Parker's 302 Experimental Blog

I have never worked with film stock professionally. The only experience I had with it was being the subject of my parent's disposable cameras for trips to Disney World or the Smokey Mountains. Taking pictures with such a permanent context made the whole experience terrifying for me. Every shot I took felt like it was a gamble, because I couldn't see what was on the film until days later. The thinking process behind taking photos on stock changed how I see photography. Being someone who always took digital photos, I was never aware of how costly and limited the medium used to be. 
 The location I took some of my pictures were in varying light conditions. I placed my subject either indoors while I was outside or outdoors when I was inside. I felt like this difference in exposure would create a good contrast. I originally wanted to take photos on the beach but I knew that would be tough. My photos could be blown out from the sun and I would have nothing to show. This is actually...

Assn. #1b I will be upfront about my opinion about sound. I don't care for it. I always seem to get my levels messed up no matter what the meter in premiere tells me. To hear that for this project that they were right relieved that anxiety. Sound is undeniably important to any form of cinema, but producing a story through sound is not my area of expertise. If I'm going to be a good editor, however, I need to become more familiar with it. My project that I presented was good in my opinion, but I always strive to have flawlessness, and that was not flawless to me. Lynne Sachs Interview I found the discussion of hot-beds in this interview to be intriguing. She mentioned asking the subjects who immigrated from China about some touchy subjects that they felt okay talking about because she didn't other them as humans. She instead asked how that made them feel, allowing them to open up and reveal their story. This subject is also interesting to me because when I visited Chin...

Absolute film to me is how I visualize cinema. To me, they are animated music videos with no lyrics, but from a historic perspective I suppose it would be the other way around. I love music videos for the reason that editing to the beat of the music isn't frowned upon as much. I have a screen in my mind when I hear music. On this screen, I have a character lip syncing, usually one of my friends, to the lyrics of the song. The scenery is a recreation of what I imagine the song to look like. The beat of the song dictates the cuts made and sometimes I even imagine choreography. I can describe an example of this from a recent video I thought of from the song "True Disaster" by Tove Lo. The song is fast paced, electronic, and dark. She is singing about a love that is forbidden yet unavoidable. I picture a black haired woman in her twenty's lying on the perpendicular to the wall with her feet in the air. The entire scene is neon red to represent her inner burning desire t...

1. Jonas Mekas I wholeheartedly appreciate the kind of cinema that Mekas makes. The home videos of his family with his dialogue creates a personable experience and that give a sense of nostalgia, even though I have never seen any of the footage or heard his voice before this presentation. He reminds me of my grandfather who obsesses over taking pictures of the family and wants to give his grandchildren life advice. To another, the experience is most likely different, but it spoke to me on an emotional level that related to. 2. Viking Eggeling and Hans Richter I found Eggeling's work to be stimulating on a visual and sound level. Even though the video had no sound, the moving of curvy lines created an inner symphony that my mind composed. It's unfortunate that he didn't make much in his lifetime though. Richter's work was fascinating to me in that it was purposely made to insult Nazis. Ghosts Before Breakfast was awkward to watch yet comical to poke fun at the Nazis ...

I find synesthesia to be interesting because the relating something such as the number 6 looking like it's green is peculiar. From what I can tell, interpretations of the number 6 will vary from person to person. One synesthesiac might see it being blue instead of green, and another will say it smells like lavender and is purple. I sometimes view things in this way, but only with songs. I tend to associate the sound of music with different seasons. Such as "Just Dance" by Lady Gaga always sounded like the season of Winter to me while "Lust for Life" sounds like Summer. Cymatics are a phenomenon in which sound takes form visually. I have never heard of cymatics before this class, but it makes sense that frequencies have their own personal patterns like snowflakes. The noise that the is made in creating these images can be obnoxious though, such as the mushroom video watched in class. I can't see myself delving into this kind of art because I have a low tole...

Sound is undeniably an important part of film. It contributes to our construction of a film universe and sets the tone for any scene. But regardless of it's importance, I don't care for the recording of sound. My dislike of sound recording isn't from this project or the people I grouped with, but the complications that arise with recording sound. I am not medically diagnosed with hearing impairment, but sound has always been a complicated thing to process for me. Is this level too much? Should I lower it to avoid distortion? Why can I not hear her? These questions arose when I recorded sound at my internship this Summer. I was required to record 3 different subjects with 3 different wireless lavaliere microphones. That means I had 1 H6 sound recording device with 3 different wireless output devices blasting 3 different voices in my head. In that very moment I contemplated if this is how someone with schizophrenia feels like, but more importantly, the experience was trauma...