tag:blogger.com,1999:blog-32104637272020572262024-03-04T22:29:37.124-08:00FILM/MEDIA 160 Sections 1 & 2 SPRING 14Anonymoushttp://www.blogger.com/profile/01186892113542154117noreply@blogger.comBlogger213125tag:blogger.com,1999:blog-3210463727202057226.post-57710413634915986092014-05-30T17:06:00.000-07:002014-05-30T17:06:16.141-07:00Blog #4 - Game of Thrones clip<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Cze5A4iyQGk?feature=player_embedded' frameborder='0'></iframe></div>
<div class="MsoNormal">
This scene follows Daenerys Targaryen giving a speech to the
enslaved peoples of Meereen. All along I was watching the clip, I found myself
asking, how did Daenerys project her voice enough to be heard by the slaves who
are so high up? As she projects her voice to the audience, the camera conveys
her figure through a high angle shot. This shot demonstrates how small and
frail she appears in contrast to all the men standing and sitting high up on
the castle. Also during her speech, the camera swivels to the slaves and rulers
in the form of close-ups and medium shots capturing their looks of disbelief, confusion,
and fear. After all it is hard to comprehend that a woman, small and dainty,
could manage to destroy so many empires with the loyalty of freed slaves. The
scene does provide a low angle shot of her army, but its purpose is not to
appear inferior. On the contrary the shot conveys the extent and power of her army.
</div>
<div class="MsoNormal">
<br /></div>
<br />
<div class="MsoNormal">
At 1.41 Daenerys yells fire to her army and the camera
illustrates her facial expression in a low angle shot. Thus it successfully
executes her power and authority over the enemies she has come to destroy. As
the collection of chains are catapulted onto the castle, that is when one can truly
see how far Daenerys is from her listeners. Perhaps the greatest part of the
scene is at the end. After all the chains have been catapulted, the camera
follows an enslaved male picking up a chain through a low angle shot. The shot
signifies a change that will come for those slaves in the form of freedom. The
people of Meereen will no longer be inferior; they will have a choice to either
serve or walk free. </div>
Anonymoushttp://www.blogger.com/profile/12914237614102078835noreply@blogger.com0tag:blogger.com,1999:blog-3210463727202057226.post-27082475313905448362014-05-29T22:31:00.002-07:002014-05-29T22:31:41.783-07:00Final Project<a href="http://youtu.be/NsejpvU9FJc">Link: The Daily Life of Daphne Joy</a>casuihttp://www.blogger.com/profile/17873619771390203383noreply@blogger.com0tag:blogger.com,1999:blog-3210463727202057226.post-66188787232421331292014-05-29T22:28:00.001-07:002014-05-29T22:28:52.595-07:00Aronson Awards Extra Credit PostThe Ceremony for the Aronson Awards was filled with inspirational speeches, examples of exemplary advocate journalism and brilliant writers in the field. Thought the ceremony was small it had a lifetime full of wisdom presented. One presenter did a documentary film called After Trayvon where he spoke with black men on how it was to live in a wealthy neighborhood. The creator gave an anecdote about how when he first moved to Brooklyn he felt uncomfortable passing black men on a stoop made him stiffen and feel uncomfortable. I was able to speak to him later in the event and saw through his work and personality how brave he was to say something that isn't but needs to be said, how stereotypes lead people to think certain thoughts and can even alter lifestyles and in some tragic cases such as Trayvon Martin's, their lives. Another prestigious writer who received an award, David Carr who writes for the New York Times spoke of how he was once homeless and built his way up using handwork, talent and knowledge. His perseverance was awe-inspiring since he literally came from nothing to greatness.<br />
<div id="wrchoverdiv" style="display: none;">
<div id="wrccontainer">
<div id="wrcheader">
<div id="wrctitle">
WebRep</div>
</div>
<div class="wrchorizontal">
</div>
<div id="wrccurrentvote">
currentVote</div>
<div class="wrchorizontal">
</div>
<div id="wrcrating">
</div>
<div id="wrcratingtext">
noRating</div>
<div id="wrcweighttext">
noWeight</div>
<div id="wrcflags">
<div class="wrcicon" id="wrcicon_shopping">
</div>
<div class="wrcicon" id="wrcicon_social">
</div>
<div class="wrcicon" id="wrcicon_news">
</div>
<div class="wrcicon" id="wrcicon_it">
</div>
<div class="wrcicon" id="wrcicon_corporate">
</div>
<div class="wrcicon" id="wrcicon_pornography">
</div>
<div class="wrcicon" id="wrcicon_violence">
</div>
<div class="wrcicon" id="wrcicon_gambling">
</div>
<div class="wrcicon" id="wrcicon_drugs">
</div>
<div class="wrcicon" id="wrcicon_illegal">
</div>
</div>
<div class="wrchorizontal">
</div>
</div>
</div>
casuihttp://www.blogger.com/profile/17873619771390203383noreply@blogger.com0tag:blogger.com,1999:blog-3210463727202057226.post-35774902541853608402014-05-24T09:44:00.001-07:002014-05-24T09:49:32.999-07:00"Memento" Opening Scene Analysis“Memento” s (2000) opening scene begins with slow, melancholic music. Leonard’s (Guy Pierce’s character) hand slowly fades in, is shot in color, and is shown in the frame holding a polaroid picture. The picture is of a dead body, faced down, and the walls are covered in blood. He waves the polaroid picture to help dry/develop it (even though the picture is shown to be completely developed), but when the picture is back in the frame, it looks slightly less developed than it did 10-12 seconds prior. This is when the viewer notices something isn’t “right”. Leonard shakes the picture a total of four times, with a 10-12 second interval in between each time, until the picture is a light gray and no longer visible. You realize the entire scene is being played backward. We now see Leonard’s series of backward motions, appearing as if he’s putting the polaroid back into the camera, the flash of the camera goes off after taking the picture, his face has splatters of blood on it, the scene then cuts to show a river of blood shown on the ground flowing backward, cuts again to show a bullet casing, cuts again to show broken, bloodied eye glasses, then the body that was pictured on the polaroid, lying face down on the ground and covered in blood. The camera cuts back to Leonard as his gun is mid-air, flying back into his hand and makes a loud clacking sound, then he kneels down. The music turns suspenseful. The bullet casing is shown again, this time it’s spinning on the ground, the glasses come off the ground and back onto the body’s face as it’s rising off the ground, the casing quickly goes into the Leonard’s gun’s barrel, the shot fires back into the gun, and we now see the body’s face as he turns to look at Leonard, which ends of being Teddy (Joe Pantoliano’s character), and screams “No!”
