House Tour – Hybridisation Experiment #2: Satire

This week introduces the concept of comedy as a satirical mode. In class, we talk about the differences between parody and satire as two typical comic modes. When parody takes inspiration from the conventions of the original text, the influenced aspects can range from visual storytelling, music scoring, and structure. On the other hand, external factors (social issues to be named) contribute to the content of satirical texts. The weekly reading dissects the exemplifying satirical show Brass Eyes and examines why Brass Eyes is considered a successful convertible of traditional UK news. It compares both the similarities and differences between Brass Eyes and standardized news, from multiple angles, which are mode of address, visual graphic, and editing cut. Typically, it illustrates the way the narrator addresses and engages the viewer by consistently using the pronoun ‘we’ in the dialogue. The vox pop is also a positive addition, through role-playing actors mimicking the interview or whatever format that requires a second narrative (Stephen 2012). I am also impressed with the imitation of motion graphics. It showcases the stereotypical visual choices of intro and outro; however, the odd visual stretching appears as a clear mock. As a result, I adapted these techniques to the weekly sketch, a parody of the celebrity house tour. We want to take advantage of the extravagant characteristics of this typical series. We focus on how the host addresses ‘we’ in the entire sketch to engage compassion with viewers, and the visual selection. We invest in the typical YouTube channel intro and outro, plus the dramatic special effects (sudden fireworks, applause, etc.) to help expose the absurdity. We also use the assessment criteria list of satirical texts to achieve the desired vision of this sketch. In the planning phase, we discuss the angles we attempt for this sketch: What is the target of satire? What comic devices can we use? Setting a goal for the work helps order the ideas hierarchically. Therefore, we agree that the goal is to exploit the distorted boasting of some rich people, with the exaggeration technique. One exemplifying example is when Chloe argues how little she spends on clothes to dress ‘just like all of you (viewers)’.

Reference List:

Meikle, G. (2012) Find Out Exactly What to Think—Next! in Chris Morris, Brass Eye, and Journalistic Authority, Popular Communication, 10(1–2), pp. 14–26.

Sketch Link:

Apples – Hybridisation Experiment #1: Parody

This week switches the comic perspective from genre to mode. As a genre, comedy generates laughter by putting the comic frames across the work. However, it can be misunderstood by another non-comedic genre that also uses comic frames to build tension.  Breaking comedy down into modes captures the pure essence of the genre. How are parody and satire considered modes of comedy? Each contains foundational structures and writing techniques. In parody text, changes to the conventions of the original text initiate the formula (Krutnik and Neale 1990). On the contrary, satire is the mockery of external influence, mostly discussing social or cultural topics outside the text. Also, I picked up helpful filmmaking advice from the weekly reading ‘Parody Sketches’.

Two tips that I extracted from the reading are brainstorming the original video and adding punchlines consistent with the theme (Toplyn 2014). Before shooting, the preproduction stage is significant, especially during the brainstorming phase. Our guest lecturer advises that we should roll out as many ideas initially as possible because good ideas are not always present immediately. Therefore, it is recommended that the film crew arrange planning meetings for idea proposals to execute the most favorable idea. I took this instruction by heart and applied the process to every project. For this week’s sketch, the Disney Channel idea was not the first suggestion during the discussion. We present parody ideas from different shows, for example, Who is Smarter than the 5th Grader? However, the Disney Channel sketch was more intriguing in putting forward some incongruity punchlines that are unacceptable in the context of kid shows. Moreover, we are also familiar with the Disney vibe – how the animated characters normally act (their intonation and bodily figure), the editing style (the colorful kid-theme background), and the visual and sound selection. Next, most narratives would be kept consistent for general children viewing – starting with random conversations about the apple. The tension rises when Sam appears in the frame and spits wicked facts about the apple. The effect – zoom-in faces, dark gloomy vignettes complements the abnormalities.

Reference List:

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 in Comedy Writing for Late-Night TV, New York: Twenty Lane Media, pp. 239–261.

Sketch Link:

Week #3 Blogpost

 

