My food cultures consist of two main areas.  Here at school I adhere strictly to dinning hall food and whatever I can fit into my microwave, save for the occasional Big Mama’s.  Rationing cash mostly leads to unhealthy and processed foods.  This is not to say that I don’t eat healthy at home though.  Hailing from South Jersey, where Philadelphia is only blocks away, I heavily dine on cheese steaks or a hoagie from Wawa.  Regionally, my area is also heavily flooded with fine Italian and seafood restaurants.   

blog 8

http://changethis.com/

Brainwashed is simply a rant on the conformity of the world.  As many things before, it presents “layers” that, when conquered, will lead to success.  Seth Godin poses the thought that we are all blessed with lizard brainstems, which, true or not, posses us to hang our heads in defeat quite easily.  They advise us to fail when given the chance.  This is coincidently another layer… fail.  Failing not only encourages risks, it also tares down fear of failing.  Apparently failing causes art.  Which should be shipped.  Shipping is the key to success over competitors.   Being accessible and having product is a huge step past your lizard brain.

These blogs are roughly what you make of them.  There is no denying that full participation in these blogs demanded one to inadvertently apply the concepts we have learned in class.  There is no denying that nothing but experience and comfort with the subjects at hand can come from these assignments.  While the intentions of these assignments are good, the broad nature of the material detracts from intimacy with the projects.  Seth Godin is not necessarily lying with his layers.  They just aren’t a guarantee.   It’s ironic that the message he is trying to spread uses all the same mediums as those who “brainwash”.  His message is very ant conformist, yet it intends to persuade.  As largely ironic as it is, much like the blogs, if a full commitment is made, the outcome will be largely good.  Technically the experience gained from these blogs is a good thing, however a more engaging, and focused medium would have been better. Strangely enough, I feel that the creative process works well when approached from many angles.  Material created from the Godin approach will be raw and new.  It may be highly praised but not highly marketable.  If you follow a rigid creative process, and walk proven paths with proven formulas again, you may have a highly valuable product.  Chances are it wont be new, but art will be created nonetheless.  

blog 7

http://www.youtube.com/watch?NR=1&v=dPNPQoIuRxw

The theme of the whole movie Johnson Family Reunion, as implied in the title, is caring about family.  Without a doubt, while humor may skew slightly mature at times, there is strong emphasis on the power of a respectable, devout family.  From start to finish, the scene goes from father son bonding, to sacrificing for family, to defusing tension, and finally cleaning up for “mom”.  The main binding force in the family, the father, is flung briefly through all antagonistic characteristics of his family.  Despite the flaws he manages to maintain his family, which he ultimately only cares about.  While this scene shows the theme as only slightly didactic, even possibly more passive, the movie is largely didactic.   

Like much of the movie, the scene has very minimal visual themes.  The emphasis is on unity as would be suggested by the visuals.  Most of the shots contain lines that show obvious affinity.  Rhythm and movement are easily distinguishable, and their intent is obvious.  Since most of the shots consist of close ups and medium shots, there is little shown on screen.  This is intended, as there is nothing to distract from the primary movement on screen. 

         Throughout the shots the only actual lines on the screen are the horizontal and vertical lines of the house and yard.  While humans are mostly curved lines, the clothes of the mom and dad were strictly linear.  These align nicely with the minimal background lines, pushing the feeling of unity.  The only virtual lines on screen are the actors addressing each other.  Again emphasizing importance on family.  The daughter, while in the family, is being portrayed antagonistically.  Her lines are very curved, in stark contrast to the rest of the scene.  Both her clothes and motion is in opposition of that already established.

