Our final project embraces the key concern of the studio, which is to create media through non-traditional forms of storytelling. In this studio, we explored media forms such as essay film, live action, desktop, and the chosen concept for our final project: the sculpture installation video. These concepts allow us to “create art in non-traditional photographic techniques by using these live performance spaces” (Hobbs. Y.R and Ross. M, 1997) and evoke deeper thinking and complex narratives. The concept behind our final sculpture installation video was to dive into identity in photographic memories. The sculpture invites “a role of art to blend imagery in distinct meaning” (Hobbs. Y.R and Ross. M, 1997) using the canvas quarters that expose different chapters of life and the evolution of colour.

The experience in this studio exhibition shows the complex personification of digital media art with unique approaches from fellow student groups. This excited me about the ‘Memory Screen’ studio. We explored the complexity and purpose of media creation via physical form or performance in software, live action, or desktop environments compared to a typical film set. The studio challenged me to think outside traditional narrative-making and discover artists who inspire me with more complicated media forms. During the exhibition, I hoped audiences would understand how we wanted to communicate time within a physical ‘scrapbook’ style art piece, followed by an interview of the person who we created the photo collage of. I hope my work embraces the studio’s concern in how we created a mosaic sculpture combined with projection of digital media, formulating the two different art forms of traditional print-based media and digital technology.

In creating our final work, the most successful aspect was the production of the interview and sculpture installation with the projector. The projector screen was perfect in producing a clear visual image above the canvas. The overlay was not confusing in distinguishing between the canvas and my sister’s portrait. It was time-efficient; we finished filming within an hour and filmed multiple takes to capture different perspectives. The filming of the actual interview, while the space was not ideal, was similarly efficient. With pre-production assisting us, we formulated our questions in an organised list of chapters from different eras of my sister’s life.

The most problematic aspect was changing our idea of the mosaic almost entirely. Due to cost and resources, our original idea of 30 frames collated into one square was impossible to create. The photo size being accurate, the exterior of the frame complicated things, and we brainstormed other avenues to convey our concept. We thought of a pin board, glittery paper backdrops, or op-shopping to find frames. However, we ended with the idea of combining four canvases with some photo frames and the remaining 30 photos scattered to create a memory board, like a scrapbook. I realised I had unused canvases, which made a perfect solution to our problem. We quickly began to create boards. I asked my sister for memento items to lay across the canvas, adding to the flatter spaces due to the lack of photo frames. With glue, double-sided tape, pins, and blu-tak, we created a beautiful collage of my sister’s photographic memories. We are pleased with the alternative presentation as this allowed us to add more personality. Through the problems and successes, we grew stronger as problem solvers and as a team.

As explored in the ‘Understanding New Media Art’ educational journal, “sculpture art creates social spaces designed to encourage interaction and engagement” (Bilyeu. E, et al, 2022). In the future, if we extend the media sculpture, I would love to let audiences engage with the mementos and the video playback of the installation. As the interview is long, some audiences may only be interested in certain photographic memories my sister talks about. It would be aspiring if, in an alternative world, the photos could be tapped, and the video would skip to the exact moment where my sister mentions her connection to the item or experience. I would also love to display the installation with the projector on a larger scale with a larger canvas. As students, it would be complicated to have a larger sculpture due to transportation and storage possibilities. We would also love to improve on the quality of the video installation as part of the sculpture. The reason for these improvements is for our sculpture to develop emotional and artistic expression within the physical setting (Pan. Y, 2021). Since audiences are not connected to the memories and items, it would be a core improvement to allow for interactivity of the sculpture and personal interest in the stories portrayed in the images.

During my time in this studio, I have learnt a lot about removing my expectations of what media is meant to be. With previous disliking of experimental films, the studio allows me to keep an open mind and to look deeper than what is at face value. During this studio, I was new to desktop performance and live action media. Creating works in these forms was challenging and uncomfortable. I felt exposed or lacking skills. With these discomforts, I gained appreciation for the artists involved in these non-traditional media art forms.

