It’s funny. It is said that the necessity of restriction breeds creativity; that ingenuity is born out of what we lack, yet here I am with almost boundless resources, materials, stylisations and stimulus at my disposal, but I am trying, which said resources, to replicate the styling of a much more restricted era. So why stop with just one restriction? Why not visit a time so warped, so politically, socially, creatively, technologically restricted, yet so innovative and free that it is looked upon with adoration and pure nostalgia? It is this which drew us to the undeniable charm of the 80’s.

It wasn’t going to be an easy task however. We would have to look into what makes the 80’s the 80’s – what are the signifiers of the era and how can we recreate them to effectively mimic it? It wasn’t the fashion, it wasn’t the political context of the time, it wasn’t even the colour palette (although we do plan on using that heavily), for us, to do this correctly, we had to focus on unadulterated and overly forward yet passive sexualisation and aggression of the time. A time in which had the façade of being so conservative in values, but with a strong counterculture that had now consumed the majority, with everything sex, drugs, and pop, being at the fore of culture. We aim to parody this forwardness in taking it to the extreme, but it is easy to forget that what we propose to do isn’t even that farfetched for the time, and much of what was a reality then, would seem a pastiche of its own self now. How do you make fun of something that has already become a joke on its own? Simplify the key points and kick it into overdrive of course! You’re on a live show! Want to embellish on sex? Have intercourse with your guests. Want to talk about drugs? Have it as the main ingredient in your cooking section! Want to talk about violence? Use sponsors to try and sell guns to children on air! The list goes on. The 80’s got away with shit that no one could possibly dream of now, and that’s why I bloody love it. It’s outrageous, its absurd, and it honestly doesn’t even seem like it could have been real in hindsight, but I guess that’s why it pertains such a strong sense of nostalgia. It was far from perfect, but it was certainly unique. It had charm and style (or a lack thereof), and that’s what we aim for our look to achieve. If it can be done convincingly enough and pull off the tone of the 80’s, then it’s a success in my view, (although that won’t stop us in trying to make it as well as we can in accordance to fit the criteria of the assessment).

oH My G0d, BlOg pOsTs.

‘Old media is not dead nor obsolete, but rather is new’. 

‘Old’ and ‘new’ are strange concepts as that they are purely relevant to the timeframe of the user of the word, thus its meaning is completely subjective. However, in terms of modernity, there seems to be a vague sense of what is old and new in terms of what is current and what is obsolete. Then again, what is far obsolete, (beyond what is already considered obsolete), may also be deemed new in the sense that it is unknown to the current generation/user due to its status.

As technology has exponentially increased in convenience and ability, everything has seemingly be made easier, and is therefore much easier to be taken for granted. It is in that that form is lost in favour for function. Tying into my previous arguments on the topics of nostalgia, those who grew up prior to the crescendo of media technology In the 90’s and further rise in the early 2000’s (prior to several forms converging) had a very unique and starkly different influence and interpretation of art and media to that of those who came after. In this the appreciation and understanding of older forms of media in the eyes of millennials are brought into question

As media has developed there are now extra processes and steps in said creating media that we miss out on – curves and tasks that may effect and influence a piece are now absent. Take photography for example; once upon a time it was mandatory to physically buy film, use shots more carefully and sparingly, and painstakingly blow up the images in a darkened room, and hang them (there are multiple steps missing, but that only further proves the point), whereas now, the lengthier version of that is to turn on the camera and shoot to your hearts’ content. They can even send the images to your computer or any other device you wish. Our phones are even quicker at that; point, shoot, upload to wherever you want. Is this a bad thing? Of course not, but it now takes far less time and mostly less effort in order to achieve the same goal. Any steps in between to enhance and edit our work is purely optional.

