Week Ten Lecture
A few point I was able to put together from this weeks lecture..
CARRY OVER QUESTIONS…
Q1:How can we emphasise moments of contemplation through making our korsakow films?
- Reading through a poem – each reading takes on a more complex role
- K-films can be poetic in the sense that you do have SNU’s that come up repeatedly – a persons relationship to that clip will change at each repetition
- Technically you can create moments of contemplation by slowing down the film
- If you want the user to wait – don’t provide links out for a few moment
- Risk: people think that the film has finished – impatient
- Repetition is something you can embrace if you’re trying to create contemplation
- Contemplation can be found just through intense looking at something – “ here are 32 views of a certain thing “ – a list of shots of the cup through different times of the day
- Think abut how you build something with your camera and work
- Telling a good story is not just telling your point of view – you need moments of contemplation
- Repetition is fundamental to the practice – painting numerous portraits, numerous love songs – it’s only in print literature that people get really crazy about repetition – you can’t use that sentence you’ve already used it.
- Repetition is a fundamental condition – you watch your favourite sports every season – you don’t just stop
- Korsakow as an interactive medium embraces repetition – really need to embrace this conditionQ2: How as filmmakers do we decide on the right amount of “glue” (cohesion) if we are unsure of our user’s media literacy?
- The more gaps that art has – the higher regard as an art you can have – leave people like ????
- Popular literature will have no gaps – 50 shades of grey
- You get to define your audience
- You are publishing your work for free – you can make your work exactly the way you like. if it is any good, people will find your work online. it may take a while, but it can happen.
Q3: In her discussion of associational form, Frankham states that these films cause relationships between emotional elements rather than logical elements. If we were to implement this in our K-Films, would it require more planning, focussing on content or keywords to portray a specific emotion?
- Depend on what you want to do with your work – not sure if it would require more planning or not
- Do we want to portray a specific emotion ? no! you are describing something or making something where you want the audience to EXPERIENCE an emotion – much more powerful. you want them to feel the emotion, you don’t want to show them.
- Not representing, experiencing
- Be cautious as you approach stuff, making to literal of that which you’re trying for the work to do. when we look at art, we say it seems to be talking about this.. (doorways, windows) but it’s really talking about this… songs for example, rarely say something literal.
- Not portraying specific things … you need people to be like “this is what i think it’s doing”
- Don’t tell them what they should feel, let the film make them fell the way you want them to
NEW QUESTIONS
Q1: How important is the theme in a k-film? Is there a risk of losing the cohesion of the film if the theme is not strong enough, or if the theme is too strong, hammering it into the audience too much?
- Theme = good constraint
- Work that responds to a constraint generally produces better work than something that doesn’t
- You should have a theme or an idea you’re attempting to work towards, one that you want to explore
- As humans we like to find patterns and connect issues – without themes we see things as messy as untidy, so explore themes through the associations of the clips
- Explicitness of a clip: inferring something rather than portraying it – be more subtle, open up the gaps for interpretation
- Different way of portraying themes .. is it exploratory?
- What’s the relationship between the theme and the pattern?
- It’s about how your content explores the theme
- Think about it as not telling what the theme is – describe around the theme – think about different ways of how the content is going to explore the theme, rather than being very definitive
- However, there are good films that are very straightforward – asking people a question can work really well because they are so highly constrained – it creates a high level of specifics
- Don’t lose perspective on what you’re trying to say in relation to the theme.
- Don’t over simplify it – it becomes to literal… it can also become to commercial.
- You sketch – you have a look at it, you let others look at it, then you make changes.
- Don’t only show finished work
- You start with a shell and keep building.. this is why this online media is good. a media like tv doesn’t have the chance to show and edit before the final product = the closest thing they have is a pilot episode, but it is a very large scale ‘practice’ episode
Q2: Does the absence of narrative and conclusion make something unsatisfying to the viewer? Is it something that we search for and in the absence of create ourselves?
- Narrative and conclusion are two different things
- Its possible to have one without the other
- There is an obligation to let the people know what the work is about
- Closure can happen in three ways: the work can end – we interpret what happens in light of that ending
- Or the person can view it for as long as they like – the viewer decides when to stop and decides a meaning (people can have different meanings depending on what clips they’ve seen)
- Traditionally media – has an ending, therefore conclusion is demanded – it’s a consequence of the media we use
- K-films don’t require an ending in the literal sense – the rules of engagement are now very different
- You can be unhappy about it – it’s just something to embrace
- The web has no end either – we don’t say the web is broken because it’s all middle and no end.. it’s interconnection – same model is internal to a k-film
- Structure is the same
Q3: The reading claims that a collage cannot resolve. Can a Korsakow film have a resolution, or is it only able to explore its content?
- Answered in the above ^^^^^^
Q4: Shield claims that all mantages imply a meaning through the juxtaposition of shots. Is the meaning lost when a viewer chooses how they create the montage with a Korsakow film?
- In a K-film the relationship between shots are determined by the shots – there’s always a relation or some kind of meaning happening between shots – so meaning isn’t lost – just different meanings can come from the relationship
- Don’t confuse telling people what the thing is
- The meaning is established through the relations
- The meaning lives outside of the shots
- The relation between things determine what they mean
rebeccaskilton • May 18, 2014