Making Movies

Tyler Tesolin

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Blog Response #4- Rebecca Zeidenburg's Film Remix

            I felt enthralled to write about remix done by Rebecca Zeidenberg. This piece intrigued me in particular because of the profound message regarding consumerism in Western culture overtly conveyed by replacing the sound with an eerie score; something that is very innocent, yet powerfully haunting. It was not as though the filmmaker had carelessly thrown together random clips from commercials, the timing of each frame and the placing of certain frames in specific slots enhanced the mystically frightening tour through the depths of our culture’s obsession with marketing, advertising and manipulating. The clips from the 7-UP commercial and the banana commercial were especially effective, generating a visual masterpiece through the utilization of vivid colours and dazzling effects. Using commercials from the 50s and 60s only beefed up this project, being able to cunningly take advantage of commercials on now-controversial topics like cigarettes and the way they were marketed towards the mass population. It is no easy task to take on consumerism in a short film, heralding a time slot of only 1:46, but this short film definitely does it, and does it well. After finishing watching this video, I could do nothing more but view it again; the haunting music lulling me into its morbidly splendid lullaby.

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Film #3 Citations

Moguy, Leonide. Whistle Stop. 1946

. Cahn, Edward L. Two Dollar Bettor. 1951

Ulmer, Edgar G. Strange Illusion. 1945

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My third film is titled “Reckless Revelry”. The film, a conglomeration of various film clips, is about a man who drinks too much, carelessly decides to drive his car, eventually paying for his idiotic consequences. I wanted to use clips from classical Hollywood movies, between the 1940s and 1950s, because the film clips would all be a generic black and white. This would negate the jarring effect of various colour schemes from different films. I also felt drawn to the idea of the typical postmodernist remix; using the old to create something new.

A conflict that I encountered during the creation of this film was the ability to find various clips that would assist in telling the story. I ended up using clips from three different films, which is why some characters are portrayed by three different actors in my short film. Another challenge was being able to fittingly generate a marmoreal sound mixing and editing scheme. I was worried during the process that this would be a drawback and render the film ineffective. When I finished the film, I was happy with the way it looked; I believed that this gives it an attractive low-fi, raw aesthetic.

Overall, I am content with the way that this project turned out. It effectively portrays an interesting story in an innovative way. I think that this will leave any viewer intrigued with the story and with the editing techniques, which was the essential focus of this project. 

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Blog Response #3- Avant-Garde Cinema's Impact Upon Me

I found myself intrigued with the development of avant-garde film. Films like Mothlight by Stan Breckhage are unfathomably creative. The idea of using film to create a movie picture, all without actually filming anything, is something that takes quite a bit of abstract thought. This idea of manipulating visual perception with film or moving images is an extremely inspiring idea. I have often sat in my room with my camera, fiddling around carelessly. I never took the time to think that I could utilize these techniques to create my own film. While watching Mothlight, I felt like I was in the P.O.V of a moth; I saw things like grass, leaves and flowers through the eyes of a moth. I have been interested in the idea of perception change for an exceedingly long time, and now have an idea where I would like to begin. However, I would like to utilize a digital camera and try to create a different perception through the use of the lens alone. The camera withholds a cornucopia of various possibilities. By using rapid motions with a handheld camera, I can make objects become dizzying colours flashing upon a screen. I can manipulate the light around me to change the way things appear, putting importance on things like contour, light, colour, and movement. Through the innovation of experimental filming techniques in avant-garde cinema, one can symbiotically innovate conventional narrative cinema as well. Through this innovation, cinema can achieve new feats, and all through the filming of avant-garde film. 

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Blog Response #2- On Video Remixing Article

I found the reading on the taxonomy of remixing videos quite intriguing. Having delved into the realm of found film, I know first-hand of its subtle potential that exerts itself magnificently through any sort of collection or remix. Film, in itself, is a language. Its manifold nature allows it to be dexterous, manipulated in many ways in order to change the message, meaning, style and form. However, I find that the techniques that are analyzed in the essay are very basic and, though essential, do not fully grasp the various ways that film remixing holds. For instance, the idea of a found visual poem, where the choice of footage and information is randomized and left for open interpretation, boasts the ability of permitting the mind to an unbiased reception of the film. With no constricting barriers arising from the artist’s intent or a true underlying theme, the viewer is allowed to spectate in a way that is self-expressionist and self-interpretive. This form of film remixing is often overlooked in replacement for the commonplace film trailer remix, where all is a comedic gag or a humorous parody of film. Instead of focusing on the stereotyping of clichés and accumulating quick gag laughter, the found visual poem seeks to progress the medium of film, filmmaking, film as a language, and art itself. Without the application of this medium of film, this enticing remixing process, we allow ourselves to once again be subjected to forced reception instead of a pure encounter with the footage that promotes self-interpretation and film existing as a form of manipulative language.

