Here is the link to a scene from the movie "The Dead Zone":
http://www.youtube.com/watch?v=mLhFIwkbtJI
I do not have a .pdf Creator or Distiller program, so I could not turn the script translation into one. Instead, I am just copying and pasting what I wrote. I hope this suffices.
FADE IN
INT. MAN'S HOUSE - DAY
CHRISTOPHER WALKEN is standing in a MAN's living room. A sidetable is to his right with a vase sitting on it. CHRISTOPHER WALKEN takes his cane and bats it at the vase. The vase SHATTERS into many pieces. Reacting to this, the MAN and his SON look up to CHRISTOPHER WALKEN.
CHRISTOPHER WALKEN
(shouting)
The ice is gonna break!
FADE OUT
This scene is short and sweet, and is based solely around its sound. I couldn't find a clip on YouTube that was a little bit longer than this, but everything that leads up to the vase smashing is conversation. Walken destroys the vase to grab attention, and the film accomplishes that task very well in this scene.
The Gestalt principle is displayed perfectly in this scene. The vase is in the picture when smashed, and it can be seen breaking and knocking over the sidetable, which establishes figure and ground. Illusion is also employed because Walken may have broken that vase with a cane, but there is absolutely no chance that director David Cronenberg ordered him to stand a foot away from an actual glass vase and recklessly break it. That would be dangerous. Instead, the illusion is presented from a recording that sounded as if Walken smacked the object with his cane and it appeared realistically as if glass shattered into many pieces.
Concerning listening modes, this particular scene does a good job of demonstrating both casual and semantic sound. The casual sound in question is very obvious. At the end of this scene, Walken screams urgently at the man. That sound is actual; he is recorded in yelling that line. As mentioned in the above paragraph, the vase breaking could not possibly be actual and was recorded after this was filmed. Glass shattering was recorded to be representational of what took place in the scene.
Sunday, January 29, 2012
Thursday, January 26, 2012
Brainwashed
Here is a link to Seth Godin's "Brainwashed":
http://changethis.com/manifesto/show/66.01.Brainwashed
Godin speaks of several different layers to reinvent yourself as a creative person. One of these methods is called "acknowledging the lizard." The lizard in question is what Godin refers to as the fragile, easily embarrassed and doubtful part of your brain. He asks that we simply acknowledge its awareness, but push it to the side in order to succeed with our work. Another layer is the opposite of success; failure. We need to be familiar with failure because it is nearly unavoidable and can be overcome easily if met with pride and acceptance. Shipping is another layer that tells us to just create and display our work without care of failure, because we are doing work rather than stalling.
These three particular techniques of creativity that Seth Godin talks about in his manifesto all can relate to the blogging activities that I have been assigned for this class. For one thing, the lizard part of my brainstem referred to in "Brainwashed" is always present when I sit down and type out a new post for an exercise. The primary reason for that is because my blog is by no means personal; it is on public display and can be linked to from my teacher assistant's own blog which all of my fellow lab classmates are connected to as well. All eyes can be on this blog at this very moment, and I may not even know it. Therefore, when I begin to write a new post, that lizard is conscious of what others may think when and if they decide to read my blog's posts. Thoughts run through that easily embarrassed brain area regarding whether the classmates will think my ideas and analyzations are laughable or not. Classmates do not even have to be looking upon this, this is open to the public, so run-of-the-mill internet bloggers and perusers could potentially be reading and gawking. At least, this is how the lizard feels.
I get past that fear with much ease however, because as Godin suggests, I acknowledge that lizard, and immediately press onward. Mainly for the reason that I need to complete the assignments to earn a grade for the class, but also because acknowledging and ignoring the lizard has become an essential element to producing work that is available to the public eye.
Seth makes a good point about the stage of failure, too. Related to a situation such as these blogging assignments; let's say that I had published a new post that was worked on very well, but received a bad grade for missing the point. My best option at that time is to learn from my mistakes and rebound. Failure is natural and unavoidable, so the best thing to do is accept it with dignity and determination for the next project.
