A theme in art is a message or a thread that connects the images the artists present in order to convey meaning. A theme presents a perspective through which it views the world. Below are the three perspectives I personally want to explore this year.
One of the themes that interested me the most was the one titled "Looking Inward: The Human Experience". This theme was the most fascinating to me, as it emphasizes that our inherent human nature makes us more similar than we think, despite vastly different upbringings, culture, or life experiences. This is because we all experience the broad life cycle the same: we start as helpless children, grow into adolescents, and fall into adulthood and decline and pass away. I want to explore the way in which our human nature allows us to connect and embrace each other and allows us to look beyond superficial differences.
On the other hand, I am also interested in the uniqueness of each individual experience. To portray individual experience, I want to experiment with parallelism by telling two stories through alternating shots of each story. I am not yet sure if I want to explore the distinction between two lives, two cultures, etc. but I am interested in this difference. By showing the sharp distinction of the same routine, I hope to convey the message that each story follows the same pattern but is riddled with unique differences characteristic of only that person, culture, etc.
The last separate theme I'm interested in stems from the reading on iconoclasm. The rejection of images and idols bears the question of what do images signify that they extract such a violent act of destruction. I want to draw upon the idea of the meaning an association gives to an idol or image and why that association elicits such strong reactions. Furthermore, I want to explore the inherent worth of objects. I hope to explore whether we, as humans, can get caught in a trap of giving inherent worth to objects and whether we can value them independent of any other idea.
Sunday, August 28, 2016
Friday, May 6, 2016
Interpretive Claim for Rear Window
Interpretive Claim
Hitchcock’s Rear Window is centered around the theme of voyeurism. This theme is developed through the usage of many devices such as extended point of view shots, prevalent framing, mise-e-scene to create a sense that the audience is watching, just as Jeffries is. In this time period, voyeurism was a popular theme as the post-war atmosphere tended to be depressing, and filmmaker such as Hitchcock sought to channel that mood into interest by shifting attention from one’s own grief to realizing man’s endless curiosity. Alfred Hitchcock uses a multitudes of techniques and skilled cinematography to lure his audience into Jeffries’ fascination with observing in his renowned film Rear Window. Perfectly exploiting the somber atmosphere of the post-war period, Hitchcock distracts the audience with the film while at the same time reminding the audience of their curious and, perhaps, intrusive nature by portraying the theme of voyeurism.
This still is seen from Jeffries’ point of view. The point of view shots characteristic of this film are critical to developing the feeling that the audience is watching from Jeffries’ eyes: in this way, the viewer becomes aware of the fact that they are just as curious and meddling as Jeffries seems to be. In addition, this shot is limited in what it reveals. The viewer can take note of the neighbors – the kissing couple, the dancing young woman, and Thorwal planting something. However, the reader is not given insight into why they are all doing these things or what happens next. These limited understanding reflects how little Jeffries knows and allows the
viewer to feel the same interest and frustration that he feels to find out more and understand the things happening in his neighborhood.
In the film, Hitchcock also uses a variety of panning shots to display the depth of what Jeffries is observing. Through these shots, the audience can see what Jeffries is watching one by one as it is revealed by the camera. This still is one that is done in the same. First, the woman kissing comes into view, then the dancer, then Thorwal. These shots create a feeling of constraint and anticipation toward what is to come. The viewer learns to expect a dramatic reveal with these prolonged shots. However, Hitchcock also uses these shots and reveals nothing more at times. This lack of information, then, shows the viewer how Jeffries feels being unable to move and find out new information that he cannot see in his position at the window. Hitchcock’s persistence usage of the panning shot that reveal and the point of view shots that exhibit the viewer’s desire to know about others all integrate into the larger themes of voyeurism.
One of the most prominent characteristic of this shot is the drab color surrounding it. The buildings, of course, are very gray tone and dull, reflecting Jeffries’ somber mood of boredom. Hitchcock cleverly uses the dull colors to induce a feeling of dullness to the viewer so that they can identify with how Jeffries is feeling. However, as the plot develops, Jeffries finds himself more than captivated by the happenings around him. Then, the natural and routine lighting contradicts Thorwal’s unusually suspicious behavior and other questionable events taking place around Jeffries. In such a way, Hitchcock uses the dull color and lighting to establish a sense of routineness in the beginning, and then uses the same lighting to add a layer of contrast to the film.
Another prominent feature of this still is the severe usage of mise-en-scene. There are innumerable amount of things taking place in this one shot. Each story is unique and captivating, but once the still is seen together and all the stories blend into one another, there is a feeling of chaos and confusion. This confusion is the same kind Jeffries feels as tries to unravel the many mysteries he witnesses. Therefore, the usage of mise-en-scene further develops the theme of voyeurism.