This year, I have had experience working with strangers with complex ideas different from my own. This has been a blessing, as through collaboration we create a narrative or idea that embarks on the same premise yet is conveyed through different perspectives. Collaboration has allowed me to discover new topics and ideas and to understand what others know. For instance, my studio partner this semester is Zahra Kader, who has grown to be one of my friends. She introduced me to many forms of media that inspired our project concepts. The inspiration for the interview for this sculpture installation was from the “Soft White Underbelly” interviews, which Zahra introduced me to. These videos document the lives of those who are less fortunate and exposed to violent societies. Without this inspiration, we would have lacked background references and style for our interview approach. Working collaboratively also allows us to work independently. While following the same project, each of us focuses on different roles. I was the director, Zahra was the editor, and we shared roles in crew, set design, writing, and cinematography. This allows me to focus on preparation for production as Zahra works to complete the two videos needed for our sculpture installation video. Collaboration shows how we can take responsibility for our actions and allows us to discover what we enjoy about creating a media installation or production.

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REFERENCES

Bilyeu. E, et al, 2022, “Understanding New Media Art” [website] Open Oregon Educational Resources, Accessed 23 October 2024 URL: https://openoregon.pressbooks.pub/understandingnewmediaarts/

Hobbs. Y.R, Ross. M, April 1997, “Vol, 30, Number 2, Video, Sculpture and Collaborative Image Processing” [website] The MIT Press, Accessed 23 October 2024, URL: https://muse.jhu.edu/pub/6/article/607439/pdf

Pan. Y, July 2021, “Application of Computer Visual Art in Digital Media Art” [website], Journal of Physics: Conference Series, Vol 1991, no 1, Accessed 23 October 2024, URL: https://www.proquest.com/scholarly-journals/application-computer-visual-art-digital-media/docview/2548803698/se-2?accountid=13552

Sculpture Sketch Reflection

Sculpture Sketch, Memory Screen – Alisha Bennett

Sculpture Video

Desktop Performance Sketch Reflection

Desktop Performance, Memory Screen – Alisha Bennett

Desktop Performance Video

The desktop video recordings were too ambitious in length and most of the storytelling had to be removed to fit the minute criteria. The pacing is fast with a slow beginning of the desktop pets overpopulating the boarders of a lush mossy biome background. As I continue to play meditative and thought-provoking music, a photo slideshow of what can be seen in these locations plays and a frog video stares at you, showing a sense of life. The video continues with a quote by Mahatma Gandhi that inspired the choice of my concept for this video. I thought about the ways in which we impact our beautiful environments by the way we treat them for our own benefit. Without realising the impact this has on the life that exists within these distinct habitats. As the quote types, the world opacity changes to reveal an outcome of deforestation and another slideshow plays to show our impact. The desktop pets wonder mindlessly without any concern to the destruction. It’s a reminder of our ignorance even though these issues eventually impact us. This contrast helps support the quote and displays the real situations where we have damaged habitats based on our own greed.

This concept is very similar to the sculpture project in terms of the forest elements, only this time it’s a different conversation. As I didn’t want to waste content I had downloaded for the videos, I thought I would reuse them for a purpose with a different meaning. As someone with zero understanding of desktop performance, I was inspired by Pinterest boards in the way that they play advertisements through beautiful collages, and it reminds me of the ways that industries will always find a way to build profit rather than allowing these places and locations to exist freely. The desktop video asks us to let habitats live with their beauty without our interruptions. Overall, I wish my pacing could have been slower and had a longer run time. I wanted to really let the quote speak for itself and allow the viewer to interact with the environment. In the future I would like to expand on this idea with more complicated devices on my desktop.

Sculpture created by Alisha Bennett and Zahra Kader

Our decision to combine elements of terrarium/forest-based elements and technology are artistic approaches and communicates the ways that we interact with our environments. The super 8 and other cameras almost sprout out of the table, as if they are growing. Our reliance on technology outweighs our need to connect with nature. In a world full of media engagement, we rarely seek meditation and comfort within a botanical setting unless accompanied by something else. The ways we photograph sunsets in their beauty and take pictures of gardens instead of basking in their glory. The camera acts as a snapshot and memory device that conveys their beauty projected on a screen. However, there is something artificial and non-belonging combining technology and vegetation. They don’t co-exist in a habitat, its only a manmade function. It feels futuristic, even though the cameras used in the video are not up to date with the standard of technology in this day. It’s an irreversible future where the cameras used in the sculpture are being seen as artefacts and old treasures, planted in our past. We continuously advance in technology, yet we don’t notice the ways our environments are changing and adapting to our causes.

