March 2014

There were 23 posts published in March 2014 (this is page 1 of 3).

Film-TV 1 Analysis/Reflection 2

Question 2.

Select from one of the readings, up to but not including Week 5, and briefly describe two points that you have taken from it. Points that excite you, something that was completely new to you. 

Bresson, R. Notes on the cinematographer, (p. 50-52). London: Quartet, 1986.

Sight and Hearing:

I like the idea of “if an eye is entirely won, give nothing or almost nothing to the ear. One cannot be at the same time all eye and all ear”. Films include audio and visual parts, where they should cooperate really well. Sounds couldn’t be too distracting when with strong images. Either the sounds or visual elements should provoke audiences’ emotion by their own. Since if the sound and image are powerful at the same time, it may become hard to focus on the film and their own attribute to the scenes may be neutralised. I reckon what we hear with ears should have added on to what we can’t see in the film. Therefore audio and visual elements should appear to represent different things. Another idea I find interesting in the reading is “images and sound must not support each other, but must work each in turn through a sort of relay”. I used to think that sound sometimes appeared to compensate the insufficient images. It is fascinating to know that sounds are as powerful as images that can in fact tell the story not only to contribute extra for the visual elements.

Integrated Media – Week 3

Experimental Film. Films that are made outside the mainstream notions of what a movie can show and how it can show. Experimental filmmakers may wish to show their own experiences or point of views which may not be conventional to orthodox context. It also involves the filmmakers exploring the possibilities of the medium. Experimental films can tell no story, only with poetic and visual elements; or a fictional story which lies heavily on how viewers interpret what they see and hear rather than film characters. I reckon the Korsakow film more likely goes in the area of experimental that focuses on pictorial qualities  such as colours, shapes, sizes and movements in mages.

Types of Form in Experimental Films.

Abstract Form. They are organised in the way called “theme and variations” – the idea of presenting similar kinds of relationships and at the same time building up contrast.

Association Form. These films drive viewers to find the association of images that may not have logical connections. Images may not have expressive qualities or immediate connections with each other. Filmmakers may also present them in an unusual composition. Its aim is to “make a familiar emotion or concept vivid by means of new imagery and fresh juxtapositions” (365)

I have found this interesting website Short of the Week with heaps of short films included experimental.

 

Documentary Film.

Cutie and the Boxer. It is a documentary about the kind of artist struggling marriage between “pugilist artist” Ushio Shinohara and her wife Noriko who put aside her art dreams to become Ushio’s assistant and the mother of their son. I find the couples carrying on their daily lives so comfortable with the presence of filmmaker, even at the moment Noriko’s eyes stared back at Ushio when Ushio just scarf down the attractive looking food she made. And how real they are expressing themselves in absolute honesty – Ushio admits that he is jealous when he sees Noriko’s new art work and Noriko complains about how Ushio’s achievement on his art dream fills her with indignation. Apart from typical interviews and voice-over in documentaries, this film also uses animation to bring Noriko’s ink and pen drawings “Cutie and Bullie” which is inspired by themselves to life. We as viewers watch their love story develop from when they first met till now.