Reflection

This week’s exploration of satire delved into the intricacies of using humor as a tool for social commentary and critique. Meikle’s analysis of Chris Morris’s “Brass Eye” and Caterson’s examination of the absurdity in modern life provided valuable insights into the mechanisms of satire and its role in challenging societal norms and institutions.

Our group’s project on the rental crisis employed parody as a means of enhancing our satirical message. By adopting the format of a reality TV show, specifically inspired by “House Hunters,” we aimed to satirize the absurdity and challenges faced by university students in finding affordable housing. Through the exaggerated portrayal of typical house-hunting scenarios, such as touring ludicrous locations like a room on campus or an alleyway, we sought to highlight the absurdity of the rental market and the struggles faced by young people.

In aligning our project with the theories explored in Meikle’s and Caterson’s readings, we aimed to subvert the conventions of traditional housing narratives and question the legitimacy of societal structures. By employing parody within the framework of satire, we were able to engage our audience in a humorous yet thought-provoking exploration of a pressing social issue.

This project underscored the power of satire to provoke critical reflection and inspire dialogue about contemporary issues. Through the careful selection of comedic techniques, such as parody, we were able to effectively communicate our message while entertaining and engaging our audience.

Credits:
Meikle, G. (2012), “‘Find Out Exactly What to Think—Next!’: Chris Morris, Brass Eye, and Journalistic Authority”, Popular Communication, 10(1–2), pp. 14–26.
Caterson, S. (2005), “A Preposterous Life”, Griffith Review, 8 (June 2005), pp. 186–192.

In exploring the comic form and concepts this week, I’ve come to understand parody as a powerful tool for subverting and satirizing established genres, tropes, and conventions. Neale and Krutnik’s discussion on the definitions, genres, and forms of comedy, along with Toplyn’s insights on parody sketches, provided a framework for understanding how humor can be used to critique and challenge societal norms and expectations.

Our media artifact, a parody video of Disney Channel kids shows, aimed to disrupt the conventions of the genre by introducing a dark twist. By juxtaposing the typical upbeat and cheerful atmosphere with elements of darkness, such as Sam’s character delivering unnerving dialogues, we sought to create humor through contrast. The use of color grading, framing, and sound effects further enhanced the comedic effect by emphasizing the shift in tone and highlighting the absurdity of the situation.

Through this project, I’ve learned that comedy’s relationship to other forms and genres is complex and multifaceted. Parody, in particular, serves as a means of both homage and criticism, allowing creators to engage with existing cultural artifacts while also offering a fresh perspective. Our parody video not only paid homage to Disney Channel kids shows but also critiqued their formulaic nature and the potential implications of their simplistic narratives.

Additionally, the process of creating this sketch highlighted the importance of careful execution and attention to detail in comedy. Every element, from the scriptwriting to the editing, played a crucial role in shaping the comedic effect. Moreover, collaboration was essential in generating ideas and refining our concept, demonstrating the collaborative nature of comedy production.

Overall, this project has deepened my appreciation for the versatility of comedy as a storytelling tool and its ability to challenge, entertain, and provoke thought. By exploring the boundaries of parody and experimenting with different comedic techniques, I’ve gained valuable insights into the art of humor and its broader cultural significance.

Credits: Neale, S. & Krutnik, F. (1990), “Definitions, genres, and forms” in Popular Film and Television Comedy. London: Routledge, pp. 10–25. Toplyn, J. (2014), “Parody Sketches to an external site.” in Comedy Writing for Late-Night TV, New York: Twenty Lane Media, pp. 239–261.

“[James] — Experiment #1: Sketch”
https://www.mediafactory.org.au/kaaren-ghassemi/2024/03/08/james-experiment-1-sketch/

“[Pursuit of Slappiness] — Experiment #2: Silent Comedy”
https://www.mediafactory.org.au/kaaren-ghassemi/2024/03/16/pursuit-of-slappiness-experiment-2-silent-comedy/

“[F**king James”] — Experiment #3: Sit-Com”
https://www.mediafactory.org.au/kaaren-ghassemi/2024/03/29/fking-james-experiment-3-sit-com/

https://vimeo.com/928642503?share=copy

Reflection on Week 3: Sitcom Structure and the Comic Frame

Week 3 delved into the structural elements of sitcoms and the concept of the comic frame, shedding light on how comedic narratives are constructed and framed within a specific context. Through readings by Voth and Toplyn, coupled with the analysis of an episode from “Kevin Can F**k Himself,” I gained valuable insights into the intricacies of sitcom writing and the interplay between humor and narrative structure.