This sculpture is also purely artistic, and an approach in combining greenery with technology. It was a beautiful process and reminded us of the beauty of freshness in this artificial world.

The video is a montage that also combines our recording of the sculpture presentation and the video slideshows that the cameras are playing on the laptop and tv screens. The overlay of clips feels overwhelming and a bit confusing as this is an illusion and the cameras aren’t actually projecting anything. Almost like an insider look into the camera, its performed aesthetically. I also edited the sequence to maintain engagement as I feel a simple camera pan around the sculpture would miss the impact as the location was a classroom setting. With the overlay it can help blend colours and showcase the video slideshows that are playing on the screens. Overall, I enjoy the sculpture video presentation!

This sketch is the beginning of imagination and ways we can create even more challenging yet inspiring media sculptures.

Essay Film Reflection link

Essay Film, Assignment 1, Alisha Bennett

Essay Film Video Link

Live Action Reflection Link

Live Action Assignment 1 Memory Screen Alisha Bennett

Live Action Video Link

Video Created by Alisha Bennett and the wonderful Zahra Kader!

The choice of images was in accordance to contrast the ideas and visual ideologies of how Los Angeles is represented in the media, compared to the living experience in the environment. Showcasing the components of LA that globally aren’t recognised in the media. The newspaper snipping acts as a perfect example of how LA is represented in the media as a dream city across the world. The other newspaper outlets are only recognisable in the state and within the city. The reality of Los Angeles is misunderstood, and this video essay acts as a reminder of poverty in a location so destined for fortune and freedom. The images are all public domain and allow us to really explain the research attained in this project. We split the video in two to do a simple comparison. We ordered the images in relation to the poem monologue. The poem is designed to show a sense of naïve understandings of Hollywood in terms of what we grew up being exposed to. ‘Making it in Hollywood’, the city of dreams, as advertised. The poem reminds us that there is a dark reality in even some of the richest and beautiful cities in the world. Making a dramatic transition with the audio pieces as well. The rhythm is around 3 seconds per photo depending on the significance and visual stimuli. How much can we reveal about the photo without it being too long is all dependable on the features. Comparing the audio from 1967-2021, the distinction really displays a raw contrast between advertising, to realism documentation interviews with residents. The title ‘Los Angeles, Brings it all together’, is a term that I found while reading about the city itself. I thought it would be a perfect title, as the poem highlights the way this term truly lives up to what it states. While the city brings fortune, freedom, and memories from exciting visitors, it also has a dark history of poverty and a street that was referred to as the ‘Devil’s Junk Pile’.

The speed and duration are inspired by Hito Steryeri’s ‘November’ in terms of monologue speed and amplitude. In terms of presentation, the montage is also inspired by the arrangement of the images and media visual components she used to present her essay film. We preferred to go on a more dramatic and explanatory approach rather than overload. What I loved about ‘November’ was the pacing and her tone of voice being almost too calm despite the topic at hand.

Overall, the essay project really inspired us to be creative. Using imagery to create videos is something I aim to improve on and learned from Zahra herself on ways to transition images in an engaging format. Essay films allow me to explore documentation as well in a past tense and research driven criteria.

My Live Action piece is inspired by Marina Abramović and her work ‘Art Must be Beautiful, Artist Must be Beautiful’.

The project delves into a surreal portrait where I explore makeup and try to fix my appearance and eventually wiping my face with a washcloth. It is an interchanging montage that splits the two long takes to show a comparison and connection between ‘then and now’. My breathing fastens and the lens blurs as I move further from the camera. This is an effect I used to minimise the details, almost symbolising a sense of exhaustion. This was something I improvised in when I practiced my expressions. Being unable to recognise oneself through the mask of aiming for beauty that is not attainable for me. The part of me that tries to hide and remove flaws that are simply a part of my identity. This piece is up to interpretation and has a meaning that can be recognised in accordance with relatability and personal experiences. Nonetheless, the core themes when preparing my inspired portrait piece is the presence of achieving beauty. The desire for it while subsequently becoming a tiresome reminder of life. Expectations on how to appear. As my breathing pace fastens and my mentality overloads, the depth of field is aligned in accordance.

