Below is a blog entry showing the progress of Errol and my project two presentation. We wanted to get all our ideas together and written down so that we could show Seth, to see whether we are on track with our approach to the project and whether our sketch ideas address the intended experimental approach the sketches seem to require.

After today’s tutorial, it has been made clear that our group is still slightly off track by focussing our analyses around a broad genre of online video practice (i.e. skate videos), rather than deconstructing a particular case study. Also, the tutor’s example concept statement really helped to identify the fact that each sketch needed to address some sort of inquisition about a particular aspect of the case study itself. We spent the next 5 hours after class, reworking our intended sketches and tailoring our presentation more specifically to one particular case study, whilst of course still viewing the case study in light of the genre of skate videos as well.

This progress, in combination with the use of  the concept statement template published by our tutor, meant the following was drafted:

Our group has chosen the online video example Art in The Streets by Julian Melanson. If we contextualise this work in relation to the studio activities so far (the mind-mapping, general brainstorming and personal case studies) it would be placed in the online video practice genre of skate videos. We will produce a number of sketches which analyse the hybrid narrative and non-narrative form of this online video practice. Each of these sketches will focus on different aspects of the work as a way to understand how it has been made and how relations have been formed between shots to create a hybrid of narrative and simultaneous non-narrative form.

1. Film Burn

– The film burn is a video transition effect that has become an expected aesthetic of skate videos. Appeal for such a technique is premised on the way it can blend two clips together and create a visually appealing transition. Why does the film burn function so well as a transition and how can you know what type of film burn to use? To experiment with this technique we explore how some film burns could be more suited to particular shots than others. As well as to experiment with using a film burn to cover a cut between two shots as opposed to blending them together to see what effect that has in terms of a non-narrative aesthetic.

2. Shutter Transition

Another transition technique used in the case study features a shutter of 4-6 x 0.2 second long shots, placed between two clips. What would this look like if each shuttered shot ran for longer (duration) or if there were more than 6 clips between the two clips?

3. Time-lapse

– Is the content of a time-lapse important? This sketch will explore the different effect time-lapse has on different footage, contrasting both framing and movement within the frame. This sketch will experiment with how time-lapse can create both narratives and non-narratives depending on the content.

4. Juxtapositions

– One image/video juxtaposed with another naturally creates a meaning more powerful than either stand alone material. What happens when the two images being juxtaposed do not directly relate to each other? If a direct cause and effect relationship can be formed between the two juxtaposed images, then a narrative is formed. Whereas if the association between the two shots presents an indirect/thematic relationship, a non-narrative is formed.

5. Music Selection

How does using stylistically different music effect the non-narrative form of skate videos? Does the mood created in the viewer help iterate the non-narrative?

6. Editing to the music

– An element of skate videos that is clearly prominent throughout the case study is editing the video (forming relations between clips) anchored to the form of the music. This ties in with music video culture – *research music video narrative*.

7. Linear/Non-linear/Structure

– How does re-ordering footage of an event (presenting in non-chronological order) change the narrative form? This sketch experiments with the disjointed structure of the case study.

8. Narration

The narrative form of the case study is influenced by the narration of the interviewee. The narrative is only communicated effectively because the narrator represents an authentic character, trustworthy of being accurate/believable. This is created by his appearance and idiolect. How important is this? What happens when you use a physical attire and idiolect unsuitable to the environment and the premise of the piece?

9. Time and Space

– An understanding of narrative can be more easily understood or identified (traditionally) when the components of the narrative occur within the same time and space, or at least related times and spaces. The case study has a seemingly sporadic structure, involving a montage of different time and space. This sketch will explore what happens when a particular event is presented both from a consistent time and space, as well as an altered time and space.

10. Point of View

– The narrative of the case study is communicated as authentic due to the first person account of events. What would the case study be like if it was presented in third person instead?