Analysis/Reflection Film/TV 2 Question 4

Select from one of the readings and briefly describe two points that you have taken from it. Points that interest you, something you could apply to your own documentary.

Rabiger, M. Directing the documentary wk 1 3-7 wk 3 54-57 & 207-218 wk 4 236-239 wk 6 329-347 (Aesthetic and Authorship)

A key point from the reading is the mention of Documentary Modes. Seeing that film attempts to blur lines within its intentions of Persuasion, Preservation, Analysis and Expression as dictated by Michael Renov in Theorizing Documentary, Bill Nichol’s breakdown of Documentary modalities into 5 distinct categories helps to clear this distinction as it helps define clear boundaries for the documentary in its opereation. I feel that Nichol’s modalities work more with objective traits and aesthetical preoccupations that help clarify the realm in which the documentary is operating as Renov’s points of distinction offer a more thematic expression of modalities and due to the subjective intepretation of his given terms, further disambiguation naturally may unfold.

I feel this will help tremendously with my documentary as Nichols’  Modalties give a form of ‘ground’ that can help identify the general aesthetical intention and framework of my piece so as to better improve its elements through this modal identification in cross-reference with other work that falls the same. As such, by working with others in a similar group (my documentary harbouring on the ‘Performative Mode’), I have a point of reference and departure from which i may be able to structure my documentary and further expand on its nature.

Another point that intrigued me was the excerpt’s mention of Erik Barnouw’s roles of documentary through its historical evolution. I find this interesting as it allows me to understand and see how the documentary has been identified in our collective consciousness throughout time and through the extrapolation of the words used (such as Prophet,  Explorer, Reporter Etc) and affective and, to extents, objective position can be understood about the documentary and futhermore, it signifies what the documentary ‘Could Be’ as filmmakers choose to make it.

Analysis/Reflection Film/TV 2 Question 3

From a distant gaze …” (1964) directed by Jean Ravel, picture Pierre Lhomme & Chris Marker, words by Louis Aragon, narrated by Jean Negroni, music by Michel Legrand.

Describe a few things that intrigue you – it might be shot construction, camera work, editing, overall structure, thematic concerns etc. Describe the camera work and why you think it has been shot that way.

The most intriguing aspect i find with this piece is the camera work and shot construction that has followed interesting with the theme suggested by the films title ‘A Distant Gaze’. Very much so, the cinematographer has attempted to embody this thematic aspect through the way in which he attempts to shoot individuals in the environment from a point of observable distance (observable by audiences). I interpreted this as an attempt of the artist’s intention in observing the milieu of daily habits and interactions encompassed in the environment. Roughly speaking, it looks truly as if the camera itself is simply watching individuals, suggested by the informality of the camera work, the continuous framing and tracking of particular individuals for extended periods of time and the sudden cuts to arguable different aspects of the environment entailing different actions and tone that seem to have no relation

I feel the work attempts to re-envision the aesthetic of original travelogues through its chaotic and seemingly unplanned cinematography however simultaneously working under the thematic objective of distant observation that enables the piece to act as such. It brings to question whether the piece is intentionally chaotic or unknowingly superfluous. What brings doubt, at moments, to the possibility of this free-form aesthetic is the occasional moments of planned shot construction in which individuals are placed at proper spaces in the frame following framing techniques such as rule of thirds or 180 degree rules. Personally, i feel this adds to the enigmatic representation of the piece which one can perceive either as a chaotic cinematic rambling, or an intentional ‘chaotic cinematic rambling’.

Another strong characteristic that comes to my attention is the use of music. I feel the expressionistic composition mirrors the sense of chaos embodied throughout the various segments of the piece. The tempo of the background music seems to synchronise with the bustle and activity of the environment and concurrently also the rate at which the piece attempts to transition.

As a conclusive observation, the film truly intrigues me as I see it as a piece that has a thinly veiled line determining its aesthetic from absolute chaos to complete order; A line which, when the film is revisited, continues to confound its audiences.

