MEDP 150 REVIEW

Fall 2009 semester, what a ride!

The most prominent thing I gained from the work this semester was the expansive range of places brought to my attention from which people can approach an education in building media. Though the rapid change of topics and need to get through the mass of material rather than affording time to fully synthesize or work with the media discussed, it does feel emblematic of the state of the industry right now, which is a very important thing to have an understanding of. As someone who came into the class with some media-making experience however, I did find it difficult to ingratiate myself in the material in a way that would enhance my work or inspire me to pursue any further foray into the area. The thing I probably most enjoyed about the lectures were the occasions where the lecture/discussion would leave the format set by the PowerPoint presentations and I could learn something new from the small bit of trivia mentioned or a comment from another student that would shine light on the ways that he or she experienced the media. Overall, I was not exceptionally pleased with where the class was ale to take me but it did help propel me to keep moving forward so that I may pursue more elaborate projects in the future. I did think my vegetable head was pretty stately though:

"No Mime for Slacking"
DG 2009

"Design I Like"

The recent makeover of the brand identity of the Municipal Art Society displays a good example of what I feel to be "design i like." The organization, in dire lack of a connection with younger audiences, thought their original emblem, from their inception in the late 19th century, to be antiquated and somewhat meaningless for today's metro area audiences:



The new design scheme employs a much simpler and direct approach with bold, tidy and consistent colors. The typeface, more sleek and bold, is rooted in the same modern design that begat many of the New York City buildings that MAS is invested in protecting and maintaining. The condensed format as well, emulates the skyscraper structure of skyline that embellishes its vertical space.



The acronym of the organization also doubles as "More NYC" when read in Spanish, which reaches out to the city's increasing Spanish-speaking population and also pays homage to the many neighborhoods with multicultural connections and a long history as a home to many Puerto Rican, Dominican, and Mexican immigrants. In many ways the design reaches out to establish a sense of communication and cultural identity that comes from living in the city. In this particular events calendar, the sheet is formatted as a map, giving the viewer a direct connection to the event, whether it be a street tour or museum exhibit, but also establishes a direct relationship with MAS and the space of the city.



Within this annual report, vibrant photos are used within the solid color format to keep the report identified with the city, rather than completely identified with the abstraction of the solid colors. Were the design rooted in the kind of classical, decorative designs from the old emblem, the connection between the design and the organization's primary focus, NYC, would be obscured by clutter and an unstable focus. The stark black/yellow provides the framework for photos to be presented in an uncluttered, simple, and direct manner which is the entire purpose of design as a whole; to communicate a message in the most efficient way possible.

Ye Olde Photoshoppe Project 1

A stamp where yet again, I celebrate my own face.



C H A R T O F I N F O R M A T I O N

#3 "What I See," What's to be Heard

For Fontaine, the French résistance fighter imprisoned in a Vichy jail in Robert Bresson’s A Man Escaped (1956), the visible world is limited within the walls of his cell or the prison courtyard, but the sounds heard by Fontaine place allude to him and the viewer that there are several levels outside his immediate visual realm from which experience is restricted. Where the image remains more or less static, comprised of tightly framed close up and medium shots that give little spatial information, the experience of space and time in A Man Escaped are determined by the worlds created by the orchestration of the off-screen sounds. Key sounds like footsteps and door locks reverberating against the cold prison walls expand a space that would be difficult to place on camera as well as act as markers of time for an environment and routine for which the passage of time is very difficult to establish. The boundaries between these worlds and environments are constantly put into play as the characteristics of the sound environments fluctuate between Fontaine’s inner world through narration, the sound of his cell, the area of the prison outside his cell, the nearby town center, and the sounds that evoke images of a world outside all these factors.



Sounds within the cell and jail exist within a frame of silence, whereas the texture of the outdoors as heard through the window operates with vastly different properties. Juxtaposed with the cold, near-silence of the jail cell, the viewer can see how the cold, stagnant sonic texture of the jail behaves when in the context of being near a bustling town center. The placement of the jail microcosm is established by the sonic texture of the town center and the larger surrounding space: cars, the streetcar bell, children playing, and the sounds of people moving about their daily business. These sounds, associated with movement, travel and freedom, help define the prison space as somewhere where movement or travel does not happen, and elicits a desire to escape and be closer to that world. As much as the audience receives the impression of lush imagery from these acousmatic markers, visual cues are not given, denoting instances of visual image superfluous for the audience as they are able, like Fontaine, to comprehend the extremities of the space through sound alone. The streetcar for instance, seen only for a short moment in the first scene of the film, is heard ringing brightly as Fontaine views the outside from behind the bars of his window. The audience never again sees the streetcar after the initial arrest scene, but it is heard ringing throughout the film, invoking a noticeable presence and sense of imagery with the audience, reminding them of the world that continues to move outside this jail while inside, the perception of time inside the prison seemingly ceases to exist. In addition, the train image brought on by the ringing also marks Fontaine’s desire to leave, and the effects of the environment that constantly remind him that he must escape at any cost.



Within this short scene, the properties of the prison are set in place for the rest of the film. As Fontaine and the audience are introduced to the physical properties of the jail and the surrounding areas, expectations can be made for the reasons what sounds in any of the spaces would mean. Because the visual spectrum is so sparse, both Fontaine and the viewer are required to explore the space through what is heard rather than what can be seen. Once the range of sounds that the prison and its inhabitants are made familiar, steps can be taken to introduce themes of instability by simply adding other sounds or forgoing a sound that the audience is trained to expect. As a result, by instilling a connection of familiarity between the audible, spatial world of the film to the viewers, the incorporation of unknown sounds, sounds at a different volume, pitch or density, and sounds the guards are not expected to make all become that much more monumental to the experience.



(I thought I published this long ago)

Hey MoMI.

The walk from the train to the Museum of Moving Image brought me past not only one exterior film shoot on a street corner, but another significantly large production studio that was currently housing filming for CW mega hit The Beautiful Life. The building housing the museum, as of September 2009, was coated in tyvek in an extreme state of construction, numerous signs and diagrams along the way to the entrance telling me what expansive wonders were in store for the NEW Museum of the Moving Image. So not only is the museum situated within a hotspot of the very industry its collection vies to honor and promote, the aspirations for the institution to grow in magnitude and importance are also displayed as the venue endures renovations and only features a limited collection.

What I appreciated with the curation of the museum was how every stage of production was represented from the development of cameras in the hall of cameras, examples of prop design like the future building from Blade Runner, to post-production exhibits like the recreation of the baseball game control room and other steps in production like Orson Welles' lovingly written telegram communiques with a prosthetic nose maker. The telegrams were by far my favorite piece in the museum because of the way they highlighted the hard work that goes into the seemingly innocuous and unnoticed parts of a movie. Welles goes into great detail in what kind of nose from what kind of lineage for what kind of person he needed for the part and, in one message, tells the prosthetic maker to not get involved in talks with the studio in fear that the nose might be warped by their specifications. The time taken on this one minor element of the production shows the sheer magnitude of the work that goes into the moving image and how much work is necessary to get the audience to find it believable.

WORK BEGINS