To Ireland We Go. . .

DARK SIDE OF THE LENS

by Astray Films

"I feel genuinely lucky and humbled in my heart to say I love doing what I do, and although I may never be a rich man, if I live long enough Ill certainly have a tale or two for the nephews"

One of the most beautifully composed and inspiring films i've seen yet. . .

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Astray Films' videos

1. DARK SIDE OF THE LENS

by Astray Films

to live a life facing fears, is to live a fulfilled one,

Do what you love & Be kind

Click on ASTRAY films(above link) or link below:

http://vimeo.com/14074949

And as the End Is Near. . .

As we bring this quarter to a close, our last discussion was on Race & Gender Ideologies.

The film screening of Vagabond was one of my favorites so far. Depicted in an A-chronological order, the film felt like a murder mystery. Since we started off the film with knowledge of the protagonists death, it was intriguing to attempt to wonder why or how she died. The recurring

theme of death was most grasping. From the more blatant symbols of a cold winter to the the trees being infected and diseased.

Genre & Ideology in HORROR

Last lecture, my professor asked us this question: what is it in Horror that keeps us coming back for more?

My initial answer to this question: absolutely nothing.

I, rightfully so, have been in fear of horror films for, well, my entire life. For some reason In my college experience though, I thought I could somehow dodge horror as a genre while still pursuing my degree as a film major. Well, I was very wrong. Sure enough, the day came.

Let the Right One In

Thomas Alfredson (dir.)

As I forced myself to think of horror in a new light, I began to analyze and depict certain traits of the film with meaning I had never allowed (myself to watch far enough into a film so as to allow) its purpose to strike me. I as the viewer, the consumer, the absorber, would previously skim the surface and only allow my toes to get wet. I was so fearful of the possibility that the story line could somehow come to life.

Aside from the fact that I forced myself to sit through the film and look away when heads were being torn off, and aside from the fact that the film ended up being marvelous with visually pleasing imagery and a tasteful story line, aside from all of that, the one connection I found fascinating within my own experience was our abilities as humans to write violence off when depicted in a manner that seems impossible. This film was about vampires. As far as I am concerned vampires are a manifestation of the human psyche, therefore I was able to sit throughout the entire film, blood, guts, and all. Where as if the film was strictly about a child with serious psychological issues and a craving/intention to kill; if the film led us to image after image of this boy on a killing spree, I would have most likely walked out because there is a chance that this story line could become a reality, and that is scary. The idea that the female protagonist was a vampire and needed these peoples blood to survive off of, forces the audience to sympathize her and to grow a relationship, an attachment to her. Making it difficult to hate or be fearful of her.

Documentme

Expository.Observational.Poetic.Participatory.Reflexive.Performative.

...Bill Nichols different forms of Documentary Film.

This clip from 'Planet Earth' exemplifies Expository in that it is a form of Documentary Film that addresses the viewer directly through voice-over. The speaker is never seen but speaks form a position of authority, conducting the images we see.

http://dsc.discovery.com/videos/planet-earth-shallow-seas-humpbacks.html

This clip from 'Super Size Me' exemplifies Performative documentary filming in that the filmmaker himself, Morgan Spurlock, becomes the subject of the film. I enjoy every type of Documentary film but I especially enjoy performative because of its ability to be personable. Allowing the audience to directly connect to the purpose of the film and what the point the director is making.

http://www.youtube.com/watch?v=QBG0G-G_hVg&feature=related

Lets Experiment. . .

Experimental Film intrigues me the most.

The freedom in it, the open space for no judgment although a judgment in itself. Simply a place to allow your mind and thoughts to run free, with no structure or way of development, in this space, anything goes.

In Monday's lecture the idea of boredom was proposed in a new light. It was more of an AHA moment for me, when our guest speaker stated " When a film makes you bored, ask why? Why are you feeling bored? What is the purpose behind this emotion, for it is most likely purposeful, or not, But what is the point the director is trying to get across?" As silly as it may sound, I say AHA in that I honestly had never thought of emotions, or at least the ones we don't usually like to feel, as good. Emotions such as boredom, anger, sadness, angst, not typically felt in a "mainstream" narrative, for it leaves us feeling uncomfortable. And that is exactly the experiment.

That idea that notion, is pure brilliance to me. I love it and am inspired to push the limits in my own creative. There are no written rules of what is good or bad in this media we share a passion for. There is no right, no wrong.

FLUXUS

. . . FOUR. . .

YOU ASK WHY? I ASK WHY NOT?

Hey Kid. . .

This shoot blew my mind. The sky was going off, the colors couldn't have been more majestic, OH, and not to mention,

the waves were dreamlike.

And the new little logo, isn't too shabby either.

Its days like this. . .

with people like these

that make me stoked to be alive.

As I. . .