Analysis/Reflection 4 Film/TV 2 Question 2

Most applications reserve keyboard shortcuts for the functions that you use most often. It is really good to learn all of these as it will speed up your editing and additionally alert you to functions that the software developers and other users find important. (You can learn much about the software by looking at keyboard shortcuts).

Find the keyboard shortcuts for Premiere (hint, film-tv blog) and note four or more functions that you’ve never used before and why they may be invaluable to your editing. (Different functions to what you wrote last semester)

Adobe Premiere Pro Shortcuts

Cmd+/: (Adds a New Bin). This function helps great with Premiere Pro workflow especially during clip consolidation and Ingestion as it allows users to promptly create a Bin where they may be able to classify and sort their various clips of footage on the fly

Cmd+S: (Save project File). It goes without saying what the importance of saving your file is; This shortcut helps greatly with workflow as it allows users to quickly save their file as they continually progress on their clip. It saves the hassle of having to access the save function via the Apple Toolbar allowing users to continue editing without having to think twice about saving

Cmd+D(Add Video Transition). This function allows users to add a video transition at the point of cursor on their sequence between their clips. This helps greatly in workflow as it saves the trouble of having to sieve through the various effects Adobe has in order to find the appropriate video transitions. In documentary filmmaking, this function may prove more vital than most as transitions between interview segments are necessary and in the process of continual editing, quick access to this feature can prove a great advantage in terms of efficiency and ease of work.

Cmd+0(Playback Full Resolution) When reviewing a completed sequence or playback of a particular clip, this shortcut helps switch Premiere’s playback resolution to full so users can preview the actual resolution of their finally exported work. This helps when there is confusion in the final outcome of a piece in terms of its visual clarity and can help users make a quick reference to ensure the resolution of their sequence/final film. Additionally, when used with the following shortcut appendices of 2/4/8 the user can switch back to resolutions of  0.5/0.25/0.125 of the full resolution to continue with their editing work.

Analysis/Reflection 4 Film/TV 2 Question 1

In this clip from Forbidden Lies, Anna Broinowski’s 2007 film: describe in detail all of the audio, how it may have been recorded/sourced and how you think it has been edited / layered in post. (You do not need to describe how the music was recorded)


To first analyse the audio used in this excerpt, i feel it is important to distinguish between the two distinct segments of the excerpt; The first being the dramatic reenactment of Nourma Khouri’s story and the second being the commencement of the interview segment.

For the reenactment, it is clear that Broinowski utilised a musical score as the background track for the reenactment with additional SFX sounds to embelish and dramatise key moments of the piece that work as poetic devices for the story being reenacted. Such moments were the sound of birds chirping, the ‘twinkle’ sound shown in conjunction with the animated twinkle on the main character’s teeth, the revving sound of the car as the couple drive off into an unknown space, the throwing of the lead actresses’ scarf and the sound of impact it makes. It is clear in viewing the placement of the sounds and the exaggeration of their sonic elements (such as the heavy thud of the scarf, the desynchronised revving of the car with its motion), that the sounds added to the reenactment were most likely recorded elsewhere and concurrently added to the piece in post. They were most likely sounds of foley recorded separately or sourced from a sound-bank.  In editing, they would have most likely been layered over the music track with a larger proportion of the mix volume being allocated to their presence.


The final signifying transition to the interview segment utilised this pattern of SFX implementation however there is a distinction when it transfers over to the interview segment (with the sound of the clapped frame and the disintegration of the actor in the desert background). In the interview segments, the similar SFX sounds used are clearly distinguishable as non-diegetic sounds as the stand as almost accentuations of key moments in the interview (such as the interviewer making a dramatic point). In layering, it seems imperative that the interviewee’s dialogue is layered primarily as the backing track, most likely being recorded from the premeditated interview segments shown at moments through the piece. The use of the SFX is layered in such a way that it is synchronised with the visual transitions  during the sequence (such as the jump from the interview to image segments showing excerpt images of the book’s cover) However, an additional layer of sound heard is the general background noise that is shown at certain moments of free-form filming; one such moment being the interviewee’s movement in the outdoors. This layer of audio is clearly distinguishable from the SFX due to indicators such as sound quality, mix levels and intelligibility. As such, it alludes to the possibility that it has been recorded live on set during the free-form filming moments.

