Just thought I'd add that I was watching Natural Born Killers the other night. And I thought the part only about 1/2 hours in, where they do a take-off on those classic American sitcom TV shows like Leave it to Beaver and Father knows best. The reason I mention this is because in the film the 'sitcom technique' is used as a point of contradicting the whole idea, by reflecting the reality of her screwed up family life in the TV take-off.
So in relation to sound I just felt it was relevant because as I was watching it it got me thinking. As a technique of sitcoms is to use the sound of audiences laughing to provoke the audience behind the screen to laugh. I found the effect of the audience laughing over the screwed up issues the girl is subjected to in the reality of her family life, to be very effective. For e.g. her father is abusive and as he touches her inappropriately the technique of the audience laughing makes the viewers behind the screen think then about the hardships of reality. And I suppose also about how greatly unrealistically family life was reflected by those sorts of shows in the past. Which probably to some degree created pressure on society to feel a need to live up to those morals of perfection. As audiences were less aware of the deception nature the media can have, in comparison to today.
Anyway I'm going off topic ha-ha, I just thought this was a little idea I should share.
Thursday, February 25, 2010
Monday, February 22, 2010
Chion: Projections of sound on Image
I love the quality sound brings in its ability to enhance the
“...immediate remembered experience...” (pg 5, Chion reading)
Like synesthetes associate sounds to colours or waves, I feel it is a common association amongst people to relate sound to memories. Whether it be a simple set of beats that spark a forgotten memory, or a cherished past time that will forever remind you of a particular song, there is a definite relation. Also, as the reading includes in the latter, sound associations with culture such as the powerful pulse of drums relation to African tribal life. I have always had a general intrigue to how and why sound affects memory particularly; so the Chion reading was interesting and beneficial for me in that respect also. On the topic of synesthesia again, I want to acknowledge Stan Brakhage’s effect of excluding sound; which I would consider to also add value via technique of absence. Though we are aware Brakhage is encouraging personal sound to be provoked from the visual alone: I believe viewers (without knowledge o f his intention particularly), could also gain the awareness of sounds importance of effect on the visual (i.e. sounds absence generates realisation of the effect of no sound, to inspire inquisition to this topic, the value of sound).
“Sound in film is voco- and verbocentric, above all, because human beings in their habitual behaviour are as well”
I think this statement sums up the textual element of sound quite well. In my screenwriting class we were discussing precisely this idea. That in reality we are guided by vision in collaboration with sound. Therefore a common technique, to create a believable sense of surroundings for your audience, is to use sound to ‘set the scene’, before the visual is even shown. A simple example being use of the sound of steam train rolling in and exhaling it’s steam, creating the immediate assumption the scene is at a train station in a period somewhere between the late 1800’s and 1940’s (i.e. synchresis).
I didn’t know specifically that “the ear analyses, processes and synthesizes faster than the eye.” (pg. 10) This is interesting though, confirming my understanding of how fundamental sound is as a means (in reality and film) of heightening our awareness of our surroundings. The subtle messages of lyrics (as subtext) in a film may provide information regarding the way a character is feeling for example. We miss so much of the world as human beings due to our inability to be able to accept all information in our consciousness. The collaborative function of our senses informs us; our ability to see and hear being central components. This therefore must be considered in our expressions of reality, or inventions of believable normal world.
My background in television production in Australia is forever drilling the importance of sound into me. The producer and then visual director have the ultimate say, though often (particularly in live production) the Sound “super” aka director is often open to have a very independent direction of their own. So via my experiences I feel I have a decent understanding of how vital sound is. In an etude I had to direct for one of my studio prod subjects for example we had to create the story purely by visual and sound language (music and effects etc, no dialogue). The final project was greatly influenced by the Sound directors live choice of sound. He had been away for multiple rehearsals so had little knowledge of the story and especially not the back-story etc. It was interesting to observe in the end how much of a differing effect the original scripted sound had on the audiences perception of the story, to their interpretation from sound captured on the day.
“...immediate remembered experience...” (pg 5, Chion reading)
Like synesthetes associate sounds to colours or waves, I feel it is a common association amongst people to relate sound to memories. Whether it be a simple set of beats that spark a forgotten memory, or a cherished past time that will forever remind you of a particular song, there is a definite relation. Also, as the reading includes in the latter, sound associations with culture such as the powerful pulse of drums relation to African tribal life. I have always had a general intrigue to how and why sound affects memory particularly; so the Chion reading was interesting and beneficial for me in that respect also. On the topic of synesthesia again, I want to acknowledge Stan Brakhage’s effect of excluding sound; which I would consider to also add value via technique of absence. Though we are aware Brakhage is encouraging personal sound to be provoked from the visual alone: I believe viewers (without knowledge o f his intention particularly), could also gain the awareness of sounds importance of effect on the visual (i.e. sounds absence generates realisation of the effect of no sound, to inspire inquisition to this topic, the value of sound).
