WEEK 6: CONNECTION 6

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I know that this might not be much of a connection, but seeing as we’ve been talking about collaboration for a few weeks, I thought I’d do a review of my favourite Melbourne International Comedy Festival Show to date. Don’t worry, it’s got something to do with collaboration. 

AUNTY DONNA

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What a group performance! What an energetic show! I was in stitiches for the full hour of the show that felt like it went for fifteen minutes.

The sketch comedy trio pumped out the most energetic comedy show I’ve ever seen. They didn’t stop for one minute of the show. Even when they declared ‘INTERVAL’ they jumped and climbed through the audience, yelling and screaming. So enjoyable, so funny. As an audience member, I felt so apart of the show as thew trio constantly broke the fourth wall in the most amusing methods.

The pace that they were performing in  was so fast it looked physically exhausting. And you could see the performers getting tired, with sweat dripping from their foreheads five minutes after the show had begun, the performers pumped out sketch after sketch after sketch with no break in between. This just proved to the audience the amazingly well rehearsed script and the connection between the trio that existed on stage and most probably off as well. Their preparation as a group was clearly visible and this easily engaged and drew in an audience.

As a group of comedians, I don’t think it’s hard to compare Aunty Donna to such comedy legends as  The Doug Anthony Allstars and I can definitely see a future for the group that will come to define a generation of comedians.

If you want to have a peek at Aunty Donna’s sketches, I suggest looking at their youtube channel. 

  • Aunty Donna, (2014), Aunty Donna: MICF 2015 Poster [ONLINE]. Available at: http://auntydonna.com

WEEK 6: LECTORIAL 6

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This weeks lectorial I didn’t find too beneficial. Maybe, as time goes on, I will find that what was taught in the library session will come in handy but, mostly, I was disappointed that the lecture wasn’t more media orientated. I found that the prospect of Project Brief 3 was creating a distraction for me and I wasn’t fully aware of or fully concentrating on what was being taught. What was being said was just flying straight over my head as I thought and planned how to use my time wisely in creating PB3. 

So here is my plan for the project brief: I am using my sister as the subject of the portrait because she’s an artist and her opinions on modern art are interesting especially because most of her life revolves around exploring, researching and creating art. I want to completely capture her passion for art and her opinions on ‘A World Without Art’. I want to ask her thought provoking questions in which she can answer openly and passionately. I also want to capture what art means to her specifically and how she explores and is inspired by art to create what she creates.

This is, however, the audio component to the portrait. I want to  compliment this with visuals of my sister in her space of work – the place where I know she allows her imagination run wild. Essentially her bedroom. I want to capture the paint, paint brushes, sculptures, pictures, paintings and books that she has in her room.

In terms of found footage, I’ve already found what I need. It was very easy to find footage of artists and art to compliment the original footage that I will capture myself.

What I’m having trouble with is finding music to play over this. We’ll see how this goes, I guess. I’m giving up on this front a bit.

WEEK 6: WORKSHOP 6

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Sound is an imperative tool for any filmmaker. It’s important, especially as an inspiring filmmaker, to learn how to use and master this tool. I know for a fact that the use of sound is not one of my strengths and I would probably consider it the weakest point in my skill set. I think it’s very easy to forget about the importance of audio when creating and instead focus more on the visual aspects of filmmaking. But in the words of Amir Blumenfeld ‘audio is the second most important part of the audio visual system’. I’ll let you think about that one.

I found that the working with the ZoomH2N Recorder was very beneficial to me. I felt, initially, as a bit of an outcast because everyone seemed to understand the jargon that was being thrown around and I seemed to just be nodding my head pretending I understood. I, however, made sure I read and completely understood the instructions before I used the recorder itself just so I was able to understand what I was doing and could use it successfully.

As we split up into groups during the workshop, I was glad I had three group members who seemed to fully understand what they were doing. I found that standing back, watching what they were doing with the recorder and simply analysing how they utilised it in different environments to create the best possible sound. Other than learning how to correctly record sound, we actually had a lot of fun in just creating sound to record.

I took the ZoomH2N Recorder home and recorded my audio that night.