However, in saying all this, does the very fact that they know not of previous media modes not also mean that it is new to them? It often seems that technology is progressing faster than our appreciation for it, negating the chance for nostalgia to develop. Newer, faster, better phones are release almost every year, and every year people upgrade. There’s always a newer phone, camera, console or so on ready to be released.  Older forms though, there was much greater gaps in releases and advancements. Nostalgia was able to take hold of users in that they were able to spend more time with their a given mode and were able to let it influence them. Surely, if we were to look back at older technology we too could be able to gain the same sense of appreciation that the original users once did, or even better, combine and adapt it to our own understanding of modern practices and allow us to take a newer and original perspective on something once deemed obsolete. To the current generation, new media isn’t even new anymore, but old media is.
Jenkins, Henry, 2006 ‘Convergence Culture: Where Old and New Media Collide’, New York University, New York.

Wendy Hui Kyong Chun, Thomas Keenan , 2006, ‘New Media, Old Media: A History and Theory Reader’, New York.

Manovich, Lev,2001, ‘The Language of New Media’, MIT Press Cambridge, Boston.

‘Nostalgia is key to reinvention and re-imagination’.

No matter how much we want to or try to deny it, we cannot reject the notion of nostalgia having great affect and effect on how actions, especially those in an artistic field. What we  find nostalgic is to admire, regardless of preconceived professional notions. Nostalgia itself is merely an early emotionally connection of adoration, with varying reasons for such. We may look back for inspiration, or simply because it reminded us of a happier time. Even those of a cold and harsh past will have some sort of connection to what they deem a pleasant time. In a sense it is crucial to the human experience, as that nostalgia itself has not been documented in any other creature; it is unique to humanity, and thus must remain and hold its significance to us.

In the creative field the reason for such is that nostalgia, whilst allowing us to look back in admiration, doesn’t inhibit us in terms of perspective, and so we may look back on what ‘worked’ and what didn’t, deeming what was successful and otherwise. Historically, if we can see what for the most part has gained success, then we may see what works with audiences, and then shape our work around that (if success is what you seek – purely from a business standpoint). As stated in my previous argument, if we do not learn from our mistakes, from history, then we are doomed to repeat ourselves, and may not look to the future to learn. Whilst yes, innovation is crucial to development,  nostalgia is key to what is to be appreciated what’s now and accepting what is yet to come, for else how may progress come?
If nostalgia, what was before, shaped our imagination and what is now, the surely looking back at it will shape what is to come. Because repetition is naturally boring, we must know what was, especially regarding was is still considered ‘nostalgic’. To innovate we must change, move away from nostalgia and change; adapt to new technologies and modes.
Whilst varying in degree, nostalgia is not a choice, it is something we cannot control. It is merely subsequent of a period of happiness, beyond our control. And though beyond control, it is essential in creating who we are, and therefore critical in what shapes our artistic personas, which each depending on the other. Regardless of choice it plays into almost every aspect of our lives. As shown in Durhham University’s study in ‘Health and Place’, even medical and psychiatric institutions employ and appeal to patients senses of nostalgia in order to beguile them and hasten recovery. Medically, socially, emotionally, nostalgia is highly significant, so why not creatively?
Though both complex and simple, nostalgia should not be overlooked, nor forgotten in any artistic process. It stays with us for a reason, stands to show who we are, and why what we create is important.

Wood VJ, Gesler W, Curtis SE, Spencer IH, Close HJ, Mason J, Reilly JG, 2015, Health & place 33: 2015 May pg 83-9, Department of Geography, Durham University, Durnham

Tannock, Stuart, 1995, ‘Cultural Studies’ Volume 9 Issue 3, Extract ‘Nostalgia Critique’ Pages 453-464

Natale, Simone, 2016, ‘Journal of Communication: There Are No Old Media’. Volume 66, Issue 4, Pages 585–603, Washington.

‘In media blend and leeway of nostalgia and innovation is needed. Focusing on what’s new or nostalgic too much is damaging.’