Voth’s exploration of the comic frame provided a theoretical framework for understanding how humor operates within a specific context or frame of reference. By delineating the boundaries of what is considered humorous within a given setting or situation, the comic frame helps elucidate how comedic elements are constructed and interpreted by audiences.

Toplyn’s “Story Sketches” offered practical guidance on sitcom writing, outlining a nine-step plan for crafting engaging and humorous narratives. Drawing from his insights, I endeavored to structure my own sitcom sketch by following the prescribed steps, from establishing the premise to crafting compelling characters and developing comedic beats.

The viewing of an episode from “Kevin Can F**k Himself” provided a nuanced exploration of the sitcom format, highlighting the juxtaposition of comedic and dramatic elements within the same narrative framework. As the show transitioned from traditional sitcom tropes to a more serious tone, the violation of the comic frame became apparent, challenging audience expectations and eliciting a range of emotional responses.

In creating my own one-minute sitcom sketch, I endeavored to apply the principles outlined by Toplyn while also considering the concept of the comic frame. By establishing a clear premise, developing relatable characters, and incorporating comedic twists, I aimed to construct a narrative that would resonate with audiences within the confines of the sitcom genre.

Peer feedback played a crucial role in refining my approach and identifying areas for improvement. Constructive critiques from classmates helped pinpoint areas where the comedic beats could be sharpened or the narrative structure enhanced, ultimately contributing to the overall quality of the sketch.

In conclusion, Week 3’s exploration of sitcom structure and the comic frame provided valuable insights into the art of comedic storytelling. By drawing from theoretical frameworks and practical guidelines, coupled with peer feedback and analysis of existing sitcoms, I gained a deeper appreciation for the complexities of humor and narrative construction within the sitcom genre.

References:
– Voth, B. (2014). “Comic Frame” in The Encyclopedia of Humor Studies.
– Toplyn, J. (2014). “Story Sketches” in Comedy Writing for Late-Night TV.

https://vimeo.com/923937837?share=copy

Reflection on Week 2: Silent Comedy and Theories of Humour

This week’s exploration of silent comedy and theories of humor, particularly Benign Violation and Relief, offered a deeper understanding of how humor can transcend language and rely on visual cues and nonverbal communication. Drawing from the readings by Warren and McGraw on Benign Violation Theory and Palmer’s insights into the Logic of the Absurd, coupled with in-class discussions and peer feedback, I gained valuable insights into the comic form and its various manifestations.

Silent comedy, as interpreted broadly, allowed for creative exploration beyond slapstick humor, emphasizing the importance of visual storytelling and nonverbal cues. In crafting my media artifact, a one-minute video featuring my friends, we consciously eschewed dialogue and minimized audio to focus on visual humor. Leveraging principles of Benign Violation, we aimed to create situations that treaded the fine line between appropriateness and absurdity, eliciting laughter through the violation of social norms or expectations.

Peer feedback played a pivotal role in refining our approach and bolstering confidence in our work. Constructive critiques and suggestions provided by classmates helped identify areas for improvement and inspired fresh ideas for comedic scenarios. Additionally, collaborative brainstorming sessions during class facilitated the exchange of creative insights and fostered a supportive environment conducive to experimentation and growth.

Moreover, the readings by Warren, McGraw, and Palmer served as theoretical frameworks that informed our understanding of humor’s underlying mechanisms. Benign Violation Theory elucidated how humor arises from situations that simultaneously violate social norms while remaining benign or non-threatening, while Palmer’s exploration of the Logic of the Absurd underscored the inherent absurdity of comedic situations.