The camera quickly switches onto the next scene, which is shot in black in white this time, and the first scene in this sequence is of Leonard’s lips, slowly panning up to his eyes, as you hear him having an internal dialogue saying “So where are you?” You’re in some motel room. You just wake up…and… you’re in a motel room. There’s the key. It feels like maybe it’s just the first time you’ve been there, but, perhaps, you’ve been there for a week, three months… it’s… kinda hard to say, I don’t know… it’s just an anonymous room…” all while he looks around, he looks confused and observant of his surroundings as he’s sitting on the bed. Then the scene cuts out.
These two scenes and how they were carefully shot, edited, and played, play an extremely important role into understanding “Memento”. The unconventional backward play of the opening scene is key, and the polaroid scene is a dead giveaway, and then made even more obvious when the rest of the sequence is played. However, why is this scene shot in color, and the following is completely different in location, and is now in black and white? The only way to make sense of it is watching the film in its entirety. Scenes are played and alternate between black and white and color, and don’t follow chronologically. This is when you realize the entire film can be broken down to 22 colored scenes, and 22 black and white scenes. The 22 colored scenes are all being played backward, not in motion, but backward chronologically, while the black and white scenes are played chronologically. This is why the first two scenes are important, especially the first one because while it is being played in backward MOTION, it is a huge clue into understanding that every color sequence that precedes is playing backward (chronologically). "Memento" is an incredibly well thought-out, amazing movie.
<iframe width="560" height="315" src="//www.youtube.com/embed/sk6rKiPBVUQ" frameborder="0" allowfullscreen></iframe>Carolina Londonohttp://www.blogger.com/profile/04544604179335404594noreply@blogger.com0tag:blogger.com,1999:blog-3210463727202057226.post-76697613912068028642014-05-23T20:04:00.001-07:002014-05-23T20:04:47.584-07:00"Why Don't You Ask Me?" - Final Project - Thea :D<iframe width="1280" height="720" src="//www.youtube.com/embed/JVrNT4-iH6E" frameborder="0" allowfullscreen></iframe>Theadorahttp://www.blogger.com/profile/06292860899202712759noreply@blogger.com0tag:blogger.com,1999:blog-3210463727202057226.post-30568796676316427872014-05-23T14:01:00.001-07:002014-05-23T14:01:15.312-07:00Final Project<a href="https://vimeo.com/96243470"><span style="color: black;">https://vimeo.com/96243470</span></a>Anonymoushttp://www.blogger.com/profile/12914237614102078835noreply@blogger.com0tag:blogger.com,1999:blog-3210463727202057226.post-22380452767051880202014-05-21T19:02:00.001-07:002014-05-21T19:02:12.949-07:00Brought to you by: Ricky Saiz<div dir="ltr" style="text-align: left;" trbidi="on">
Beyonce nearly brought the house down with her new album. She surprised everyone. And when I say everyone, I mean EVERYONE... even the director of the sexiest music video on her album - Ricky Saiz.<br />
<br />
Video director and filmmaker, Ricky Saiz is not only the director of Beyonce's very sexy music video, <i>Yonce</i>, but he is also the co-head designer and co-head of creative for the iconic hip-hop clothing brand Supreme.<br />
<br />
The video epitomizes a lo-fi character, one that is embedded in reality with handheld, old film cameras. The aspect that keeps me coming back to this video is the raw nature of it all - it is very natural, very raw, very <i>New York</i>. Even when you compare this video to other ones on this self-titled album, this one sticks out as being the realest and the truest of them all, and this is due in part to its stylistic approach. Victoria Secret models Jourdan Dunn, Chanel Iman and Joan Smalls were a wonderful addition to the establishment of this effect.<br />
<br />
Stylistically speaking, the close-up shots of varying body parts gave us an insider look of the voyeurism that was taking place. These shots make us feel like we are a part of this 'party', from the fishnets to the shoulder and an extreme close up of Beyonce's breasts, we are brought into this very sexual session that these girls and Beyonce are taking part in. It's sexual, but appropriate at the same time. Beyonce keeps it classy, of course (she is not Miley...).<br />
<br />
The best shot, in my opinion, is that of Beyonce's gyrating action at 1:17. How many takes did this shot require, you may ask? Two. Yes, you read right. She's a natural! Ricky Saiz has said that nothing was choreographed, and his brilliant self was able to capture such a splendid shot, a memorable one, indeed.<br />
<br />
Fun fact: Justin Timberlake is drumming on a bucket in the background. Hard to believe, huh? Check the production credits! ;)
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3210463727202057226.post-78154404990988799002014-05-21T18:35:00.000-07:002014-05-21T18:36:36.488-07:00EXTRA CREDIT: The Aronson Awards<div dir="ltr" style="text-align: left;" trbidi="on">
I received the following email from a dear professor of mine, and
decided this would be a wonderful opportunity to meet one of New York
City's, and the nation's best media writers:<br />
<br />
<i>Dear all,</i><br />
<div>
<i><br /></i></div>
<div>
<i>You're receiving this because you're either
