Media One Lectorial 4: Editing

24 March


 

Week 4. Trying to get my head around that. This week’s focus in Media One revolves around editing in film and media. The reading – Scott McCloud’s ‘Blood in the Gutter’ from Understanding Comics: The Invisible Art – augmented the focus on editing and focused on the conceptual ideas at “the core of the edit”. I really enjoyed the reading as its ideas on meaning lying “between the panels” was complimented by Liam Ward’s presentation on the similar ideas on film and television. He spoke of an edit “breaking down the components” creating meaning and unintentional breaking of components should not be disregarded entirely. The notion that editing completely changes meaning is both correct and interesting. The six different types of panel-to-panel cuts in comics written by Scott can be brought over to Liam’s meaning-making through editing views on film and media.

Media One Practical 3: Introduction to Editing

19 March


 

Following on from project brief 1, Media One’s third practical class began with getting into groups and giving peer feedback on our self-portraits. Using a four-hat media version of Edward de Bono’s famous theory on parallel thinking “Six Thinking Hats”, we gave initial responses, what worked well, what didn’t work well and suggestions for improvement. Sharing my self-portrait, I was not nervous because I was very interested to receive feedback and determine what I could improve. With the feedback given by my peers, I decided (with their guidance) that my self-portrait could be described in one word: selective. It was well-received in capturing part of my essence and my writing was applauded; however, I was given feedback that it did not encapsulate me entirely. Which is what I knew would be the case before I even started the project brief. A wholeness cannot be represented through two videos, four photos, two sounds and 50 words of text. Looking back on my self-portrait after the feedback session, however, I can see that I was too succinct in my depictions: that is, I chose to focus on parts of myself and ignore others. In project brief 2 I will definitely try to pervade a broader sense of my being and really try to depict who I really am.

To finish off the practical class, we were given a short editing task where we had to focus on one set theme for our videos. My first created film in Media One, entitled simply ‘Movement’, has been posted on my blog previously and deals with movement (obviously) as my primary theme.

Media One Lectorial 3: Guest Speakers

17 March


 

In Media One’s third lectorial, three guest speakers presented: Anne Lennox, Kyla Brettle and Paul Ritchard. The lectorial’s focus was on media as a ‘public practice’ through engagement with the world and others. The presentations were informative, interesting and pedagogical. I will comment on the three presentations separately.

Anne Lennox

Anne’s primary focus during her speech revolved around copyright in medias including film, television prose, the internet and music. Copyright in the context of international patenting, moral rights and infringements to copyright were also discussed.

Kyla Brettle

Kyla’s delivery of her presentation on travelling, opportunities and international media was phenomenal. She spoke of her own life experiences in travelling to Kabul and making hard-hitting documentaries. Kyla’s primary message was to put ourselves ‘out-there’ as media practitioners, accept offers we would not normally consider inclusive of our comfort zone and do whatever it takes to succeed.

Paul Ritchard

Paul initially introduced us to the ‘film-tv blog’ on the Media Factory website which is a broader blog in terms of film, television and new media at RMIT. He spoke of serendipity and ‘happy accidents’ in terms of filmmaking and media making.

Media One Lectorial 2: Noticing Media – Queen Victoria Village

10 March


 

Week Two in Media One revolved around ‘noticing’ media in public spaces and my focus in Lectorial 2 was particularly on the Queen Victoria Village in Melbourne’s CBD. Being acutely aware of the various types of media surrounding me (signs, screens, newspapers, loudspeaker announcements), I was overwhelmed by the gargantuan amount of explicit agenda exposed to me.

QV 1QV 2QV 3

 

These three images were taken by myself throughout the Queen Victoria Village: the first image is the QV official sign and directory on the corner of Swanston St and Little Lonsdale St; the second is a walkway inside the building where signs from each shop overhang the walkway; and the third is taken outside in the QV courtyard eatery. As seen by these three images, I was surrounded by signage wherever I walked and wherever I looked. Is it beneficial or detrimental to live in a society where so much media surrounds us? Noticing the intentions of public media, I believe, is a primary objective that should be undertaken by everyone so as to not come under influence by media sorcery.