Incorporating these insights into our media artifact, we sought to leverage visual absurdity and situational humor to elicit laughter without relying on dialogue. By embracing the principles of Benign Violation and Relief, we aimed to create a comedic experience that transcended language barriers and resonated with audiences on a universal level.

In conclusion, this week’s exploration of silent comedy and humor theories deepened my appreciation for the versatility and complexity of humor as an art form. Through experimentation, collaboration, and theoretical inquiry, I gained valuable insights that will undoubtedly inform my future creative endeavors.

References:

• Warren, C. & McGraw, A.P. (2015). “Benign Violation Theory” in Attardo, S. (ed), Encyclopedia of Humor Studies.
• Palmer, J. (1988/2018). “The Logic of the Absurd” in Marx, N. & Sienkiewicz, M. (eds), The Comedy Studies Reader.

https://vimeo.com/920785459?share=copy

Week One Reflection

This week’s in-class discussions delved into the essence of comedy and humour, exploring how they hinge on the unexpected, the disruption of norms, and the element of surprise. Through the analysis of various videos, we dissected how different comedic techniques can be employed to subvert expectations and evoke laughter.

The notion that comedy arises from the unexpected struck a chord with me. As we dissected the videos, it became evident that each elicited laughter by defying conventional norms or expectations. Whether it was the juxtaposition of traditional attire in a modern setting, an unconventional choice of music in a strip performance, or the inversion of a typical promotional ad into a critique, each video played with audience anticipation to deliver comedic punchlines.

Simons’ essays on comedy provided valuable insights into the intricacies of humour. Particularly, his exploration of comedic timing and the manipulation of audience expectations resonated with me as I conceptualized my own comedic sketch. Understanding how to build anticipation and then subvert it through various comedic tools like sound effects, editing, and dialogue became paramount in crafting a humorous narrative.

The process of developing my sketch was heavily influenced by the theories and techniques discussed in class and elucidated in Simons’ readings. Drawing upon these resources, I sought to construct a scenario that would initially lull the audience into a sense of familiarity before abruptly veering off into unexpected territory. Through careful attention to details such as music choice, camera angles, and scriptwriting, I aimed to create a comedic experience that would surprise and delight the audience.

Furthermore, the analysis of the videos in class not only provided practical insights into comedic techniques but also fostered a deeper appreciation for the art of humour. By dissecting the comedic elements at play in each video, we gained a greater understanding of how comedy operates on both a surface level of immediate laughter and a deeper level of societal critique and reflection.

In conclusion, the discussions and readings from this week have equipped me with a newfound understanding of the complexities of comedy and humour. By applying these insights to my own creative endeavours, I hope to continue exploring the boundless possibilities of laughter and surprise in comedic storytelling.

References:

Simons, S. (2023). Six Small Essays About Comedy. Humorism.

Reflecting on the two works from my own studio Real People Reel Lives, one of the key insights that stood out was the idea of embracing personal identity and passion within different contexts. In the documentary “Beyond the Curl” by Clair Seoud, Georgia Di Paola, and Larissa Hass, the emphasis on celebrating natural hair and diverse beauty standards communicated a powerful message about self-discovery and self-acceptance. Ella Rowe’s journey to establish Elvie’s Studios in Australia reflects the significance of representation and education about Afro-textured hair. The documentary not only highlights the challenges Ella faced but also underlines the importance of embracing one’s roots and identity in a world that often lacks diverse perspectives on beauty.

Similarly, in “Vallon” by Jessie Rowe, the story of Jo Lee’s transformation of her family’s property into a thriving flower farm emphasizes the theme of perseverance and dedication. Jo’s commitment to her passion despite the challenges highlights the significance of following one’s dreams and converting them into a successful reality. This work underscores the idea that pursuing one’s aspirations, even in the face of obstacles, can lead to personal and professional fulfillment. Both documentaries, through the personal narratives of Ella and Jo, effectively underscore the importance of individual identity and perseverance, resonating with the overarching theme of self-discovery and achievement within the Real People Reel Lives studio.

