14. media studies... final artefact report (death of an angel)
TRANSCRIPT
… 20 February 2015 …
MEDIA STUDIES FINAL ARTEFACTDEATH OF AN ANGEL… THROW WIDE THE GATES!…an Arthouse-Narrative by The Forest House Productions
Written & Created by…Angela p. genders
Assessment 5Final Artefact & Report
Swinburne UniversityBch Communication (Media)
[MDA30005] Media Studies Project
Angela p. gendersStudent ID: 7588690
eLA: Ben CharnleyDate: 20 February 2015
Death of An Angel –Throw Wide The Gates!
Table of Contents
Part 1: Artefact Link (Video Presentation) … page 1- “Death of An Angel –throw wide the gates!”
Time – 0:07:30:00
Part 2: Report on the Artefact … page 2- Executive Summary … page 2- 1.0. Reflection … page 3
ϗ 1.1. Imagery … page 3ϗ 1.2. Transitions & Effects … page 3ϗ 1.3. Sound FX … page 3ϗ 1.4. Music … page 4ϗ 1.5. Narration … page 4ϗ 1.6. Copyrights … page 5ϗ 1.7. Achievements … page 5ϗ 1.8. Hurdles … page 6
- 2.0. Benchmarks … page 6- 3.0. Unique-Elements … page 7- 4.0. Overview … page 8
Part 3: Death of An Angel Storyboard … page 9
Referencing & Bibliography … page 24- Copyrights … page 24- Benchmarks … page 24- Academic … page 24
Part 1…
Artefact Link (Video Presentation):
Death of An Angel… Throw Wide the Gates!Time – 0:07:30:00Video Presentation Link… http://youtu.bu/HQo8781nT2U
YouTube…Email: [email protected]: williamhayesLink URL: http://youtu.bu/HQo8781nT2U
Assessment 5Final Artefact & Report
Swinburne UniversityBch Communication (Media)
[MDA30005] Media Studies Project
Angela p. gendersStudent ID: 7588690
eLA: Ben CharnleyDate: 20 February 2015
… Page 1 …
Part 2…
Report on the Artefact:
Executive Summary:
Hallowe’en is the Festival of the Gateway to Winter, Day of the Dead and New
Year’s Sabbat of the Witches. The Australian populus each year goes through the
same debate about their reluctance to take on an American Commercialised Festival
such as this one.
Hallowe’en, Anciently known as Samhain, marks the turning of the Wheel of the
Seasons. In Heathen Tradition it is believed that the New Year begins with Winter, as
life begins with death, and the regeneration which takes place during the withdrawal
of strength and energy through this season.
Hence within the American Northern Hemisphere, this time occurs at the end of
October, the now modern-day date of the Festival Hallowe’en. In the Southern-
Hemisphere, this time occurs at the end of April. The time of the “Gateway to
Winter”.
This then, is where the conceptualisation for the “Death of An Angel” comes from.
The symbolic and physical “death” of the Festival which proceeds new life and
regeneration.
And as is also akin within the Heathen Traditions of marking the Seasons and
Sabbats, the oppositional Festival, that of “Beltane”, the Fertility-Festival of the
Union between the Goddess and the God, is also taken into consideration and
acknowledged during the Celebrations.
Despite the countless hurdles and setback undertaken during the formulation of this
project, hopefully these accounts are clearly found within the viewing of the “Death
of An Angel –Throw Wide The Gates!”?!
Assessment 5Final Artefact & Report
Swinburne UniversityBch Communication (Media)
[MDA30005] Media Studies Project
Angela p. gendersStudent ID: 7588690
eLA: Ben CharnleyDate: 20 February 2015
… Page 2 …
1.0. Reflection:
“When we tell a story in cinema, we should resort to dialogue only when it’s
impossible to do otherwise”. –Alfred Hitchcock
1.1. Imagery:
The entire artefact functions upon that of imagery. Yet it is to the utilisation of
the subtlety of these images to which gives the artefact life and movement.
Still shot photography establishes the “character” within the narrative, and
speed of camera resting upon a ‘flip-booked’ image gives a sense of pace and
movement. Yet it is to the utilisation of that with Black and White
photography that gives a sense of retrospective narrative, as well as otherworld
sense of locale, especially with the selective utilisation of minimalistic colour
shots.