IM 2 Flip Lecture

How does this documentary alter your understanding of the way you use social media?

Firstly, looking at social media as a networking tool and a means of broadcasting opinions, this documentary has shown me that these platforms are rather powerful tools that can be exerted to amend mass favor and generate interest and awareness towards any particular intent, whether it is commercial driven or otherwise. ‘Generation Like’ has shown me how my consent of committed interest, such as a like on Facebook, is almost a virtual commodity that equates to a value within the sphere of Social Media. As such, this commodity has the power to drive popularity towards certain ideas, people, organizations and even nations.  Furthermore, it has demonstrated how public interest is no longer a one-sided affair and that the general public have the ability to willingly participate in the movement of said ideas, people and organizations.

What connections can you make with the role of a Social Media Producer?

A Social Media Producer is responsible for generating interest and facilitating this interest towards their client campaign, organization and or individual. This involves their consistent monitoring and management of social media platforms. Things such as scheduled media planning and release on platforms, moderation of page content,   communication with users to name a few are some of the occupational tasks.  The Social Media Producer is the sole driver and manager of the online presence and identity of the party they choose to represent.

What ideas does this documentary raise in regards to the event your group is planning and the task of achieving participatory engagement?

Analysis Reflection 6 Question 6/7/8


Question 7:

In this clip screened in the lecture from the Coen brothers’ ‘Blood Simple‘ describe what is happening in terms of the edits specifically in terms of the audio and video. Also name the different kinds of audio you can hear.

Throughout this excerpt, particular patterns of visual cuts and audio placement have been utilized towards varying extents and intentions. In dissecting this scene, the most obvious pattern of cutting that has been utilized is the use of Shot-Reverse Shot technique. Through majority of the scene, with exception of moments of character movement, this technique has been implemented. In moments of dialogue and silence between the two characters, the character speaking is shown followed by a very quick cut to the other character to show their response. As much as this shows dominance as a normalized technique,

Question 8:

Keyboard shortcuts. 

Most applications reserve keyboard shortcuts for the functions that use most often. It is really good to learn all of these as it will speed up your editing and additionally alert you to functions that the software developers and other users find important. (You can learn much about the software by looking at keyboard shortcuts). 

Find the keyboard shortcuts for Adobe Premiere and note two or more functions that you’ve never used before that may be invaluable to editing

Keyboard Shortcut for Function #1: CMD+/- “Creates a New Bin for your Sequences and Clips in Project Folder”. This has helped me tremendously during initial stages of assembly as it assists in the efficiency of consolidating dailies/clips into relevant Bins without the need for unnecessary pointing and clicking

Keyboard Shortcut for Function #2: Key ‘I”, “Mark In”, ‘ Creates a Marking input to help section particular clips or parts of sequence being edited’. This function has proven to be the most efficient tool in helping with the Rough and Fine Cut editing process as it allows users to quickly Mark in Clips (and Mark out) to section relevant parts of footage or sequences. During the process of reviewing footage it helps tremendously when there is a need to quickly scan through footage to find portions that are required for the general sequencing of the film or to isolate the footage from any erroneous portions that may not be necessary

Keyboard Shortcut for Function #3 Key: Key “O”,“Mark Out”, Creates a Marking out at any particular point of a clip or section, in conjunction with the Mark In, Sections portions of individual clips or entire sequences. Working in Pair with the Mark In Function, the Mark Out keyboard function helps quickly Mark the end portion of the desired section that the user wishes to section out. Together, the two functions help greatly with the efficiency of time in the editing process as they work in conjunction with key cursor to mark a section at the current point of duration indicated by the cursor. As such, users can automatically Mark footage as they are reviewing them or in a more precise manner where they may use the cursor to select a certain point for Marking. The advantages weighs out tremendously in comparison to the manual method of clicking the function and having to manually stretch the length between the two points towards the desired section. As such, time lost in the manual process of stretching the Mark In and Mark Out bounds (especially in the context of having to review several clips of footage) is  regained through the simple process of using the keyboard function. Relatively, this function would be one of the more significant features of the software as its presence completely alleviates the need for the entire process of manual selection.