Turning to the Uncomfortable Filmmaking studio, the film “The It Girl” by Sarah Goh brings attention to the pressures faced by individuals when they become subjects of attention and scrutiny. The storyline about a girl who feels uncomfortable under the gaze of others during a romantic encounter sheds light on the complexities of social expectations and the discomfort that can arise from them. This work addresses the theme of vulnerability and the impact of external judgment on personal choices, illustrating the discomfort that can accompany public attention and scrutiny.

Furthermore, “Do Geese See God” by Phoebe Hewertson, Jaden Arendtsz, and Joey Barclay explores the theme of existential disconnection and human connection. The portrayal of a man feeling detached from his reality until he finds someone who shares his sense of detachment underscores the significance of human relationships in navigating feelings of isolation and disconnect. This work delves into the discomfort of existential crises and the search for understanding and companionship in a seemingly disconnected world.

From the Uncomfortable Filmmaking studio, these works highlighted the exploration of discomfort within interpersonal relationships and the challenges of self-identity in a society that often imposes expectations and judgment. The narratives in both films resonate with the theme of discomfort, underscoring the complexities of human experiences and the impact of societal norms on individual behavior and emotions.

Overall, the works from both studios not only shed light on different aspects of human experiences but also provide insightful perspectives on the significance of identity, perseverance, discomfort, and personal growth within distinct contexts. Through their compelling narratives and storytelling techniques, these works effectively communicate their central themes, inviting audiences to contemplate and reflect on the intricate nuances of the human condition.

What Matters Most

Considering the final artefact

Reflecting on documentary ethics

Reflecting on collaboration

Reflecting on representing the real world as part of a nonfiction media practice

A young artist discusses his journey and a medical emergency that almost cost him his life.

“What Matters Most”

Featuring Gian Morrow 

A film by Kaaren Ghassemi, Liam Johnston, and Matthew Mihailidis

Archive footage and photographs: Gian Morrow’s personal collection 

Music: Oceans, Rivers, Canyons ELPHNT https://elphnt.io/ 

With thanks to Josh Nelson

Studio Instructor

Rohan Spong

Created as part of 

REAL PEOPLE, REEL LIVES

School of Media and Communication

RMIT University

2023

Reflecting on my final media piece, if I were to continue working on it for future development or presentations, several core aspects would be crucial for improvement and extension to enhance the overall quality and impact of the project.

First and foremost, upgrading the camera quality would be a top priority. Investing in a higher-end camera or improving the technical setup to capture higher resolution and clearer imagery would significantly elevate the visual appeal of the project. Enhanced camera quality would contribute to capturing finer details, ensuring a more immersive viewing experience for the audience and facilitating a more professional aesthetic.

Furthermore, refining the lighting techniques would be essential to create a more visually compelling and aesthetically pleasing atmosphere. Implementing better lighting setups, such as using professional lighting kits or natural light sources more effectively, would enable me to control the mood and ambiance of the scenes, thereby enhancing the overall visual storytelling and emphasizing the emotional impact of the narrative.

Improving the framing and composition of the shots would also be crucial to strengthen the visual narrative. Implementing more sophisticated framing techniques, such as experimenting with different angles, perspectives, and compositions, would add depth and visual interest to the storytelling. This enhancement would contribute to a more dynamic and engaging visual experience for the audience, allowing them to connect more intimately with the narrative and characters.

Investing in advanced colour grading techniques would be instrumental in creating a more cohesive and visually striking aesthetic throughout the project. Implementing a more refined and consistent colour palette, adjusting the colour tones to evoke specific moods, and enhancing the overall visual appeal would help to create a more polished and professional look for the media piece. I was happy with the work we did on our piece, but I still believe there was a lot of room for improvement.

Lastly, sourcing and incorporating higher quality archival footage, that would enrich the storytelling and provide a more comprehensive and nuanced historical context for the narrative. Acquiring better archival footage with improved resolution and clarity would ensure a seamless integration of historical elements, thereby adding depth and authenticity to the overall storytelling. Unfortunately, the footage that we gathered was limited and in some cases very low in quality.

By focusing on these key areas for improvement, including camera quality, lighting, framing, color grading, and archival footage, I aim to enhance the overall visual and narrative quality of the media piece, ensuring a more immersive and engaging experience for the audience in future presentations or developments.