Sunday, April 18, 2010
I'm really not sure how I would redesign 6x1. I, for one, liked it a lot because it exposed me to a lot of different mediums that I really never got a chance to work in. I enjoy a lot of found footage and kind of film fucking, so I want to work with that a lot more, but I wouldn't have that over power the class. I think I would have liked to see some more hands on stuff with film, either shooting on Super 8 or at least doing more direct film manipulation. I kinda also wanted to do some weirder stuff like VJing or other alternative film methods. Overall though, I was really satisfied with the course and I feel like I got a lot of exposure to all kinds of things and really enjoyed the class with you!
Sunday, April 11, 2010
To be honest I'm really not sure what my rough theater is. I know as a filmmaker, the only thing I really like to do for fun is working in the edit lab. I love constructing (or in my case deconstructing) things there. Found footage is what I've been spending most of my time on and I would love to dive into animation soon. I also plan to work a lot with live cinema this summer, which to me, is one of the possible hearts of the rough theater. I think for the most part I'm still trying to figure out my rough theater, but more than that, I'm just trying to have fun with film.
Sunday, April 4, 2010
I really like the idea of the Yes Men. They really took advantage of a tool and an art that wasn't fully understood or realized yet (like the Internet). They came along at the right time and, to some extent at least, understood some its power. I always like projects like this that challenge means and conventions. Its almost if you combined an experiment with art and performance. I also liked that it didn't have a real practical or way to show or display to the masses. Yes it was videotaped, but really, in the moment, it was meant for those few dozen people at the meetings. I just like the idea of sending out those small messages even if virtually no one sees it. As a movie though, it felt a little clunky and the editing seemed very strange at times. I think their journey could have been presented and told a lot better. It really makes me think what they do now since people are much more aware and cautions of things on the Internet. Certainly this kind of mistake would not be made today, especially with an organization such as the WTO. I would be curious to look them up.
Sunday, March 28, 2010
I really, really enjoyed the molotov man reading. It really does present a fine example of how something, including art and photography, can be reused to create new meaning, but also how this is affected and viewed in terms of a legal system. Laws and copyrights are so difficult to interpret or apply and in the ever quickening world of internet and piracy, it really brings into question what is or isn't illegal and how important those questions are. I wouldn't say this artist was trying to profit or abuse the photographers work, but I could easily see how someone, including the photographer could interpret or not approve of this act. Personally, I don't think she should care, but at the same time I believe she is both legally, but more importantly morally, justified to seek damages. It is so difficult now, and more often then not, with small artists or students, many of these reinterpretations or reuse of art will go unnoticed, even when very clearly illegal and morally incorrect. Nonetheless it is an important question and one that certainly will need to be fleshed out a lot more legally in the coming years.
Sunday, March 21, 2010
I actually did have a lot of fun shooting on the Saturday. Obviously, I was very grateful that it was a beautiful day, but it was a fun experience. Even when we weren't shooting our project I really enjoyed seeing how other people were planning and executing their shoots. We really do have a lot of creative people in our class, and its very exciting to see all these minds collectively come up with some great ideas. I know our project changed radically on the last day (for the better) and not only was our group coming up with more and more cool ideas, but the group aiding us was also very excited to contribute their ideas and assist in any way. I was very excited to see that everyone was so eager to help other people. It really made the filmmaking processes seem collaborative and very unselfish, as from experience, it can be sometimes.
Sunday, February 28, 2010
Again, I really enjoy the work by the Scratch Film Junkies. This one overall felt much more rounded out and really had a personality to it. But, again, the major criticism I have with them is that it feels like the sound does much more work than the images are. Not to say that the film wasn't cool, there were plenty of cool colors, textures, and movements in the film, but the soundtrack was just so overwhelming and good, I felt like it was overpowering the images. I also always like how they incorporate other snippets of film into their piece. Even thinking back to it now, I only can recall a few distinct images. I remember the plane, and then some cropped out faces, and a lot of blues, but I cannot really see the film. The music however, clearly stands out and I have a distinct memory of it. Of course, it could just be that that music struck me in such away and doesn't affect all people equally, but the fact that I have the same criticism about both the films I've seen by them, makes me think otherwise. Again, I really enjoy their films a lot, but I just wish the took less popular or powerful music and try to make the image more effective. I think had I seen the film without sound I would have absorbed a lot more (obviously) and just by using music that was "worse" (but not bad) it could have actually aided the overall effect of the film.
Sunday, February 21, 2010
I really like how Wells laid out and broke up his theories of animation. To me its really strange because I never really considered things like Disney "orthodox" (even though I know he means orthodox in the sense that the animation is very traditional and expected). His chart between orthodox and experimental animation and how his seven elements can be applied to either was particularly interesting to me. Just seeing that on paper was very liberating. I've seen several types and styles of animation in my life and even different ways and methods of how they were presented, but I never really considered how they were different or how they played out simply beyond their aesthetics. I really see now after reading this (and doing the project in class) how much of an impact the look and style of different animation and methods can have on just the meaning and impact of a film, which I find really cool.