**SAM HAS TO SEND ME CLIP TO ATTACH**

Week 5: Connection 5

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On the subject of using found footage within television, I’ve been noticing how it’s used in different tv shows that I watch. I was watching MTV’s Catfish and I noticed how they use footage of messages to display and enhance the romantic depth of the situation. Alright by definition, that isn’t technically found footage and rather original footage but re-contextualised. If you’ve never heard of the show Catfish or you don’t know what it’s about, here is a simple explanation: Two filmmakers follow the relationships of couples who have developed a relationship online usually to find out the person they claim to be isn’t actually them.

I took note, however, of how they had structured the original footage next to the re-contrxtualised footage. Each text message or picture shown to the audience related to whatever had come before it. I think it’s important, especially in this way, to make the footage flow together and make sure everything is appropriate to the story.

It’s also very interesting to see what’s revealed to you as the show progresses. For example, at first only messages that detail something romantic appear at the beginning of the show, but as more of the ‘Catfish’ or the actions of the ‘Catfish is revealed. more dubious messages or extremely zoomed in pictures of them appear. I see this as enhancing the shock factor of the show and, simultaneously, proving to the audience that this actually happens.  I think this is a very clever component of the show as it’s relevant to the context of the show itself whilst also imposes shock on to it’s audience.

What I take from the editing of this show is the seamless use of footage to enhance the mood and effect the audience. In relation to the next Project Brief 3, it’ll be too easy to edit together found footage that is hardly relatable to the topic.

  • Max Joseph. (2012). CATFISH: THE TV SHOW TRAILER. 26 October. Available from: https://www.youtube.com/watch?v=CMA4x7aXJT0.

Week 5: Lectorial 5

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Found footage <–> Original footage

According to ‘A Dictionary of Film Studies'(2012) found footage is:
‘pre-existing film footage appropriated by a filmmaker and used in a way that was not originally intended’
Until now, I’ve never really considered the use of found footage in anything I create or, for that matter, even really noticed it in the film or television I watch. However, as I think about it now, I’m starting to make more connections. For example, and as I am a big lover of Australian comedy and television, I made a connection to Adam Zwar’s ‘Agony of Life’. Throughout the programme, the found footage is edited together with the interview footage to be relevant and appropriate.

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Above is two different shots from The Agony of The Body (2015). This demonstrates the seamless transition from original footage to found footage. Companied with the fact that the entire episode revolved around women’s clothing, the use of found footage is appropriate to the topic.

My aim for the project brief 3 is to create flow when merging the found footage and the original footage. When  selecting found footage and material, I want to make sure it’s relevant to the topic and to what my subject is saying.

—–

Collaboration

This weeks reading came from Keith Sawyer’s Group Genius: The creative power of collaboration. In really short terms, this reading pretty much claims that a collaborative task cannot be achieved by one individual person.
From primary school to now, the dynamics of a group never really change. There’s that one person that listens and nods along and agrees with everyone, pretty much not contributing at all. Then there’s the one that has their opinions but isn’t willing to put in the time. And then there’s the one that picks up everyone’s slack and just does it themselves. The latter is usually me. I usually do prefer to work alone because I trust myself and I think I am dependable, however, this is a media course. We are making and creating products that cannot be made alone. So, I have no objections to group work, but I do agree with Keith Sawyer in saying that it cannot be achieved by one individual.

I’m ready to use my strengths, develop my weaknesses into strengths and become a better filmmaker with the help of a team. Bring it on, Brian.

 

  • Keith Sawyer, 2007, Group Genius: The creative power of collaboration, New York: Basic Books, 2007, pp.39-57.
  • Australian Broadcasting Corporation. (2015). The Agony of the Body. [Online Video]. 15 April. Available from: http://iview.abc.net.au/programs/agony/LE1447V001S00

WEEK 5: WORKSHOP 5

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The feedback for Project Brief 2 was interesting. I think it’s always hard to watch your work be received by other people and considering that the PB was supposed to reflect myself, I think the nerves intensified even more. I was happy with what I had created but I paid very close attention to the facial expressions of those around me because I believe very strongly that the audience is the most important part of creating media. The expressions were pretty much neutral, no one looked as if they weren’t enjoying it or disliked it immensely (which is a good sign) but that’s really all the reaction I got. I wasn’t quite satisfied with that.
As the class went into discussion about the film itself, I wasn’t quite satisfied with the response either. Although some responses were positive and people did say ‘this is making me hungry’ which I took as a testament to my grandmothers cooking, I still felt like what I created was a little too vague. Most of the class discussion were mostly questions about my own culture and tradition than what I had created. I’m not sure why this is, but, as Jasmine pointed out, the lack of faces in it makes it just a little less personal. Maybe this is why I didn’t get the response I wanted but I will take this piece of advice and apply it to my next Project Brief. What was also said was that the use of black and white took away the real vibrancy of the food and thus didn’t enhance the homely atmosphere I was trying to create. I know now that I have to really consider how I’m editing and what implications each technique I use may have.