Voyeurism is the primary principle that Hitchcock repeatedly reminds the viewer, This still perfectly captures the essence of that theme due to usage of camera angle and several other elements. In conclusion, Hitchcock utilizes many different elements - particulary point of view shots, panning shots, lighting and mise-en-scene - to create that interest in the viewer to remind them of their extreme curiosity.
Wednesday, April 27, 2016
Audio Basics Activator
If audio is recorded higher or lower than intended, it can be adjusted in editing to make it seem more balanced. However, if it is too high or too low, the editor cannot adjust it to the same level because it can only adjust up to certain level. Therefore, audio can fixed but there are limitations. The optimal level for sound recording is 0 to -12.
Friday, April 15, 2016
Avant Garde Critique Summary
A: In terms of composition, our group did okay lining up the shots. However, we did really well in the shots that involved diagonal, vertical, horizontal lines. To improve the usage of these principles of design, we could implement variety to create interest.
Our design was lacking because we put an over-emphasis on the usage of lines. We should have used a more comprehensive range of design such as formal balance, unity to convey more emotions. We could have also used more movements since the camera was still in almost all of our shots. The film also had a majority of closeups, so we should have varied the camera angles to create variety in those closeups.
B: I did well with the sound design of my film as it is appropriate to the nostalgia and sadness that the actor seems to be feeling. However, some of the transitions were not as smooth as I would like, so I will spend more time on transitions between different songs in my next film. Our shots were balanced well with the tripod also.
I realized after seeing my group member's film that layering could have useful for the message we were trying to convey in some of the latter shots, so I will experiment with that also. We also struggled with camera usage in trying to get the overexposure shot, so next time we can just do that in editing. Lastly, the lighting was too constant in the film as we were inside for all the shots. Using artificial light for effects or natural light to brighten up our film would work better.
C: Our greatest strength in performance is Gerry's facial expressions. He did really well in appearing stoic and serious as though he had lost something, which is exactly the message we were attempting to portray.
We could improve performance by subtly exaggerating the posture to show the actor's dejected nature after facing a hardships, such as by having him slump over. In the crying shot, it was hard to tell how he really felt, so exposing more of his would be useful. Lastly, we could attempt to make the background actor more unique rather than just having them as background actors.
Our design was lacking because we put an over-emphasis on the usage of lines. We should have used a more comprehensive range of design such as formal balance, unity to convey more emotions. We could have also used more movements since the camera was still in almost all of our shots. The film also had a majority of closeups, so we should have varied the camera angles to create variety in those closeups.
B: I did well with the sound design of my film as it is appropriate to the nostalgia and sadness that the actor seems to be feeling. However, some of the transitions were not as smooth as I would like, so I will spend more time on transitions between different songs in my next film. Our shots were balanced well with the tripod also.
I realized after seeing my group member's film that layering could have useful for the message we were trying to convey in some of the latter shots, so I will experiment with that also. We also struggled with camera usage in trying to get the overexposure shot, so next time we can just do that in editing. Lastly, the lighting was too constant in the film as we were inside for all the shots. Using artificial light for effects or natural light to brighten up our film would work better.
C: Our greatest strength in performance is Gerry's facial expressions. He did really well in appearing stoic and serious as though he had lost something, which is exactly the message we were attempting to portray.
We could improve performance by subtly exaggerating the posture to show the actor's dejected nature after facing a hardships, such as by having him slump over. In the crying shot, it was hard to tell how he really felt, so exposing more of his would be useful. Lastly, we could attempt to make the background actor more unique rather than just having them as background actors.
Friday, April 1, 2016
Avant Garde Film Reflection
Aspect ratio is the ratio of the image's width to the image's height.
The resolution of an image is the total number of pixels that it contains, with more pixels meaning more detail and clarity.
Overall, this project went very well for our group. One of the things that made it an enjoyable experience was that everyone in the group was willing to be extremely flexible. For example, we used my storyboard and I realized quite a few of the shots I planned were unable to be done with our resources. The other people were extremely understanding, and we brainstormed new ideas very quickly. Additionally, this project did actually give me the camera experience that I shied away from during the chase scene film. I think I also have a much better idea of how to direct a film also. The editing process was also fun to do, as experimenting with the effects showed me how to make our shots more interesting.
