart” of the viewer. It it the connection that you can find in all good movies that provokes an idea in yourself when you walk away from it.

Once a theme is found, it can be easily converged into a story line to create an inner emotional experience for the audience. This rich emotional experience is what is sought through film. Without a proper understanding in what a certain story means to the you as writer, the possibility of audiences relating to the film is very little.

This understanding of a theme not only helps you as a writer, but as an individual who can critically investigate the nature of any film, delving deep into the mind of the writer and their intentions. Once you find this underlying tone of a film, the pleasure of watching a film becomes increasingly enjoyable. You can evaluate what the film means and take this information and craft it into a meaningful appreciation that can be carried and moulded into your own life.

Reference: Mehring, Margaret. 1990, ‘Theme’ in Screenplay : a blend of film form and content, Focal Press, Boston, pp. 221-230.

Floating fire