Shipping is something I do with these posts because the syllabus actually suggests that I avoid churning them out at the last second. Instead, I try to get these assignments done faster than others may take to get around to it. A benefit of this is that a lot of times, I have completed these before the weekend. That way, I do not have to worry about them. As a creative person, posting these at a steadier pace allows me to think and type with a clearer mind.
http://changethis.com/manifesto/show/66.01.Brainwashed
Godin speaks of several different layers to reinvent yourself as a creative person. One of these methods is called "acknowledging the lizard." The lizard in question is what Godin refers to as the fragile, easily embarrassed and doubtful part of your brain. He asks that we simply acknowledge its awareness, but push it to the side in order to succeed with our work. Another layer is the opposite of success; failure. We need to be familiar with failure because it is nearly unavoidable and can be overcome easily if met with pride and acceptance. Shipping is another layer that tells us to just create and display our work without care of failure, because we are doing work rather than stalling.
These three particular techniques of creativity that Seth Godin talks about in his manifesto all can relate to the blogging activities that I have been assigned for this class. For one thing, the lizard part of my brainstem referred to in "Brainwashed" is always present when I sit down and type out a new post for an exercise. The primary reason for that is because my blog is by no means personal; it is on public display and can be linked to from my teacher assistant's own blog which all of my fellow lab classmates are connected to as well. All eyes can be on this blog at this very moment, and I may not even know it. Therefore, when I begin to write a new post, that lizard is conscious of what others may think when and if they decide to read my blog's posts. Thoughts run through that easily embarrassed brain area regarding whether the classmates will think my ideas and analyzations are laughable or not. Classmates do not even have to be looking upon this, this is open to the public, so run-of-the-mill internet bloggers and perusers could potentially be reading and gawking. At least, this is how the lizard feels.
I get past that fear with much ease however, because as Godin suggests, I acknowledge that lizard, and immediately press onward. Mainly for the reason that I need to complete the assignments to earn a grade for the class, but also because acknowledging and ignoring the lizard has become an essential element to producing work that is available to the public eye.
Seth makes a good point about the stage of failure, too. Related to a situation such as these blogging assignments; let's say that I had published a new post that was worked on very well, but received a bad grade for missing the point. My best option at that time is to learn from my mistakes and rebound. Failure is natural and unavoidable, so the best thing to do is accept it with dignity and determination for the next project.
Shipping is something I do with these posts because the syllabus actually suggests that I avoid churning them out at the last second. Instead, I try to get these assignments done faster than others may take to get around to it. A benefit of this is that a lot of times, I have completed these before the weekend. That way, I do not have to worry about them. As a creative person, posting these at a steadier pace allows me to think and type with a clearer mind.
Tuesday, January 24, 2012
Finding Your Howl
Here is the link to Jonathan Flaum's "Finding Your Howl":
http://changethis.com/manifesto/show/51.01.YourHowl
Within the first story, the last remaining red wolves are taken into captivity in an effort to preserve their species. After some time, the offspring are let back into the wild. Because that environment is new to them, one wolf named Mumon struggles to adapt and kills his food with shame. In order to learn that hunting is natural, he undergoes a metaphorical experience that ultimately teaches him to "find his inner howl." Essentially, he learns his true self by stepping out of a familiar territory and into a new one that brings about his true character.
Here is a link to Kurt Vonnegut's "Breakfast Of Champions":
http://www.barnesandnoble.com/w/breakfast-of-champions-or-goodbye-blue-monday-kurt-vonnegut/1100271341?ean=9780385334204&itm=5&usri=kurt+vonnegut
Kurt Vonnegut is undoubtedly my favorite author of all time. I have read many of his novels, but one of the more recent books that I have taken the time to read is his successful work entitled "Breakfast Of Champions". I have yet to finish every single written piece that Vonnegut has published, but of the works that I have sampled, this book is by far the man's most abstract, interesting, and creative.
