Some good points taken note of at the lecture:

• Think of K-Films as having a poetic relationships, also, the creation of relationships is not literal.
• We can emphasis moments of contemplation through the ambiguity of key-wording and listing as well as the design of the interface of K-Films.
• Repetition is fundamental to your learning and outcome, e.g. if you paint a portrait, you’ll paint again as you want to embrace your skills to make yourself better.
• Media literacy – aesthetic decision, economic decision, etc. act as “glue” for filmmakers who decide on cohesion in their films.
• The correlation of emotional impact and logical elements in K-Films – you can create mood rhythms based on keywords, you can use  juxtaposition as an approach to create an emotional aspect; happy vs. sad, angry vs. depressed, to your K-Films.
• Showing vs. telling – Don’t think you are describing an emotion but think of it as your audience experiencing an emotion, you are building a way to experience something. How do you plan to satisfy your audience experience of watching your film?
• Having a good theme across your K-film will make your film stronger and concise, e.g. the theme of body parts or colours.
• Themes, ideas and proposition, the use of patterns to explore these – infer this rather than showing it.
• How would you like to portray the K-Film? What would you like to represent? What works?
• The relationship of theme and pattern: how your content explores what that theme is.
• Adrain reference a K-Film to a dance, ‘A K-Film is a choreography, its a dance’ – he stresses that video clips are part of a dance, the interface can be the composition (of the dance) and the parts have multiple meanings.
• ‘You’re actually correlating certain possibilities, a set of possible relations of each clip linking to another, you have enormous control over what the audience sees in your K-Film.’ – Adrain says in relations to the implications of juxtapositioning of shots and the forming of it meanings.
• A K-Film explains what we see in the work – it is opening up a new perspective for the audience to experience.
• When you watch a K-Film,  you look for meaning and not for narrative or a conclusion. The framework must be contextualise and the context needs to adequate.
• What determines the relationship of the meaning of a shot? Is the meaning lost?
• Don’t confuse the meaning to the shot – the meaning lives outside the shot.