1.2. Transitions & Effects:
“Adding movement to still images is a great way of drawing attention to some
feature and add drama to a lifeless photo”. [Michael Bays. 2011. Pp. 1.]
The entire visual-narrative was dependent upon that of the utilisation of
Transitions and Effects. The Ken Burns Effect, giving life and emotion to still-
photography through the use of “motion and timing to change the mood in the
viewer” [Michael Bays. 2011. Pp. 1.] was employed. The Old-Hollywood
cinematographic-styles of Hitchcock’s infamous slow-fade transitions and
zoom-ins allowed for the establishing of the primary narrative-character, with
the “death of an angel”. Whilst modern-day quick-cuts established pace and
movement, enhanced with the ease-ins and ease-outs, simulating rapid-
breathing to support and enhance the Sound-FX heart-beat and Music.
1.3. Sound FX:
As has been reflected within the “Production Journal”, sound has been a
perpetual issue throughout the production of the film. However, as the two
driving audio-techniques within the narrative were those of both “sound-fx”
and “music-accompaniment”, the utilisation of Sound FX was essential as the
Assessment 5Final Artefact & Report
Swinburne UniversityBch Communication (Media)
[MDA30005] Media Studies Project
Angela p. gendersStudent ID: 7588690
eLA: Ben CharnleyDate: 20 February 2015
… Page 3 …
binding bridges for the audial flow from one sequence to the next. Sound
demonstrates “ongoing tactics, such as: withholding sound from the viewer to
pique curiosity, exaggerating sound as a form of narrative emphasis, and
creating tension through both ambient noises and silence”. [Kinema. 2014. Pp.
1.] Hence the “heart-beat” formed these bridging-continuities throughout the
film, sewing the sequences together into one streamline narrative. With
accents such as the “toccata”; “down in the lab” and the “scarred prelude”
building emotive moments of suspense, intrigue and audience-reaction. Sound
was also utilised and accentuated through the flow of the images to rest upon a
“black screen”, so in all the audience is experiencing is the audio, allowing for
a rest, or break in the sequence to pause for suspense and expectation.
1.4. Music:
As is commonly known as reflected within the immense popularity of the
“music-video” industry, a song in itself is pertaining of a narrative and
contains within the contextual-ability to hold and sustain a dialogue in itself.
Therein, the strategic placing of popular-songs such as “Bottle of Pain”;
“Toccata and Fugue” and “Bibit Aleum”, provides the emotional-journey
required beholdant of suspense; anxiety; sadness and fruition.
The simplicity of still-photography and music over narrative was a conscious
one in order to try and maintain the purity of the storyline, and allow the
viewer to immerse themselves within the attempted journey being portrayed.
1.5. Narration:
The decision to omit narration from the Artefact was a three-fold one. First,
the Moviemaker software to which was utilised within the production of the
Artefact was not one in which was designed for the form in which it was
utilised. Ergo, its limitations were most certainly found and met. One of which
was that although narration can be recorded within the programme, quality of
sound and ability to cut and edit recordings were nigh on impossible, and
Assessment 5Final Artefact & Report
Swinburne UniversityBch Communication (Media)
[MDA30005] Media Studies Project
Angela p. gendersStudent ID: 7588690
eLA: Ben CharnleyDate: 20 February 2015
… Page 4 …
therefore would have been met with a very amateurish production value
indeed.
Second, the chosen format of image-sequence, i.e., that of still-photography
was moreso of an “arthouse” flow and form. Hence to have added narration as
an overlay to such a style would have been somewhat out of place to the
method in which the Artefact was beholdant. Narration for a short film would
have been more suited to a “documentary” and “interview” styled form. And
hence the decision to add on those of music and fx was made.
Lastly, narration would have blown the time factor way out. In order to
properly and authentically explain the history, traditions and practices of the
Hallow’s Festival, would have required a minium of double the time allotted
in order to adequately inform the audience of its value and properties.
1.6. Copyrights:
The utilisation of still-photography within the documentary-narrative came
down to simply no other choice. Thankfully however, pre-established
copyright approvals had been arranged within previous years for independent
editorial writing/design purposes. Thus, almost 1,000 images are contained
within a personal data-base from the likes of professional photographers;
models; artists and graphic-designers in which to choose from.
