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project 3 - EX

on December 11, 2019

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Watch EX here.

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blog 2 - soundwalk

My soundwalk happened on my bike ride from the Brookdale Residence Hall, up First Avenue and over the Queensboro Bridge, and into Astoria on Steinway Street. On most any city bike ride, the hum of traffic comprises the keynotes, or background sound. Cars passing and idling sound different depending on the model, from the high hiss of compact transmissions to the low grumbles of trucks and buses. Moving quickly on the bike, I know that pedestrians are talking, but the wind brushing up against the shell of my ear wipes their conversations from my perception. Even closer are the loud clicks of my bike’s gearshift, my breath passing in and out, even my own heartbeat, elevated by exercise and present in my ears. A few sound signals broke through these keynotes as I rode. Crossing the Queensboro, the bridge’s panels clanged like atonal bells every time a car rode over them. The bells, horns, and boomboxes ...

extra credit - cameraperson response

One of Kirsten Johnson's main points concerning the creation of Cameraperson (and documentary in general) is this: "My work requires trust, demands intimacy and entails total attention. To both me and the people I film, our relationship often feels like a friendship or family connection, but it is something different." The answer to this question is epitomized by an exchange early on in the film, between KJ and a coach at the boxing match: C: "Hey, how are you?" KJ: "I'm getting real close to everybody tonight." C: "Okay. Nothing wrong with being close." KJ: "That's what I always say." C: "Keeps everybody warm." KJ: "Exactly!" This closeness, or "intimacy" as KJ dubs it, is essential to her art. She forges bonds with subjects around the world, often delving far more into their personal lives than the typical, surface-level documentarian would. One could argue that these relationship...

blog 3 - editing analysis in David Lynch's Blue Velvet

Find the scene I analyzed here, from 0:00 to 1:00. This scene from David Lynch’s Blue Velvet jumpstarts the film’s narrative with an important and shocking moment: the main character discovering a human ear in the midst of a field. This scene is a prime example of continuity editing for both clarity and dramatic effect. First, we see a wide shot of Kyle MacLachlan’s character, the camera tilting with him as he stoops to toss stones. This cuts to closeup of a rock hitting some garbage in the field, to show what MacLachlan aimed at, then back to the wide, tilting down one more as he kneels and examines something in the grasses. We then see the first closeup of the disembodied ear in the grass, then cutting to a reaction shot before coming back to the ear, zoomed in closer so we can see ants and other signs of decomposition. This cuts again to the low-angle medium reaction shot, and an awkward cut takes place. MacLachlan begins to stand, and the camera tilts up to follow him. Midway t...

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project 3 - EX

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