a journalist, a friend, or a social justice enthusiast who I believe
would enjoy attending this event I've been working on for the past
several months. </i></div>
<i>
</i>
<br />
<div>
<i><br /></i></div>
<div>
<i>On Monday, April 28th, the committee I am chairing this year will recognize the indomitable <a href="http://topics.nytimes.com/top/reference/timestopics/people/c/david_carr/" target="_blank">David Carr</a> with a career achievement award and Andrea Elliott for her tremendous 2013 series for the Times, "<a href="http://www.nytimes.com/projects/2013/invisible-child/#/?chapt=1" target="_blank">Invisible Child</a>," among others (see postcard below).</i></div>
<i>
</i>
<br />
<div>
<i><br /></i></div>
<div>
<i>Held at Franklin and Eleanor Roosevelt's elegant
Upper East Side brownstone in an intimate, 100-seat auditorium, this
will be a unique opportunity to hear about the future of investigative
journalism from some of the field's top practitioners. </i></div>
<i>
</i>
<br />
<div>
<i><br /></i></div>
<div>
<i>Rebecca Carroll of
XOJane (and previously the Black Voices editor at HuffPo and my own
editor during our time at The Independent Film and Video Monthly) will
host the event.</i></div>
<div>
<i><br /></i></div>
<div>
<i>Feel free to write about it, tell friends, and of course, RSVP! </i></div>
<div>
<i><br /></i></div>
<div>
<i>Hope to see you on the 28th.</i></div>
<div>
<i><br /></i></div>
<div>
<i>Best,</i></div>
<i>David</i> <br />
<br />
From
the time the event began to the time it ended, I was in a constant
process of internalizing all of the information I could as the attendees
were truly some of the best writers in town. My interest in journalism
and social justice peaked in the aftermath of my acquisition of an
internship at NBC 4 New York, one that unexpectedly went from being a
semester-long program, to an internship that lasted for three
consecutive semesters. During my tenure, I was responsible for
monitoring coverage on the station, including coverage written by David
Carr.<br />
<br />
Conveniently, Carr was to be recognized with a
career achievement award that evening, and I was not planning on missing
such a unique opportunity to ask him all of the questions I pondered
regarding net neutrality and other topics he constantly wrote about<i> </i>in the media column of <i>The New York Times</i>.<br />
<br />
Little
did I know, I was going to be in the presence of journalists and social
justice activists that were just as interesting and who covered such
topics as the politics of business in the Middle East via Terrance
McCoy's <i>Home Invasion</i>, investigative stories via Chris Hamby's <i>Breathless and Burdened</i>, and perhaps one of the most heart-felt - poverty issues via Andrea Elliott's <i>Invisible Child</i>.<br />
<br />
Al
in all, a fruitful event all around. I urge social justice activists
and journalism geeks at large to attend future events organized by
Hunter College's Department of Film & Media Studies - a great way to
get an inside look into how these stories came about, and a wonderful
networking opportunity with some of the industry's top writers!</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3210463727202057226.post-68120916855745140842014-05-21T18:01:00.001-07:002014-05-21T18:01:28.147-07:00Museum of the Moving Image - Visit Reflections<div dir="ltr" style="text-align: left;" trbidi="on">
March 28, 2014. I must say, I spent the most valuable and memorable hours in this museum. If you had asked me if I cared to go to a museum a couple of years back, I would have nodded my head without hesitation. Today, art and the history and culture that comes with the latter is of primordial interest to me as I strive to better myself and take as much knowledge as I can following the guidance of revered philosopher, James Mills.<br />
<br />
The few times I had been to Astoria was to visit my cousin, and that usually entails an 8 minute walk from the train station to her apartment and back to the train station and to my dorm. This, however, was an entirely different experience. I felt refreshed as I dragged myself out to get to work shortly after my visit.<br />
<br />
First of all, Sesame Street is my all time FAV show, so finding out that it was shot in Queens was a pleasant surprise. Besides the numerous surprises I discovered while I was there; the staff at the museum were wonderful and incredibly helpful - I couldn't have walked out of a museum more knowledgeable than when I walked out of this one.<br />
<br />
Jim Campbell's exhibition, <i>Rhythms of Perception</i> was incredibly inspiring; we are often presented with work that fits the norm when it comes to resolution, but Campbell took it to another level with his low resolution videos. His use of computers and other technology devices is a wake-up call for the endless opportunities for creativity that we have as human beings. I walked out with a memorable epiphany: anything is possible when you set your mind to it. His innovative nature reminded me that things do not have to be used for a single purpose, but instead, anything can be used to create, and recreate, aspects of nature.<br />
<br />
My ultimate favorite of his works was the <i>Last Day in the Beginning of March</i>. The title is intriguing and the artwork itself is one you don't want to take your eyes off of as it is original and innovative. 26 light bulbs were suspended as they swayed with a combination of original sounds that evoked the feelings and memories of Campbell's brother's last day, hence the title of this unique artwork.<br />