         With motion in the scene very rigid, the daughter’s speed and quality is quickly noticeable.   She is constantly moving in very curved, rhythmic patterns.  Much of her actions feel wrong and out of place, as is intended.  Her speed is much faster than her parents, which also shows youth.  Tertiary movements only show emphasis on the Johnsons.  At no point does camera movement or cutting imply importance on anything outside of their vacation and being together.   Space is kept minimal as well as to not detract attention.  

blog 6

The two images from SpongeBob Squarepants capture different moods with different techniques.  Both pictures use light and color to show motivation and meaning.  Both pictures have very little movement, but the point is emphasized nonetheless.  The subject and shot of both images is nearly identical as well.  Since the images are from the same show, the color pallet is nearly identical; the only difference is brightness and saturation.  However ridiculous the color scheme, the shade of yellow in both pictures tell of different moods.

            The first picture shows the subject lit from above with some intensity.  It suggests power and importance.  Spongebob is bright, the focus of not only the audience, but the fictional audience as well.  The background carries almost no brightness, giving depth and drawing no attention.  The sole shadow lies directly below the subject.  This eliminates the feeling of a skewed view and gives a scale of proportion.  The only perceivable movement in the picture is SpongeBob’s face.  Strong stance lines indicate a fixed pose.  Curved facial features however suggest movement and current motivation.  Along with the commanding lighting, emotional facial features show importance.  Surrounding this in red also calls attention to the matter.  There are strong parallel lines in the back.  This shows some urgency in the situation.  The entire context of the shot effectively conveys all aspects of the situation that matter to the audience. 

            The second picture makes good use of the rule of thirds.  There is much less saturation in the picture which gives it a softer feel.  The foreground is lit only slightly brighter then the back.  It appears to be early in the morning; colors do no appear to there fullest yet.  Strong lines indicate direction and intention.  Movement is absent from the picture however.  Light appears to be from the left, showing that the character is addressing not the light source itself, but rather what the light appears to be illuminating.  Unlike the first picture, moods seem to be less tense, rather joyous maybe.  Rather then urgency, we get a sense of hiatus.  The only driving force here is SpongeBob’s reaction.  Almost all straight lines are lined up by the rule of thirds, which cause the grouped curved lines of the subjects face to become the center focus for the shot, as should be.    

blog 5

The rooftop scene of The Room appears amateur due to lack of following the basic rules.  Both the rule of thirds, and the 30 degrees rule are broken often.  The 180 was not violated though, the scene remained mostly focused in a single direction.  The entire scene consists of a conversation between two talent.  There is little action in the scene aside from slow character movement.  The only motivation of the shots is to show dialogue and reactions.  The framing of the shots is too wide on character close ups, we never get a real sense of connection during the scene. 

            Often the medium to close shots centers the subject with horizontal lines through the middle.  Often the shots consist of half of one substance and half of another.  This creates less of a relationship with the screen then following the rule of thirds.  Since there are very defined lines within the set, it’s interesting that the rule is not used more often.  Only the wide shots effectively make use of the formula.  Since the scene is obviously trying to convey stress and confusion, the lack of emotional connection due to wide framing do an effective job of masking this. 

            The scene often is very close to jump cutting.  A true jump cut is never fully made, however pointless cutting often brings the same feel.  While the scene progresses, the shots vary from a 2 shot to a 1 shot and slightly different lengths but identical angles.  Had a full zoom been used the shots would not appear so abrupt and jolting.  This is executed successfully a few times to track character movement however.  While many cuts appear random, much of the conversation is tracked effectively.  What little action that happens throughout the scene is conveyed and never vague.  The director obvious was using multiple cameras in a set environment, so all of the movement is shot from one side of the scene.  This shows the spacing rather well.  

blog 4

Such Great Heights - Postal Service

Such Great Heights - Iron and Wine

 The Postal Service made a beautiful, emotional song out of Such Great Heights.  The cover, by Iron and Wine, is no less so.  The two songs attempt to capture a similar emotion, but go about it in very different ways.  Every aspect of the song is different, from tempo to arrangement.  The Postal Service has a much fuller sound, with more instruments.  The various sounds are mostly synthetic however, aside from the vocals.  The tempo is almost twice as fast as the cover, giving it a much peppier and younger feel.  The organization of the song is simply layers of sound added onto loops.  The melody of the song is almost fully driven by the lyrics because all other sounds are adding to the beat. 