“Sound in film is voco- and verbocentric, above all, because human beings in their habitual behaviour are as well”
I think this statement sums up the textual element of sound quite well. In my screenwriting class we were discussing precisely this idea. That in reality we are guided by vision in collaboration with sound. Therefore a common technique, to create a believable sense of surroundings for your audience, is to use sound to ‘set the scene’, before the visual is even shown. A simple example being use of the sound of steam train rolling in and exhaling it’s steam, creating the immediate assumption the scene is at a train station in a period somewhere between the late 1800’s and 1940’s (i.e. synchresis).
I didn’t know specifically that “the ear analyses, processes and synthesizes faster than the eye.” (pg. 10) This is interesting though, confirming my understanding of how fundamental sound is as a means (in reality and film) of heightening our awareness of our surroundings. The subtle messages of lyrics (as subtext) in a film may provide information regarding the way a character is feeling for example. We miss so much of the world as human beings due to our inability to be able to accept all information in our consciousness. The collaborative function of our senses informs us; our ability to see and hear being central components. This therefore must be considered in our expressions of reality, or inventions of believable normal world.
My background in television production in Australia is forever drilling the importance of sound into me. The producer and then visual director have the ultimate say, though often (particularly in live production) the Sound “super” aka director is often open to have a very independent direction of their own. So via my experiences I feel I have a decent understanding of how vital sound is. In an etude I had to direct for one of my studio prod subjects for example we had to create the story purely by visual and sound language (music and effects etc, no dialogue). The final project was greatly influenced by the Sound directors live choice of sound. He had been away for multiple rehearsals so had little knowledge of the story and especially not the back-story etc. It was interesting to observe in the end how much of a differing effect the original scripted sound had on the audiences perception of the story, to their interpretation from sound captured on the day.
Monday, February 15, 2010
Wells Theory of Animation
As my present knowledge, practise and understanding of animation and experimental film grows, so do my ideas and appreciation of it. There are certain elements of avant-garde films I consider myself to appreciate the most. The idea of the literal use of material objects to inevitably create multiple interpretations. I think the poetic relationship between image and sound that experimental film dictates is beautiful. The untied opportunity to ‘experiment’ with multiple styles, continuously enabling new opportunity and growth in the art has me perfectly enthused. I think the idea of presence of the artist is interesting in relation to experimental art.
I do also appreciate the orthodox more structured styles of animation. Simply due to the fact that I believe it has been beneficial for the world in that the art has brought so much joy and entertainment to such a broad range of audiences for multiple generations.
Wells theories I am fascinated by and certainly agree with. I cannot deny my restored and growing appreciation for the art. As mentioned in my previous blogs, I still have that barrier withholding my complete acceptance of experimental works. The voice in the back of my head basically saying that abstract art has no sense or meaning, the classic ‘I could have painted Picasso in kindergarten’ idea (by the way has anyone seen the documentary ‘My Kid Could Paint That’?) However being myself and not my dad I am continuously striving to question my thoughts and listen to alternate ideas to grow and not be stuck on one set of ideals. I want to always be shaping myself as a person to gain the best understanding of myself and therefore the world around that I can. So I feel it best to not deny my past and current ideals (because they will be beneficial to my own artistic storytelling as they are a part of who I am), but to embrace the open-minded side of mine to further allow myself a new understanding of something I’m forever growing to perceive as a beautiful art form (if I weren’t to embrace that I would be none the wiser).
Wells noted on page 45, “... colours, shapes and textures evoke certain moods and ideas...these aspects should give pleasure in their own right without having to be attached to a specific meaning...” This statement and the understanding I’ve gained from my practise in experimental animation further confirm my love for the art. The visual sound and diverse interpretations that can be generated from the literal flow materials an artist makes rhythm of on film is something beautiful.
Things that stood out to me:
The evolution of materiality in experimental – I love that one material may mean whatever the artist interprets it as and that the audience may gain an entirely different message again.
For example in the dark room my necklace to me represented genes in the development of growing life, and this story can be gather by combining the materials surrounding it to tell that story. I am intrigued to hear what other people concluded from what we create.
I love the concept of the rhythm of experimental animation being a Visual sound. Though Wells noted the importance of a musical relation in experimental, I like to think about the actual concept of it creating its own visual sound, as Stan Brakhage demonstrates by excluding sound from his projects entirely and letting the visual alone predict the music.
I love in the simplest manner that experimental allows the artist to be exactly that, experimental, “... to challenge and rework orthodox codes and conventions and create new effects” (Wells reading, pg 45).
I do also appreciate the orthodox more structured styles of animation. Simply due to the fact that I believe it has been beneficial for the world in that the art has brought so much joy and entertainment to such a broad range of audiences for multiple generations.
