Wednesday, May 03, 2006

Lacking Scorsese

Handed in the writing assignment, and I’m not too happy with it. I can’t help but feel I could’ve done so much more with it if I had given it my whole attention for a week or so. Instead I’ve faffed about, trying to do both the article and my studio work, and guess what, it’s suffered for it. Thinking over the weekend I realised I hadn’t written anything about Mean Streets + early Scorsese in it, which seems so silly as he was both a big influence on Meadows, and his films, particularly his early work, had a lot of autobiography in it, or to be more precise, Scorsese drew a lot from his own childhood, growing up in New York, for the work.
Meanwhile, the studio work has been going well. I’m very happy with the finished Pt. III, and the ultimate effect it has on the viewer. I do however have some problems with it which need resolving before I show the piece. It works best when projected very large, which will be fine for the degree show, but the cropping techniques I use, which reduce the image to 1/5 of the screen before filling it once again, are problematic in that it reduces the overall visual impact of the piece. The viewer is constantly prevented from seeing the whole image, and it is at these instances where they can focus their eyes (and mind) once more. I want to avoid this, and instead force the viewer to become almost hypnotised by the moving image. Preventing them from re-adjusting to a new image is a good starting point for this, so I should therefore try this and develop from there.
Before I do this however, I should complete the whole film. Pt. IV has begun, and is once again a very process based work, thought the visual results of the process are more interesting than I fist anticipated. Like my degree postcard, the initial image is made up of the clip tiled to fit the screen, this then zooms out to reveal more clips, and more, and more, and continues to reveal clips until the screen becomes nothing more than a glowing matte of colour. An interesting discovery was that after a while the zoom out can no longer be recognised, and instead the image seems to vibrate on the screen, getting closer and further away in quick succession. I will, this week, continue to develop in a similar vain, experimenting with different attributes. Pt. IV would appear at first to be one of the more sedate pieces in the film, but, once the sound is taken into account, becomes a behemoth, an all encompassing expanse of noise (both visual and aural), but one in which the constituent parts have been displayed to the viewer all along.


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