  • This week introduces the concept of the comic frame and comedy mechanisms in plot writing, which share similar patterns with previous weeks’ concepts. At first, the comic frame is the interpretation of comedy sense in a suitable context. Simply put, each individual represents solitary symbolic visions (Attardo 2014). Therefore, we will view meanings, and experiences differently. Coincidentally, it overlaps the concept of understanding humor: Different individuals view meanings differently. This is why comic events in comedy forms might not work for all types of audiences. Expandedly, these theories also link to the concept of benign violation. Benign violation speculates that any contradiction to normal norms (violations) if not provoke an actual threat (benign), will trigger humor (Warren and McGraw 2015). By placing perspectives by incongruity, comedy tends to spark comic frames and maybe, an opportunity for a new perspective. In the studio, we watched one Spaced episode, which might be a good example of benign violation. The episode of Kevin Can F Himself was a good example. For example, there is the scene where Allison discusses with Kevin her wish to move to a better house and Kevin dismisses by saying their current house is still in good condition. The violation, both in Kevin’s obliviousness and contradictory to Allison’s mindfulness, is the comic frame.
  • This week, I take the idea of a fictional workspace and elevate it to a small chat between two co-workers during a water break. I use the writing technique of creating a comic character in a story sketch: Thinking of a character with exaggerated traits and opposite desires (Toplyn 2014). Therefore, it will be a character who is bluffing about his work achievements while other seems not to care much about it. I will raise the stakes to the last end of the sketch when the uninterested man asks what the hoax one is doing for this job. The focus will be on the dialogue: it has to be consistent in the story, reflecting characters’ traits and as funny as possible
  • I received feedback from last week that it would be better if I could extend certain scenes for longer. For example, I made a poker sketch and in some scenes, showcased the poker cards. Inexperienced viewers might not have enough time to deconstruct the scenes. Next time, I will be mindful and considerate of viewers’ perspectives when I do editing for the screen.

Reference:

Attardo S (2014) ‘Comic Frame’, Encyclopedia of Humor Studies, accessed 24 March 2024.

Audissino E (2023) ‘From Dionysia to Hollywood: An Introduction to Comedy’s Long (and Bumpy) Road’, Springer International Publishing AG, accessed 24 March 2024.

Toplyn J (2014) ‘Comedy writing for late-night tv : how to write monologue jokes, desk pieces, sketches, parodies, audience pieces, remotes, and other short-form comedy’, Twenty Lane Media, LLC, accessed 24 March 2024.

  • Youtube link:

The Game Sketch #2

Reflection:

  • This week, I was introduced to new comic theories that lay a foundational base for some of my favorite comedy media. Unlike the incongruity theory, the release theory explains that laughter acts as a relief agent to vent pressure out of the nervous system (Audissino 2023). However, I will concentrate on the benign violation theory, which set up most of the existing comedy forms (gags, silence/visual, slapstick, and so on). In short, benign violation concentrates on two essential factors: the violation of norms and the acceptance of that violation (Warren and McGraw 2015). Violation is not necessarily a negative threat to physical well-being though some successful comedies have used this factor. Violation can be the deviation from any kind of norm (social, cultural, linguistic) which leads to critical appraisal in daily settings (Warren and McGraw 2015). However, that violation has to adapt to the second factor – acceptance. Depending on the segregation in norms, we might feel the acceptance differently to another group of people. That’s why a pun, wordplay, or sarcasm might not be suitable for every circumstance. We can detect the theoretical application in the silent comedy The High Sign by Buster Keaton (1921). The lead character played by Buster has a sense of luck that although he was hit, stumbled, and physically contacted – he seems to go through any obstacle and nothing happens. In the scene where he plays the shooting game, it is absurd that his performance is not feasible, but its absurdity is building up the laughter. Coincidentally, it leads to a new theory which we call the logic of absurdity (Palmer 2018). Every simple comedy action will boil down to a unilateral syllogism, though comic absurdity sometimes does not follow that essence. The unexplained action will build up until it reaches the peripeteia stage – a shock/surprise that changes the narrative (Nick and Matt 2018). Now, what seems implausible will be transposed to the realm of the animate or what I might call: “It is the film anyway so it makes sense”. We independently find a way to explain the contradictory syllogism by picking the logical elements exposed across the comedy. 
  • My media artifact responds to the concept of benign violation. Without using language/dialogue, I want to recreate a scene of playing poker. I want to levitate the tension of the silent atmosphere to distract the viewers from the game’s informality. Many easter eggs will stem across the sketch to illustrate the informality by how characters dress, and sign language. The peripeteia will crack up to expose the absurdity as the player thinks he deceives everyone with his cheating but it is too dumb to reveal it.
  • I have incorporated peer feedback by reflecting on my artifact again and finding similar media to improve on my sketch. They have given me helpful tips on building up the plot and allocating the desirable punchline to deliver the joke more effectively.

Reference:

Audissino (2023) From Dionysia to Hollywood: An Introduction to Comedy’s Long (and Bumpy) Road, 1st edn, Springer International Publishing AG, Cham.

Nick and Matt S (2018) The Logic of Absurd, 1st edn, Austin: University of Texas Press, Texas.

Warren C and McGraw A (2015) Benign Violation Theory, Mays Business School Research, Los Angeles.