            In Iron and Wine’s cover of Such Great Heights, the tempo is slowed dramatically.  Every texture is stripped, apart from the vocals and a single guitar.  The song maintains constant growing intensity, with no drastic jumps forward or back.  The shill highs and impossible lows are exchanged for a single driving melody, which also sets the rhythm and tempo.  The emotional architecture feels much greater, even though the songs been slowed and lessened.  The lyrics have greater intensity and a slightly more varying melody.  The timbre sounds less refined and smoky.  As a whole the song feels like it carries much more weight. 

            The song was written about undying, passionate love.  It has beautiful meaning and is emotionally manipulative.  The Postal service has a consistent upbeat tempo.  The result in a rushed feeling, not how true love should feel.  The lack of real instruments lacks the authentic feel as well emotional feel.  As a whole the piece feels oddly juvenile for a song about lifetime commitment.  The slow pacing of Sam Beams version feels more thought out and authentic, a sole man and his instrument singing of love.  The lack of percussion adds to the sincerity.  There is little to distract from the solemnity of the vocals.  The gradual build draws you in at an almost unperceivable rate.  While both versions of the song are amazing, the cover simply captures the sole of the song with much more success.   

LISTENING FRAMEWORK - Postal Service

(SIMPLIFIED)

LISTENING PHASE 1 (Rhythm)

Tempo [slow, medium, fast]

Fast

Source [where is the rhythm coming from?]

synthetic drums

Groove [describe how the personality of the rhythm]

energetic, emotional, happy

LISTENING PHASE 2 (Arrangement)

Instrumentation [which instruments drive the song?]

synthetic drums

Structure/Organization [how is the song built?  Order, patterns, etc.]

repetition with its beat, with layers added in during different parts

Emotional Architecture [Draw how the song build and drop?]

the song grows from start to finish

LISTENING PHASE 3 (Sound Quality)

Balance

- Height [high and low of frequency]

a constant low frequency is heard throughout

- Width [stereo panning left/right]

no panning

- Depth [layers of instruments - via loudness]

very loud, many sounds at some points

LISTENING FRAMEWORK - Iron and Wine

(SIMPLIFIED)

LISTENING PHASE 1 (Rhythm)

Tempo [slow, medium, fast]

Slow

Source [where is the rhythm coming from?]

strumming of guitar 

Groove [describe how the personality of the rhythm]

Slow and sincere, deep

LISTENING PHASE 2 (Arrangement)

Instrumentation [which instruments drive the song?]

Guitar

Structure/Organization [how is the song built?  Order, patterns, etc.]

Single instrument with one vocal

Emotional Architecture [Draw how the song build and drop?]

remains consistent until the end

LISTENING PHASE 3 (Sound Quality)

Balance

- Height [high and low of frequency]

does not vary greatly

- Width [stereo panning left/right]

no panning

- Depth [layers of instruments - via loudness]

2 sources of sound, soft and quiet

blog 3

http://www.youtube.com/watch?v=mQ4KzClb1C4

This rooftop scene is horribly written and acted, and thusly very entertaining.  The scenes space and movement is very minimal, even though the scene lasts two minutes.  There is little character movement, and the emotion that is trying to be conveyed doesn’t work.  The voice acting voids all dialogue of emotion and motivation.  The scene doesn’t offer much space, only two seats and the corner of a rooftop.   The cameras do focus on the points of interest, however that is expected and is barely picked up on.   The characters movements seem awkward and scripted.  There appears to be no improvisation of familiarity with the script. 

            The time in the scene is also interesting.  The dialogue in the scene is short worded and quick.  The speed at which it is exchanged, and thusly the scene goes, is fast, however the location never changes and nothing seems accomplished, so the scene feels long.  This subjective time ultimately leaves a negative feeling towards the scene.  The characters are loosely introduced however.  We learn some back-story and motivations of the two main characters.  There is also mystery in the scene that foreshadows obvious plot points.  Camera shots are lackluster and basic; they focus where they need to when they need to.