The Night of a Thousand Wizards

Reading Analysis

Infinitus 2010 was an event held in Orlando, which is the gathering of thousands of JK Rowling fans. Henry Jenkins talks about his experience accompanied by his wife Cynthia as two journalists describing the young people dancing, sitting with the older folks and watching the events unfold with “wistful eyes”.

Henry also talks about how not only are the fans just people enthusiastic about Harry Potter itself, but also people who have spent time creating media through fan fiction, editing websites, producing podcasts and recording their own music. Henry’s style of writing describes the events unfolding in a very straight and unbiased way, somehow replicating in a sense the fun and wonder of the night that he experienced through his language and the humorous jargon references to the event he’s writing about. “There will be no muggles in Hogsmeade tonight, we are indeed all wizards here!” There’s a sweetness in the way he’s written the piece, alternating between the position of someone watching the event unfold from a distance, and someone participating and experiencing the event first hand. Henry makes sure however to have both compliments and criticisms of the event, analysing the positives and negatives without much bias. He criticises the way that much of the food served at the event was loaded with sugar, and he being a diabetic didn’t appreciate the lack of options regarding what he could eat, and the way the stalls catered for merchandise for the houses Gryffindor and Slytherin, but none for Hufflepuff and Ravenclaw.

“Some of the fans described it as a kind of homecoming, as they were able to at last enter a world they had previously known only through their imagination” Henry communicates the experiences that many of the fans have had, some seeing the park as a real immersing land of imagination and a chance to see the world they read so much, whereas others saw it as a play set, or a theme park kind of scenario. Henry uses a lot of colloquial emotive language, such as when he’s talking about the that the multimedia experience of exploring the Chamber of Secrets. He describes the experience as “Intense and jolting, but oh so very immersive” Despite the lack of formal the language, Henry still gets his message across effectively, and makes it relatable.

For a blog piece, I can appreciate the way that Henry writes. I like his use of emotive language, and his analytical nature in the way he picks apart the scenes he comes across. Personally I would prefer a little more in the sentences to have them flow better, such as the running sentences like “I can’t tell you about the other two rides, both of which are roller coasters, since I am a notorious roller coaster wimp, and I spent much of my time wandering the streets, watching people, and yes, buying stuff.”

An interesting read nonetheless.

In the Media workshop today we tried to create a flowing video without the use of editing on premiere, the result turned out to be alright, but some of the scenes seemed to go on a little long (Like the shush scene) and due to time constraints, we didn’t do many other recordings.

I thought for the sake of it, I’d upload the video with and without editing.

Without Editing 

With Editing 

Brief Notes on Conducting and Shooting Interviews

The purpose of an interviewer is to simply draw people’s stories from them the work as a catalyst for the audience, the interview either wants to fulfil the interviewers purpose or resist and deflect it.

Initial Interviewing Preliminaries

• During research conversations, note down how to draw information through broad general questions.
• Be cautious that questions do not interrogate the interviewee, and don’t imply negative manipulative intent.

“You see there are spontaneous moments of humour, inspired questions, and well-judged pauses, but also self-consciousness, persuasion tilting into manipulation, haste disguised as enthusiasm, and timidity masquerading as respect. What a rendezvous with the ego!”

Often directors work hand in hand with a researcher, who locates participants and learns about them, which often leads to whether the interviewee would prefer to discuss their topics with the researcher or Interviewer, a familiar ear, or a fresh new ear.

The presence of others is an important thing to consider in an interview either on stage or off stage, as it can influence either positively or negatively the information the interviewee might give you.

Groups can also work well, as different people can prod each other into a more impulsive response, a best-case scenario involves them turning to each other and forgetting all about you. After imposing your question “You can remain happily silent because your task is to catalyse people’s thoughts and feelings”.

Shots while interviewing

• Wide shot (to cover the questions
• Medium shot (for the answer)
• Close shot (For emotional shots)

“During a lengthy answer, alternate between medium and close shots. During a new question, however, drop back to wide shot. I try to change image size whenever a speaker shows signs of repeating something. Since repetition is normal, the subsequent versions are often more succinct. Then, if it’s in a different image size, you can cut between the two versions.”

Camera Positioning

• On Axis Interview: Positioning in the camera directly above the interviewer can give the illusion that the interviewee is talking directly to the camera.
• Off Axis Interview: Positioning the camera to the left or right of the camera in or out of frame has the interviewee looking off to one on side of the camera.

Editing Out the Interviewer

This can be an awkward process, but you’ve got to let the interviewee know that they need to start their answer with an “I arrived in Alaska…” etc.

Jump Cuts

A jump cut is when two similar images mismatch, and the footage between them appears to have been

removed. This makes for a choppy, and unprofessional look.

There are various solutions to this.

Firstly, it can prove to be an advantage to shoot the entire interview with the camera stationary, making the edits seem more seamless, you can fill the small gap with a simple nodding shot, but it is said that it may appear “bogus”

Secondly, We can create multiple Interview strands in parallel, cutting between them, abbreviating each as you go. ?

Thirdly, you can use varying shot sizes throughout the interview, which means if you do cut back to them and the camera is viewing them in a different zoom or focus, it won’t seem out of the ordinary. This way leaves you with more options.

The Interviewing Personality

“If you are formal and uptight, your interviewee will be more so. You’ll only get spontaneity by being relaxed and natural yourself. I try to lower pressure on interviewees by making my first questions deliberately slow and bumbling. That way I show my expectations are totally unlike the manic brightness of the live television show, where hosts chivvy people into performing.”

When beginning an interview, you cannot start with personal open questions, you’ll first need to make them comfortable asking simple questions about facts and things, and obviously, avoid questions that will push them into to discussing their views in a certain direction.