I chose black and white as colour can distract meaning and details when it comes to symbolic pieces. Black and white can be vulnerable and I particularly adore a monochrome appearance. Originally wanting a black fabric backdrop, I sadly had to improvise with paper. When preparing the set, (which is just a small section of my room), I literally clipped the paper to the blinds before the curtains with yarn to hold upwards. I loved the white peeking through which is why there is not a full coverage. Again, this shows that I had a ‘lack of perfection’ and that I had to make beauty with all I had.

The light source was my desk lamp facing from my right side. It’s amazing how monochrome can reduce the need for various light sources, plus I did film at night to assist in its exposure level.

Originally not being exposed to Live Media, I didn’t understand its impact until I further explored and allowed my mind to correlate its own understanding of the pieces. This allows me to challenge my misunderstood standards of media creation. Physical interactions with objects allow viewers to look more into why and what that object does, what it represents and why it is used. Like in Marina Abramović’s, ‘Art Must be Beautiful, Artist Must be Beautiful’, you find that the brush is acting as a prop in accordance to reaching satisfaction, yet unable to attain from frustration. Beauty not being met, all knots needed to be brushed out until the hair never knots again. Where realistically things will never be perfect.

Our group work for assignment 4 was screened and certainly engaged with the audience. We were pleased to hear laughter in the crowd and many viewers and friends came up to me afterwards wishing that it were longer! Our work hoped to visually communicate our core themes of the genre, and what our studio visual blueprint aims to convey, show don’t tell. For instance, when we worked on the themes we really focused on the location and the personality traits of the characters when compared to the protagonist. We wanted to visually and audibly convey ways that Dave felt beneath the rest of the guests at the dinner party. In the film before act 3, we have a long tableau, camera focused on Dave as he sits silently wanting to leave as the other guests talk around him ignoring him. The audio becomes louder as the camera isolates Dave to be the centre of the frame. The visual cues and audio balance helps us convey this sense of closed space, visualising how Dave feels closed off and isolated from the rest of the group.

When it comes to working on this media project further, we would want to improve and extend the complexity of the environments. Since we are a student led production with a low budget, we relied purely on one location to tell a 7-minute-long story. In an alternative reality, we would have loved to have two locations and stick to the original beginning of the story, which was a montage sequence of all the guests preparing for the evening. With only one location to film, we had to scrap this idea and flow to a less complicated beginning. This really impacted the script and storyboard as our ideas could not go as planned and we had to gorilla style on the spot. This also comes together with the run sheet; we really need to organise our schedule and filming more appropriately especially when we need to adapt to a challenging location. Nonetheless, we did commence on a healthy filming alternative.

Comitium was a work I saw in the Capitol that completely engaged with the ‘show don’t tell’ idea addressed in Visual Blueprint studio. When watching you simply follow a man riding his bike in the empty deserted Australian outback, when suddenly, he stumbles upon hooded figures who hand him an envelope. Only to realise this was all a dream, everyone in the audience jumped! Having no idea that this was the case and were just as scared as the man waking from his nightmare. The slow pacing and the open landscapes made this film feel empty in the beginning, just like a dream. You are trying to connect what is going on, and everything feels like it’s taking a while to get to the climax. Comitium simply awakens the audience and truly controls the story with the jump to the man waking from his so-called nightmare. The slow-paced beginning to the jump really takes you off guard, and it was a great experience of show don’t tell since none of us had a clue of what’s to come.

Decadence is a delicate film that highly focuses on the stylistic elements when it comes to the idea addressed in visual blueprint. It’s a stunning film, which is fitting as the film centres around a passionate artist who takes pride in delivering work to her subjects. When looking into the insights of Decadence, I realise the underlying messages being ‘conflicts experienced by young emerging creatives’ and can understand the correlation. A young artist who strives for perfection, looking for perfect subjects, yet fails to replicate them into visual art pieces. Like reality when we seek perfection when we try to emerge our creative ideas into reality.

