Hand in Hand We Go

While I am admittedly not very familiar with the vocabulary of film technique, I will do my best to articulate the affective strategies I intend on adopting from Fragments on Machines and Greetings from the Salton Sea… for those of you who relate and can use some help, this site really helped in highlighting and defining film techniques. So, again, as someone who does not usually pay close attention to film techniques, our past class made me conscious of seemingly simple (because they are so commonly used) but extremely important elements in creating affect in film. Some of those being the use of types of shots, camera movement, and indirect interviews. Emma Charles really draws her audience in with her use of long shots. This is how she familiarizes viewers with her ecology space. The long shots in the beginning of her film transport us to her site.

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This is quite meta considering the long shot is of a transportation view… where she brings us along, and we commute together to where she is taking us. Again, this is affective with drawing us in as well as to exposing us to the way in which she initially shoots the insides of her ecology site, with long shots. I like how she creates a context for where she is going. This was inspiration for me in that I hope to also use my commute to public art sites (now shifting to murals in Bushwick and Harlem… bye bye LES and East Village for now). It is a great introduction to the place, and a great way to bring viewers on your journey with you, since, not to be cheesy, but discovery is a journey and the process of this project is also a journey that I think is an important dimension to incorporate in my crafted film. I, the film maker, am learning in the process of making media that will hopefully inform others. Instead of just spitting what I learn into my film, I’d much rather recreate the experience for viewers.

journey

No Guts… No Glory.

Charles also has a very fluid pace in movement once she arrives at the data center site. As she walks amidst the cables, we are able to follow without feeling like she is moving too fast but also do not feel like she is overemphasizing by going too slow. This is an important balance because speed correlates to overwhelming  or underwhelming affects of moving through a space. Since most art is detailed, I’ll have to figure out how I can move fast enough but also capture the intricacies the artists work so hard to display. I will probably incorporate both long shots of streets as well as shots that just scan murals at a slower pace so people can observe important details.

Greetings from the Salton Sea has less of a commuting journey, but opened in creating experience by introducing us to the community that inhabits this space. The relationships built with the locals inclines viewers to invest their attention and consideration in this site. It is more personable. This connection made between viewer and speaker (where we can’t her the questions asked but are learning about their situation) creates a strong affect as well. The use and incorporation of indirect interviews in this film makes the issues of the Salton Sea feel near and dear (real real).

My takeaway in short: connection is key. It is straight forward and simple, but I think as affective as it gets. The film techniques I mentioned above lend to creating this connection. Being in it together, sharing an experience, and forming personal connections to space make people care. I hope to take these strategies on. And with that… from behind the scenes to on the screen… hand in hand we go.

 

Until next post,

Roche

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~ by rocheyadegar on October 22, 2016.

One Response to “Hand in Hand We Go”

  1. “The one with the clearest connection” – I enjoyed reading your conclusion and I liked how you stated explicitly what your takeaway from the two projects were. It made it really clear for me, the viewer, to read your reasoning and what you got from the projects.

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