Meshes in the Afternoon Analysis

A strong theme in Meshes of the Afternoon is the interplay between shadow and light. In numerous instances, shadows are utilized along with bright light to form a stark minimalist picture of the events occurring in the scene. This is utilized in numerous instances to both portray and add mystery to the events occurring in the shot, in the early film we do not actually see the woman full on, only portraying her shadow and the shadows of the objects she interacts with. This could be seen as symbolic of an internal emptiness, as well as potentially a dark personality or a symbol of the later appearing "grim reaper".

In the later film, much focus is put a mysterious, hooded figure who the main actress pursues throughout the film. She mostly only catches glimpses of him, however the obvious symbolism of a figure in a dark cloak is that of the grim reaper. His presence in the early and mid parts of the film also foreshadows the main actress’s death at the end of the film. There is also a notable segment where the “reaper’s” face appears to be a mirror; this further foreshadows her death by cutting herself with a glass fragment.

Film Reflection 26th April 2013

Today in film, we spent some time actually studying experimental films. We looked at such films as "Firework" and "Meshes of the Afternoon". I found these to be quite revealing into the nature of the genre, as they portrayed a very Dali-esque and unrestricted style that seemed to accurately summarize the nature of the genre. I also felt that the experimental film serves as somewhat of a visual poem, where things on screen can contain much symbolism. However, it also carries over previously mentioned Dali-esque qualities, in that there is a bizarre randomness to the content of the shot. The lack of linearity in the film could open up to many possibilities, however I foresee a problem with our own upcoming film will be attempting to capture the random qualities whilst embodying sufficient meaning in our shot content. I am looking forward to this unit.

Film Reflection April 10th 2013

Today in film, we continued editing our montage. Having previously found gaping holes in the continuity of the montage, we decided to implement several modified forms of unused footage to fill gaps. We also decided that additional symbolism would aid the audience in drawing conclusions, so we added such footage as a rocket taking off, veins dilating, and of a cup overflowing. I feel that these modifications will make the film more understandable, and easier for the audience to interpret.

Film Reflection 8th April 2013

Today in class, we (having finished shooting) continued editing our final film. Though we have now come up with a structure with the film, and have edited about half of it, we are noting that there are instances where the flow is not so obvious. Though such elements are common in some types of montage editing, we have began looking for sound and stock footage to complement the footage we took, as well as trying to make the film more linear and understandable. I believe we should be able to achieve this by the end of this week.

Montage Editing Notes

What is Montage Editing?

• The production of a rapid succession of images in a motion picture too illustrate an association of ideas.
• E.g. : Rocky training montage
• Helps to establish characteristics and themes
• [Montage is] "the nerve of cinema...to determine the nature of montage is to solve the specific problem of cinema."

Soviet Montage Theory

• Lev Kuleshov
• Russian filmmaker and theorist
• Idea that the juxtaposition of different images can lead the viewer to reach different conclusions about the action in a film.

Kuleshov Effect

• Not just the acting or content of the scene that can elicit an emotional response
• The viewer brings their own emotional response

Sergei Eisenstein

• Believed that editing could be used for more than just showing a scene
• Felt the "collision" of shots could be used to manipulate the emotions of the audience and create film metaphors
• Differed from Kuleshov in believing that "each sequential element is perceived not next to each other, but on top of each other.

Eisenstein's Movement Theory

• Discontinuity editing
• Violations of continuity rules including the 180 degree rule
• Transitions between shots are deliberately obvious, less fluid, and non-seamless
• Argued that montage is inherently dialectical (new ideas emerging from conflict)

Eisenstein's Montage Theory

• Eisenstein developed what he called the methods of montage
• Metric
• From "October"(1927)
• Editing follows a specific number of frames regardless of what happens to the image
• Simple relationships between images work best
• Suitable for simple marge-time montages
• Can overcomplicate emotionally (DANGER)
• Rhythmic
• From "Batlteship Potemkin" (1925)
• Focuses not on the time between shot changes but key movements in the frame (eye movements.
• Tonal
• From "Battleship Potemkin" (1925)
• Focuses on the emotional meaning of the shots, not just manipulating the temporal length of the cuts or its rhythmical characteristics.
• Overtonal
• From "Strike" (1926)
• The interplay of the metric rhythmic and tonal characteristics
• Intellectual
• From "Strike" 1925
• The introduction of ideas and associations into the edit
• Conflict juxtaposition of intellectual effects

Film Reflection 14th March

Today in film, we continued planning our movie.  After consideration, we decided to change the theme of the movie slightly from "The Consequences of Experimenting with Drugs" to a more twisting concept that the drug would at first enhance the person in question, before gradually injuring him and eventually killing him. We refined many of the details we had discussed, and began finalizing a list of recurring shots we would want to include in our movie:

• Apple being cut, first calmly into quarters with a knife, and later violently into random pieces with a cleaver
• Heart rate monitor, gradually slowing and stopping
• Chess game, which at first the Person wins, but he is gradually beaten by an unseen character who in the final shot of the film is revealed to not exist at all.
• Person working on math problems. At first he has trouble, but after taking the drug the problems are solved faster and faster. However, after the side-effects of the drug begin to appear, the film begins to reverse, showing him erasing his progress, until the page is empty again.
• Person reading a book. He reads faster and faster, eventually finishing it and putting it down. However, he opens it later, only to find that the pages of the book are blank.
• After about halfway through the film, the side-effects of the drug begin to kick in. This is shown by gritted teeth, spasming fingers, etc. This will be interspersed with the "bad" incarnation of each of the previous shots.

We have begun refining this into a shot list, and anticipate finishing our shooting by the end of this week.

22nd February Reflection

Today in film, we reviewed all the work that we had done and watched the products of everyone. Here is the feedback I had for each film:

An Unreliable Narrator:

- Good Opening (nice cuts, good variety)

- Good relationship.comparison between main character and "narrator

- Good score (matches modern feel of the film)

- Good variety of locations/portals

- Plot very similar to Stranger than Fiction

Operation Personatus

- Good Score

- Transitions a little shaky

- Awkward sound cut at the beginning

- Overall good sound quality for most of the footage

- Good transitions

- Bad resolution for a couple of scenes

- Nicely bizarre ending

Reversal

- Good score

- Inconsistent sound

- Good sound effects

- Good portal ideas, some felt rushed

- Nice POV shots

Tea Time

- Not Rod Sterling (guy credited in the beginning was in fact Rod Serling)

- Appropriately creepy

- Good costumes

- Very Alice in Wonderland

- Good portals (not exactly portals, more planned cuts but still effective)

- Good actual portals

- "Yakkety Sax" device employed a little too much

- Weird audio transitions

- Good twist at the end.