Self-portrait

18 March


 

For Media One’s first project, we had to undertake a self-reflection and investigation for our very own self-portraits. I have thought a lot about this and have been tossing up what I would include in my self-portrait. After deliberation, I have chosen to display aspects of myself more personal and more hidden than my surface representation. Yes, there are aspects of myself that I have not considered adding which brings the following question to mind: can a self-portrait really present a ‘whole’ of an essence? I disagree due to subjectivity of one’s own insecurities. Therefore, I may in the future attempt to add to my self-portrait but for now here are aspects of myself that I consider to embody ‘me’.

Journey

My first image is entitled Journey and is explicitly a portrayal of my recent inter-state move to Melbourne to study Media and pursue my dreams in Film.

Insecuit

Confronting and raw, the second image in my self-portrait collection is entitled Insecurities. Taken in a familiar place, Insecurities personifies my anxieties and self-doubts through habitual nail-biting.

Gradual Felicity

Gradual Felicity, my third image of self, is an unintentional intentional shot. Light and dark, Yin and Yang, are polar dualities that I find strength and balance in. Gradual Felicity’s intrusion of white into black symbolises my endeavour to feel happier and let optimism outweigh pessimism one day.

Imminence

My final image for my self-portrait is entitled Imminence and is a public illustration of personal circumstance. A depiction of privacy, apprehension, sensation and climax.

My first of two videos for my self-portrait project is entitled Backwards and has purposefully been uploaded in low resolution. Backwards shows forward-pacing motion, ironically presenting confusion and haste.

Fittingly, Forward is the title of my second self-portrait video. My intention with Forward is to illustrate my unconventional movements from untroubled norms to precarious perspectives.

My first audio piece is entitled 1 and represents the often unattributed part of myself that enjoys solitary, contemplation and silence.

My second audio piece is entitled 2 and is a personal and intimate part of my self-portrait. I will leave this one open for interpretation.

I do not want to live vicariously; I am my own essence. My eyes disregard alien entities and search for the missing part of my what-seems-like-forever distorted entirety. I am on a journey; though I clutch to the wind. Clair de lune est le Soleil.

III

14 March


 

I am going to keep this one nice and short (I hope) due to my current physical state.

Note to self: Do not attempt to read an ethics report after minimal sleep and minimal food-intake

I am not sure whether or not it is this physical state or the fact that I did not watch the film Tagged (2007) that evoked a sense of agony upon me as I read week 3’s Donovan reading. I can take one (or both) of those stances however I almost adamant that neither are the cause. To put it simple, that was one of the most boring articles I have ever read and am glad that it is now part of my past and no longer infects my present or future. Donovan writes about her documentary film Tagged and unpacks an evaluation in excruciating detail of the successful and appropriate manipulation of ethics revolving around the production of the film. Apparently, Tagged presents an “ideological position” and is “truthful [in its] representation” through chosen aesthetic and discursive techniques. All I have to say is that whilst Tagged may have attempted this and might actually be one of very few ‘documentaries’ that intend on presenting truth, Donovan’s point has been overshadowed (personal opinion here) by the pain inflicted upon me in reading this article. I have not seen, and fail to believe that there is, a documentary that’s authors actually present 100 percent truth. The editing in post production, the planning of the film and multiple takes of shots in Tagged solidifies my opinion and has strengthened my stance against ‘documentary’ films. In truth, I have not seen the film; it could oppose my arguments completely and subvert my ideologies (however I highly doubt that). So in conclusion, I understand the position of the report and can draw connections to various points made by Donovan on ethics, however, the article interested me as much as the film adaptation of The Curious Case of Benjamin Button (2008): not at all!

Week 1 Recount

2 – 6 March


 

RMIT. Week 1.

I will start off with a painting of my thoughts, followed by an ‘out-of-ten’ score on my week and finish with my top moments. Picture a reverse-wilting of a winter rose; the withered flower regaining its lost petals through a magnetic pull. I remember sitting ‘watching’ WICKED – awe-inspired and fiercely emotional – and when Elpheba was brought forth from the trap door by Fiyero (the Scarecrow), after Dorothy ‘killed’ her, I felt a gargantuan wave of unanimous felicity exuding from the entire audience. That is how I felt after my first week studying Media. So academically and study-related, I feel nine-out-of ten (I’m a pessimist and no one can ever be a ten). Moments from the first week that contributed to this momentary internal bliss the most are: making an incredible new friend through our instantaneous connection within the first 10 seconds of meeting her; absolutely content with all of my tutors and lecturers; engaging in intellectual discussion about film and stories across other mediums; and watching The Wizard of Oz (1939) in my first lecture of course!