1.7. Achievements:
The fact that despite the hurdles encountered – the interviewee cancelling;
software technical-issues; getting extremely ill – the fact that an artefact was
able to be completed and produced at all was “the” achievement.
Beyond this however, the “Arthouse-Sequences” yielded more narrative-
weight to the film-structure than expected. When placed in conjunction with
Sound-FX and Music-overlays, their production value carried the weight of
the Documentary moreso than expected, to the point of going beyond the
values that were expected from such a simplistic idea.
Assessment 5Final Artefact & Report
Swinburne UniversityBch Communication (Media)
[MDA30005] Media Studies Project
Angela p. gendersStudent ID: 7588690
eLA: Ben CharnleyDate: 20 February 2015
… Page 5 …
1.8. Hurdles:
The primary hurdles involved were first, the fact that the scheduled-
interviewee had to cancel at the last minute due to family-circumstances,
changed the entire format-structure of the Documentary. Second, the Software,
although basic and simple to use for the novice, was too simplistic within the
realms of “sound”, causing restrictions specifically with the option for
“voiceover-sequences”. And then causing technical problems with the
independent decision to stop reading “MP3” formats and only “WAV” media
able to be imported. And lastly, time was a major hurdle. The Producers
Degree’s being so stringently planned out that not even a day-off can be
afforded within the scheduling of educational-progression, a “week” not being
able to so much as stand-up without throwing-up and passing-out prevented
the final pull-together, which would have allowed for more refined polishing
within narrated-sequences re-recorded, arthouse-narratives fine-tuned, and
overall editing-down achieved.
2.0. Benchmarks:
The original subject of the Arthouse-Documentary – The Practice of Hallowe’en in
the Southern-Hemisphere – is one which has not been encountered before. Though
through researching the narrative, the following ‘real story’ behind Halloween was
found:
The Real Story of Halloween…
https://www.youtube.com/watch?v=Hm9jeSLGTZU
It was also discovered that through that of “crowdsourcing”, the need for the telling of
these supposed Northern-Hemisphere, American Practices being beheld with
Australian Southern-Hemispheric contexts is gaining momentum:
Modern Witches & Paganism in Australia by Brittany McCowan…
https://www.kickstarter.com/projects/1226053075/modern-witches-and-paganism-in-
australia
Assessment 5Final Artefact & Report
Swinburne UniversityBch Communication (Media)
[MDA30005] Media Studies Project
Angela p. gendersStudent ID: 7588690
eLA: Ben CharnleyDate: 20 February 2015
… Page 6 …
And for knowledge and inspirational archetypes in which to formulate the
cinematography of the Documentary, those of the Title-Sequences of Saul Bass,
infamously known for his collaborative work with Alfred Hitchcock, was referenced:
10 of Saul Bass’ Greatest Title-Sequences – the playlist…
http://blogs.indiewire.com/theplaylist/10-of-saul-basss-greatest-title-sequences-
20120425
As well as, though moreso for the original agreed-upon interview-format, the short-
documentary style of the telling of the Curse upon the Film Poltergeist:
Poltergeist YouTube…
http://www.youtube.com/watch?v=0hMAaNxKfAs
With the required change in format, the primary sources of inspiration were hence
those of Saul Bass, Alfred Hitchcock and Ken Burns.
3.0. Unique Elements:
In order to produce a video flip-book still-photography artefact, the following skills
are required…
Images: the ability to formulate a cohesive storyboard-narrative, frame, pdf, jpeg and
import media, whilst binding together in a cinematic and visually-captivating
narrative with appropriate transitions, effects and timing. This is beyond question the
most intricate, skilled and time consuming aspect to that of the chosen format.
Sound: choosing music and sound-fx appropriate to the narrative that will support and
propel the storyline concurrent to the subject-matter.
Research: the fundamental basis of the documentary must be propelled by the
appropriate informative information relevant to the subject, therein educating the
audience whilst entertaining.
