1> In what ways do you hope your screenings/exhibited/screened work (whether individual or group produced) engaged its audience and communicated a key concern of the studio?   

Overall, I hope classes outside ‘The scene in cinema’ enjoyed the dashboard of research projects based around elements of cinema that are prevalent in drama film. I hope that my research project on how a car scene is covered in a shot demystified the process for people clearly, so that the next time they found themselves watching a scene in a car, they could have some idea about the options the DOP went with to capture the scene.  I also hope my research project is engaging and keeps the reader interested and feeling as if they’ve learnt about an aspect of cinema that’s often overlooked. 

2> Imagine you are going to keep working on that media piece (e.g. to screen it somewhere else like a festival, or develop it into a different kind of work, and so on) – what would be the core things you would want to improve and extend and why?  

I would love to try presenting my work through a different medium where I can give more examples through moving imagery, scenes from movies ect… Perhaps a video essay or explanation video would be a great way to demystify how car scenes are shot. I think it would be a little more effective, as a lot of people learn and absorb information visually as opposed to reading a long document. For my idea to be expressed in an environment outside of a Uni class effectively, I feel as though creating a video would be the most engaging option that can be watched at anytime. I’d also like to structure it so you could start the video from any point based on what aspect of the topic you wanted to learn about, so that if it was shown at a festival people passing by wouldn’t need to watch it from the beginning to understand. I also love editing and making cinematic film with a strong mystique and style, so it could be nice to incorporate more of that into my project. I often learn about film and how different scenes are covered through videos of professionals or students explaining what they do and how they do it, so I would have a lot of material to use as reference.  

3> From your studio, reflect on an aspect of other students/group’s media work on the website in terms of specific insights they produced about a key idea addressed by the studio?  

Jennifer’s work ‘Mastering the montage in Hot Fuzz’ was a helpful read and well structured. I was drawn to the topic, I’ve always wondered if there is a particular method to constructing them and incorporating them into cinema to enhance tension, motivate the audience or provide rapid information. I didn’t know montage scenes had been a part of the editing world since the 20’s as I associate montage scenes with 21st century film, like Hot Fuzz. Interesting that Edgar Wright uses montage scenes within his films to enhance the comedic aspects of his films and push the narrative, I’ve also seen montage scenes that are more earnest and emotional. It’s good to know that a montage sequences can be imbedded into any film genre. I have watched Hot Fuzz before but didn’t pick up on the eighteen montage scenes, so that can go unnoticed at times. Like Jennifer mentions, montage scenes offer the audience with a lot of information in a short period of time, this engages the viewer and pulls them in to concentrate on what is being said and shown. I like how Jennifer structured her research project by using ‘Hot Fuzz’ as a case study to pull examples from and focus on with detail as opposed to speaking about montage generally.  The six different modes of montage also provided insight into the complexity of montage as an editing technique and how it can be manipulated to suit any scene and event.  

4> For the other studio website you engaged with, describe a key idea that you think the finished media/studio work communicated with reference to a specific example (i.e. a particular individual/group work)           

 Miss fisher and the problem of the prequel podcast was a great studio to gain insight on through the extensive body of work that had been put together by people in it. Funnily enough I had been assigned to this studio, had a class, and moved into ‘The scene in cinema’ due to it clashing, which turned out to be the studio for me. However, it was nice to see what the studio brought together. I noticed how most students included behind-the-scenes imagery which is great because it shows you the level of professionalism and care that went into shooting, writing and producing the once pre-existing work, to adapt it into a piece of audio work ready to distribute. It’s so fantastic the class were able to receive briefings and feedback from the company that worked on all of the ‘Miss Fisher’ franchising. To have people involved with the show and marketing of it consider your work would be such a great learning opportunity, that allows insight into what it’s like to work with clients who expect different things if you. A students work that I really enjoyed was George Lako’s ‘Melbourne at Night’, It has an  Eery element brought on by the subject matter, but is shot in a really beautiful and careful way that encapsulates how the city isn’t as dormant at night as some may think. George’s Lakos’ work was a three-minute-long video with a range of b roll footage of the city at night, with juxtapositions of angles and depths. There is an eery and unsettling aura created by his filming style and choice of soundtrack, which is not dissimilar to a scene from Miss Fishers Murder Mysteries, in fact it seems like George’s film could slot into a more modern and ‘now’ episode quite perfectly.