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Our week 7 studios were open for our project presentation to the panels. My partner Dyy and I both presented our similar interests about framing and have developed our idea for a short film experiment. Upon exploring previous activities such as the gallery ramble, the 50 frames and investigative essay, both of us are inspired by the setting aesthetics of our photographs while interested in valuable theorist ideas. Our idea is based on Vertov’s idea of camera as extension of men and whether or not film can think. We are intended to portray this by using point of view shots of the character’s perspectives and include several test shots. What we are trying to acheive here is also using camera movements which then everything in the frame moves just as when an individual runs and views the surroundings. Along with dark settings and chirascurro lighting, this will assist our horror-genre approach in our frames aesthetics. These test shots comprises of different angles and perspective to compare to the original “point-of-view” shot and each of us will edit these footages differently according to our own perception or thoughts.

These are some of the feedback we have received from the panel:

• How do you reflect on the process once you’re done?
• Is it possible to make the film in sections, reflect in parts — do sketches

So… cinema studies has been interesting. A lot had been going on, just that I haven’t really post anything here about it :/ Though one main assignment is our group project to present a blockbuster popular movie of our own choice and explore its contents and ideas. Thus, Hanna, Olivia, Monaliza and I, being in a group, chose The Blair Witch Project, 1999 by Eduardo Sanchez and Daniel Myrick. Based a realistic style and processes, both directors had filmed these infamous actors in a real-world setting and actually deprived them of food. This is to create the more natural realistic film, where audience might have even thought of the film as being a series of found-footage of the Blair Witch. Moreover, these actors are carefully chosen from new infamous actors to encourage more of the make-belief these people really got lost in the woods kind of thing.

Our week six studios focuses on the 3D cinema and the exploded frame. The Lumiere brothers had been known for experimenting with 3D cameras and cinematography. The first ever public screening of a 3D cinema was in 1922 with a film called The Power of Love. But the future becomes the present in a blink of an eye even since the 1950s. 3D films got popular then until during 1989 and on with films such as Back to the Future as well as Jaws but the popularity eventually died. 3D framing acts as the invisibility of style where as it was introduced, made popular and that trend was the shelved to be applied again even in the recent contemporary world of the cinema. These new introduction of new kinds of cinema is a progression within its history. Just like the French New Wave and the New Hollywood that eventually died, even if it’s invisibility of style remains, because they themselves causes the new emerging genres and the Blockbuster. Each film style influence each newer ones and inspire new younger directors. To link these shifts to 3D as Dan mentioned, “all cinema is about optical perception and our comprehension of space” and these different cinematic styles are evolving towards the 3D experience that had shifted as a result of experimentation of new technologies and thinking outside the box.

What had blew my mind about this week’s inspirations is the screening of partly documentary-short narrative feature This is Not a Film by Jafar Panahi. With all the restrictions and government banning him to ever direct a movie or even write his films and internet websites blocked, he opened my mind to a whole new dimension of thinking outside the box. “What if when we can’t show a film, we tell a film?” Panahi demonstrated his idea of an unmade film in this piece using his living room and tape to “draw” the set, acting out his characters and describing his screen play. What he had done not only inspire me as a media practitioner but motivate me to be unique as films within the cinema is evolving and where cinema is heading.