For this last assessment of the Thinking in Fragments studio, I think I have most definitely acquired more knowledge about media production as a whole, that I never really expected, going into this semester. I could say that throughout the last two assessments, Sem, Samantha, Meita and I certainly have grown to understand the realm of media that is so much more comprehensive than we thought, specifically, in terms of, the online space.

Our project, Time Out discovers the ideal media production method in combination with different aspects the online spaces provide. My group and I were able to unpack this concept the studio implied through expanding the ordinary way of narrative construction or simply, ‘storytelling’ into an interactive screen project that responds to 4 characteristics offered by the online space. This includes modularity, interactivity, multi-linearity and unregulated length.

Incorporating our last assessment theory, the modularity concept proposed in the project is through the different media fragments that are distinct from one another. Thus, are an independent form that carries different values (told from 3 different perspectives).

Whilst, the interactive aspect of the project is exhibited through the use of Korsakow as a platform or source of storytelling in a non-linear manner. The story told through Korsakow and our project is not triggered by a particular narration, rather, it utilises computer-driven databases to present different media fragments under a prompt, Isolation. Along with, the reliance upon the reciprocal involvement of the viewer towards the final product. Thus, putting forward the engagement and different perception the viewer will be able to experience as the basis of interactivity in the project.

Not only, interactivity characteristic but utilising Korsakow, also allowed this project to explore multi-linearity. The different perceptions or views the video sequences provide demonstrates the multiple paths to view the project in the same flow.

Moving along the lines, this flow is supported by our project’s video sequences or media fragments that also acquires intertextuality within. Although this concept or theory is not a particular characteristic we discussed in the studio, I believe that it is also as vital to refer it, as my group and I were able to discover it throughout our project. The relationship between a fragment to another, along with it’s categorised order of format underlines relative interconnection constructed in the narrative our project depicts. Furthermore, the formation of the narrative is projected through the use of different scenarios that revolve around our character’s day at that moment. Thus, obtaining its intertextual narrative through the depiction of the assumed daily activity of a University student we focused on.

Lastly is the flexibility and authenticity of each video sequences that is recounted through, unregulated length. Not having a particular constraint in time length for each and every segmented media fragment is also significantly, emphasised in our project.

All these qualities or characteristics that our project possesses determines the notion that it is beyond a traditional film or media. Therefore, to an extent, to be considered as a work that is web specific.

I believe this is even more validated through, the significant role online spaces provide that put forward a direct interactivity, involvement or engagement of the viewer with the project that is not typically, emphasised in traditional film. But also, the combination of these online space characteristics above, that supports the project to incorporate experimental mode of filmmaking more conveniently particularly, in telling a story and evoking an emotion through it.

My developing knowledge of filmmaking and storytelling started to broadened as I became familiar with this idea of telling a story without a particular narration or abstract. Yet, enables to disclose and explore the effects my project has on the viewer’s mood or emotion.

In my opinion, this is made possible by being associated with this experimental process and notion of filmmaking my group and I went through. I found that one of the most significant methods of media production in general, that is often underestimated is the powerful artistic allusion told through experimental films.

I learned that through the making of my project and being given the freedom of the online screen production, the emphasisation of experimental filmmaking to understand the effect a project has in expressing an ideology through its narrative is actually, incredibly crucial.

As Walley (2011) described it, in an experimental film the existence of a “quest” is infinite. This is because of the normality of seeking a particular “language” that is able to describe, define, to an extent, propose and question a narrative “without being purely derivative” is challenged accordingly. 

To understand this further, Sem, Samantha, Meita and I were able to test out this theory through, our experimental project in the Media Presents exhibition. Whilst, being quite hesitant and bewildered with how we were going to present the project during the exhibition, as a lot of the students were specifically, asking about the studio and not the project.

We were able to convince and show the project to some people who were interacting with it point blank or in a more private manner, at the side of the room. And thankfully, were able to obtain some answers through the provision of our questionnaire.

*please click on the image and zoom to clearly see the documented responses*

 

Fortunately, most of the answers given even if it is not at all a large number indicated that these viewers/”users” responded to the story and feeling the project intend to propose appropriately, in short period of time. To an extent, actually, as I was talking to a viewer, another randomly pointed out the actual intention our project put forward (she was pointing out the different perspectives and the meaning of it). At a point where I was surprised and were questioning her a little bit even if, I knew she was right.

All in all, in retrospect of this studio and this semester, I have surely come far to understand the value online screen production has and this different side of media. Which, has made me come to acknowledge the important existence of it and appreciate it a lot more than before.

At the beginning of the studio, I questioned

How can we make engaging online content? and 

Why is there such a big interest in online content?

Now, I have allowed myself to respond to them throughout the semester.

The online space is a vast place that is boundless to new innovative ways to engage its active users. However, one of the things that never crossed my mind at the beginning, was the constant and consistent relationship between the users towards the online space and content within it that is notably vital. When questioning engagement of online content, I never realised this consistent and rebounded involvement of a user towards what is being viewed.

Through this studio, I realised that engaging online content highly relies upon repeated interactivity – in any way, shape or form, whether, it is pictures or videos on social media, or in my case, through telling a non-linear and modular story. As a result, the huge interest in online content then underlines the freedom and liberation it provides in creating various perceptions, continuity, inconsistency, flexibility, evolving and ongoing that requires no form or particular, ‘attachment’ within.

 

REFERENCES:

Walley, J 2011, ‘Identity Crisis: Experimental Film and Artistic Expansion’, October, vol. -, no.137, pp. 23-50, <https://www-mitpressjournals-org.ezproxy.lib.rmit.edu.au/doi/pdf/10.1162/OCTO_a_00056>.