Participation Week 12

Final Submission

What did you  do well?

I felt that my key strength throughout this participation diary has been my ability of analysis in understanding, identifying and evaluating key ideas and concepts postulated by my guiding material (Weekly Reading, Linked article/academic writing).  My ability to critical evaluate ideas and arguments had shown demonstrably through my writing and was further improved as a result of my participation diaries. Additionally I felt that I did well in handling the Korsakow program and its features which was strongly abetted by my understanding of the concepts presented in the class and my readings.

What have I learnt to do better?

Through this assessment I have improved in my ability to moderate and continually contribute to an ongoing sphere of publication. As such the diaries have helped me in forming a consistency with my written publication, the development of a unique style of writing and a better understanding overall, of how to express myself effectively consistently and coherently.

What could you have learnt to do better?

I felt that my biggest weakness throughout this contract was in developing an adequate practice of reflective learning. As such, I did not have an established means in which to gauge my weaknesses and strengths as I went through the weeks of participation and the process of my K-Film production.  Additionally I felt that I could have contributed more to my time in my tutorials and lectures.

Participation Week 11

Publish a review for a link to an article or academic writing

This week’s link is of an article from the editorial of a game critiquing website called ‘’ called ‘Once Upon A Time: Narrative in Video Games’ and addresses the discourse surrounding the importance of Narrative in Video games and whether Video games propose a new form interactive storytelling. The author Laura Parker starts on a note about Human stories and our narratively ridden cultures, now coming to a point where people now have the ability to interact with their stories.

As started by Parker, the viewer is no longer a passive observer but rather an integral part of the storytelling process.

On a whole, the article views video games from the two generalized perspectives, one in which its purpose is solely for the design of its interactive challenge and another in which the narrative is an integral part of the game. By citing various games to draw examples of the degree of narrativity it possess and the significance of it on the critical reception of its  release, Parker ultimately parks upon the game ‘Heavy Rain’, critically acclaimed for its detailed and causally intricate plot that drives the game purely. Wherein which users are required to make certain choices that will effect the entirety of the game as a whole and the narrative presented.

Conclusive, Parker comments how it may be time till video games as a storytelling or narrative medium will be truly actualized, which can entail its potentiality in bringing an integrated effect on cultures to come.

Personal Assessment Matrix

WEEK Analysis Execution Reflection Learning Total
11 5 4 4 4 17

Provide a link to a form of Multimedia

Given light of the topic of Video game Narratives in the review, I have chosen to provide a link to an interactive animated flash-based game called ‘Exmortis 2’. The reason I had chosen this particular media was to embellish on the note that the article leaves off. ‘Exmortis’ is an extremely detailed plot driven horror game that holds unique in its requirement of the user to navigate through its story world and investigate as a player to find a conclusion and explanation to a particular strange occurrence. In the fear of giving spoilers, I leave you with the phenomenal game and hope to make you reconsider the power of video games in telling you a story.

Participation Week 10

Progress report on ongoing coursework

Having been placed in groups with Brenton and Amanda, we have collectively come to plan together the initial semblances of our K Film. Originally mind mapping our themes on paper, we had all collectively come together in utilizing the theme of spaces for our K-Film.


Functioning as the key premise for our filming, Spaces and locations related to everyday life will be utilized as our unifying theme. As such we have subdivided our filming into 3 sets of 20 clips. With each of us handling a type or category of location settings, we each will be required to film 20 clips of different locations related to that category. However, we are still in discussion of the specificities of our category and as such may have our filming procedure subject to change.