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            The film that I have created is titled Roll up the Rim. The story is based off a personal experience. I avidly purchased Tim Horton’s coffee for an entire month in order to win something, if anything, from the famed contest. One day, I finally admitted defeat and gave my last, unrolled cup to my friend. Obviously, I made a huge blunder because my friend unrolled the cup and won a donut. My film takes this concept to the next level. The character viciously buys coffee after coffee, becoming more and more frustrated (and caffeinated) after each drink. Finally, after giving up and tossing his coffee, a lucky passerby unrolls his cup and wins a trip to Disney World.

            Having to film this with only photos, I had believed it would be quite challenging for any story. However, I was inspired by French New Wave directors such as Jean Luc Godard and Jacques Tati. The jump cut technique used in films like Playtime and Breathless was the model for my framing and editing. The final product has a pace that is unique and exciting; each frame carries value through its display length and angle. The film, through editing and framing, conveys a wonderful story with wonderful rhythm and convincing repetition.

              I decided to write the music myself (under the Pseudonym Pidge) because I could not find any song adequately able to convey the film’s truly playful story. I made sure the music slowly built up as tension rose and briefly foreshadowed the staggering losses seconds before they occurred with a powerful gong and bass drum. The sound effects were also done by myself and add to the sequences functionality and flow.

              Overall, I believe that my short carries the story with excitement and vigour. It is interesting and innovative; comedic and consistent. The film, though only a minute and ten seconds long, accurately shows the audience what I had strived for: New Wave Cinema-inspired framing and editing, a playful background score and raw sound effects.

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The goal of this short was to use the long take as a means for comedic tension. Having only a short period of time to work with, I needed to create a simple scenario; I channelled this scenario into a scene that displays everyday awkward moments. These are things that happen to everyone on a frequent basis; little things that add various tumultuous experiences from day to day. This specific rendition presents the audience a man who is on the toilet… without any toilet paper. The application of the long take in this scenario is necessary to establish tension. The camera dwells upon a close up of the protagonists face for the opening twenty seconds. The actor conveys emotions such as annoyed, hopeless and frustrated to induce a questioning of where the main character is and what is causing him turmoil. The camera slowly pans back, revealing various clues that decipher the same questions you just asked, piece by piece. This generates dramatic tension that is necessary for the final revelation. When the camera stops all tension is released and the audience is given the answer to the protagonist’s frustration: he is on the toilet with an empty roll. Using the long takes enables suspense and surprise within the short, maintaining a strategic hold on the viewer’s reaction. With only a minute to frame and film, it is a challenge to create a short film that holds artistic integrity and precise efficacy. By applying the long take technique, making cutting and editing obsolete, I have managed to create a short film that generates both laughter and commending applause.

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Blog Response #1 - On Vive L'Amour Clip (Lecture Three)

This blog response is a comment on the clip shown from the end of the 1994 film Vive L’Amour, directed by Tsai Ming-Liang. The piece was a collection of longshots strung together of a woman walking through a park in a large city, eventually settling on a bench to wail and sob. I was shocked by the initial reaction of the class’ reaction to the scene; laughing at the woman’s tears and talking through the entirety of the scene. Many stated that the laughter was in relation to the inability to understand the woman’s tears in accordance to framing and formality. I, however, took an opposing stance on this scene. I believe that the director used this scene to create the feeling of helplessness in the spectator. The Ming-Liang desired the viewer to want to help her, though she is rendered helpless. Out of the massive amount of people within the scene and within the city, nobody considers to comfort her or help her. Even the man sitting a mere minute away from her did nothing to soothe the crying woman. He was used purposely to establish the idea in the audience’s mind that someone is able to help, but he does nothing, leaving the viewer waiting anxiously for his entrance that is nonexistent. The close up to her face while she cries inhibits feelings of pity and empathy. There is an esteemed amount of countenance in this clip and it strikes the viewer mercilessly out of a tense, patient buildup while she walks to the benches. This scene is both realistic and engaging. It is effective at presenting a realistic method to crying; the woman thinking inwardly about something as she pauses, hyperventilates, and lights a cigarette. Her pensiveness invokes pensiveness within the viewer. That is the reality of contemplative cinema. Next time, I hope that the class considers this while viewing film, as they already should; exhibiting a passion for cinema, indifferent to style, form and narrative.

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Love this film! Great example of what we talked about in tutorials today!

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Related to the upcoming assignment (two person longshot)! Classic film that got me excited this morning in tutorial!

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An Introduction

Hello! The name is Tyler Tesolin. I am a first year film studies major at York University. The reason I have chosen to take this course, disregarding the fact that it is a mandatory course, is that I have a passion for art. It is an unquenchable thirst. Therefore, this course will act as yet another outlet for creativity. I plan to use this course as both a mechanism for furthering my knowledge and ability, as well as transforming my festering ideas into a feasible reality! I hope that I am able to complete all of these tasks throughout the semester while maintaining a reasonable grade. Yours truly, Tyler Tesolin