Whilst anecdotal, (and thus should be viewed sceptically), I have developed these notions in a culmination of thoughts prior to, during, and post the cited readings. As a typical Gen Y person with an interest in media, I’ve viewed the coming and going of many technologies and modes of media in my short life due to a rapid and exponential surge in technology in the late 90’s to the 2000’s. In this time I’ve noticed a significant shift in people’s attitude towards media. Almost anything prior to the 90’s is viewed with mass nostalgia, and this applies predominantly to those who grew up in that time. However I have seen it applied to those in my generation too, with people looking back with great amounts of curiosity, acknowledging its nostalgia. The 90’s was a significant shift in era’s as well as technology, and so conversely enough is greatly overlooked by many, including my generation. However, for the most part, those of my generation and those born post-1990 have looked more towards the future for technology and media. Whilst general, I personally feel to be true and have seen it in many peers. Whether this is due to generational condition or age difference in which nostalgia becomes more important, I am not sure, this is merely from a personal standpoint. In short, WE look more forward, whereas those before us tend to look back (being before the en-masse change prevalent in the turn of the millennia. ). It is in this that I argue that both of these forms in their extreme are highly damaging and should be ignored if not adapted to divert from their current course, for that a blend of both is needed in order to innovate and truly progress; to dwell on one or wait for another is just as a risk as doing nothing. Yes, it is possible to look back on older forms, seeing what’s not been done within them and create new material in line with it, progressing on a previous age, and yes, it is also possible to purely look forward with newer technology, innovate and create what is considered to be ‘new’, but if you truly want to change media or create what is deemed new, then you need to know both ends of the spectrum. That is the very reason for why I am taking this course (oooh, meta). Without knowing came before, and rejecting what is yet to come, then we are doomed to repeat what’s already been done, stuck in a creative rut. We need to be able to acknowledge the advantages and limitations on both ends, and then act on them. Although that may put too stringent of rules on art, sometimes such is necessary or the norm, although questioning the rules is openly welcome in my opinion. (one such example of rules may be the use of the Fibonacci sequence, with people unconsciously adhering to it en masse, whilst those knowing it may tend to take to either extreme; following OR ignoring.) By many, nostalgia has been questioned to be both contributing and detracting from creativity. I believe neither shall be accepted or ignored in its entirety, but rather employ a combination, use both of their strengths and none of their weaknesses in order to heighten a piece.

Dika, Vera, 2003, ‘Recycled Culture in Contemporary Art and Film; The Uses of Nostalgia’, University of Los Angeles/University of California, Los Angeles.

DeFalco  Amelia, 2004  ‘A Double-Edged Longing: Nostalgia, Melodrama, and Todd Haynes’s Far From Heaven’Iowa Journal of Cultural Studies 5 (Fall 2004) by The University of Iowa, Iowa.

Labaree, David F. February 2006, Innovation, Nostalgia, and the Politics of Educational Change,  Education Administration Quarterly Vol. 41, No 1, Stanford.

Being introduced in 1982 the Arriflex super 16mm SR2 camera quickly became highly successful and revered among those in the film industry, keeping in popularity even today.

Due to having a symmetrical coaxial construction, the SR series had a greater range and manoeuvrability, making it ideal for quick use and ease in fields such a documentation and reporting. Whilst filmmakers tended to stray away from use of 16mm, it became favourable for news and reporting, educational videos, amateur film or more artistic projects, and largely in television – allowing on shoot audio recording and being more mobile. Additionally, this was partially due to Modified film gate, frame and glass to allow for a wider frame, giving the user the option to take advantage of the 16mm’s wider shooting. This would allow for a clearer resolution later on for when compressing to a 4:3 ratio.

SR stands for ‘silent reflex’, which became  a large selling factor and important component as that previous cameras on average would produce noise, operating at about 30dB. Thus, not only was the SR series an improvement visually for 16mm cameras, but allowed for greater audio capture by having almost no interference.

Oh boy, this is belated! But here we go anyway!