From the studio, ‘The Scene in Cinema’, I engaged with the work produced by Kevin Sun named ‘Picture the Moment’. Watching the film, I understand the inspiration to recreate work from Studio Ghibli in a real-life context. The light colour and filter make the scenes of Melbourne looks flawless, full of light pastels and pops of saturation in the warm mid tones. Everything looked picture perfect which replicates the feeling of watching a Ghibli film. From the process, The Scene in Cinema’s key idea could be to replicate the style of a particular director or film company into your own work, what style inspires you. Kevin Sun states that they tried to use compositions like Ghibli films and reduce the amount of movement, as Ghibli is primarily an animation film company. Kevin Sun also discusses this theme to mimic animation process by having the shots feel purposeful and draw frame to frame of action. Sun states that they went along with their camera operator Joshua Devereaux to do photography to find locations that would work for the feeling of a Ghibli film.

A. What are ways I hope my final work engages with its audience and communicates a key concern of the studio? What would be the core things I want to improve and extend on in a piece of media and why?

Throughout the studio, I have learned the importance of ‘show, don’t tell’ when it comes to storytelling in media. Visualisations play crucial roles in creating engaging media. Our final project, Assignment 4, aimed to captivate audiences through intentional visual elements in our film. With my group, we brainstormed genres and combined blends of horror, thriller and comedy. We then identified themes of betrayal, social anxiety and classism which we explored in our production. The themes guide our screen play and storyboard scene by scene and are inspired from movies such as “Get Out” with the dinner table conflict and the intense arguments in “The Bear”.

Our group recognised the significance of costuming and props, which helped us find a location that effectively conveyed the theme of classism. For instance, we wanted the dining table to appear of ‘high class’ with bottles of wine with candles lit on top. Our friends place had a beautiful wallpaper of peacocks which was mentioned by the cast as they entered the room, signifying how important the small details are since they will be noticed and stand out. We focused on period antiques and reinforce classism between the dinner party guests, planner and the main character who is from a less affluent background. The approach helps us communicate themes of classism and social anxiety visually without relying heavily on dialogue.

Working on this group project was very rewarding and an incredible learning experience. With our limited budget and resources, we rely on single location to tell our 7-minute story. Ideally, we would have liked to have multiple locations as included in our montage sequence mentioned during the pre production stage of the guests preparing for the evening. However this was not feasible and the need to simplify the script and storyboard left us to do on-the-spot improvisation. Additionally, we needed to organise our shooting schedule more effectively as it would have been beneficial for us within the challenges posed by our location.

Another area for improvement was our equipment. We used a still tripod for filming, yet desired more dynamic camera movements, which became difficult within our resources. In the future, our aim would be to hire more equipment and extend our budget to achieve more visually exciting elements.

Despite our challenges, our group is very satisfied with the production as a learning experience and are still very proud of our work. It was a first for all team members working in a set-like environment. From the Visual Blueprint studio, I have learnt a lot about the ways that style can help visualise the narrative of a story. In my future works I want to heavily explore and develop on ways that I can communicate words into visual meaning.

Slide show of our research

Group 5 Alisha_Jen_Peter_Lucinda

B.  Discuss work completed since Week 8 during, discussing collaboration this semester and working individually. The ups and downs and how this semester went for me

Links to work I completed for Assignment 4

My storyboards:

Act 1

https://docs.google.com/document/d/1vW5Xf4_7U5UQwEPFM8bWvKocUJXVwPB2gqxlFLr1EeA/edit?usp=sharing

Act 2

https://docs.google.com/document/d/1MBOK2pdaKslmfBMpf4mhgqdmIwLNQ6aDZJPZ1SuzQ1M/edit?usp=sharing

Act 3

https://docs.google.com/document/d/1Q6VmzDVHIBK0glTFXzrFqWSQEsPQdZWHDlU10sA-GTE/edit?usp=sharing

Link to sharepoint folder of work

https://rmiteduau.sharepoint.com/:f:/r/sites/VisualBlueprint2024sem1/Shared%20Documents/VISUAL%20BLUEPRINT%20CLASS%20B/Shared%20Class%20Folder/Assignment%204%20Group%20Folders/Group%205%20Alisha_Jen_Peter_Lucinda?csf=1&web=1&e=2I2D8h

