Flip Lecture & Weekly Reading (Week 4)

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Trusting Strangers For The Better Good.

Have you ever watched those feel good videos on YouTube on a lazy Sunday afternoon with a cup of tea and a side of biscuits? Well, I have. I’m talking about those random acts of kindness videos where some random guy gives flowers to mothers on the street walk or pranks that make you laugh or smile. Growing up and identifying myself as a cis-female, I have trust issues with strangers, and obviously it’s common that most people do. You don’t know if they’re serial killers, stalkers or some clingy creep that just wants to talk to so they can stare at your beloved assets. How can you differentiate the good apples from the bad?

How can you give your complete trust to someone that may change your future, no matter how long or short that future may be, that can mean a day, a week or a month or even more? In the 2009 documentary Us Now directed by Ivo Gormley, explores the possibilities of humankind using social media as a form of resource to connect to other people and learning from them in the process. There is an evergreen of knowledge that society as a whole have, so why not share it?

 People are ‘connecting on the basis of relevant similarities’ (MT Rainey 2009), as social media advance through the years. ‘Connecting on the basis of relevant similarities’ (MT Rainey 2009), sounds like the blurb for dating applications doesn’t it? Us Now investigates the notion of being more involve in communities, and in society in general. Sometimes, people ‘need help from a friendly stranger’ (MT Rainey 2009) when they are either lost or feel uncertain about something.

There are people out there who are willing to help out those in need and when I say ‘help’, I don’t mean by giving money to those mental health organisations, donating to those poverty stricken kids in Africa or volunteering at the homeless shelter. I mean helping those in need, those people who need help right there and right then. It’s help that’s manageable and cost-effective for you, ‘its quite nice to give someone directions for example or by imparting a bit of your knowledge’ (Mikey Winkove 2009). In return of helping people, they feel good about themselves, making them feel all warm and fuzzy.

pay-it-forward-2014-random-act-of-kindnessFreedom and control’ (pp. 37) can be a couple of reasons why we use social media. Social media allows us to voice our opinions, there’s a reason why anyone who works in advertising says the most powerful tool is the word of mouth of others, ‘we have a mass-consumer technology that supports this and we’re only now beginning to discover what we can do with it’ (Lee Bryant 2009). There’s a reason why there are reviews on everything from books, iTunes applications and technological products, ‘the web can create large communities of informal knowledge and system ties it to make it very useful’ (Charles Leadbeater 2009). Trusting people to network on a peer-to-peer basis of helping one another using social media is still relatively new, people are using ‘social media to bring the gift economy out in the open’ (Sofia Parker 2009).

There is a growing number of online services, websites and applications that allows a person to help others, ‘once you deliver something that actually allows people to make a decision, it’s incredible how compelling it is how people are to participate’ (Saul Albert 2009), Us Now examines how the internet has become a playground for adults to gain and pass on knowledge to one another by participating in an online – and at times, offline – community. Whether that might be a couchsurfing community, a website about motherhood or a soccer team, attention is given to those who feel they need to participate in an event, comment or feel the need to inform others of a place or product. And it appears that the opinion of the majority rules.

References:

Banyak Films 2009, Us Now, video recording, viewed 5 August 2014, <http://vimeo.com/4489849>.

Hinton S & Hjorth L 2013, ‘What is Web 2.0?’, Understanding Contemporary Culture Series: Understanding Social Media, London, 31 July 2014, SAGE Publications Ltd, pp. 37.

Symposium 10

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.

 

Reading One

Studies in Documentary Film 

Interactive documentary is platform that allows the user to partake in an active role in participating as entertainment, allowing the user to take control of the interactive documentary itself through the means of an act of engagement. The authors claim interactive documentaries that “the relations of interdependence of i-docs that they create between the user and the reality that they portray” (p. 131) is new.

The types of interactive documentary that they suggest currently exist includes the conversational mode, the hypertext mode, the participative mode and the experiential mode. The conversational mode makes use of digital 3D graphics in video games highlighting that the technology needs the user to participate. The hypertext mode gives capability to the participant in the interactive documentary in selecting the various options so to link the user to probe videos. The participative mode needs the user to participate in order for the interactive documentary to compile and evolve. The experiential mode challenges not only the users senses but also their perception of the world when they are actively involve in the interactive documentary.

The conversational mode, the hypertext mode, the participative mode and the experiential mode do matter interactive documentary makers in regards to their target audience, the suggested different modes allows the users to be selective. The modes have contrasting yet similar functions. The makers generate a range of options during the production of the interactive documentary for the users to participate in, yet they presumed are to be given a choice when they are selective of the decision that they make as they engage in the interactive documentary such as video games or an art gallery digital installation.

Reference:

  • Aston, J, Gaudenzi, S, 2012, Studies in Documentary Film, 6.2, Intellect Ltd, London, p. 125-135.