In Project Brief 3, my aim is going to really be adding some soul to what I am creating and making it more personal.

Project Brief 2: An Explanation

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In the second version of my ‘Self-Portrait’ I attempted to focus more on my family and my ethnicity. I decided that these were probably the two concepts I identify with the most and I also think that most people could also identify with them. The film follows more of a storyline than anything, this was unintentional during pre-production and production but when editing it all together I saw how I could make it flow. I decided to capture the food production of a traditional Maltese meal. The meal itself is simple yet it brings together all members of my family. As food is a big part of my culture, it’s something that we take pride in, not only to enjoy as food, but to enjoy as something to call our own.
I tried to portray this pride through the first part of the audio in the film, as I recorded my younger sister explaining how she gave someone a look for making a statement against the Maltese. The second and last bits of audio are the sounds of my family eating a talking at the table. In the middle, I have placed a recording of my mother speaking in Maltese.

The film begins with a picture of a piece of wall décor that resembles the windows that are on the old limestone buildings in Malta. More importantly, though, is that it is reminiscent of the windows of my family’s house before they immigrated.
The way the video is edited is very simple, and traditional. I thought about editing in a more creative way, but I feel like it wouldn’t match with what I was trying to achieve through the footage.

‘Kulhad tad-demm u l-laham’ is the text I used in the product. In English it means ‘We are all flesh and blood’ – I found that this was fitting to put at the end of the video because it’s the type of thing my grandparents would put at the end of a statement.

Week 4: Connection 4

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Through the lectorial and the workshop this week, I’m really beginning to notice the power of editing. The Kuleshov effect possibly resonated the most with me than anything else discussed because I really saw what was trying to be achieved. The hunger and the bowl of soup, the sadness and the girl in the coffin and the lustful stare at the girl were all observed in the same picture. It’s amazing to see how ur brains connect a meaning through images that are simply in succession.
Out of all the tricks of cinema, I think the Kuleshov Effect is the most amazing. The fact that a director can create a mood in the film and in the audience through images that may not even relate is simply incredible.
As Project Brief 2 progresses, and the question of editing and transitions is considered a bit more thoroughly, I am starting to notice what a transition like a cross-fade can have different implications to a transition such as a simple cut. In different contexts, one can be more appropriate than the other in terms of flow. But even the movements of each transition can enhance/suggest a different mood. The cut is a lot more aggressive and has less of transition between each piece causing it to create a sudden and fast paced sort of feeling whereas a cross-fade is a lot more gradual and eases the audience into the next piece. It’s easy to see, just by that, that editing, even in the smallest form can have a great affect on the audience.

Week 4: Lectorial 4

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Blood In The Gutter

The article draws attention to the fragmented spaces in narratives that appear in comic strips. Although most people can argue that a piece of media such as a comic book is a less ‘intellectual’ form of reading. Maybe this is because some people feel that because a comic book is more visual, it is somehow a lesser form of narrative. However hard it may be to ‘read between the lines’ when reading a book, I believe the comic strip, like film, can be more intellectually stimulating than just text.
As Scott McCloud points out, the negative space between graphics in a comic strip suggests to the reader numerous things. This I think allows the reader to use their imagination and critical thinking a lot more and requires an active participation from the reader. Think about that. Just a fragmentation – a bit of space between two different graphics – can pull an audience and create suspense. That’s amazing.
I connect this with a concept that I read in my cinema studies textbook that I find very interesting. It said that the framing, mise en scene etc.  can suggest ‘offscreen space’. A director will lead the audience to the place they want to take them. A multitude of ideas can be suggested through what is not shown – less is more as they say – in creative mediums.

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