<br />
Overall, my visit to the Museum of the Moving Image is one I will cherish forever, and I plan on dragging every creative soul to this gem every chance I get.</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3210463727202057226.post-82525791073996179232014-05-21T16:53:00.001-07:002014-05-21T16:53:20.744-07:00Shame.<div dir="ltr" style="text-align: left;" trbidi="on">
It's difficult to live in New York City and not walk around the city without earphones. Plugged in. All the time... is how I go to work, to school, down the hall to visit my friend in his dorm only a few meters away.<br />
<br />
Yes... I use meters (the entire world does). But anyway, let us not get ahead of ourselves.<br />
<br />
Recently, I vowed to take in the world around me. I live in one of the most diverse cities, and it would be a pity not to.<br />
<br />
I walk out of my dorm onto the busy streets of the Lower East Side and rowdy New Yorkers are honking at each other, not surprising given the profuse amount of tension people live with as they get to and from work in their stressed selves.<br />
<br />
I, then, walk down the block toward the subway station and arrive at the staircase which will lead me downstairs to the platform. Before I even set foot on the staircase, I am taken back by the repugnant smell of fried potatoes (the hashbrowns and their intense smell are taking over the streets). The smell of the hashbrowns isn't the only thing to bother pedestrians like myself; two men I usually see on the side of the McDonald's bother women as they pass by, and today, they decided it was my turn.<br />
<br />
"Eh-oh mami! Como estas? Can I getcha numba" <br />
<br />
The other one chimes in, "Hey-hey-hey. Why you gotta be like that? Come-on, now!"<br />
<br />
And as if <i>that</i> wasn't enough, I hurry down the stairs, disgusted.<br />
<br />
I spot a man in a white tuxedo staring me down from head to toe. I can't say I didn't see it coming, but the insistence was unbearable.<br />
<br />
He simply did not stop. The word, ashamed, does not suffice to describe the feeling I felt at that time and for the rest of the week. <i>Why</i> was I ashamed? Of <i>what</i>, exactly? I cannot say, and I don't even know if this feeling is even justifiable as I had nothing to be ashamed <i>of</i>. I was dressed in a very appropriate manner, and regardless of my attire, I was not to be addressed to in that manner.<br />
<br />
You're probably wondering why this post turned into a complaint, and from a subject matter being "what I hear" to "I can't stand people"! But that is how I felt at that moment, and this is how I feel at this moment, right now. Shame. Shame - not for myself, but shame for our civilization.<br />
<br />
We have come so far, and yet fail to do the same with our behavior.</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3210463727202057226.post-64919513406094925722014-05-19T17:19:00.002-07:002014-05-19T17:19:25.809-07:00blog 4 Eden
<br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;">
<span style="font-family: Calibri;">I chose to analyze the short film Eden, in which two boys,
one older and one younger, are walking through a caged enclosure, over an
abandoned highway. The only things we hear are the wind and a pipe the young one is dragging along the caged enclosure. They look out to the empty road, and the little boy asks
what happened to the cars. The older one answers ominously “They’re all gone,
things were a lot different before.” <span style="mso-spacerun: yes;"> </span>The
young boy coughs. The older boy says “but you’re different from everyone we’re
gonna find you a doctor” he says in a reassuring tone of voice. <span style="mso-spacerun: yes;"> </span>One can safely assume from the characters’
interaction with one another that they care for each other in the way two
brothers would. They continue to walk through the caged tunnel and there is a
low angle close up of the older boy’s face- we are looking up at him, and up to
him just as the younger brother character does. This establishes the older
brother’s role as the protagonist. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;">
<span style="font-family: Calibri;">Cut to a medium shot of a very dry and dead looking field. <span style="mso-spacerun: yes;"> </span>They walk through the field, a map in hand. There
is no music in this film, only the sounds of the wind in the abandoned setting,
the boys’ dialogue and the young<span style="mso-spacerun: yes;"> </span>one’s
coughing.<span style="mso-spacerun: yes;"> </span>After wandering through the
field for a bit they stop and the older boy kneels down and tells the younger
one to wait there while he runs over the hill to the hospital where he’ll find
a doctor to help. <span style="mso-spacerun: yes;"> </span>As he runs to get help
while the little one sits down, coughing away. There is a low angle shot of the
older boy climbing over the hill and standing at the top of the hill and
dropping the map. There is a grim feeling. He is looking toward the completely
abandoned and empty hospital. The POV shots allow us to see what he sees, and
feel what he feels. <span style="mso-spacerun: yes;"> </span>He looks around and
sees nothing. No one. Not a soul. There is an eerie feeling of isolation and