Assessment 5Final Artefact & Report
Swinburne UniversityBch Communication (Media)
[MDA30005] Media Studies Project
Angela p. gendersStudent ID: 7588690
eLA: Ben CharnleyDate: 20 February 2015
… Page 7 …
4.0. Overview:
As a whole, the Artefact production could probably be best described as – a car crash
that yielded no deaths – having said this. There is most definitely a gap in the
mediasphere for this type of production. There is little to no information available as
to the true origins of Hallowe’en, its evolution through history and its placement
within a Southern-Hemisphere society. And hence an intrinsic, community based
documentary into said subject would be considerably welcomed and original.
If nothing else, the production of the Artefact gave a wider and more fundamental
appreciation for those within the fields of sound; editing; production and even
voiceover work. A greater understanding is now to be had for the need for each
person within their required fields to hold inherent knowledge for media production
when formulating a media-narrative, irrespective of length and content, as is the
essential ability for that of the Software and Equipment for which one requires to
produce such media.
There were most certainly achievements within the Artefact to be beheld, despite the
many hurdles, and lessons learnt within the production capacity. Overall…
Hallowe’en was a good beginning to the New Year.
Assessment 5Final Artefact & Report
Swinburne UniversityBch Communication (Media)
[MDA30005] Media Studies Project
Angela p. gendersStudent ID: 7588690
eLA: Ben CharnleyDate: 20 February 2015
… Page 8 …
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Assessment 5Final Artefact & Report
Swinburne UniversityBch Communication (Media)
[MDA30005] Media Studies Project
Angela p. gendersStudent ID: 7588690
eLA: Ben CharnleyDate: 20 February 2015
… Page 10 …
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0:00:17:20Scarred–By Combichrist(…do you ever get the feelingthings are completelyfucked-up?!)
Part 3…
Death of An Angel Storyboard…
Angela p. genStudent ID: 7
Assessment 5Final Artefac
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eLA: Ben CharnleyDate: 20 February 2015
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t & ReportSwinburne University
Bch Communication (Media)[MDA30005] Media Studies Project
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Angela p. gendersStudent ID: 7588690
eLA: Ben CharnleyDate: 20 February 2015
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Assessment 5Final Artefact & Report
Swinburne UniversityBch Communication (Media)
[MDA30005] Media Studies Project
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Angela p. genStudent ID: 7
Assessment 5Final Artefac
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t & ReportSwinburne University
Bch Communication (Media)[MDA30005] Media Studies Project
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Angela p. gendersStudent ID: 7588690
eLA: Ben CharnleyDate: 20 February 2015
… Page 14 …
Assessment 5Final Artefact & Report
Swinburne UniversityBch Communication (Media)
[MDA30005] Media Studies Project
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Angela p. genStudent ID: 7
Assessment 5Final Artefac
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ders588690
eLA: Ben CharnleyDate: 20 February 2015
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t & ReportSwinburne University
Bch Communication (Media)[MDA30005] Media Studies Project
FX:
0:00:29:96Toccata & Fugue–By Bach
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Angela p. gendersStudent ID: 7588690
eLA: Ben CharnleyDate: 20 February 2015
… Page 16 …
Assessment 5Final Artefact & Report
Swinburne UniversityBch Communication (Media)
[MDA30005] Media Studies Project
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Angela p. gendersStudent ID: 7588690
eLA: Ben CharnleyDate: 20 February 2015
… Page 17 …
Assessment 5Final Artefact & Report
Swinburne UniversityBch Communication (Media)
[MDA30005] Media Studies Project
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Angela p. gendersStudent ID: 7588690
eLA: Ben CharnleyDate: 20 February 2015
… Page 18 …
Assessment 5Final Artefact & Report
Swinburne UniversityBch Communication (Media)
[MDA30005] Media Studies Project
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Angela p. gendersStudent ID: 7588690
eLA: Ben CharnleyDate: 20 February 2015
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Assessment 5Final Artefact & Report
Swinburne UniversityBch Communication (Media)
[MDA30005] Media Studies Project
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Angela p. gendersStudent ID: 7588690
eLA: Ben CharnleyDate: 20 February 2015
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Assessment 5Final Artefact & Report
Swinburne UniversityBch Communication (Media)
[MDA30005] Media Studies Project
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Angela p. gendersStudent ID: 7588690
Assessment 5Final Artefact & Report
Swinburne UniversityBch Communication (Media)
[MDA30005] Media Studies Project
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(…starts 0:00:00:68overlapping the end of“Bottle of Pain” on thelast slide of “Act X: TheTransition” Sequence)
FX:
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FX:
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eLA: Ben CharnleyDate: 20 February 2015
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Angela p. gendersStudent ID: 7588690
eLA: Ben CharnleyDate: 20 February 2015
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Assessment 5Final Artefact & Report
Swinburne UniversityBch Communication (Media)
[MDA30005] Media Studies Project
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Angela p. gendersStudent ID: 7588690
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Assessment 5Final Artefact & Report
Swinburne UniversityBch Communication (Media)
[MDA30005] Media Studies Project
FX:
0:00:45:00Bibit Aleum–By Corvus Corax
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Hear Now The Word of
the Witches
…the secrets we hid in the night
…when dark was our destiny’s
pathway
…we now step forth into light!!!
