Moving Image: Bastille - Pompeii

I watched this music video Pompeii by Bastille as I knew it had the same sort of 'idea' to it - running from something/changing from 'normal' to something else, in my case 'possessed'. The transition is made at the end in this video, like mine however mine shows more of the transition in progress. The song Pompeii, in my opinion, is as upbeat as Don't Fear The Reaper and in this video, Pompeii suits the video really well and vice versa, therefore I am pleased with my decision to use Don't Fear the Reaper.

Pompeii link: https://www.youtube.com/watch?v=F90Cw4l-8NY

Moving Image: Final

This is what my finished, final film looks like. I am really pleased with the result, especially with the music as it changes the tempo and look of the whole film and makes it easier to watch.
This is the link to my movie with Blue Öyster Cults' "Don't Fear the Reaper": https://www.youtube.com/watch?v=53FXti4zByI&feature=youtu.be
I have been trying out different songs.
This one has "Empty Spaces" by Pink Floyd: https://www.youtube.com/watch?v=ghcW1apIM5M&feature=youtu.be
This one has "Happiest Days of Our Lives" by Pink Floyd: https://www.youtube.com/watch?v=KbmkAhJrznQ&feature=youtu.be
Over all, I am happy with my final project, the length is good, the look is good, the quality of the clips is exactly how I want them to be. All I need to do now is confirm which song I would like. It will most likely be Don't Fear the Reaper as I think it fits incredibly well with the entire video and theme of it.

Moving Image: Western Shootout sequence

This is the Western Shootout sequence made in collaboration between myself, Shay, Deb, Chas, Gail and Sufayira. I did the editing of this clip. It was filmed using the 180 degree rule and using the eyeline match. We included a few examples of poor continuity, where I was wearing a beanie for all of the clips bar one, where it is filming the back of the 'bad guys'. Another example is when Gail had her 'gun' out when the camera was over her shoulder then in the next cut she had her arms folded.

Moving Image: Sound - dialogue, ambience, diegetic to non diegetic

This clip is a dialogue recording clip. Monika, Chas, Vicky and I used a Shotgun microphone, boom and sound recorder. Vicky held the sound equipment whilst Monika and Chas conversed and I filmed them. The boom was held so that the microphone was pointed directly towards Monika and Chas as they spoke.

This clip is an ambience recording. We disconnected the microphone from the sound recorder and had only the sound recorder picking up the ambient sounds.

This is a clip to show the transition from non diegetic to diegetic. It begins with the girls standing around with children's game music playing but we do not see the source of the music until the camera pans to Monika's son with a phone playing games.

Moving Image: Example of final

I have put together a few of the clips I have gathered to give an idea of what I would like my final piece to look like. I have mixed them up in terms of putting vivid direct lighting clips next to low diffused lighting, stationary juxtaposed to moving etc. I like the look of the cut to the next clip as it is very abrupt, as are the lengths of the clips. I did this in Windows Movie Maker however I will be putting my final piece together in Premier. In movie maker, I was meant to mute all the clips before exporting but when I watched it with  the sound I quite liked the background noise. Sound is obviously still something I have to make a decision on but I do like this option. Being just an example, this doesn't show the full storyline of my final piece but I will include this. I have a lot of footage for the end of the piece, however I need to shorten some of the clips. Towards the end of my final piece, however, some of the clips will in fact be significantly longer than the others as I want to play on the 'possessed' image. I need to keep in consideration that all the clips need to gel together so I can't have the longer clips too long.
Putting these few clips together has given me a good indication of where I am heading.
Link: https://www.youtube.com/watch?v=5YmhKn6KO1o&feature=youtu.be

Moving Image: Collecting footage in different light settings

I am continuously collecting footage for my final moving image piece. I have collected footage in different light settings.
This clip was taken in the middle os the day on a bright day so the sun created bright highlights and dark shadows on my face:
https://www.youtube.com/watch?v=uoXnuc8gIuE

The next 2 are examples of over exposed and under exposed, respectively:
https://www.youtube.com/watch?v=d3fiPXEV9ew
https://www.youtube.com/watch?v=rFbDWxAabdw
 I have also included walking in the above 2 as I do not want all of my clips to be stationary. I see it as adding 'texture' to the film as a whole.