Look at this here! This poorly photographed sculpture that isn’t a gargoyle got me thinking about gargoyles. like “I think that ones’ name is Phil”, or “gargoyle. that’s a funny name”, but most importantly it got me thinking about the history behind them. well, that and because it was our task. let’s do some learnin’!

Coming from the French word for throat ‘gargouille’, gargoyles are stone structures that are thought to have originated in 630AD Rouen, France, as a symbol to ward off evil and guard waterways.

Although originally depicting the severed head of a dragon, as gargoyles spread over nations – from England to Egypt – they adopted several forms; changing animalistic features, adding wings and horns, changing heads, until they eventually came to be their own unique, demonic design that we recognise today. (thanks Ghostbusters)

Whilst occasionally being steel reinforced and made from separate pieces of terracotta, gargoyles are predominantly hand crafted from single blocks of stone, and have been both revered and challenging tasks for masons and stone-cutters.

Now, on the other end of the spectrum, what do you think of when you hear the word ‘craft’? If you’re a smartass and sometimes think you’re funny like me and you guessed ‘macaroni’, then you’re absolutely correct!

During the Great Depression and World War 2, the effort and resources put into package design was seen as a strain and waste of time and supplies, thus it was cut almost entirely – with only luxury items being made with unique design packaging. Thus, following the end of the war, with glass bottles, tin cans, paint, carboard and other resources coming back into the market, advertising saw a massive boost, with manufacturers wanting a unique design for their product.

In 2010 Kraft announced a change of design for all of their signature macaroni boxes, changing (well, adding) the face of the company with the inclusion of the ‘macaroni smile’, which can now be seen on all products in the line.

Kraft macaroni and cheese products have an iconic design and can be recognised easily by most people in Western culture, particularly North America and Australia. However, England has a completely different design for the product. Rejecting the macaroni smile, Englands designers opted for a more simple advertisement, opting to move far away from their counterparts cool blue look, and rather plan red packaging.

https://en.wikipedia.org/wiki/Gargoyle

http://www.stonecarver.com/gargoyles/index.html

https://medium.com/digital-packaging-experiences/the-evolution-of-packaging-57259054792d#.ubromphmd

http://www.thedieline.com/blog/2011/2/10/before-after-kraft-macaroni-cheese.html

http://idsgn.org/posts/parallels-kraft-dinner/

For the End of Semester Presentation I was responsible for all of the behind the scenes photography which helped document our progress and development as a team, as well as provide the materials for all of our promotional posters/pictures, having staged character profiles.

However I found that my contributions, for the most part, lay elsewhere.
Throughout the production process of the webseries I saw myself take upon several roles in the group: prior to each shoot I would set up all the gear whilst others would either practice lines or go through out shot list and directing notes, which I would then join in on discussing. During the actual shoot I then enacted as the primary camera operator, occasionally operating the boom mic and directing and adapting shot composition.  (sometimes at the same time). When not doing so, in between the takes, I would take up my time with behind the scenes footage/photography, as well as promotional photography.
Following the completion of the production process I offered help wherever I could in the editing process, however Adrian, being the fantastic editor that he is, seemed to have had it all under control. Although, after the release of our first trailer I did make a creepy/horror style trailer in contrast. Outside of the production I became the honorary ‘shouter of drinks’; wherein after every shoot we would all go out as a team and celebrate, during which I would then, well, shout drinks, or at least coax others into joining.

In terms of contributions to the studio throughout the semester, as a group we would try our hand at cross promotion with other groups as well as other studios, via both our FaceBook and Instagram page. Such promotions were advertising and support for  ‘A Current Affairs’ in the ‘the news is a joke’ studio, and my personal favourite, as an Easter egg the opening title card from Jeff and Jane can be seen paused in the background of one of our scenes in the security card office (in episode 2).