THE FOREST HOUSE
Angela p. genders
)O(
As Above…
So Below
eLA: Ben CharnleyDate: 20 February 2015
Referencing & Bibliography:
Copyrights…Heather GauthierKarli SprucePamela McIntyreThe Black Cat SocietyThe Feisty Witches on FacebookTopiary CottageValentina KalliasJessica AllainJess Death (Lady Death Demon)
Benchmarks…The Real Story of Halloweenhttps://www.youtube.com/watch?v=Hm9jeSLGTZU
Modern Witches & Paganism in Australia by Brittany McCowanhttps://www.kickstarter.com/projects/1226053075/modern-witches-and-paganism-in-australia
10 of Saul Bass’ Greatest Title-Sequences – the playlisthttp://blogs.indiewire.com/theplaylist/10-of-saul-basss-greatest-title-sequences-20120425
Poltergeist YouTubehttp://www.youtube.com/watch?v=0hMAaNxKfAs
Academic…Charnley, B. Swinburne Online. 2014. Filmmaking Resources, Learning Materials.MDA30005 Media Studies Project. Cited: 3 November 2014.
David. 2015. Creating the Ken Burns Effect. CG Cookie. 9 December 2014.http://cgcookie.com/blender/cgc-courses/creating-ken-burns-effect/
Eason, C. 2002. A Complete Guide to Magic and Ritual. Piatkus Publishing. UnitedKingdom. Cited: 2002.
Global Book Publishing. 2008. Mythology. Myths, Legends, & Fantasies. GlobalBook Publishing. Australia. Cited: 2008.
Greenblat, E. 2012. No trick, just a big treat for shops as Halloween knocks. SydneyMorning Herald. 22 December 2014. http://www.smh.com.au/the-mccrindle-blog/halloween_is_growing_in_australia
Kinema. 2014. Shot Transitions and Narrative Logic in Hitchcock’s Rope. Universityof Waterloo. 13 February 2015.http://www.kinema.uwaterloo.ca/article.php?id=446&feature
Assessment 5Final Artefact & Report
Swinburne UniversityBch Communication (Media)
[MDA30005] Media Studies Project
Angela p. gendersStudent ID: 7588690
eLA: Ben CharnleyDate: 20 February 2015
… Page 24 …
Michael Bays, J. 2011. Hitchcock’s Sound Style (film directing, criticism, filmsound). Borgus.com. 13 February 2015. http://borgus.com/hitch/sound.htm
Small Business. Halloween Statistics and Business Opportunities. Small BusinessInfo. Canada. 22 December 2014.http://sbinfocanada.about.com/od/businessopportunities/a/halloweenopps.htm
Spruce, C. 2014. The Australian Pagan Magazine. Alpine Nirvana. Australia. 1October 2014.
Suaviterinmodo. 2010. TV Myths and Legends – Poltergeist Series. YouTube. 17November 2014. http://www.youtube.com/watch?v=0hMAaNxKfAs
Assessment 5Final Artefact & Report
Swinburne UniversityBch Communication (Media)
[MDA30005] Media Studies Project
Angela p. gendersStudent ID: 7588690
eLA: Ben CharnleyDate: 20 February 2015
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