hopelessness.<span style="mso-spacerun: yes;"> </span>Cut to an over the
shoulder shot of the hopelessly empty hospital. Close up of his face, the look
conveys a feeling of helplessness. He slowly walks back into the field toward
his little brother.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;">
<span style="font-family: Calibri;">Cut to the older boy walking back to the field towards the
little boy, with a grim look on his face. He reaches out for the young boys
hand and tells him to come play. The young boy stops in his tracks and asks “what
about the doctor?” When the older boy tells him not to worry about it with a
more chipper tone of voice, young Max pulls his hand away from his brother,
stops in his tracks and says, “I’m going to die” in a tone which can not be
distinguished as a question of shock or statement of disbelief. <span style="mso-spacerun: yes;"> </span>Before turning around the older boy, with a
heartbroken look on his face, takes a deep breath as if he is about to explain
something and turns to the young one with a cracking voice “Max…” only to see
that the young one has vanished into the thin dusty air of the dried, dead
field. He calls and screams out “Max? Max! Max?!” and the audience can clearly
see and hear how panicked he is. Extreme long shot of him running into the
field screaming out for his little brother. <span style="mso-spacerun: yes;"> </span>We hear only the wind. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;">
<span style="font-family: Calibri;">I think that these shots were cut in the right places,
seamlessly. I found it to make sense. From the first scene, it was clear that
the characters were on a journey of some sort, and that one was powerful and
the other was weak. The editing allowed the audience to get a sense of the
setting, and I think the lack of a musical soundtrack added to that. The
ambient noise was just right for the tone of the piece.<span style="mso-spacerun: yes;"> </span>The relationship between the different images
is clearly linked by the desolate settings. <span style="mso-spacerun: yes;"> </span>The land in the piece is dying, just as the young
boy is. <o:p></o:p></span></div>
Anonymoushttp://www.blogger.com/profile/10277851641642721363noreply@blogger.com0tag:blogger.com,1999:blog-3210463727202057226.post-64208745198466116792014-05-19T17:04:00.001-07:002014-05-19T17:04:30.908-07:00Muslim Students in NYC<div dir="ltr" style="text-align: left;" trbidi="on">
https://vimeo.com/95802381</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3210463727202057226.post-18193062735297389062014-05-19T16:34:00.001-07:002014-05-19T16:34:57.081-07:00Short Film Comments Blog 4Short Film: <a href="https://www.youtube.com/watch?v=Rgox84KE7iY">Bad Motherf***** by Biting Elbows</a><br />
<br />
This action-film/music video is uniquely shot in a mostly first-person view. The video keeps the viewer thinking its fast paced even though some shots are slowed. There are several edits that are well done such as when taking the dead men out of the care and then climbing in the car, the edits make it appear as if it were done in one shot and that filming is consistent even while shifting views. Some scenes are brilliantly slowed down to add effect to the high speed action, such as the scene where he jumps onto a man's body, a slight slow-motion has been added to the clip to show the actor spewing blood so it would be more apparent. My favorite scene has to be when the main character is thrown off the building into a hole that does inside the building and he falls about three flights until his arms catch a pole to hang onto. The music also added to the speed and flow of the film, the beginning was ironic and gave a sense of death coming since it was so slow and soothing juxtaposed with a violent, rough fight.casuihttp://www.blogger.com/profile/17873619771390203383noreply@blogger.com0tag:blogger.com,1999:blog-3210463727202057226.post-12531171195709483312014-05-19T14:04:00.000-07:002014-05-19T14:04:03.953-07:00Sounds of the City
<br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">As I make my way down 14<sup>th</sup> street, with
no headphones in my ears, I hear the sounds of the city and the city’s people.
To my left a woman walks in her 5 inch stilettos clicking-and-clacking,
chatting away on her cellphone. To my right a group of girls are
giggling about a good looking man walking beside them, while their footwear is
flipping-and-flopping. As I approach Union Square I begin to hear the drums and
bells used by the Hare Krishna worshipers. The closer I walk to the group on
the ground, the louder the music and chanting becomes. I continue to walk and as
usual the street venders are all trying to sell their products, bargaining with
passers-by. A man selling beauty salon promotional packages asks me, “Excuse
me, Miss, when was the last time you got your hair done professionally?” Having
lived in New York City for the past 6 years, I already know that this is a rip
off and I am not interested, so I politely tell him “I’m broke, no thanks” and
continue walking. I make my way through the park and as I pass each bench I hear
bits and pieces of different conversations. A man and a woman, who appear to be
co-workers, are talking about 'work ethic', a young couple confesses their love
for one another, and a man on his cell phone is talking about a meeting he had
earlier in the day. In the background I hear some dogs barking and birds chirping.