The next clip is taken in a diffused light setting. Everything appears softer:
https://www.youtube.com/watch?v=DwzGAylPHaE

This clip is taken is diffused lighting again, but lighter than the previous. It is a contrast to the sunny day clip as it is still well lit, however there is no variation in tones or shadows:
https://www.youtube.com/watch?v=zH7FNbKI9Hc

I am keeping with the second a day clip idea, however my clips will be of varying lengths. This way I will be able to tell the story more successfully than in 1 second clips.
I have been thinking about sound for my film also and I am debating whether I should use sound or just have it silent. I could have it somewhat silent and attach a background noise of perhaps feedback on a tv or no signal on a radio; the muffled, grainy noise it produces.

RRaW Annotated Bibliographies

Discussing Mo'ui Tukuhausia

This piece of writing is an interview between curator, Bruce E. Phillips and artist, Kalisolaite 'Uhila. The interview is about 'Uhila's time living as a homeless person as an artwork. 'Uhila lived as a homeless person from 19 March to 1 April 2012 to find out what it is like to be homeless. He aimed to see how other people perceived him as homeless and how he was treated.
'Uhila discovered that as a homeless person he was looked down upon by people in a higher social class than the homeless. He was spat at and abused verbally. He was mistreated, seen as inhuman.
My thoughts on the artwork, I feel as though 'Uhila proved that people can be spiteful and nasty for no apparent reason, other than merely seeing another human in a homeless state.
The text was very insightful and informative. I received a lot of information on 'Uhila's artwork. I learnt what it was, what it was about and the result. ' Uhila's interview answers explained a lot about the artwork and his findings.

'Uhila, K. and Phillips, B. E. (2012). Discussing Mo'ui Tukuhausia.  In Phillips, B. E. & Lal, R. (Eds.), What do you mean, we? (pp. 46-53). Auckland, Te Tuhi Centre for the Arts.

Seung Yul Oh

This piece of writing is a critique on Korean artist, Seung Yul Oh's paintings and his painting style. It was written by art critic, Andrew Paul Wood, who writes "Oh's paintings make me laugh." The text is addressing the idea that Oh creates work that is funny, cartoon-like and cute. He mentions that the work of Oh is surrealist but also identifies recognisable forms in the work, Ssyang Bbong, such as birds.
Wood gives us a brief background on Oh which reveals a bit about the artwork. It is based on East Asian Pop Culture.
Wood raises the question - is there a place for humour in art galleries as this particular piece by Oh is 'funny' to Wood. I believe that art can play on any emotion or feeling, including humour therefore, yes there is a place for humour in galleries in my opinion.

Wood, A.P. (2009). Seung Yul Oh. In F. Campbell (Ed.), The Big Book of Essays: New Zealand Contemporary Art from the Real Art Roadshow: Black Collection (p.44). Wanaka: Real Art Charitable Trust.

Francis Upritchard

This article is talking about an exhibition by Francis Upritchard, written by H. Galbraith. It tells us that she made shrunken heads, a sacred item in some cultures, and given them characteristics to make them different. These characteristics are things such as 'comedic hairstyles' and moustaches to make them seem 'funny '. However, to some people they may not appear as humorous but instead may appear as disrespectful.
In a way, Upritchard is bringing humility to these objects and almost mocking cultures who see shrunken heads as sacred and precious.
The shrunken head, in this instance, is taken from the maori culture. Upritchard made these shrunken heads depicting NZ European (European descendants) or pakeha. Upritchard's heads do not resemble those of 'warriors or valiant tribesman', which Galbraith tells us they are traditionally supposed to depict.

Galbraith, H. Psychic Pushing. In H. Galbraith (Ed.) Francis Upritchard: Save Yourself (pp. 31-33). New Plymouth: Govett-Brewster Art Gallery and Francis Upritchard: Save Yourself Project Team. (Exhibition catalogue.) (Plus images of Upritchard's work from pp. 94-96 and p 6.)

Octavia Cook

This text is an article about the work of Octavia Cook, written by Anna Miles. Miles has provided information regarding Octavia Cook's jewellery business, The name of it is Cook & Co, which Miles has revealed that this name was inspired by a well known jewellery company, Tiffany & Co.

This text enlightens us as to the 'symbol', or 'Coat of Arms' that represents the brand, and what it consists of. Octavia Cook has made jewellery based on famous silhouette jewellery that includes the silhouette of Queen Elizabeth II, in the piece Mutual Appreciation Brooches; OC Wearing QEII AND QEII Wearing OC.

Cook uses materials such as acrylic to make her pieces. Most probably because this is an inexpensive material that is easily sourced. It comes in a range of different colours; Cook uses a lot of different colours in her works. It is also an easily shaped material and can be adhered to other materials easily.