Other than that I can’t really claim to have done much for the studio itself other than the production of Cleaned out, as that rather selfishly the thought hadn’t really crossed my mind

 I know there was a lot that I could have improved on in the entire development process.  I personally would have liked to have done much more in the ways of editing, however due to footage being spread out among us and Adrian having taken the helm on the editing, this for the most part was out of my hands, however to compensate for this I offered help and attempted to do the most I could in all other areas whenever I could, such as the making of an auxiliary trailer.
Additionally I admit fault in not being as engaged with social media and promotion as I should have. I tried to compensate by doing all of the photography, but I personally don’t feel it was enough. Be it from my own disdain and refraining to use social media or a fear of letting down the group, which I ironically and inadvertently did in my own mind, I’m not sure, but that happened, and I will remember this for future reference.
I feel that this semester my understanding of production has been more reinforced, but a change it certainly present. I found it  interesting and new to interpret someone else’s works – prior to this I had only ever worked on my writing, so this was an interesting, challenging, enlightening and enjoyable change. For the most part I believed I had a somewhat extendable understanding of the production process, but I didn’t understand the feeling of it all, in particular the feelings, both good and bad, after coming off an 8 hour shoot.
Also, I will never forget Jeremy’s advice of ‘NO PIZZA’ before a shoot. It’s a trap.

Subsequent from the aforementioned experiences, I have come to understand that good collaboration is imperative to a production. When having to work in a team, communication is key, and now I cannot stress that enough; not one person can be left out, otherwise the project can be compromised from within, whether it be from being slowed down or a mistake via misdirection

Throughout the semester, there will be various opportunities to make additional contributions to the studio; such as feedback sessions with the Creative Writing students, preparing questions for guests, and more.  You should be willing to get involved when these opportunities arise.

Throughout the semester we were given opportunities to further expand on how learnings and listen to talks by industry professionals.

in the first few weeks of the semester we were givent he change to join a masterclass with the writing students, and– even though it was purely for them, it was interesting to see their side of the development process and how they have to tackle the task at hand – to see their perspective. Later on, we were then given a talk from Steinar Ellingson, who we would then present our pitches to. The feedback and advice he gave was invaluable to us. Not only did it direct us onto a more linear path, but motivated us to strive for more.

However even more significant was an opportunity I was presented about halfway through the semester, and that was being able to join in on Shaun Micallef’s talk to Leo’s studio. I know that should have done it earlier but did not. I’m not sure whether it was out of laziness, distraction, or be it not having the post encapsulate the right words to live up to the experience. But I digress. To me it seemed that his own personal experiences heavily reflected and reinforced the teachings of the course (as well as condoning a wee bit of rule breaking), delineating the more cheeky side routes that people can take, and to not give up – that people can’t say ‘no’ to you. That so long as you stay passionate, focused, and work hard, you will do well in your own way.

This studio has come to be one of the most enriching experiences of my life. It will forever remain my first studio, and thus my very beginning in what it sure to become a long life in the field of media (or at least I bloody hope so).
To everyone that has helped contribute to this, consciously or not, thank you, it has meant the world to me.

What a week it has been; from a guest speaker to group work, and even to Tyler and Cody doing the summary! It sure has been exciting. But that’s a little too vague.
Beginning our week we had the good fortune of having Evan Munroe-Smith as a guest speaker for our Monday seminar, elaborating on his experiences as a media practitioner. Beginning as a cinematographer then to become a practitioner running his own studio (working on such things as Sammy J’s Playground Politics, which is pretty damn nifty), Evan served as a perfect example as to how your career can take several turns, not always as expected, but usually for the better. He also told us the importance to become involved with what’s around you; volunteer, join a team, gain employment, it doesn’t matter, experience is experience.
Moving onto the workshop things came to be a bit hectic; casting, group meetings, script development, casting, storyboarding, shot lists, CASTING! It all seemed like a bit much to take it, after all, for several people it was their first time being able to explore their surroundings and scout out locations with their full team. Which was certainly lovely.
Suffice to say though, we certainly have our work cut out for us. There’s much to do and cover in the following week(s). Time to get cracking!

Remember, kids, media is magic.