And as I make my way out of the park I am greeted by the sounds of city traffic;
a girl is yelling for a taxi, the sound of a bus stopping, and of course the
honking of horns, belonging to drivers in a hurry. <o:p></o:p></span></div>
Anonymoushttp://www.blogger.com/profile/10277851641642721363noreply@blogger.com0tag:blogger.com,1999:blog-3210463727202057226.post-4453738780382459312014-05-19T12:54:00.003-07:002014-05-20T23:07:12.252-07:00Dreams of Jewel's, music by Beats Antique<iframe allowfullscreen="" frameborder="0" height="344" src="//www.youtube.com/embed/FWN-1KirN7Q" width="459"></iframe><br />Anonymoushttp://www.blogger.com/profile/10277851641642721363noreply@blogger.com0tag:blogger.com,1999:blog-3210463727202057226.post-11592203981269192552014-05-17T21:12:00.000-07:002014-05-17T21:12:44.500-07:00Blog 4The scene that I have chosen to analyze is from the 1985 movie "Back to the Future" staring Michael J Fox. In the scene, Marty punches antagonist Biff in the face after Biff tries to beat Marty's father up. Afterwards, Biff and his group of friends try to chase Marty down to get revenge on him. The scene involves a few instances where continuity editing needed to be precise, including when Marty runs on top of Biff's car, and when he trips over the woman waking down the street.<br />
<br />
This type of scene proves how important it is to have editing that is on point, or it would negatively impact the suspense of the scene. Because it is a high-energy chase scene, then shots are relatively short and cut very quickly to one another. In addition to fast cuts, there is always something moving in the shot, even if it is only a background character. This is important because if action is not present in a shot, it will lose its buildup of suspense to the scene.<br />
<br />
The music I the scene is also high-energy. The song that plays is the same one that plays any time throughout the film when the audience is supposed to root for Marty. The familiar, successful tune gives the audience hope that Marty will escape the chase, but because it is fast paced, it still allows excitement to grow during the scene. The careful editing was essential to this scene, and worked well to make it an iconic part of the film. <br />
<br />
<a href="http://www.youtube.com/watch?v=zZJ7cq6T3v4">http://www.youtube.com/watch?v=zZJ7cq6T3v4</a>Anonymoushttp://www.blogger.com/profile/07451089899043424113noreply@blogger.com0tag:blogger.com,1999:blog-3210463727202057226.post-48114046714617904272014-05-16T16:49:00.000-07:002014-05-16T16:54:08.132-07:00Leticia Infante Blog Entry#4: Scene Analysis from City of God The film <i>City of God</i>, directed by Fernando Meirelles and Katia Lund, captures the inescapable corruption and savagery that lingers throughout one of the most violent slums, Cidade de Deus (City of God), in Rio de Janeiro, Brazil. Although the film is replete with disquieting circumstances, one scene, in particular, creates an extremely unsettling atmosphere for the viewer, which unfolds after a group of young, aspiring hoodlums called “The Runts” rob a merchant. In order to reinforce the “rules of the ghetto” and test Steak n’ Fries’ worthiness, Lil Z obliges Steak n’ Fries to kill one of the two children who failed to flee from Lil Z and his gang.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/QSqtcvOJ4oI?feature=player_embedded' frameborder='0'></iframe></div>
<br />
The camera work and editing executed in City of God, help enhance viewer’s experience and add meaning to the action that is unfolding. The editing in this scene includes an abundance of short shots from the beginning and longer shots as the scene unravels. This creates a rhythmic style and embodies the improvised lives of many hoodlums. The editing expresses the way hoodlums approach situations. They only react, they do not rationalize. Additionally, the unsteadiness of the camera shows the disorganization of their actions. In the beginning of the scene, Lil Z, his gang, and Steak n’ Fries are seen walking through the ally way, as the camera focuses on Steak n’ Fries; after, it cuts to The Runts, who are shown playfully conversing at several eye-level shots; the use of eye-level shots proves that The Runts share a mutual status. As they continue their conversation, the unsteady camera pans quickly to catch the reaction of a character. The shots are short and the pans and tilts are quick, in order to embody the pace of their conversation. The sudden cuts and parallel editing are used to allow the audience to be ahead of The Runts and instill anticipation.<br />
Finally, Lil Z appears behind one of The Runts and after he slaps his head, the camera is immediately tilted to reveal Lil Z from a low-angle shot. Because of this, the status is now adjusted. As the children try to run away, they are shown from a high angle shot, which displays their fear and weakness. When two children fail to escape, they are shown, trapped, as they are surrounded by guns. There is a close-up of Lil Z’s profile when he asks the children where they wanted to be shot (hand or foot); the shot continues as the camera pans, following Steak n’ Fries, as he turns around and slowly walks away. A match-on-action edit reveals him from the front, walking away and out of the frame, showing the viewer his facial expression of disapproval. This action illustrates Steak n’ Fries’ morals, for he is walking away from what contradicts his ethics. The children are shot from a high angle, as they are terrified, helpless, and are forced to decide which body part they want shot. The camera tilts from the younger boy’s face to his hand, then pans to the older boy’s hands, and finally tilts to his face. This is done various times throughout this scene, as it is capturing a character’s action, reaction, decisions, and emotions. When Lil Z shoots the older boy’s foot, instead of his hands, the scene cuts to Steak n’ Fries’ reaction of empathy, and then cuts to the bloody foot of the younger boy. The camera zooms closer to the younger boy who is hysterically crying and clenching his wounded foot, which enhances the child’s suffering.<br />