However, we did face a few pitfalls. As I mentioned previously, we lacked full planning as we realized throughout the filming process that our storyboard shots were impossible to do. I can improve on this in the future by communicating with my group better early on. Also, we faced some technical difficulties with the cameras. Initially, setting white balance and customizing all the settings took up too much time for our group. Furthermore, some of the effects did not come out as we would have liked. For example, we couldn't get the overexposure shot in the closet well. In the future, I will speed up the daily tasks and realize that shots can be modified in editing also. Lastly, given the size of our group, the majority of our film had to be centered on one actor, giving it an almost monotonous look. Perhaps, we can get other actors from outside our group in the future. In all, however, I am extremely pleased with the end result of this project.
Thursday, March 24, 2016
"The Goal of Film Analysis: Articulating Meaning" Summarizer
In analyzing film, there are three basic types of written statements: descriptive, evaluative, and interpretive statements. These three types are usually interlinked to derive a comprehensive meaning that is developed in the work.
Descriptive claims are the simplest; they involve detailing plot events in sequential form to reach a plot summary. They may also note a certain visual or audio style that is prevalent in the film. Descriptive claim can refer to references, allusions, and intertextual connections. Delineation of genre also occurs in descriptive claims.
Interpretive claims are more thorough responses that present a certain argument about the film's meaning. There are an unlimited number of interpretations of any given film; thus, innumerable interpretative claims can be made. However, such claims must be substantiated by descriptive claims and specific details of the film. Using these details, these claims also analyze the abstract ideas and themes the film presents and attempt to solve what the film is commenting about them. Claims must draw a series of analyses of individual scenes, motifs, and other specifics to arrive at an over-arching argument. Therefore, interpretive claims are sophisticated arguments that seek to be conscious of all the elements that comprise a film in order to construe a detailed analysis of the film's message and its significance. Most importantly, interpretive claims act as catalysts for discussion on subject and themes greater than the film itself.
Lastly, evaluative claims are those that seek to express an author's belief about a film. Strong evaluate claims must include specific reasons that support the claim; of course, every author's standards of evaluations vary. However, by citing reasons, the author gives empirical evidence to evaluate in addition to opinion. Thus, evaluative claims must also follow careful interpretation of a film.
In conclusion, descriptive claims identify details of a film, interpretive claims argue a film's meaning and significance and evaluative claims critique the quality of a film.
Descriptive claims are the simplest; they involve detailing plot events in sequential form to reach a plot summary. They may also note a certain visual or audio style that is prevalent in the film. Descriptive claim can refer to references, allusions, and intertextual connections. Delineation of genre also occurs in descriptive claims.
Interpretive claims are more thorough responses that present a certain argument about the film's meaning. There are an unlimited number of interpretations of any given film; thus, innumerable interpretative claims can be made. However, such claims must be substantiated by descriptive claims and specific details of the film. Using these details, these claims also analyze the abstract ideas and themes the film presents and attempt to solve what the film is commenting about them. Claims must draw a series of analyses of individual scenes, motifs, and other specifics to arrive at an over-arching argument. Therefore, interpretive claims are sophisticated arguments that seek to be conscious of all the elements that comprise a film in order to construe a detailed analysis of the film's message and its significance. Most importantly, interpretive claims act as catalysts for discussion on subject and themes greater than the film itself.
Lastly, evaluative claims are those that seek to express an author's belief about a film. Strong evaluate claims must include specific reasons that support the claim; of course, every author's standards of evaluations vary. However, by citing reasons, the author gives empirical evidence to evaluate in addition to opinion. Thus, evaluative claims must also follow careful interpretation of a film.
In conclusion, descriptive claims identify details of a film, interpretive claims argue a film's meaning and significance and evaluative claims critique the quality of a film.
Sunday, March 6, 2016
Homage to Silent Film
Sources:
Caldwell, Thomas. "Film Review – The Artist (2011)." Cinema Autopsy. N.p., 30 Jan. 2012. Web. 06 Mar. 2016.
Jeffries, Stuart. "The Artist: The Silent Film They Said No One Wanted to See." The Guardian. Guardian News and Media, 08 Dec. 2011. Web. 07 Mar. 2016.
Karpel, Ari. "Tributes That Leave Hollywood Speechless." The New York Times. The New York Times, 07 Jan. 2012. Web. 07 Mar. 2016.
Masters, Tim. "The Artist Pays Homage to Hollywood's Silent Era - BBC News." BBC News. N.p., 17 Nov. 2011. Web. 07 Mar. 2016.
Images
https://peoplesfilmreview.wordpress.com/2012/01/23/the-artist/
http://www.themovingarts.com/the-artist-long-on-art-short-on-plot/
https://opionator.wordpress.com/2012/02/22/the-artist-2011/
http://cinema.theiapolis.com/movie-2TGW/the-artist/gallery/jean-dujardin-as-george-valentin-in-the-artist-1064621.html
http://criticsroundup.com/film/orphans-of-the-storm/
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