Lucian Wester, Trimester 3, 2012: Difference between revisions
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The whole project eventually has not so much to do with creativity but rather more with giving a work process for a community to make a film. It is the community who needs the rules not the creativity. | The whole project eventually has not so much to do with creativity but rather more with giving a work process for a community to make a film. It is the community who needs the rules not the creativity. | ||
Propp, Morphology of the Folktale | |||
The text shows us by examining 100 folktales that there is a strict structure that makes up these stories. In the preface the author suggest that the fact that this is possible that maybe the same or similar structures can be applied to other forms of story telling. But what I think is more interesting to turn it around and think about the structure or code. Because doesn’t a code always implies a certain narrative? For example a code/structure within a factory that describes the process of making products is a narrative. At the beginning of the factory line you start with raw material and at the end of the line you end up with a finished product, a linear story. | |||
The question that remains is: if there are codes that don’t create narratives? | |||
And if there are narratives that are not build from codes? | |||
Revision as of 19:52, 23 April 2012
Trimester (1, 2 or 3), Year. OR Graduation Project, Year.
NOTE: All documentation material, PDF, photos, videos, etc, must be uploaded to the wiki. No embedding or third party hosts allowed, for obvious archiving issues ;)
NOTE: Please use "your name, the title of your project, the year" as page name.
Description
350 words including aims of the theoretical and practical research as well as its outcome.
Media
Photos
- At least 2, Max 5.
- native resolution only (that is the highest resolution you have for your photo and whatever resolution if you make screencaps)
- PNG format
Video
optional unless the final outcome of the project, or one of its main components, is a video/film/animation.
- allowed containers/codecs combos:
- WebM (preferred):
- Video codec: VP8 (3-5 Mbps data rate)
- Audio codec: Vorbis (-q 6)
- Ogg:
- Video codec: Theora (3-5 Mbps data rate)
- Audio codec: Vorbis (-q 6)
- MP4:
- Video Codec: H.264 (3-5 Mbps data rate)
- Audio Codec: AAC (160kbps or 384kbps if 5.1) or MP3 (-V0 or -b 320)
- WebM (preferred):
- resolution: 720p if source >= 720p, native resolution otherwise, progressive.
- FPS: 24, 25, 30.
- Sample rate:
- 44.1kHz if source is 44.1kHz or 88.2kHz
- 48 kHz if source is 48kHz or 96kHz
- 44.1 kHz for everything else.
Audio
optional unless the final outcome of the project, or one of its main components, is a sound piece/track.
- allowed containers/codecs combos:
- Ogg: Vorbis (-q 6) preferred
- MPEG: MP3 (-V0 or -b 320)
- FLAC (-8)
- Sample rate:
- 44.1kHz if source is 44.1kHz or 88.2kHz
- 48 kHz if source is 48kHz or 96kHz
- 44.1 kHz for everything else.
- Do not transcode! For instance, if the sound generated is directly an MP3, do not re-encode it with the settings above or with a different codec. Only encode original uncompressed or lossless compressed sources.
Essay
Abstract and bibs/ref + link to PDF (PDF must be uploaded to wiki).
Use Steve's recommendations for abstract length and bibliographic style.
texts thematic
Michel Gondry
You’ll like this film because you’re in it: the be kind rewind protocol.
Gondry starts with telling us about his utopian idea of communities making their own movies. And what he in the end creates is his utopian idea. Gondry states that he needed to make all the rules and sets in order to leave and create more space for the actual creative filmmaking. The participants otherwise didn’t know what to do or how to start. Through his protocol a group would collectively make a film whereas in Hollywood al the decisions are made by the director, Gondry explains (although I think that a producer has also al lot of influence, why otherwise al the director cuts on DVDs?). But isn’t Gondry, on a Meta level, not the director of all the movies created within the gallery space? Through his protocol there is not much space for experiment or different forms of filmmaking other than the by Gondry dictated Hollywood’s way. The whole project eventually has not so much to do with creativity but rather more with giving a work process for a community to make a film. It is the community who needs the rules not the creativity.
Propp, Morphology of the Folktale
The text shows us by examining 100 folktales that there is a strict structure that makes up these stories. In the preface the author suggest that the fact that this is possible that maybe the same or similar structures can be applied to other forms of story telling. But what I think is more interesting to turn it around and think about the structure or code. Because doesn’t a code always implies a certain narrative? For example a code/structure within a factory that describes the process of making products is a narrative. At the beginning of the factory line you start with raw material and at the end of the line you end up with a finished product, a linear story. The question that remains is: if there are codes that don’t create narratives? And if there are narratives that are not build from codes?
Additional Information
optional
- Project URL (if lives on an external site)
- extra wiki links (in case you have relevant notes/journals/documentation in your User: page, this is useful particularly if you have been asked to articulate further or refine your project during your assessment)
- Animated GIFs