Now, Lil Z challenges Steak n’ Fries, after he gives him the power to kill one of the two children. Although Steak n’ Fries is shot from a low-angle, his expression seems apologetic, almost as if he is guilty of having this power. One sees the younger boy crying from a subjective POV shot (through Steak n’ Fries’ eyes), then one sees a close-up shot of Steak n’ Fries from an objective POV shot. The viewer can sense Steak n Fries’ emotion and ethical dilemma; Steak n’ Fries must make a decision. The duration of the shots and the practice of The Kuleshov Effect are used in this moment to heighten the suspense and intensify the emotion of the character. The shots become longer. The older boy is shown from an over-the-shoulder shot, which foreshadows Steak n’ Fries’ decision. The scene cuts to Steak n’ Fries, Lil Z, and two other hoodlums, and is shot from a low-angle; we see the direction in which Steak n’ Fries points the gun and the audience is aware, even if they did not see the action; While Lil Z makes the surviving boy limp home, we see Steak n’ Fries’ head and shoulder focused and the dead child from an over-the-shoulder shot; however, this time the child is out of focus. In that shot, the audience is able to perceive Steak n’ Fries’ anguish. Anonymoushttp://www.blogger.com/profile/14373333124755456932noreply@blogger.com0tag:blogger.com,1999:blog-3210463727202057226.post-87349037009434934112014-05-16T10:41:00.001-07:002014-05-16T10:41:02.859-07:00Project 3: Finals Week <div class="separator" style="clear: both; text-align: center;">
<object width="320" height="266" class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="https://i1.ytimg.com/vi/qFQ_XHniNtk/0.jpg"><param name="movie" value="https://www.youtube.com/v/qFQ_XHniNtk?version=3&f=user_uploads&c=google-webdrive-0&app=youtube_gdata" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="https://www.youtube.com/v/qFQ_XHniNtk?version=3&f=user_uploads&c=google-webdrive-0&app=youtube_gdata" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
Jessica Granato</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.youtube.com/watch?v=qFQ_XHniNtk&feature=youtu.be">https://www.youtube.com/watch?v=qFQ_XHniNtk&feature=youtu.be</a></div>
<br />Anonymoushttp://www.blogger.com/profile/16691090742205338374noreply@blogger.com0tag:blogger.com,1999:blog-3210463727202057226.post-25048415640959194432014-05-16T02:49:00.000-07:002014-05-16T02:49:28.927-07:00Blog 4- Django Unchained Brittle Brothers Scene (Big Daddy Plantation)<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/k640GjUIiaA?feature=player_embedded' frameborder='0'></iframe>Quentin Tararentino is undoubtedly one the greatest American filmmakers of our time. This scene is a excerpt of "Django Unchained". A 2012 film Quentin Tarantino won an Oscar for Best Screenplay. I chose the brittle brothers scene because of the sequence in continuty and content made the scene an effective one to the realizing of the power of the main character "Django". This is where "Django" played academy award winner Jamie Foxx expirence retribution for the very first time. There is a very extricate dolly shot is very appropriate to the genre being that this was Western the tale of revenge an ex-slave turned bounty hunter in knee deep in America's atrocious pastime of American slavery "Django" executes "Big John Brittle" in an awesome reverse angle and immediately whips his brother "lil Raj Brittle" before he can pull out his pistol for all the "field hands" (field slaves) to see. </div>
Quentin Jacksonhttp://www.blogger.com/profile/14885977300650051800noreply@blogger.com1tag:blogger.com,1999:blog-3210463727202057226.post-35147279886552285692014-05-15T15:16:00.000-07:002014-05-15T15:16:11.008-07:00Blog #4 by Saraa Elkhaloui<div class="yt" id="watch-headline-title">
IF YOU DON'T WATCH THIS SHOW-----> LETS JUST SAY YOU SHOULD!!!</div>
<div class="yt" id="watch-headline-title">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Cze5A4iyQGk?feature=player_embedded' frameborder='0'></iframe> </div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="yt" id="watch-headline-title">
The clip I decided to due my blog on is this speech given by<span style="font-weight: normal;"><span class="watch-title yt-uix-expander-head" dir="ltr" id="eow-title" title="Daenerys' Dragons Fight: Full Scene (S04 E01)"> Daenerys from Game of Thrones. In this clip there is very little use of additional audio and musical tracks, however it is important to note the complete silence occupied only by her voice for most of the clip. It is apparent that the audio track was added to this scene separately after shooting because of environmental factors. For example the wind would have accounted for some noise that may have resulted from shooting the scene outside. However, listening very closely a very low note can be detected and it slowely eculztes as she makes her speech. </span><span class="watch-title yt-uix-expander-head" dir="ltr" id="eow-title" title="Daenerys' Dragons Fight: Full Scene (S04 E01)">It is also important to not that the first sound we are introduced to in the clip, is the sound of the wooden barrels being launched. This sound could have been recorded on site at close range and repeated. However, the sound of chains as the launchers are moved forward was most likely added by a foley artist with the use of chains to use the sound effect. Another sound added by the foley artist is like a fan at slow motion (to me), right before she commands them to fire. After this drums play in the background accompanied by simple acoustics of human voices. The collective screaming of the men and women was probably recorded once and added onto the clip at different volumes. The chains falling to the ground was probably recorded separately by a foley artist. When the chains hit the wall it like balloons popping and a mix of chains to make the allusion of the chains falling. </span></span></div>
<br />
<br />SaraaEhttp://www.blogger.com/profile/02085329021463379244noreply@blogger.com0tag:blogger.com,1999:blog-3210463727202057226.post-30807354463781747822014-05-15T12:34:00.000-07:002014-05-15T12:34:02.264-07:00Hunter Stone - Blog #4<div style="text-align: center;">