During the pre-production stage of our assignment, each of us focused on our specific roles. We also provided feedback to one another to ensure everyone was on the same page. Lucy and Peter worked on the screenplay, Jen handled casting organising the run sheet and editing, and I focused on the storyboarding. Together, we decided on a thriller comedy centered plot around a dinner party. We drew inspiration from various sources to structure our story. For instance when collecting inspiration I thought of video game references that had strong narratives. Until Dawn (2016) came to mind with the beginning phone call overlaying the introduction into what the characters were walking themselves into. This idea was liked by the group and we expanded upon it. I also mentioned for Act 3 with the sacrifice of blood dripping down the table with reference of Resident Evil 4 Remake (2023). From my inspirations came my groups, we explored scenes from Killer Joe of the characters surrounding the table holding hands. Inspiration from music videos, ‘Nothing Matters – The Last Dinner Party’ (2024). Many films inspired us as well such as ‘The Bear’, ‘Get Out’ ‘Midsommar’ ‘Suspiria’ ect. From these visual inspirations, we developed a plot: a socially awkward guy attends a friends dinner party, uncomforted by guests who seem to look down on him. As the night progresses the guy feels more nerved and unsettled and events in the night reveal the real reason behind his invitation.

With the plot established, pre-production began in earnest. Peter and Lucy created short scripts and I storyboarded. Initially, my storyboards didn’t align perfectly with out filming plans, so I had to adapt to fit our goals. We followed a three-act-structure: Act 1 beginning with Dave waiting anxiously at a bus stop to arrive at the dinner party. However, due to weather and location restrictions, we had to scrap this idea. Instead, we started with Dave already arrived at the destination, with him walking up to the door and begins to meet the guests one by one. In Act 2, I visualised the main tableau where the guests eat dinner, with Hannah at the head presenting her speech. This was inspired by ‘Fantastic Mr. Fox’ and ‘Get Out’. Act 3 features Dave lying on the table before he is sacrificed. Including visually striking elements of blood dripping down the table and a knife against the red backlight, highlighting a sinister intention from the guests.

Links to scripts and final script

script for dinner

lucy screenplay

FFD fined (1)

Collaboration and communication was the way that we found success. Our group was responsive and proactive in attending meetings and putting forth potential problems we would face or issues. For instance, when a member had a conflicting commitment, we ensured the we communicated and secured an extension so that the project was not rushed and that all members could attend and be a part of the production. We used Instagram and created a group chat, as well as making a server on Slack so that we could share documents and comment on each others work. Slack helped us organise meet- ups and ensured that we were all prepared before we began filming with our crew. This open communication made the assignment enjoyable and engaging. I have never worked with such dedicated people before, and this experience was full of inspiration for me.

Filming was challenging yet rewarding. We used a Sony FX3 and FX5, a boom mic for audio, and LED lights. Our shooting schedule was organised by the acts, filming Act 2 first, Act 2 second and finally Act 3. We faced multiple issues with the audio equipment and lighting. For instance, when loaning parts of the equipment werent handed to us and were missing which were required to complete recordings. Nonetheless, we navigated together and problem solved to learn and adapt. In the end we were successful in getting our equipment ready for our crew, and each day that we filmed we became more adjusted.  Continuity in our film with the candles was another challenge, as the wax was melting and affected our lighting and required new wax to maintain consistency. We also had to adjust the story to reflect different times of the day within the film. This introduced the idea of title cards to get away with the poor lighting in some instances.

Editing was split between everyone, we all met in the editing suites, and spent all day working. The problems we faced were audio files not aligning to the video as we didnt have audio from the video recordings just the boom. We ended up fixing this problem through synching and by listing all the files before editing to make our process easier. I worked on Act 3 with Peter and collected sound effects, Jen worked on organising a whole sequence for us to follow, and Lucy edited Act 2 and worked on audio alignment for Act 1. We share and export our files and combine them together, and in the end I finished the edit by fixing audio issues, colour grading, and fitting the edit into a 7 minute finish. Altogether, we worked well as a team and we shared our ideas so that we could collaborate efficiently.

Despite these struggles, we effectively problem solved, which is crucial in filmmaking. Our group remained mindful and communicative no matter the stress that was happening. We ensured that addressing problems was a priority and if there ever was one that the issue would be solved and looked out for. This collaborative effort ensured that my group accurately translated our pre-production planning into the final film, overcoming obstacles along the journey.