As I studied for the midterm I watched different scenes from Chungking Express analyzing each on replay. Trying to figure out which scene was the probable choice for our in class analysis, I of course overlooked the one scene that was chosen. Luckily, this scene although one of the less chaotic scenes of the film had so much in content especially when focussing on elements of sound, mise-en-scene, and cinematography. A few things that were visually and soundly pleasing from it were how both of the two long takes in the scene paralleled each other from the start. Literally mirroring the close up to the fish tank followed by a slow pan to the left. And each scene placed back to back gave it, an obviously well thought out, before and after effect. The diagetic sounds of the fish tank in part with the green/blue filter (or green blue hues) used throughout the room both helped to emulate to us, that this man was in fact in his own fish tank. He being the fish, his apartment being the tank, excluded from the outside world, in a small space, almost as a sense of punishment, that he must finish each can of pineapple before he can release himself of the grief that currently captivates his world. He opens the window to place his feet up as he eats and eats, he looks out on the world, he is entrapped in his own manifested world of mild suffering.

If Your Not Doing What You Love. . .

. . . . Then what are you doing.

REST IN PEACE, Andy Irons.

Sending love and good thoughts, vibes, and wishes to your family and friends.

BLACKMAIL

SOUND IN . . .

Sound is used throughout this film to accentuate the mood of each scene.

To think, this was Alfred Hitchcock's first film made with sound, is amazing in itself and that only 45 miniutes of the ~84 min. film was filled with dialogue and if we hadn't been clued in before hand, I would have never have thought the lead character had a double speaking for her. For 1929, this film seemed very advanced, as I'm sure it was revolutionary.

During the other 39 minutes of this film, music takes the place of dialogue. Where one would yell, the music becomes loud and very pronounced.

It carries us through each scene mirroring the actions taking place. For example, as the attorneys sat around deciding what the verdict was, Hitchcock uses music to show us the passing of time, this music complements the visual he gives us as he cuts to an ash trey of one cigarette butt, and the scene fades to multiple cigarette butts. Another example is as the the affair takes place, the two walk up the stairs, and each flight the tone of the music gets higher and higher and higher . . .

A great use of diegetic off screen sound is after the murder has taken place and Alice sits to eat breakfast with her family. A friend who has stopped by to talk, is speaking " blah blah blah KNIFE blah blah blah KNIFE, blah blah, KNIFE, blah, KNIFE KNIFE!!" Hitchcock was very clever to lower and heighten the sound in just the right places, it was almost comedic to the audience because it was so over done. The only necessary part for us to hear, of what the women had to say, was about the Knife. So he made sure, thats all we heard.

Another clever use of Off-screen sound is of the birds, I wouldn't say chirping, but maybe screeching, not allowing her to get to bed after she has committed the murder. The birds chirps are overly dramatic as the film cuts to an eye-line match of her looking at the out of screen photo of her boyfriend. The birds song remind us of his constant whistling, but now in an eerie way.

sidenote: All of these photographs were uploaded via google images so copyright to them.

Back to Basics

Its been a while since I posted some good ol' surf shots, and with my recent overflow of Film posts, I wasn't about to let you forget what this blog is about. So I decided to take a day off of the hectic life I currently lead and dig into the archives. This shoot was from this past summer, at the surf spot we call home. Churches.

not much else to say, just there for pure enjoyment.

CRASH BOOM POW

Hiroshima, Mon Amour

The opening of the film was so visually pleasing, the editing briliantly guides the viewer

down a path of mystery.

Although, we (as the viewer) aren't quite sure what we are

looking at just yet, that is where the beauty lies. The scene of two bodies, endless skin, neither can be told where it begins

and where it ends, intertwined so tight like rolling hills.

one scene covered in ash, you have to wonder, is this the aftermath of Hiroshima? . . . are they lying there togehter, at their last breath?

What are we about to feel when the camera decides to pan out?

The rain of ash has turned to water, glistening skin, like sparkles from the sky.

Then to smooth clean skin, we see their full of life bodies move as one. And we all can take our own deep breath, a sense of relief comes over us.

Minute 2:22 - 3:33 in this clip is the scene I am talking about. . .

its interesting to think all of this can go through ones mind, within a clip that last no more than a minute.

Here is the link to the opening scene:

(I had to take it out because of the sound and replace with still images, but these images still get the point across)

http://www.youtube.com/watch?v=Hgh5zH0yZXo

This sort of editing is inspiring.

Another thought I found interesting.

Someone in the class had brought up, could she have been imagining her entire past?

Is she insane? What leads us to believe that her memories of the past are true?

In my other film class, gender and global cinema, we have been talking about the notion of

pathologizing women in films. Would it be right of us to go ahead and judge her? Or is her story of the past

geared to guide us to simply view and understand her life story?

Editing

Elements of

Onscreen & Offscreen space

Spacial & Temporal Relations

Continuity Editing breaks down scenes into multiple, in a way that is legible. It is economically productive & time efficient providing visual interests because of usage of different angles.

The 180 degree rule, for instance,

is prevalent in any given scene where there will be an axis of action

Eyeline match is when a character is looking out of frame at something or someone and we know exactly where.

Match on action is when the action flows into the next cut and our eyes naturally follow the action.

Parallel Editing

suggest simultaneity within multiple cuts and cross/inter cutting