What did I do well?

I have attended almost every tutorial and contributed meaningfully to group discussions, particularly within the group for the final project. When I encountered any Korsakow- related issues, I asked peers for help or read the manual the Korsakow site religiously . I kept up with my participation diary and I’m happy with the outcome of my sketch film and essay.

What have I learnt to do better?

I’ve learnt to throw myself into the depths of a software I had never encountered before and figure out its ins and out just by tinkering with the various functions.  I’ve encountered ideas surrounding non-linear story telling that I haven’t in any of my other courses and that has provided me with an alternate way of thinking about documentaries.

What could you have learnt to do better?

I could’ve tried to invest more effort in the readings. A few times they seemed vague and dry to me and I haven’t completed them. I could have made more of an effort to attend the lectures and kept up with the media factory homepage as they would’ve concreted my understanding of the course.

 

After some initial struggle, our group clarified the intention of our Korsakow film.

We will be looking at the opposition of “Loneliness” and “Solitude”. We will do this by interviewing 30 people and interviewing them about their interpretation of the two terms.

When filming, our subjects will be somewhat ‘hidden’ when they speak about Loneliness and ‘revealed’ when they speak about solitude. We hope that the polarities between the two sentiments will surface through our interviews.

It’s already time to get started on our final assessment!

Out of the gazillion post-it notes we used up in class, our group, ‘The One Dollars’ have decided to concentrate on Places & Spaces that mean something and how those places are utilised.

 

 

“The Galata bridge in Istanbul is a cosmos of its own. Between shops, restaurants and inrushes of tourists we meet people for who the bridge is home, hope and purpose in life.”

This is a film by a Turkish filmmaker known as Florian Thalhofer. It looks at the Galata bridge in terms of all those affected by its presence in Istanbul.

I’ve been looking for different ways to show the interface for our next k-film and thought the way it was used in Planet Galata worked really well:
The main ‘playing’ clip in the middle and the other profiles on either side of it. Everything looks neat, clean and nicely balanced. When you hover over one of the images, a title text for that profile is shown.

Ho. Hum. Another observance, another idea to keep in mind.

The full film is available here. 

 

It was really interesting to see how other people interpreted the same constraints. I’m not very proficient with Korsakow and it was useful to see what more I could’ve done within the interface.

I had a few technical issues with my aspect ratios as well as compression of my videos. The use of interface space probably probably wasn’t the most efficient either and this was purely because I was struggling to learn the ropes to Korsakow. I’d like to think that knowing what I know now I could do a better job.

The poetic approach to documentary making is often characterised by utilising time and effect to create “an openness of form that facilitates moments of pause and contemplation”. In doing so the intention of the piece becomes greater than simple factual representation.

Frankham speaks about how “de-forming” familiar story shapes can allow for a more poetic approach to documentary. He uses the notion of relationship aesthetic to explain a a de-formed documentary’s generation of critical interaction and enlistment of the audience as co-creators of meaning. He talks about how de-formed poetic structures can break through preconceived ideas or interpretations and allow for new associations to be made in the minds of the audience.

 

http://www.themediastudents.net/im1/2014/amanda.dcosta1/

 

PATTERN:
– How various content relates to each other
– The connection between content
– The relations that are created
– E.g different perspectives from different people on the same topic

INTERFACE:
– How does “what is there to do” relate to the patterns that emerge?
– What does it allow you to do?
– How does the creator control the user’s experience?
– The interface is where the user-experience occurs.
– Talk about the way the thumbnails are designed.
– Is placement changing or staying put?

CONTENT:
– In actuality- what it is
– What you put into the system of relations
– What is the work “about”? : Place?
– Inside what context is the work situated?
– E.g. strong use of narration?

How do the three combine? How is one used to explore the other?

FORM:
– System of relations

See this for a sample analysis:
http://www.embres.ca/exhibit/process/

Ernst

• Considers attained knowledges as being entwined with the act of telling. This provides a narrative sequence as facts that exist in their own right are interwoven into a contextual reality.
• Chronology may provide an order in the form of sequencing ie. “one thing after another” but it does not provide patterning or an explanation of narrative as “one thing because of another”.

Ryan

• The term “narrative” = the combination of story (the action/sequence of events) and narrative discourse (the events as represented)

Bogost

• Ontography: A description of the nature or essence of things.
• The rhetoric of lists: listing can be a practical way of reading and understanding film.