Sound, particularly for cinema, most assuredly develops upon added value. This thought process of 'added value' is what keeps moviegoers a'goin'. People wish to feel entrenched in their films. I'm not knocking silent films of the past, I love them, but with the Jazz Singer and the invention of synchronized sound, the film industry boomed. It became a magical experience for viewers. A true escape from reality and a trip "Through the looking glass" so the speak.
The ideas of empathetic and anempathetic music was pretty interesting. The proper flow or juxtaposition of sound compared to the music truly creates and/or affects mood tremendously. I find the more creative and fun aspect is figuring out ways to juxtapose music with the images of my films. To place a completely comical soundtrack over morose and dramatic events tends to really bring out the emotions of the acting. I don't know exactly why that always is...I just know it works and agree with it.
The one thing within the article I don't know if I entirely agree with is the vectorization of sound compared to Images. Chion claims that sound is much more affected by reversal. I don't know about that specifically in the case of cinema. If film footage is moving backwards I tend to notice that pretty quickly as well. It's a devestating difference in the physics and movement of the people. And music could also have a smooth and simple enough rhythm that it may work backwards. I suppose it would be an interesting experiment to try out.
Sunday, February 21, 2010
Sunday, February 14, 2010
Cameraless Filmmaking...So far...
I must say, I have been having a blast working on all of our projects thus far. Simply being introduced to these new methods and styles has been quite evocative and exhilerating. The Pez animations were so creative using everyday objects, such as the pizza ala Pac-man, that it really inspired me to think outside of the box as much as possible for these upcoming projects. I'm hoping my partners and I can come up with something equally as unique for our stop-motion animation projects.
Coloring on the film stocks was also pretty interesting. I believe myself to be a painter at heart and being able to work with inks and color in an entirely new fashion was a lot of fun. The scratch and tear methods are also quite fun, I'm excited to see what our final products will end up producing when run through the projector. It's crazy to think that we create our pieces, attempting to manipulate the filmstrips with something in mind...but then have something much more unique and special sort of result from the unexpected tampering and blowing up of the images. I can truly say I'm excited to see where we go from here.
Coloring on the film stocks was also pretty interesting. I believe myself to be a painter at heart and being able to work with inks and color in an entirely new fashion was a lot of fun. The scratch and tear methods are also quite fun, I'm excited to see what our final products will end up producing when run through the projector. It's crazy to think that we create our pieces, attempting to manipulate the filmstrips with something in mind...but then have something much more unique and special sort of result from the unexpected tampering and blowing up of the images. I can truly say I'm excited to see where we go from here.
Sunday, February 7, 2010
Theory of Animation Response
Though I find that I am actually more attracted to the orthodox 'cel' animation style, I very much found Wells' article quite intriguing, particularly the basic contrasts between the two different styles of orthodox and experimental animations.
I find the most attractive aspects of experimental animation to be the concepts of dynamics of musicality and the presence of the artist. The rhythms and colors of any form of experimental film are crucial. It creates a beautiful flow and essentially develops a sense of specific non-continuity as stated in the article. This flow seemingly connects all images and shapes placed on screen, providing the viewer with a substantial connection throughout the film. The idea of the artist standing out as an individual is also quite exciting. The singular artist in question, works to express his/her indivual emotions, mindsets, or creative urges on screen through the means of experimental animation. The orthodox animator must adhere to strict guidelines, creating similar images as the previous animator in his line of essentially industrialized production. Not to discredit that type of animation whatsoever. I find it to be quite difficult and admire all those that have dedicated their lives to producing legendary cartoons such as the seminal Chuck Jones. I believe that either stylistic form that one may choose will lead to great artistic benefits in its own right.
I find the most attractive aspects of experimental animation to be the concepts of dynamics of musicality and the presence of the artist. The rhythms and colors of any form of experimental film are crucial. It creates a beautiful flow and essentially develops a sense of specific non-continuity as stated in the article. This flow seemingly connects all images and shapes placed on screen, providing the viewer with a substantial connection throughout the film. The idea of the artist standing out as an individual is also quite exciting. The singular artist in question, works to express his/her indivual emotions, mindsets, or creative urges on screen through the means of experimental animation. The orthodox animator must adhere to strict guidelines, creating similar images as the previous animator in his line of essentially industrialized production. Not to discredit that type of animation whatsoever. I find it to be quite difficult and admire all those that have dedicated their lives to producing legendary cartoons such as the seminal Chuck Jones. I believe that either stylistic form that one may choose will lead to great artistic benefits in its own right.
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