<i>Blue Velvet </i>Opening Sequence Analysis</div>
<br />
The editing of the opening sequence of <i>Blue Velvet </i>dramatically contributed to the storytelling and feel of the film. The sequence of shots, music, sound effects, color, composition, and camera movement all come together to set up the theme: a perfect, cookie-cutter small town with unimaginable darkness and evil lurking beneath its sugary coating. <br />
<br />
The sequence opens with the sounds of birds chirping and the song from the '50s, "Blue Velvet," playing over the image of a bright blue sky. The camera's slow descent as it tilts downward foreshadows the town's dual identity. However, the series of images that follow reinforce the mood of a utopian world: the white picket fence and bright red roses, the old-fashioned fire truck with waving fireman and his dog, schoolchildren crossing the road, the man watering his garden, and the woman sitting drinking tea while watching television.<br />
<br />
And yet, the viewer knows all is not as it seems. The music paired with the images, especially the fireman waving robotically, reveals that the town is <i>too </i>perfect, to the point where it's creepy. This tension is increased when the image of the gun appears on the television screen and the music is cut into by the sound of the pressure building in the hose. From here, the tension grows until it's almost unbearable for the viewer. <br />
<br />
The man struggles with the hose and we see it getting twisted. The sound of the water pressure grows louder and is supplemented by an unidentifiable sound that can only be described as impending doom. We see the man grab his neck and fall to the ground, landing in a puddle of mud, apparently dying of a heart attack. The water continues to spray from the hose in a perfect arc, and a close-up of it makes it appear as though it's simply a sprinkler. A diapered baby walks towards the man, the dog attacks the spray of water, barking viciously.<br />
<br />
It then cuts to an extreme close-up of the grass, with the camera literally buried in it. This, combined with the foreboding ambient sound which now completely overtakes the sound of the music, evokes a sense of death. The very slow pan of the camera through the grass adds to this suspense. We are finally left with the lingering sound of what sounds like worms devouring flesh and the image of dark black beetles climbing over each other, so close-up that it feels as though they're literally on top of the viewer.<br />
<br />
https://www.youtube.com/watch?v=uVW_BaNpmx4<br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/11494947469592346729noreply@blogger.com0tag:blogger.com,1999:blog-3210463727202057226.post-74040379769488504392014-05-14T11:58:00.002-07:002014-05-14T11:58:45.309-07:00Jacob Cintron - Final Video Project<iframe width="560" height="315" src="//www.youtube.com/embed/H60rGH3psbw" frameborder="0" allowfullscreen></iframe>Anonymoushttp://www.blogger.com/profile/02217422932935004631noreply@blogger.com0tag:blogger.com,1999:blog-3210463727202057226.post-79877757728782706352014-05-14T08:38:00.001-07:002014-05-14T08:38:32.476-07:00Blog #4 - Scene Analysis<div class="p1">
<span class="s1"><span class="Apple-tab-span"> </span>The scene I was most interested in analyzing was the scene in </span><span class="s2">Dallas Buyer’s Club</span><span class="s1"> when Rayon goes to ask her father for money. I watched the movie again recently for a paper due in another class and watching it the second time (also - post Oscars) - I was able to look at it with a more critical eye. That being said the costume was obviously one of the most important parts of the scene. It is the first time that we see Rayon in a suit (she’s a transgender woman). She looks uncomfortable and doesn’t move around as much in that attire. Totally different from what the audience is used to seeing on screen - that being a person that usually moves with a type of ease and ‘sway’. </span></div>
<div class="p1">
<span class="s1"><span class="Apple-tab-span"> </span>Aside from the costume is the sound. The level of the two characters voices when they speak. Her voice is lower than her father’s for most of the scene. He trumps her - which serves to show that he is still the dominant figure in the room (they were after all in <i>his </i>office - so there is some validity to that). However, Rayon’s voice is louder when she announces that she has AIDS and the purpose of this is to illustrate a pivotal shift in their relationship. The use of sound and dialogue is what struck me the most because it seems like such a simple thing, it gets over looked a lot because when you’re just watching for fun you feel it but you don’t know what it is. Whether it’s the words or the situation itself (valid in their own right). But when you listen carefully, you realize - it’s the sound. And the sound editing is smooth. It’s in the way that they fight with volume. The scene is a short one probably only about five minutes max, but the sound and the costume are so critical it becomes one of the high points of the film. </span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<br />
<div class="p1">
<span class="s1">*Also on a final note: the camera follows the characters well, as they move from one room to another, the 180-degree rule is used well. There’s no confusion when they transition from one room to another or when Rayon is walking around her father’s office and he’s sitting down. </span></div>
Anonymoushttp://www.blogger.com/profile/01701995530116401022noreply@blogger.com0tag:blogger.com,1999:blog-3210463727202057226.post-59310933235811057182014-05-14T07:57:00.002-07:002014-05-14T07:57:31.461-07:00La-Z-Girl<a href="http://youtu.be/taesuajoIec">http://youtu.be/taesuajoIec</a>Anonymoushttp://www.blogger.com/profile/07451089899043424113noreply@blogger.com0tag:blogger.com,1999:blog-3210463727202057226.post-22830141221267002962014-05-13T23:22:00.001-07:002014-05-13T23:22:17.143-07:00Leticia Infante - Final Projecthttps://www.youtube.com/watch?v=ZW3-JVSzkRkAnonymoushttp://www.blogger.com/profile/14373333124755456932noreply@blogger.com1