The story is a rather simple one. It involves two men; a car salesman and an aging, unsuccessful science-fiction writer. There is no convoluted or complex plot line regarding these two characters. The only thing that binds them is the author's will, which Vonnegut makes clear to the reader on the first page. That's correct, Kurt Vonnegut addresses the reader of his book at all times. Most authors have a voice in their books by acting as the narrator, or some other type of omniscient or omnipresent being. What occurs in "Breakfast Of Champions," which I have never seen in any other novel, is that Vonnegut chooses to act as not just a narrator, but the very obvious author that he is. At first, it is slightly surreal and odd, because he is very casual about speaking with you as a reader. What amazed me was his range of creative control with this book. He does not stop at being conversational, but he even goes so far as to let the reader in on what he will be writing in the story, and also the reasons to why he wrote it that way.
Now, more often that not, this technique is used for a postmodern, comical effect. After all, postmodernism and dark comedy are Kurt Vonnegut's writing fortes when literature is concerned and he is generally regarded as the master of those two attributes. His approach proves to be quite efficient, but under the surface, he unearths a new creative space for writers and artists alike to explore. Breaking the proverbial fourth wall is intriguing when used in movies, but when it happens in this book, and for the entire length of the story at that, it brings about a change in the boundaries of creativity.
In essence, Vonnegut makes a statement in "Breakfast Of Champions" that claims that there are really no boundaries in which writers, musicians, moviemakers, painters, photographers, or any other type of artist must stray away from. Being a musician and aspiring filmmaker myself, Kurt's novel speaks to me on a very high level. This book both reinforced and practiced the principle of art's endless possibilities. Limits do not exists when tapping into one's creative side. Many other examples of art have also echoed this mantra in their own way, such as Lou Reed's "Metal Machine Music" album which was comprised of only harsh, widely unappealing, metallic clanging sounds and any works of Jackson Pollock, who made artwork by splashing and drizzling paints over a canvas from an above ceiling. There is a litany of others who have followed this creative egalitarianism. Vonnegut's novel in particular drives the point through that the best way to be creative is to tear down all limitations.
http://changethis.com/manifesto/show/51.01.YourHowl
Within the first story, the last remaining red wolves are taken into captivity in an effort to preserve their species. After some time, the offspring are let back into the wild. Because that environment is new to them, one wolf named Mumon struggles to adapt and kills his food with shame. In order to learn that hunting is natural, he undergoes a metaphorical experience that ultimately teaches him to "find his inner howl." Essentially, he learns his true self by stepping out of a familiar territory and into a new one that brings about his true character.
Here is a link to Kurt Vonnegut's "Breakfast Of Champions":
http://www.barnesandnoble.com/w/breakfast-of-champions-or-goodbye-blue-monday-kurt-vonnegut/1100271341?ean=9780385334204&itm=5&usri=kurt+vonnegut
Kurt Vonnegut is undoubtedly my favorite author of all time. I have read many of his novels, but one of the more recent books that I have taken the time to read is his successful work entitled "Breakfast Of Champions". I have yet to finish every single written piece that Vonnegut has published, but of the works that I have sampled, this book is by far the man's most abstract, interesting, and creative.
The story is a rather simple one. It involves two men; a car salesman and an aging, unsuccessful science-fiction writer. There is no convoluted or complex plot line regarding these two characters. The only thing that binds them is the author's will, which Vonnegut makes clear to the reader on the first page. That's correct, Kurt Vonnegut addresses the reader of his book at all times. Most authors have a voice in their books by acting as the narrator, or some other type of omniscient or omnipresent being. What occurs in "Breakfast Of Champions," which I have never seen in any other novel, is that Vonnegut chooses to act as not just a narrator, but the very obvious author that he is. At first, it is slightly surreal and odd, because he is very casual about speaking with you as a reader. What amazed me was his range of creative control with this book. He does not stop at being conversational, but he even goes so far as to let the reader in on what he will be writing in the story, and also the reasons to why he wrote it that way.