Subjective and Objective

Operating as a subtheme, or seccondary intention with  the composition and design of our Korsakow clips is to lace the theme of Subjectivity and Objectivity into our work. While maintaining a level of abstraction in terms of the literal requirements of implementing the sub theme, we have decided on a key rubric, which is the perspective of filming which dictates polarization of a clip between the sub-categories of Subjectivity and Objectivity.

As of now, we are still in the midst of planning our production and design of our Korsakow Film and interface and as such is still subject to change.

Personal Assessment Matrix

WEEK Analysis Execution Reflection Learning Total
10 4 4 3 4 15

Provide a link to a form of Multimedia

Given this week’s focus on our Korsakow project, I was much inspired to include a link to the Korsakow webpage that is currently featuring 27 New Korsakow Productions. It amazes me as these continued contributions to this unique sphere of this production technique is indicative of the increasing number of people approaching this medium with a serious and actualized artistic intent. The detail of the interface designs and plotting structures of some of these films are fascinating to say the least and definitely work as inspirations for the upcoming Korsakow Submissions. All the best.

Participation Week 9

Publish a review to a link of article or academic writing

This week’s link is to the article “A History of the GUI” by Jeremy Reimer of Ars Technica. Given the contextual relevance of GUI (Graphic User Interface) with the week’s reading, I had chosen this link to provide a sense of understanding towards the history of its design. The article shows the very first semblances of graphics and text on screen with the first Macintosh followed by the development of other related GUI codes that led to developments we know now as application windows, mouse pointers roll down options.

What holds the most fascinating with this recollection is the intricacy and detail of effort that went into the process of designing these interfaces. Now even small elements such as the mouse pointer which we use almost autonomically was developed only over years and years of precision and trial and error.

Ultimately, to seed opinion of a bigger philosophy (which gels in tandem with databases) is to the concept of big things starting from small beginnings. What I can take from this to my work is the notion that just as such, the complexity of working with non-linear narrative interfaces may prove jarring but with time and focus, I too may find my own discovery within this relatively un-plotted new frontier of filmmaking.

Reflect on Reading for the week and pose thoughts on symposium question

This week’s reading is an informational guide on plotting database narratives, accurately called, ‘Plotting the Database’. Unlike traditional plotted narratives, the Database Narrative, as suggested by authors Matt Soar & Monika Gagnon, is one that allows viewers to access to any data virtually temporally disconnected gene forgoing elements such as foreshadowing and other traditional narrative plot devices.

As such, the question is raised, how does a database narrative succeed in its narrative nature without the employment of such traditional devices. Soar and Gagnon propose the solution through the concept of interface design, the terminal and initial contact with the viewer that helps decide and shape the database narrative

The Plot and Interface

Soar & Gagnon explain how in the view of a database the interface acts as the experiential facilitator of the viewer’s exposure to certain story elements. As such, a database narrative attempts to control this experience by facilitating the points, or essentially plotting, at which viewers are limited and exposed to macro and microcosm of the abstraction in the piece at intentional limitations to access and temporal delays.

An implication of this would be now how the author of the work can effectively plot a database so as to reveal these levels of abstraction to the audience without hindering or revealing the underlying intention behind his/her delivery of his/her audience through his/her piece.

Personal Assessment Matrix

WEEK Analysis Execution Reflection Learning Total
9 5 4 2 4 15

Provide link to a single form of Multimedia

In view of the week’s reading about database narratives and the utilization of interfaces, this week’s link is to a flash-based interactive animation called ‘Scale of the Universe’. The animation functions much like a database narrative in it’s controlled exposure to the animation’s elements based on the user’s interaction with the interface. Soar & Gabnon may come to praise its creation as its interface is designed so as to allow the limited exposure of information to the extent to which its audiences are willing to explore it. Ultimately, the piece attempts to show the the relative scale of the size of objects in the universe through the use of  inserted text and the animated diminishing of object size in relation to the appearance of new objects through the use of a proportional, user-controlled browser bar. The simplicity of its interface speaks little for the complexity of its design but the overall beauty of the piece can be argued to show such a cohesion between elements that audiences are taken aback by the awe and flow of the piece without thinking twice as to how it may function.