On a personal note, I am slowly starting to put into practice advice that has been given to me from some close friends. I have started to finally distance myself (out of context this sounds negative however I can assure you it is allowing me to keep a clear head and focus on the imperatives in my life).

Merrin (vs.?) Mason

12 March


 

William Merrin – ‘Studying Me-dia: the Problem of Method in a Post-Broadcast Age’

In this modern digitised era we live in, many elucidate that the term ‘Media’ recedes more in present day to its successor ‘Me-dia’. Personal ideologies are forefronted through self-made me-dia as society’s grandest medias are, whilst highly regarded, often seconded. Merrin’s blog Media Studies 2.0 ironically presents his post on the issues formalised by modern digital me-dia in contrast to broadcast era media. Volume, Dispersal, Ephemerality, Access, Discovery, Content, Ethics, Production, Audience, Generalisation and Accumulation form Merrin’s package of ‘problems’ with today’s digital age. He commends the volume of post-broadcast era me-dia, however, whilst acknowledging the multitude of documentation devices, records his pessimisms on ephemerality and the inevitable digital lost of instant/ present-focused me-dia. Whilst he details the differences and similarities between media and me-dia, his point – at times – is shrouded by the irony that his post on problems with post-broadcasting is distributed through his me-dia blog.

John Mason – ‘Researching your own practice: the discipline of noticing’

Mason’s chapter on ‘noticing’ is a pedagogical stance on noticing media, forming an acute exposé on intentional noticing, marking and recording.

Intentional noticing: This is pretty much self-explanatory. For aesthetic purposes, I will still define it. Intentional noticing’s primary focus revolves around “living-in” and “learning from” media (likewise me-dia). Mason states that we are “multi-sensate beings” where intentional noticing occurs every day – whether consciously or unconsciously – and is easily aligned with ordinary noticing and perception. Intentional noticing can be only recalled through being “re-minded (literally)”.

Marking: This one is a bit more difficult. Marking, as Mason defines, is a “heightened form of noticing”; therefore I understand it as the ‘second step’ after intentional noticing. Whilst one could presume that marking is a solely conscious effort, it can be internalised by the sub-conscious. I am more inclined to take the stance that marking is – opposed to more conscious – more deliberate than intentional noticing. Whereas intentional noticing relies on being “re-minded”, marking draws focus on “more than casual attention” as recollection of events and remarking to others and yourself allows easier accessibility of the incident at a later point in time.

Recording: Whether brief or in depth, recording as the third form of noticing involves noting the noticed – externalising the event/ incident from internal thoughts. It is important to understand, however, that internal note-taking is also considered a form of recording as this is arguably still an aspect of conscious recording. This form of noticing requires the most motivation and attention, two imperative attributes that we disregard and detest.

Application of Mason to Merrin

When considering Mason’s status on noticing media, parallels can be drawn between this and Merrin’s methodical ‘problems’ of media in our current post-broadcast age. Merrin’s viewpoints on ephemerality and discovery, in particular, collaborate with the idea of intentional noticing specified by Mason. If intentional noticing is the act of taking attention but no attachment to, it augments the notion that ephemerality is an issue with me-dia in a post-broadcast era. Do we as media practitioners need to consciously move to marking and recording in our digital me-dia age in order to deter this ephemerality? I suppose the idea of intentional marking and intentional recording rely on motivation and attention. Is it really the post-broadcast era that has caused ‘media’ to wane?

I agree with Merrin; I disagree with Merrin. These are two conflicting statements that both correlate with me. I am not torn between the two; I can confidently accept that I can associate with both. Yes there is a larger volume of today’s media and me-dia that contribute to an inevitable result of forgotten digital artefacts however Merrin’s note on access is imperative in order to contradict this. Today’s access of media – whether minute or gargantuan, fan-made or industry made – eclipses the broadcast era’s primitive methods (by comparison) of access, distribution and accumulation. I feel that my agreements with Merrin can mostly be subverted through a conscious application of Mason’s intentional marking and recording.

Skip to toolbar