Now, more often that not, this technique is used for a postmodern, comical effect. After all, postmodernism and dark comedy are Kurt Vonnegut's writing fortes when literature is concerned and he is generally regarded as the master of those two attributes. His approach proves to be quite efficient, but under the surface, he unearths a new creative space for writers and artists alike to explore. Breaking the proverbial fourth wall is intriguing when used in movies, but when it happens in this book, and for the entire length of the story at that, it brings about a change in the boundaries of creativity.
In essence, Vonnegut makes a statement in "Breakfast Of Champions" that claims that there are really no boundaries in which writers, musicians, moviemakers, painters, photographers, or any other type of artist must stray away from. Being a musician and aspiring filmmaker myself, Kurt's novel speaks to me on a very high level. This book both reinforced and practiced the principle of art's endless possibilities. Limits do not exists when tapping into one's creative side. Many other examples of art have also echoed this mantra in their own way, such as Lou Reed's "Metal Machine Music" album which was comprised of only harsh, widely unappealing, metallic clanging sounds and any works of Jackson Pollock, who made artwork by splashing and drizzling paints over a canvas from an above ceiling. There is a litany of others who have followed this creative egalitarianism. Vonnegut's novel in particular drives the point through that the best way to be creative is to tear down all limitations.
Friday, January 6, 2012
Deconstructing Characters
Character: Batman
Batman's color scheme ranges from black to dark blue for the majority of his costume. There is also a bit of grey included in his palette, but the main focus is on the two aforementioned hues. These colors come in handy for Batman because he primarily does his superhero work during the night time, which works to his benefit because he is able to blend in with the darkness or at least go unseen for a large amount of time. Also, he chooses the color black because of its obvious relation to bats, on which he bases his uniform and persona.
Batman is at all times masked in shadows. This mostly has to do with his choice of only appearing during nightfall. That way, by lurking in the darkness, his visibility is concealed due to the combination of the light fixtures of his surroundings and his costume's array of colors. Another reason that Batman keeps in the dark is because in reality, he is a human being named Bruce Wayne, and has a job as the president of Wayne Enterprises. He only has time to fight crime and evil as the "caped crusader" when he can escape the public eye, after the sun goes down.
Every time that Bruce Wayne dons the cape and mask to become his alter ego Batman, he resembles an average forest bat. The reason for this is because as a child, Mr. Wayne had a traumatic phobia of those animals. However, through the death of his parents, he grew to overcome his fear. Now, he serves justice vicariously through bats. For instance, he has taken the symbol of what once had haunted him constantly, and now uses it as a symbol to strike the very same fear into the hearts of every villain that inhabits Wayne's hometown of Gotham City.
Antagonist: The Joker
Batman's ultimately well-known villain to most comic book readers and moviegoers alike is The Joker. His color scheme relies heavily on the use of the hues of purple and green. These two colors are derived most likely from the generally festive nature associated with the atypical clown and joker manifestation. This nature generally includes bright and flashy colors, such as the purple and green in question. The Joker's presentation of these colors is also an effort to give the impression of "popping out" at you when they are seen. After all, this is partly his goal; to appear surprising and frightening.
The Joker's lighting is the very same as Batman's lighting. Both of them surround themselves in darkness. However, The Joker does this for a completely different reason. Whereas Batman chooses dark settings to perform in because it shrouds him from enemies and therefore allows him to seemingly come out of thin air, his antagonist acts in the same lighting simply because his character is an evil villain, and is thusly associated with darkness as all villains usually tend to be. In the same way that good values are held in high regard and possess a "light" quality, The Joker's villainy is held in the opposite regard, meaning that he is consumed by the "dark" side of things.
The character of The Joker has always been a convicted and apparent psychopath. Because of this, he takes the shape of some composition of a court jester, a clown, and the "joker" depicted on cards in a regular deck of fifty-two. His reason for doing so stems from his insanity. He is in a very poor state of mentality, and therefore laughs at everything at all times, and considers everything to be some sort of a joke. Taking influence from his prankster-like and inappropriate personality, he always bears the resemblance of a jester-type being, because jesters are always pertinent to jokes and entertainment.
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