Tina Aufiero Video 2: Time-based Media
Week 8: March 2
Student Presentations: Cameron and Ryan
Concept: Image and Sound
‘In a film, where narrative is the excuse for, the cement of, and the raison d'etre of the film's existence, we opt to focus attention on the narrative and visual realities on the screen before us...We forsake contemplating that abstract arrangement and rearrangement of sound which is music, because it is non-representational and non-narrative and does not inhabit the perceptual foreground of the narrative film.' (Gorbman: 1987: 12).
class
today
Digital narrative:
"When we simulate a media in a computer, we fundamentally change it into something new." Lev Manovich
image and sound inclass exercise
* image and sound in a storyline.
* What does sound bring to a narrative
* computers as theatre
* the use of time to create short and long term memories
* flashbacks and a "reframing" of key events in a plot
* interactive and noninteractive narratives* the use of databases as a means of providing variation of storyline
* digital narrative and immersive, sensorial experiences
* "classical" and abstract narrative structures
* character development
* tension build up and suspense
* atmosphere and ambient characteristics in narrative
* audience: catharsis within narrative
* the narrator and narrative voices
* location and environment
OF interest
Jacob Lawrence: Exploring Stories
The interrelationship of image, mausic and narrative
Center for Digital Storytelling
Deleuze: the Brain is the screen
BACK to the GREEN screen
In class project:
using 10 images - digital images 720 x 480, and 10 aif files put together a digital narrative. finish and upload.
THe Magritte Aesthetic(www.ed.uiuc.edu/.../94_docs/PALERMO.HTM)
1. Plastic imagery and discourse can be shown as incommensurable sign systems;
2. Plastic imagery need not represent, it can instead, be an expression of similitude;
3. The deliberate juxtaposition of a plastic text against a discourse which annuls the “meaning” of that text, breaks down previously held beliefs about the function of painting. Further, this demolition of resemblance, “this affirming and representing nothing,” is a critical moment in the viewer’s consciousness. I use the term critical in the Kantian sense, to mean a question about the limits and conditions of what can be known.
HOMEWORK
1.) all those edits...uploaded to vimeo. (send me the vimeo link and don't make me ask again.)
2.) connect to people on vimeo,
3.) diagram word relationships- make drawings
4.) daydream about a piece you want to make, make some storyboards, make one animatic for your the piece-due 2weeks unless feeling ambitious.
5.) Research information of the "technical goal" you identified. Figure out how to do something, if it involves some editing - upload a clip to vimeo so I can see.
Learn to experiment and document the process, either for a blog - or - sketchbook.
7.) continue exercise:PREPARATION to create a project that is meaningful:?
1.) Write a short description of your final video piece.
2.) research find an artist(s) or "work(s)" that is of interest to you, and will have something to do with your final project. collect articles, images, bookmark websites. be prepared to talk about itin your presentation.
3.) draw atime line of the steps you need to take to complete your project.
8.) March 17 presentation of final project.
Title, precedence/inspiration, short description, storyboards, animatics.