Link to video

Week #1: Experiment 1 – Sketch

Week #1 Reflection:

  • The readings and self-research drew me into a much more anticipated comprehension of what comedy truly means. Comedy is the pursuit of lightness and the formal presentation of humor (Simons 2023). This definition is precedent to the following theories and maybe, assumptions. Should I consider comedy a genre, as serious as tragedy and drama? According to Emilio Audissino (2023), comedy is not properly appraised in high culture, especially if we revisit the critical acclaim it received from the Academy Awards. Comedy can be debatable because of its unseriousness and detachment from moral values which have long time considered to evoke the malicious nature within humans (Audissino 2023). Acclaimed theorists like Plato and Socrates discourage the use of comedy because it “translates hostility, aggressiveness, and violence into more acceptable symbolic forms” (Audissino 2023). Moreover, the attempts to understand humor are obstructed by the stereotypes rooted in racial, ethnic, gender, and cultural aspects. What we feel appropriate in one context might not be suitably ensuite in different contexts, raising questions about “how to reach an equilibrium between freedom of speech and respect for diversity” (Audissino 2023). However, theories of humor have delved into more acceptable explanations. We will focus primarily on the incongruity theory, in which the initiating cause of humor is not the debasement of someone but rather the “detection of some disruptions of expectation” (Audissino 2023). The unfamiliar setting is then subverted by the punchline. When we were asked to identify the definition of humor/comedy, “familiarity, absurdity, build up tensions” were the highlighted keywords. Those are mostly the total characteristics that sum up contemporary comedy forms. However, it raises conflict within me: if a considered drama has these characteristics, then would it be called a comedy? Hence, we should not only categorize comedy as a stand-alone genre, but we can also consider comedy as an aesthetic mode. Emilio interprets the main factors that contribute to the comic film, including oriental style (satire, parody), moments of humor (comic impetus), comedy-writing techniques (specifications of plots), and audiovisual contribution (Audissino 2023). Yet, concerning the transformation of media forms, especially when the boundaries between genres and modes fade, it is debatable how we perceive comedy later on. In conclusion, comedy is the combination of harmonious elements that differentiate yet fusion with other kinds of aesthetic modes and styles.
  • My media artifact responds to the concept of deviation from normal norms – the incongruity theory. My idea was to build up the conflict through the imaginative rivalry between the two gangs and then have a turnaround at the climax. The narrative shows the violent nature, combined with the settings, and audiovisual. At the climax, it turns out they have a ridiculous dance battle, thus the film environment changes.

Experiment #1: Sketch: Gangster Battle

A5 pt2 Studio Review

The key idea addressed by our studio ‘Automatic for the People’ is the integration of AI and human design thinking in media production. It unlocks possibilities of media formats and changes the way we view the world. Both media world paves a refreshing look for the traditional media formats, greater than the extent of innovative techniques. 

There are two media works that infer this insight: What Lies in the Shadow and Screen Trapped. In the first work, the group creates a user-interactive website to draw attention to the heavy dramatic journey of a fictional character. With a story influenced by the vampire classic “Twilight”, they write an enticing narrative of a vampire who always has been on the run from hunters for several decades. The critical point is their website use, rather than other feasible media formats such as diary books, or audio programs. First and foremost, the websites help organize single pieces of information into a unanimous location. The audience expands multiple perspectives to view the story, regardless of the single format’s limitations. In addition, there is an excellent AI factor in the work. Evidently, the portrait images on the bulletin board show harmonious design. Conversely, the minimal details (the faded color, the background scenes, and the character’s uniform) are intricate condiments to the flavorful story. In excess, they put their best effort into creating attachment artifacts, in this case, the AI-generated interview with the neighbor. This successful feature is credited to the elaborate specifications in the text description and manual for AI. Simultaneously, it is also a great challenge to align the human-involved artifacts with AI-generated crafts. In general, each artifact is a pleasing journey that spirals into the innermost thoughts but overall creates a unifying depiction of the character. I can not state how amazing the painting ‘Somber Figure’ looks, I did not think it was an AI work at first glance.

In the second work ‘Screen Trapped’, they pursue a different interactive approach, by making a short film. The title encapsulates a captivating idea – what would happen if humans grew addicted to AI technology? Anchoring on the insight, the film shows bilateral universes- the real world and the artificial realm. In the real-world scenes, they distinguish with a relatable depiction of smartphone addiction. The story is about a girl who can not drift her attention off her smartphone. Particularly, her daily activity involves the phone, from waking up in the morning to getting to bed late at night. At every touchpoint, her interaction with the phone accompanies AI. Essentially, the frequency of AI visuals is greater throughout the timeline, peaking at two particular scenes. It is when she is standing in the swamp of people and when she is relaxing on the couch. The climax happens when the scene is filled with AI imaginary visuals. It sparks the reclusion from the real world as she fully immerses herself in the digital world. Personally, all AI visual choices are in the calculation. The psychedelic look, reflecting upon the seemingly unreal objects, signifies the threshold to the digital world. AI-generated music is complementary to the visual. The subtle fading variation in soundscapes divides a boundary to distinguish between these two worlds. The sound switch from sweet guitar is iconic for real-world scenes. Whereas, the glitchy sparking noise and distorted group voice resemble the magnetic characteristic of a digital world, where machine and AI crowns.