Miles, A. (2009). Octavia Cook. In. F. Campbell (Ed.), The Big Book of Essays: New Zealand Contemporary Art from the Real Art Roadshow: Silver Collection (p. 7). Wanaka: Real Art Charitable Trust.

Wayne Barrar

This piece of writing is about Wayne Barrar's photography work that shows familiar New Zealand landscapes juxtaposed with signs of humanity. It is written by Jill Trevelyan, and she has used Barrar's "Beneath Bowen Falls To Mitre Peak, Fiordland 2000" as an example to illustrate the nature versus man-made seen in Barrar's work. Barrar photographs NZ landscapes that have man-made objects in them, such as the wooden boardwalk composed directly in the centre of the particular work mentioned. Trevelyan writes of other examples of Barrar's work, such as a photograph of the Mohaka forest featuring a power pylon.

Trevelyan reflects on the fact that photography replaced the purpose of painting, which is to capture scenes for republishing. Barrar uses his photography to show these landscapes to an audience to show the transition of beautiful, untouched landscape to a human occupied and changed area.

Trevelyan, J. (2009). Wayne Barrar. In F. Campbell (Ed.), The Big Book of Essays: New Zealand Contemporary Art from the Real Art Roadshow: Silver Collection (p. 1). Wanaka: Real Art Charitable Trust.

Moving Image: High and low key lighting

Low Key lighting - For these images, a bright, high-positioned light was pointed towards the subject matter, Rimal. In the first image, the lighting appears to be more dispersed as the light was pointed more directly to Rimal, whereas in the second image the lighting appears harder and darker as the light was positioned to the side of Rimal on a diagonal. He was also standing near a black wall which took away some of the light.

Low Key moving image clip:
https://www.youtube.com/watch?v=vwUcnVMEexM&feature=youtu.be

High Key lighting - For these images 3 lights were set up; key, fill and back lights. This provided a softer look and the subjects, Shane and Rimal were lit evenly.

High Key moving image clip:
https://www.youtube.com/watch?v=hBF2Hc5iHws&feature=youtu.be

Collaboration between myself, Shane, Rimal, Deb and Tyler.

Moving Image: Blair Witch Project and a picture/clip a day videos

Seeing as my film is going to be clips of me, camera handheld pointed at my face, I have decided to look more closely at The Blair Witch project. There are quite a few scenes in the movie, particularly towards the end that have the camera being held by the person filming themselves. The shots range from close up to extreme close up. I will look at other works by directors Daniel Myrick (Believers 2007 - remake of John Schlesinger's film The Believers 1987) and Eduardo Sanchez (Altered, 2006).

Link to Heather's close up monologue: https://www.youtube.com/watch?v=DuyeQYQqnhk

 Altered (Eduardo Sanchez)

Trailer: https://www.youtube.com/watch?v=BbeXGNiASEw

Believers (Daniel Myrick)

Trailer: https://www.youtube.com/watch?v=-wle8IrMajQ

I have also looked at videos on Youtube where people have taken 1 photo a day for a period of time. This one in particular fits in with my theme as it begins with the woman appearing to be happy and eventually her expressions change as bruises appear on her face and by the end she appears very sad and her face is covered in wounds.

https://www.youtube.com/watch?v=q4zGO78tV9s

This one is 1 second a day so more like my idea, a few second long clips as opposed to still images. Again it goes from seemingly good to something bad.

https://www.youtube.com/watch?v=RBQ-IoHfimQ

Moving Image: Re-creating an image

This is the image I chose to re-create. It is the movie poster for The Exorcism of Emily Rose

This is my re-creation. I am not entirely with the outcome as I wasn't able to find the costume I intended to use, I couldn't find the ideal location and I would have liked it to be a foggy day. I like that it was overcast and I like the pose/stance I have done however it could have been more successful had I been able to see what the camera was capturing in the instance it was captured rather than being in front of the camera.

I took it in black and white as I think it looks much better seeing as there was no fog. The original image is not in black and white but it is closer to black and white than vivid colour. I am happy with my choice to take it in black and white.

Moving Image: Mise-en-scene analysis Two Cars One Night

Costume

• childrens clothes
• flannel shirt
• hat
• homeless clothes, dirty
• singlet
• face tattoo - maori
• casual clothes - farm
• jeans

Location

• hotel
• carpark
• NZ
• rural
• Te Kaha

Lighting

• black and white
• night time
• diffused
• natural
• coming from sources within frame

Props

• cars
• ring
• bike
• book - crazy horses
• feather

Moving Image: Planning shoots