Wells theories I am fascinated by and certainly agree with. I cannot deny my restored and growing appreciation for the art. As mentioned in my previous blogs, I still have that barrier withholding my complete acceptance of experimental works. The voice in the back of my head basically saying that abstract art has no sense or meaning, the classic ‘I could have painted Picasso in kindergarten’ idea (by the way has anyone seen the documentary ‘My Kid Could Paint That’?) However being myself and not my dad I am continuously striving to question my thoughts and listen to alternate ideas to grow and not be stuck on one set of ideals. I want to always be shaping myself as a person to gain the best understanding of myself and therefore the world around that I can. So I feel it best to not deny my past and current ideals (because they will be beneficial to my own artistic storytelling as they are a part of who I am), but to embrace the open-minded side of mine to further allow myself a new understanding of something I’m forever growing to perceive as a beautiful art form (if I weren’t to embrace that I would be none the wiser).
Wells noted on page 45, “... colours, shapes and textures evoke certain moods and ideas...these aspects should give pleasure in their own right without having to be attached to a specific meaning...” This statement and the understanding I’ve gained from my practise in experimental animation further confirm my love for the art. The visual sound and diverse interpretations that can be generated from the literal flow materials an artist makes rhythm of on film is something beautiful.
Things that stood out to me:
The evolution of materiality in experimental – I love that one material may mean whatever the artist interprets it as and that the audience may gain an entirely different message again.
For example in the dark room my necklace to me represented genes in the development of growing life, and this story can be gather by combining the materials surrounding it to tell that story. I am intrigued to hear what other people concluded from what we create.
I love the concept of the rhythm of experimental animation being a Visual sound. Though Wells noted the importance of a musical relation in experimental, I like to think about the actual concept of it creating its own visual sound, as Stan Brakhage demonstrates by excluding sound from his projects entirely and letting the visual alone predict the music.
I love in the simplest manner that experimental allows the artist to be exactly that, experimental, “... to challenge and rework orthodox codes and conventions and create new effects” (Wells reading, pg 45).
Monday, February 8, 2010
Camera less Filmmaking so far- Blog 3
I absolutely love it so far, it’s like being in primary school again, painting, experimenting with different tools, methods, styles, materials; it is so much fun. At this stage I am eager to see where the subject will go from here, to see how I will progress and develop in camera less production. Since my first response about the scratch film junkies; I feel as though my opinions are changing; typical for me, always challenging mine and all ideas but in an attempt to keep learning, keep present. My original slight scepticism toward the productions comes from having a very cynical, realistic, opposite of 'arty’ dad (ha-ha); and my incredibly annoying tendency to believe everything he says is always right (hahaha). Having said this, I am actually quite the opposite of my dad, which he finds entertaining, seizing every opportunity to bag me out for my “artsy-hippy” lifestyle (hahaha =P). So though I study film, I’m covered in paint half the time and live with my head in the clouds, my background forever keeps me seeing the pragmatic side to life is the point (=p).
My experiences with camera less film making so far, has reminded me of it’s beauty as we experiment with our works. The idea that as I cut out magazine articles and paste them onto a strip of film along with (however many of us are in the class’s =P) other stories to create an intangible story, that allows the viewers to take their own interpretation. It is beautiful because the audience can escape into the colour, light and pattern flow: and as the Synesthesia topic of last week concluded the audience can feel the conceptual vision.
I love the whole idea of making productions without (the camera) what many would assume to be the main ingredient. I love experimenting with materials of the world to manually direct a story. I love getting my hands messy. I love that I hate that I don’t know what it’s going to look like. I love that it’s literally a moving canvas. I am excited to combine techniques I practise with now and new techniques I discover, with films I create in the future. If I haven’t mentioned yet (ha-ha) I LOVE that it’s manual manipulation rather than digital. Overall I am thoroughly enjoying my experiences with camera less film making so far, I am very excited for everything else we are about to learn and everything we will discover on our own as well with experimentation. And I’m not gonna lie I’m very excited for class tomorrow =P.
Peace be
Channy
My experiences with camera less film making so far, has reminded me of it’s beauty as we experiment with our works. The idea that as I cut out magazine articles and paste them onto a strip of film along with (however many of us are in the class’s =P) other stories to create an intangible story, that allows the viewers to take their own interpretation. It is beautiful because the audience can escape into the colour, light and pattern flow: and as the Synesthesia topic of last week concluded the audience can feel the conceptual vision.
I love the whole idea of making productions without (the camera) what many would assume to be the main ingredient. I love experimenting with materials of the world to manually direct a story. I love getting my hands messy. I love that I hate that I don’t know what it’s going to look like. I love that it’s literally a moving canvas. I am excited to combine techniques I practise with now and new techniques I discover, with films I create in the future. If I haven’t mentioned yet (ha-ha) I LOVE that it’s manual manipulation rather than digital. Overall I am thoroughly enjoying my experiences with camera less film making so far, I am very excited for everything else we are about to learn and everything we will discover on our own as well with experimentation. And I’m not gonna lie I’m very excited for class tomorrow =P.
Peace be
Channy
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