Feedback is important, but keep from being vocal. Look into Louis Theroux for this, he’s fantastic at keeping silent but clearly listening.

Aim to bring out emotion. Many people want to come across stoic, and don’t want to appear self-indulgent, this will lead to a very general answer. Eg. “How did that rejection make you  feel?” “Well, you simply need to move on and get over it.”

With these kinds of people, you may need to be more specific with what you want to know, respond with something like “What were some things you did to help yourself get over it?” Many interviewees, (particularly men) will not be open with the way they feel, so to get information, you’ll need to ask stories, stories, stories.

      “The best interviewers really listen and press for specifics and examples. Simple rejoinders-such as “How?” or “Why was that?” or “How did that make you feel?” or “Talk some more about that, would you?”- liberate the sentient being from the stoic observer. Asking the interviewee to take time and talk about pictures in his or her mind’s eye can also elicit a better kind of telling.”

Don’t catch them when they fall. Often when an interviewee is talking about something very emotional or troubling they may cry, and it’s important to stay silent rather than comfortable them. Often after explaining a huge topic or memory, they’re all over the place, and it’s difficult to get a flowing and accurate answer. You can often ask afterwards “Maybe you’d just like to go over that once more and give me a shorter version”.

Before ending the interview, you might like to say “Is there anything else you’d like to add?”

As a group we encountered a few problems when conducting the interview itself. First and foremost was finding a quiet area that didn’t have too much white noise, but we managed to find a small theatre room. The establishing shot proved difficult however, as we weren’t sure whether to have just the two people in the group facing the camera, to have it side on or an “over the shoulder” shot. We used lots of professional interviews as guidelines of what to do. Another thing I personally found difficult was having the camera zoom in and focus on the interviewee after the question was asked.

We did have a few nice successful professional looking shots after some trial and error however, as shown in the video itself. I personally appreciated the nodding shots, and how they fit in well with the interview despite being filmed separately.

I think during this process we learnt a fair bit about camera technique, and how the little things like positioning and the perfect amount of zoom can contribute so much to an interview overall.

Video Production Techniques and intentions

For my Project Brief 2 assignment, my objective was to convey a feeling of a fast pace environment contrasted with serenity and independence. To contrast the first Haiku I created, I wanted this video to have a very soft and flowing feel to it to it.

I’ve created the flowing feeling through the use of:

• Fading transitions
• A written soft flowing written piece based of Erik Satire’s Gymnopédie No. 1
• Levelled sound effects and volume.

About 12 seconds in I had the sound of a gas stove being clicked on, and the juxtaposition of the water contrasting the sound of the gas generated flame. I repeated this effect with the sound of flowing water combined with a dimly lit candle.

I wanted the words to go on different parts of the screen and pan out like a book, starting at the top left, and finishing at the bottom right. I’ve had the middle of of the message appear in the middle of the video, in centre screen, as that’s the most important part of the message.

Communication and Symbolism

Throughout the video, I’ve tried to show my individual insignificance, I’ve communicated this with my bicycle looking at the city over the handlebars. I’ve used my bicycle as a repeated motif as it’s my primary source of transport and it shows my financial situation. I also added the picture of my hands to show my independence, as everything I need to have done, I need to do myself.

The picture of the jar with paper stars was a gift of good luck from an old friend.

The candle, slow flowing water, nice views and serene situations convey my search for relaxation and peace in a stressful and fast pace world.

The message “There’s so much to do and so little time. The way I see it, you either love yourself, or fail.” I believe that self-deprecation either physical or mental is never beneficial, and I believe putting yourself first is really important for getting ahead in life.

Lastly, I didn’t have credits because I only used my own material.

Blood in the Gutter

Brief notes

Reoccurring dream that the world disappears when you don’t see it. “our perception of reality is an act of faith, based on mere fragments.”

Babies don’t understand the concept of faith yet, so when their mother disappears behind their hand in a game of “Peekaboo”, the baby truly thinks their mother has disappeared.

We rely on “closure”, something to piece the gaps together to make things make sense, even when most of the closure is based on nothing seen. Closure is based on knowledge and experience.

Media communicates closure, pixels or blobs which our mind constructs as an image of a person or reality

Our brain constructs ideas based on our experience, such as a space between two cartoon panels in a comic, called commonly as “the gutter”

Here’s a few techniques that are comic book writers use:

1. Moment to moment, played out as it happens,
2. Action to action, beginning and end of action, quick, lots of story
3. Subject to Subject, change of subject, advancement of story.
4. Scene to scene, transporting ideas to an entirely different area or time.
5. Aspect to aspect, evaluates the scene picture by picture showing a range of views within the scene.
6. Non sequitur- no logical relationship between the two images/resources

The vast majority of comics use an overabundance of action to action, and some of subject to subject and scene to scene. But not much else.

Looking into the difference between western culture (American) and eastern culture (Asian) we notice that western comics are very goal orientated, but this isn’t the case in Eastern culture, as they often take the time to establish the scene with long drawn out moment to moment and aspect to aspect shots.

This can also be seen in other arts, like painting, the use of negative space, and music, the use of silence.

Discusses a kind of ying and yang, and about having not too much of a story, but not too little.

“Comics are a mono-sensory medium, it relies on only one of the senses”

The comic finishes exclaiming that much of life is based off assumptions, and how so much of life is dependent on faith.

Just what I get up to on average with my flatmates in Melbourne.

Melbourne is much bigger and busier than any place I’ve ever lived, and often the RMIT campus can seem huge and daunting.

Walking through RMIT, noticing all the already pre-made groups. It’s difficult to jam yourself into groups that are already formed.