Samantha Riddell, Media 160
Tuesday, May 15, 2012
Tuesday, May 1, 2012
Lecture with John Canemaker
The screenings of John Canemaker's animated pieces really
opened my eyes to a fresh new world of animation that I would not have seen in
my daily consumption of standard media. Canemaker uses a dreamy, interpersonal
and even childlike approach within his animation that ultimately makes the
characters of his stories very relatable. In class we screened Canemaker’s Confessions of a Stardreamer and later, The Moon and the Son.
Confessions
of a Stardreamer was a short (about 10 minute) piece about a sort of sassy
actress. The actress tells her story about her life and her hopes and dreams
for her future. While the audience hears her story, we see animations of her
morphing into different forms and shapes. The animation kind of illustrates the
mental changes her minds go through as an actor. The animations in this piece
also reflected her inner fears as an actress. For example in one bit, when she
is talking about the auditioning process, the audience watching her perform is
animated to look like shadowy monsters.
The Moon and the Son similarly use
animation to reflect inner feelings of a character. The story is about a
fictional conversation between John Canemaker and his deceased father John
Cannizano Sr. Throughout the piece Canemaker highlights issues of his father’s
anger throughout his life as well as Canemaker’s own personal guilt for not
protecting his mother. Through out the piece Mr. Cannizano Sr. can be seen
morphing from a man into a red monster looking man with sharp zigzags for a
face, the way that Canemaker probably often imagine his father. Yet Canemaker’s mother is often depicted
as this beautiful bird who gracefully flies away.
The Moon and the Sun is not only
interesting for this reason, but also because of the mixture of family footage
and archival footage incorporated in the piece. It was very great to watch
because as an audience member, I felt like I was drifting in and out of reality,
which is how I assume Canemaker felt while making a film about an imaginary conversation
with his very real father. Overall, I really enjoyed screening some on John
Canemaker’s works. I haven’t been exposed to much animation in my life, so it
was eye opening to see the types of stories can be told with different
techniques of animation.
Production Notes
Working on my video portion of my portrait of Janet allowed me to learn about how I've grown as a media maker. It also helped me better understand the pre-production, production and post production stages of media development.
My Preproduction Story Board |
A portion of the archival footage I collected over the course of this project |
In
the making of this project I learned a lot about the process of non-fiction
filmmaking. I now know that a large portion of the process of such a production
is not only shooting and editing material but also finding and gathering
material. During this process, I tried to push myself to use open source
material to prepare myself for what I would have to do as a professional filmmaker
in order to avoid copyrighting issues. I learned that finding such archival
material is actually a very long and complicated process.
Sound Image and Image-Image Relationships
For this assignment, I chose to look at a scene in Martin
Scorsese's 1980 film Raging Bull. I chose the scene in which main character,
boxer Jake LaMotta is knocked out by his opponent Sugar Ray Robinson. I chose
this scene because I feel that the editing allowed the scene to be the really
emotionally intense situation that it was and captured LaMotta's feelings as a
character.
The
scene begins with the slow sound of classical music and nothing else. We see
LaMotta getting up in slow motion and then there is a fast cut to Robinson.
This signifies the two different states they are in. LaMotta's career is
slowing down as Robinson's is rising. This also signifies the fact that LaMotta
is probably going to loose the fight. It then cuts to Robinson and LaMotta fighting
in regular motion.
Eventually,
Robinson gets LaMotta on the ropes. We see Robinson’s standing and breathing,
getting ready to hit LaMotta. Robinson’s action goes from regular pace to slow
motion. It then cuts to LaMotta breathing alone on the ropes also in slow
motion. It cuts a back to Robinson still in slow motion lurching forward
towards LaMotta. This whole bit of slow-mo between LaMotta and Robinson builds
tension for the knockout that is in LaMotta’s near future.
Just
before we see Robinson hit LaMotta in slow-mo it cuts to regular speed. Then
there are a variety of fast cuts of shots of Robinson hitting LaMotta (low
angles, close-ups of the gloves, Robinson’s face, LaMotta’s face, the audience,
etc). The cuts vary between regular motion and slow-mo. They are usually
slow-mo when we see Robinsons glove come in contact with LaMotta’s face. Throughout
this bit we hear different sounds elevated at different times. Sometimes we
hear the audience gasp, sometimes the incessant clicks of the cameras,
sometimes the sound of Robinson’s fist on LaMotta’s face and sometimes LaMotta
grunting.
This
continues until one last punch. We see LaMotta once again in slow-mo on the
ropes, signifying the desperate situation he is in. It cuts to Robinson one
again in slow-mo with his fist raised building tension towards his final punch.
The audio drops and we hear nothing but a low rumbling, which also sounds kind
of like classical music. This builds even more tension. Until finally Robinson
delivers the final blow, which is seen from two different angles before, it
cuts to the audience.
Tuesday, April 17, 2012
Monday, March 12, 2012
Monday, February 13, 2012
The Sound Walk
I
spent an hour in the early evening (around 5pm) doing a sound walk in my hometown of Cambria
Heights, Queens. It was interesting performing this activity because Cambria
Heights, a suburban area, is generally quiet. During the night, the
neighborhood develops a peaceful steady rhythm. A silent melody of low hums
created by the intermixing of the wind, planes in the sky and cars passing by set
the backdrop sound. They (at least at this hour) are always constant. The low
hum of Cambria Heights is however distinctly different from the constant rumble
of Times Square. Yet, is also far off from the deafening silence of Islip, Long
Island.
As
I listened, the Cambria Height’s "hum" varied with time and location.
The later it got, the quieter it got as cars and the occasional by would
come less frequently. The heightened laughter and conversation of the
occasional group walking by lessened as the sun went down. I felt as if the
atmosphere of the neighborhood had changed. The by passers coupled with the
background hum made the neighborhood feel like a quiet yet inhabited
residential area. When the hum rose to prominence and the bystanders went
silent, the neighborhood felt desolate and mechanical. Similar to the by
passing pedestrians, certain birds could also be heard during the early part of
the evening also contributing to the lively atmosphere of they neighborhood.
The birds too, also became quiet as night came.
Cambria
Heights not only offers sound clues for what time of day it is, it also offers sound clues as to where you are in the neighborhood. If you hear something like
a car only more powerful, accompanied by a sort of high pitched spinning sound
chances are you are near a bus stop. The closer you are to the bus the louder
it becomes. The buses create sound marks allowing someone in the neighborhood
to know that they are located near a bus route. If you hear cars at a much
quicker pace than the normal hum, you are likely to be on Francis Lewis
Boulevard, a roadway in which cars are move faster and are more frequent. More bypassers are likely to be heard on
Linden Boulevard, yet by nightfall, they are also driven to silence and the
Cambria Height’s Hum takes over once again.
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