C. Write a reflection on or respond to the content of the presentation in Week 9 by a student work other than my own

Reflecting on Izzy, Lucy, Vallerie, Jeremy and Yuyao’s presentation for “Shattered Truth”, I found connections of the concept and inspiration from ‘Blade Runner 2049’, within its futuristic dystopian setting to be highly intriguing. The interrogation scenes in “Shattered Truth” echo the daily questioning of ‘K’ appeared in “Blade Runner 2049” to ensure that he was not developing any human emotions. The plot for “Shattered Truth” centers around a woman who is reinterpreting events of an incident at a train station as she recollect them in an interrogation like environment. The use of a train to segue into an interrogation is a fascinating choice as it juxtaposes the futuristic nature of public transport with the mundane every day life. For example, speed trains in Japan are often labeled as ‘futuristic’ from a technological standpoint. However, in “Shattered Truth,” the train is depicted as rustic and from an older era, highlighting a stark contrast as it is recollected many years later.

The group’s inspiration for tableau is inspired from references dating to the 1920’s and 1940’s paintings, aiming for a focal point with blurred or surrounding objects intervening the scene. The approach to visual storytelling for this group is particularly effective in representing fragmented memories. The audience is able to interpret the protagonist’s mental state through these stylistic choices, contributing to the dystopian aura.

The protagonist in the film is drawn from Frida Kahlo, an artist who inspires many for channeling her pain into works of art, and maintaining a strong exterior in her character. The protagonist in “Shattered Truth” embodies a sense of confinement and the struggles to conform to societal expectations, adding depth to the narrative. The film’s dystopian setting shifts between the ‘Inner World’ and the ‘Physical Confinement,’ with the latter being the interview location. Evoking a sense of claustrophobia and pressure, the ‘Physical Confinement’ space is small and minimalistic, enhancing intensity of the interactions between the characters. This set up allows for every noise and word to feel magnified, creating tense and nerve-wracking atmospheres.

The ‘Inner World’, is portrayed as a public, suburban area filled with graffiti and trash, signifying life. This contrasts heavily from the interrogation room. The juxtaposition emphasizes the protagonist’s blurred and grainy memories of the past. The choice of locations is thoughtful and aligns with the visual storytelling, effectively conveying the time and place of the film as well of genre.

On a technical standpoint, the film employs a 1.33 aspect ratio, creating confined ,box-like frames that heighten tension between the characters This aspect ratio facilitates symmetry, which is essential for the visual style of the film. Lighting plays another crucial role in highlighting the important and vulnerable areas, drawing our eyes to specific details. Colour grading further enhances the mood of the film, reflecting tension and emphasizing the protagonist’s emotions in the dark room. Flashback scenes are rendered in a dreamlike quality, allowing viewers for a sense of reflection and nostalgia.

Ultimately, “Shattered Truth” is a meticulously crafted production that effectively communicates the genre and style to audiences. Through a combination of technical components, environmental features and visual storytelling, the film successfully portrays a dystopian atmosphere. The use of hues, camera techniques, and post production effects distinguish the past to the future, enriching the narrative. The groups thoughtful approach ensures audiences can easily grasp the dystopian theme and emotions of the film.

Link to slideshow of group work

Group 4 Izzy_Jeremy_lucy_Val_Yuyao

Links to the final Assignment 4 Group Video, Tableau. Google Drive and Vimeo

https://drive.google.com/file/d/1bOcU4d_77q1npVz0ur9_gFZz37dO6gvY/view?usp=sharing

https://vimeo.com/954781763?share=copy

Weekly Blog 4

Week 4 – Visual Blueprint Weekly Blog

Weekly Blog 5

Week 5 – Visual Blueprint Weekly Blog

Weekly Blog 6

Week 6 – Visual Blueprint Weekly Blog

Reflection

ASSIGNMENT #2 SYMMETRICAL ARC SHOT – Reflection Alisha Bennett

RMIT Release Form

https://docs.google.com/document/d/1wejS5XPk11vJbR9LFSdgkBR8WBVCPu43PUkmk-Nq-GU/edit?usp=sharing

Assignment 2 Video

https://vimeo.com/936520621?share=copy