christinefromageot-blog

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final project

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Animations

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For this video, the point of view was between the first and third person. The subject in the film aims to demonstrate aspects of a troubling “episode” (the reason as to why the subject behaves in this manner I purposefully left up to interpretation of the viewer). The subject displays this "episode” through shaky hand movements, rapid eye movements, compromised sense of time. The aspect of technology is also up for interpretation, hence why it it blurred. Does the phone serve as the medium of communication between the subject and others for a cry for help, or is it what sets the subject into this episode? 

The video aims to create a sense of emotion from the viewer, whether it be from discomfort from merely watching it, or causing a sense of resonation for the viewer. The open-ended aspects of the clip aim to allow for this sense of resonation. 

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Performance Part 2

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Performance Part 1

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In this project, my goal was to capture the compositional element of Framing. I paid careful attention to the subject matter of the film and the way movement was created within the frame. All of the movement was natural and was created by nature. Within each of the frames, there is some sort of manmade structure, but it interacts with natural elements. While filming, I paid carful attention to geometry, lines, and focal points in order to emphasis the frame. Compositionally, I also decided to apply a black and white filter in order to make the video flow better, as to not be distracted by differences in color. 

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Pattern

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Line

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Light

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Framing

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Examples of Spot and Line, Pattern, Framing, and Chiaroscuro.

Spot and Line: This frame (14:12) is a good example of what Freeman considers “spot and line.” In the frame, there is a dominant point of the photo (spot), the doorway, as its relationship with the rest of the frame draws us to viewing that point. Not only does the frame of the door contrast in color, as the inside is dark while it is bright outside, but we also look to the doorframe from the lines in the architecture. You can see how the direction of the floorboards bring the eye towards the frame, or how there are lines running parallel to the doorframe. Furthermore, movement within the doorframe, as seen with the car, causes us to keep our attention within that doorframe.  

Pattern: In this frame (3:51), there is an immense amount of line-pattern. First and most obvious, the fence, creates a pattern that extends outwards on both sides of the frame. The pattern is continuous, and its’s repetition from right to left (also due to the angle of the camera), allows it to become softer, and carry textural components to its look as the stakes become less defined. The continuity of lines doesn’t end there: as you can see, lines of the fence match up with lines on the window directionally (red to pink, or green to teal), which extends the pattern of the fence towards other elements of the frame. 

Framing: In this frame (1:38), placement it key. The artist framed this shot in a manner aimed to intentionally break up the frame proportional to the size of the frame. Here, we can see the door, presumably the focal point of the frame given i’s contrast, size, and position in comparison to the remainder of the frame. The door appears to be balanced out by the lamp to the right and the tree to the left. The size of these objects, especially like the tree and the top to bottom of the fence, really breaks up the frame.

Chiaroscuro: In this frame (1:38), contrast is certainly one of the most noticeable qualities. As Freedman says,  “contrast underpins composition, and one of the most basic forms of contrast is tonal. Here, we have shafts of light, illuminating through the shadow of the the tree. 

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the subject was found, not created. Our choices includes taking into account sunlight and shadows, wind, movement, positioning of trees in background. 

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SAA #1 on Pattern & Framing

SUMMARY

Pattern-Freeman

Pattern: hast at least an element of homogeneity, and therefore something of a static nature.

Prime quality of pattern- covers an areaà any border to a pattern establishes limits; if none can be seen, the image is take to be part of a larger area.

Patterns on a larger scale -> pattern extends beyond sight

Pattern depends on scale -> individual elements take on appearance of texture.

Structure- the structure of an object is its form, whereas the structure of the material from which it is made is its texture.

Types of Patterns

Like pattern, structure is determined by scale. Repeating scale of texture is related to fractal geometry.

Regular Patterns: ordered rows and other geometric arrangements of large numbers.

Irregular Patterns: grouping of objects in a close way (not uniform though).

Breaking the pattern: Pattern with a distorting/contrasting element.

Oblique Direct Lighting: light condition used to reveal texture.

Framing-Freeman

Frame: the setting for the image

Framing has an influence over the way a photo is viewed.

Positioning of an object within a frame has to be done consciously.

Justification for placing object in unnatural positions.

Placing becomes more important as the object becomes smaller in frame.

Relationship between the subject of the photo, frame, and the viewer is important.

ANSWER

There were aspects in both framing and pattern I hope to apply in my own videos, but I would say I was most fascinated by the pattern type “oblique direct lighting”. It reminds me of how interesting and eye-catching subjects become when a light source is cast upon a given subject. The first thing that comes to mind for me is when light penetrates through a window and into an object within a room, where as darkness from the room, contrasting with the light, highlights dust particles that collect on surfaces. The appearance of the dust changes the texture of the table in a way, from something smooth to something-more grainy or spotty in appearance.  

ANALYZE

The three stills taken from the video created by Marina Abramovic are very technical in their composition. All three frames have several qualities that are outlined within Freedman’s text relating to the strength in an image due to its framing and pattern style choices. In the first frame, the subject is the eyes. While it is understood that the eyes belong to the woman, as her face extends outside the frame, what is more important is the intent behind this type of positioning. Abramovic positions the frame this way to set the eyes as the subject and the focal point, drawing the viewer to look into the subject. The second frame is a shot of the same woman, yet this time the majority of her face is visible, with the exception of portions of her chin and forehead. The viewer can now see her nose, mouth, hair, and one ear. In this frame, Abramovic uses oblique direct lighting to really texturize the quality of the subject’s hair. This type of lighting, position behind and to the right of the frame, creates a gloss-like look over the subject’s hair, while also using the hair to cast a shadow over her face. Finally, in the third frame, there are many technical elements to the photo. Decisions such as the subjects clothing, the positioning of the camera, the lighting, the lines, and the subject’s relationship with other focal points within the room have clearly been made for a reason.  Unlike the past two frames, we can now see the subject’s entire body. Like Freeman says, the placement of the subject within the frame becomes more important as the subject gets smaller, which is the case in this frame. Her relationship with her surroundings therefore strengthens the surrounding objects within the frame.