In the end, it is not only the wonderful advances that AI generators bring about success for the project. Moreover, it changes our perception of media-making by turning what used to be impossible, whether the aspect is soundscape, visual, or text, into reality.

I have watched the short film “Tare” made by Spring Li, Danielle Atherton, Mark Cheng, and Nam Tran in the Synthetic Video class. This studio prompts rethinking the notion of long-form cinema in the sunset of artificially generated content. Discussing the cinematic aspects, “Tare” tells a heart-soothing love story of a girl who is battling with internal fragmented identities after the break-up with a sympathetic boyfriend. The latter half observes her voyage of self-recovery and reconciliation. The crew understands the tasks of cinematic film. Every element (composition, camera angle, film look, setting) indicates great pre-production planning. For instance, the lead protagonist’s position is in the center, except when she is in dialogue with her boyfriend. In this way, she is the central of the fierce arguments between her fragmented selves. On the other hand, she is not single in the frame when she is with her boyfriend. It indicates the embracing of love and acceptance from her lover’s side. Moreover, the color grading is perfect. It is the light blueish with white gradients to spark the sorrow in the first half – most of it is argument. In contrast, it is a yellowish-warm color in the second half to replicate the positive feeling rising in the heart of the lead character. In addition, the soundscape in this scene plays an important role in magnifying the effect. I am quite convinced that they effectively use AI editing to replicate the background glitchy sound and vocals. In this film, I am not sure how they incorporate the artificially generated technology. However, I am satisfied with the experience and hope there is a production breakdown of “Tare” in the future.

Week 6 Blogpost

This week, I initiate the idea of an AI application in game. I come across an experimental game demo developed by Stanford researchers called Smallville. What sets this game apart from the commercial product is that the game’s NPC (non-playable characters) comfortably discuss topics such as local politics and composing music, pulling from ChatGPT’s enormous database” (McCurdy 2023). What is more fascinating is that they even retain the interaction history and reference the earlier given information (McCurdy 2023). They claim to use the human-centered design to prototype simulations of human behaviors as they ‘learn’ plausible sets of behaviors and reflections that may exhibit in life” (McCurdy 2023). However, it poses a threat to replace game writers when in fact, human agents still play a vital role in assessing AI.

With our group’s media sketch this week, we take advantage of our open-ended storyline to create different visual approaches for our trailer. In the meantime, everybody will have the independence to choose their favorite part in the synopsis and create a trailer following their interests. The arbitrary visual functions as art direction ideas, giving us more quality options to pick out. Furthermore, it is important to look back and assess the effectiveness of text input. What does not work is that we have not decided on the characters. As a result, the trailer misses an important element- presenting the main characters. 

In order to back up the deficiency, I feel it is more effective if we can use this brainstorming technique called 6-3-5. Six people will sit around to jot down three ideas for problems – each round takes five minutes and rotates after we get eighteen ideas on each note. After that, we can cross-check the ideas to force association. This might help us subconsciously track unexpected suggestions.

This week’s reading clarifies the ramifications of deep generative models in the breadth of variable media forms, notably the mention of hyper-production. It also demonstrates the association between hyper-production with social-economical thought on the rentier state (Ferrari and McKelvey 2022). Thus, it addresses the challenge of understanding the ethical barriers of AI generation, such as the extensive use of personal information. I am interested in the notion of homogenization and convergence of media production through hyperproduced content (Ferrari and McKelvey 2022). Imagine the possible media outputs generated by the compressed data point, for example, the recreation of Mona Lisa painting in Van Gogh’s style. As a result, it leaves several questions that might impact cross-industrial, such as the copyright issue of archived content.

Reference list:

McCurdy W (2023) ‘No more ‘I took an arrow to the knee’: Could AI write super-intelligent video game characters?’, The Guardian, accessed 1 September 2023. https://www.theguardian.com/games/2023/may/25/could-ai-write-super-intelligent-video-game-characters-stanford-smallville

Ferrari F and McKelvey F (2022) ‘Hyperproduction: a social theory of deep generative models’, Distinktion: Journal of Social Theory, p.1-23, doi: 10.1080/1600910X.2022.2137546

Here is the link to the sypnosys (please use RMIT account to access):

https://docs.google.com/document/d/11X_GoWq4QmpSubxagBaEHwEEeM3ZvHAEldZ8pfCvABI/edit?usp=sharing

Here is the link to the trailer (Shout out to Beila):