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Ugh so it looks like the text on the quotes i used are way too blurry and small to read so I’ll put them on the bottom of the post just in case sorry…

ok here are what they each say there are four and they appear in this order sorry again:

1)“The most basic aspects of art…length, texture, the space’s scale, the quality of light…are the foundations for any permanent installation” – Victoria Newhouse
2)“…it is easy to overlook the extent to which the perception of these objects is influenced by their presentation” – Victoria Newhouse
3)Author Bernard Gortias argues there is a universal generic formula from which all artistic creations arise from including…
4)“…art is made by the community and for the community” – Shannon Lustig


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Initially, before I began reading Dziga Vertov I expected for it to not be very interesting. After reading on and on I actually found his stuff very interesting because he has all these new strong views on everything we’ve talked about previously. To me, he came across as a very refreshing writer and was a welcome change to what I’ve read earlier and how I’ve felt about the previous readings.

Just by reading the first page, you see his unique format and style of writing. In “WE: Variant of a Manifesto”, he uses “WE” repeatedly but it doesn’t come across as annoying or boring. His take on cinema and cinematography would have to be the main difference that I noticed in his work. He feels that cinematography  takes away from the original beauty of films and he is so against it that he even says it must die. He writes in a very forceful way yet he gives you the chance to interpret and analyze what he’s saying and its never as if he’s saying his views are the only correct ones and thats it.

His work is filled with interesting metaphors and endless quotes that are all really creative and deep. We see his dedication to film and how strongly he feels about what he’s arguing here. His writing was also very accessible and enjoyable from start to finish despite him using so many metaphors and words we’ve probably never heard of like “kinoks” or “kinochestvo”. Reading this helped me see a whole new view of cinematography that has honestly never crossed my mind.

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I found that Sharon R. Sherman’s Projecting the Self used many of Harvey’s Elements of the Academic Essay. The first one I noticed was Thesis. The first paragraph of Projecting the Self is what I think is the thesis because it gives the introduction to the topic that’s going to be discussed throughout and it gives you a feel of what the rest of the essay might be about without just jumping into it and risk being confused.

I also noticed Sherman used Evidence with her examples from fellow filmmakers. The part when she talked about narration vs. no narration, she used filmmakers personal quotes as the evidence to help us understand the two sides of the argument. I also feel like she used her evidence in a way that any reader could follow because while reading it, I didn’t feel confused at all and I understood the points being made for each side of the argument. You could also say these quotes could be Sherman’s Sources as well because they helped get across what she was writing about and I felt all the quotes were integrated really well and were easy to follow.

When I read this essay I also saw bits of Orienting throughout as well. Whenever she would bring up a different part of making a film, she would use orienting. For example, when she started the section on sound she started off by giving definitions to sound-over voices and sync-sound which any casual reader like myself might not be familiar with. She only told us the necessary information about them and showed their differences in one or two sentences that weren’t too long and technical but were brief and understandable enough for the reader to keep reading on. Finally, Sherman used a Title that could spark a reader’s interest and sum up the whole of her writing. When I saw the title “Projecting the Self” I wasn’t quite sure what to expect but when I saw the subtitle “Filmic Technique and Construction” I had a much better idea of what I was about to read and I instantly became more interested. A good title should draw someone in from first glance but have the reader be able to connect it to whatever they are reading as a whole and that’s exactly what Sherman did here.

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1. long shot of maspeth
2. walking into the movie theater
3. close up of matt smiling
4. theater darkens
5. he sits up in his seat anxious
6. cut to a shot of the nyc skyline
7. cut to a group of his friends
8. slow turn to him walking down the streets of manhattan
9. close up of him looking around and smiling
10. shot of a classroom
11. shot of a laptop
12. shot of him sitting down in front of the laptop
13. cut to a picture of a brain
14. slow, long shot of matt sitting alone in a quiet room
15. close up of his thinking
16. a slow fade out

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Honestly, I was confused at points in this reading. I was following him throughout the first two pages but the last page felt like a lot to take it and I didn’t get what he was saying. I was even tempted at times in the last paragraph to look up some of the words he was using in the dictionary because I felt really lost.

In the beginning when he was talking about the fringes I felt that he was saying that these details that are used in films can be the keys to identifying where the film takes place. They are used so often that we don’t even realize sometimes that in our minds we tend to just assume that films take place in certain times because of how the people in them look or act. The fringes are essentially a label of Rome or Roman people and they are our the indication of Romans in films whether we are aware of it or not.

Then, he goes on to talk about sweat and how the sweat in Julius Caesar is seen constantly on everyone’s faces except Caesar’s. He even goes on to say that the sweat is purposeful. He’s saying that to us it might be just sweat but it’s really an indicator of something deeper like moral feeling. The constant sweating adds something more to the film because it makes us wonder what exactly is going on inside them to cause them all to be sweating so much. It might be due to fear, conflict, or any number of things but we’re left wondering because we can’t get inside them and truly know. I think Barthes is trying to show how important visual aspects of films are even if we don’t realize it. His example of Julius Caesar showed how the fringes indicated time period and the sweat indicated the deeper emotions of the characters in a way that we can see them. It makes the film more real in a sense and is a way for the viewer to get more sucked into the film. I think this idea of Barthes can be seen in pretty much any other film out there, too.

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