http://www.mediafactory.org.au/daniel-bowden/2017/04/26/beecrofts-world-a-work-in-progress/

http://www.mediafactory.org.au/daniel-bowden/2017/04/21/presentation-day-feedback-pop-candy-and-other-sensations/

I declare that in submitting all work for this assessment I have read, understood and agree to the content and expectations of the assessment declaration.

Beecroft Exit Scene-14d6t0v

I watched Darren Aronofsky’s 2000 film Requiem for a Dream and it got me thinking about psychosis and addiction, I wondered how I could apply this to the screen in my own unique way. As I only have limited experience into the aforementioned ailments, I turned to external sources for inspiration. Like for example, in John-Paul Sartre’s 1938 novel Nausea, the protagonist Antoine Roquentin suffers acute physical illnesses on account of his immutable obsession with his own existence. As a form of textual dramaturgy, I thought to start with Sartre’s notion as a baseline for writing Beecroft’s crisis and the belief that he is shrinking. “What’s my name then?” bemoans Beecroft to the evil, calculating and sociopathic Melanie who is both a byproduct of this world and a contributor. My intention is to imply the question, how do I exist? Or, do I even exist in this world? A celebration of Sartre’s original text but moreover, a lead into Beecroft’s later line, “[I’m] Shrinking. I’ve got to get out of here. I’ve got nothing left”. And it is here we see the catalyst for Beecroft’s escape from Melanie, personal recovery and impetus to repair this broken world.

To paint more of a picture of the world, I have added a sequence where Melanie argues that Beecroft would be better off staying with her due to the toxicity outside. It also illustrates Melanie’s need to keep him close. “You’ve got everything you need. Can you imagine living like the riffraff out there? You’re lucky, and you’re too selfish to see it. What could possibly be wrong?” As to why she intends to keep him close is left ambiguous. This is because I feel that applying such narrative at this stage of the writing process may cloud my attempts to crystallise the world.

Additional ‘world’ expansion can be seen when Melanie laughs hysterically at Beecroft immediately after he expresses that he has “given up”. Her reaction is to suggest that his woes are trivial in this world, it highlights the division of the classes by juxtaposing the opulence of the wealthy and the desperation of the poor. This reaction, and perhaps even some of Melanie’s character tropes, have been inspired by the character Effie Trinket in Gary Ross’ 2012 adaptation of Suzzanne Collins’ trilogy The Hunger Games. I would hope that these reactions become leitmotifs that would occur after any mention of Beecroft’s shrinking. In a sense, these reactions are my own reactions to my original misinterpretation of Florence Parry-Heide’s children’s book The Shrinking of Treehorn (1971) — the source of my inspiration. But moreover, they are to emulate and in turn comment on stigma in mental illness —  which is entertained by this world’s inhabitants. These are themes that I hope to continue exploring throughout my practice.

To heighten an understanding of the effects that world has on its residents, I aim to apply audience and character interactivity by frequently blurring the lines between diegesis and non-diegesis. This I hope will cause insecurity and menace, as if a foreboding presence is looking over the viewer’s shoulder. I have illustrated this in Melanie’s introduction, “Each number needs a name”. I had envisaged that this dialogue would be delivered as a Voice-of-God narration and like a McGuffin, the point of view and audience expectation would be disrupted. I am hopeful that, such audience immersion may enrich the viewer’s empathy for the characters further.

• The Hunger Games 2012, DVD recording, Color Force, Lions Gate Films, USA.
• Parry-Heide, F 1971, The Shrinking of Treehorn, Holiday House, USA.
• Sartre, JP 1938, Nausea, Librairie Gallimard, Paris.

POP CANDY

Flavoured carbonated candy that creates a fizzy sensation when dissolved in the mouth.

The atmosphere of the class was a world in and of itself. It was almost a full house! And with the inclusion of our two guest panelists Lucy Schmidt and Michelle, the air bristled with excitement and anticipation. With a ferocity as if fired from a machine gun, presentations began almost as soon as the class had settled, aside from general introductions, there was little chitchat. Poised, focussed, astute and some noticeably tense, each class member waited for their turn to reveal their world.

For my presentation, I was fortunate in that I was number 15 on the running order and therefore was able to learn from presenters that went before me.  I noticed that some had received criticism that they were speaking too fast and as a result had compromised vocal clarity. This was something that I have fallen victim to in previous presentations where, due to excitement, nerves or just the need to get my story across, I stumbled over my words resulting in entire sections being inadvertently omitted. This is exactly why I decided, some days before this presentation, that I would write a prose and not deviate from the script. Though, this is not my preferred method of relaying information at presentations, it is particularly annoying as an audience member as one can feel detached from what is being posited. It can remove the human aspect and may leave people thinking that they may have been better off just reading the presentation.

Cue cards are a go-to method for many, though, with the assignment time constraints and the complexities of my piece, I decided to read my prose, off the page, verbatim. I had carefully timed the script to ensure that I would not have to rush, however, finishing about ten seconds early suggested that I could have slowed down somewhat. Regardless, I proceeded to improvise the final few seconds which I felt wasn’t all that bad.

Overall this method was the best for what I needed to achieve on this occasion and I was grateful for the feedback. The comments that the panelists made in relation to my world were; Stayci, “a beautiful rich world”, Lucy said it was, “the most well established world in my imagination” and then Michelle remarked on how it was “so juicy”, though, Michelle must have missed my opening and thought it was a book and not a one scene film vignette psychological drama. This was quickly clarified though I wondered whether I hadn’t been clear enough in relaying the form I am intending to use.

The comment that resonated with me the most, was Lucy’s thoughts on my description of the physical sensation of pop candy, “Using physical words to describe feelings, made me feel” she remarked. My affinity with Lucy’s feedback was less about fuelling my ego further, and more about a statement of confirmation, that my overarching strategy to create visceral sensations in all of my worlds this semester has been recognised.

For the year, I have endeavoured to push the boundaries further with the look to producing precisely these responses from people. Having been inspired by the likes of David Lynch, Matthew Barney, and metal music, I may well continue to apply methods to induce such reactions in works to come.

However, I understand that these artist’s productions are perhaps not everybody’s cup of tea so to speak. And likewise, my insistence on aiming for the grotesque may not be either. Regardless, viewing the process hereto purely as an exercise has been greatly beneficial for my future development as a media practitioner.

P.s… I feel as though passivity across the board is on the rise perhaps as a result of heightened bureaucracy on account of the exponential growth of the human population — like I am trying to describe in the world of Beecroft. As consumers, we are rarely given the opportunity to really feel what is being presented outside the underground and/or grind-house. When we dare dip the big toe into the warm milk of the mainstream, we have been immediately conscripted to toil like the poor sods in Beecroft’s world.

This is why I have arrived at the belief that it is healthy to exercise the exploration of pop candy and other sensations.