Compare with the two phase different
tasks, I learnt about two style of working method, and also know about how to
deal with different requirement. Phase 1 is a defined topic and all of the
research and data collection should be around of the topic; Phase 2 is quite
different from the first one, I need pay more attention to the creative ability
and inspiration. I have deeply understanding from the screen culture, it is a
course focus on ideas but combined with basic technique to present the
appearance.
Tuesday, 1 May 2012
April In 2012
Finally I choose Adobe After Effects to edit my project, I learnt from one of my animation classmate, I add the effective and sound into my flash, and calculate the exactly time step by step, I found technology is quite rigorous even in one second. I need make sure that is 100 percent accuracy during the process. But as a result of the technique factor limit, the flash won’t be perfect and professional, it is a way to present the idea from my brain storm.
April In 2012
April In 2012
On account of the research, I am inspired by the “fresh” in media field, it is related to mobile media and social network. I prefer to create an animation flash to present the communication situation in today. But as a result of the technique factor limit, the flash won’t be perfect and professional, it is a way to present the idea from my brain storm. The world of social media networking sure is fascinating. We enjoy reconnecting with friends over Facebook, writing recommendations for colleagues on LinkedIn and viewing/sharing videos with friends on YouTube. Social network almost included in each mobile and become an excellent assistant in people’s communication. Because of the first experience to create an animation flash and the drawing ability, I use the photos download from the Internet, not because of the past experience, coupled with the operation of a very unfamiliar, the flash is crude and simple specification. It is the part in need of improvement in the future.
April In 2012
Technique is a big problem and challenge in phase 2 project, I don't have any experience and
professional support in a such short time, I surf the Internet and watch amounts of related videos on YouTube. The example is as follows: http://www.youtube.com/watch?v=zFSQTGvENXc
April In 2012
Asia loves mobile instant
messaging, and China is no exception. For youngsters, the most popular monthly
mobile phone contract packages probably include hundreds of free SMS. In
addition to SMS, China also has QQ, the decade-old instant messaging that
thoroughly dominates the space. Now Tencent, the company behind QQ, is bringing
the latest mobile messaging service to the mainstream. Whether you call them a
fast follower or an unashamed copycat, Tencent is adept at spotting and pushing
the latest internet trends to its vast user base. Tencent’s version is
called Weixin. From the start, Weixin was likely a clone of Talkbox, an instant voice messaging start-up from Hong Kong. After
Talkbox’s runaway success it became the target of many others including MiTalk,
Kiki Messenger, Youni, and of course Tencent’s Weixin. But Weixin has one key
advantage the others can only dream of: 700 million registered users. Just
about every single Chinese
internet user has a QQ account,
for many QQ is the internet. For Weixin, a QQ account is the only
log-in option, which also immediately allows the app to pull from a user’s
existing QQ social graph. Functionality-wise Weixin
is fairly standard comparing to its competitors. All have text messaging, photo
sharing, voice messaging, location-sharing, and group messaging. But Weixin
once again further leverages Tencent’s massive user base by offering an edgy
geo-location service. You can see and message any users within a 1000m radius
of your GPS position, whether they are a friend or not. Now you can strike up a
conversation with a random stranger near you, and we can all imagine the other
applications this neat little feature can lead to. One friend told me it was an
excellent way to find ‘beautiful girls’ in his vicinity. Social network and mobile media is a quite perfect combination.
April In 2012
Example of silence power in cinemas:
The 1998 war movie Saving Private Ryan is remembered for its brutal images of the D-Day landings; equally important, however, is what the scene sounds like.
For a start, it’s scoreless. We hear dialogue and the sound of oceans waves and battle, but no music.
Sometimes we hear even less. When a soldier falls in the water, the camera follows him under and the film becomes eerily silent save for the soft “zzzt” of bullets passing by.
Then Tom Hanks’ character narrowly misses being blown up, and the concussion briefly deafens him. In ghostly near-silence he watches men engulfed in flame; a soldier retrieving his own severed arm; another mouthing the words: “What now, sir?!”
Admittedly, the post-explosive silence is now something of a cliché. You can find it in The Pianist, Children of Men, Valkyrie, Sherlock Holmes and elsewhere. But movie tropes are born because they work. Silence can speak volumes.
Ever since the movies became the talkies in 1927, sound has comprised dialogue, music and effects. Yet some of the greatest moments in cinema have resulted in the removal of one or more of these elements.
Stanley Kubrick’s masterpiece 2001 opens with the haunting music of Richard Strauss, followed by the long, wordless “dawn of man” sequence. It’s 25 minutes before the first line of dialogue. (An early draft of the script included narration, thankfully dropped.)
More recently, Pixar’s WALL-E has a long speech-free opening, as the waste-clearing robot roams our deserted planet. The studio’s next film, Up, used a silent montage to tell the story of two characters’ long marriage.
Of course, the term “silent” is misleading. Even the age of silent movies featured live musical accompaniment, now part of the soundtrack. Michel Hazanavicius’ new black-and-white “silent” film The Artist has no dialogue but a fantastic score by Ludovic Bource.
A wonderful throwback was Guy Maddin’s Brand Upon the Brain! Although available on DVD, its premiere performance at the Winter Garden theatre during the 2006 Toronto International Film Festival involved a live orchestra, narrator, singer and foley artists.
The power of the score can be proven by removing or changing it. Fritz Lang’s 1927 film Metropolis was re-released in 1984 with a contemporary, pop-music soundtrack featuring Freddie Mercury. The Wizard of Oz is said to work well accompanied by Pink Floyd’s Dark Side of the Moon.
Other times, a score can be so subtle as to escape notice. I watched No Country for Old Men several times blissfully unaware that it was set to the (admittedly sparse) music of Carter Burwell.
Silence can play into a film’s plot, as in Fantastic Voyage, where a miniature submarine will be damaged by any sudden sound; or the first Mission: Impossible movie, with Tom Cruise’s character thwarting a sound-sensitive alarm system. Horror moviemakers have long known that a drawn-out silence can be just as scary as a scream.
Still, instances of total silence in the movies are exceedingly rare. One is the famous mirror scene in the 1933 Marx Brothers comedy Duck Soup – after a crash of glass, two characters mime each other’s movements from either side of an empty pane, with no sound at all.
Another comes near the end of The Artist. In an emotionally climactic scene, the otherwise omnipresent score drops away, and we watch the characters’ faces as they talk in total silence. Words can’t describe the impact of such stillness. They don’t have to.
Reference:
1. http://arts.nationalpost.com/2011/12/07/the-power-of-silence-in-the-movies/
The 1998 war movie Saving Private Ryan is remembered for its brutal images of the D-Day landings; equally important, however, is what the scene sounds like.
For a start, it’s scoreless. We hear dialogue and the sound of oceans waves and battle, but no music.
Sometimes we hear even less. When a soldier falls in the water, the camera follows him under and the film becomes eerily silent save for the soft “zzzt” of bullets passing by.
Then Tom Hanks’ character narrowly misses being blown up, and the concussion briefly deafens him. In ghostly near-silence he watches men engulfed in flame; a soldier retrieving his own severed arm; another mouthing the words: “What now, sir?!”
Admittedly, the post-explosive silence is now something of a cliché. You can find it in The Pianist, Children of Men, Valkyrie, Sherlock Holmes and elsewhere. But movie tropes are born because they work. Silence can speak volumes.
Ever since the movies became the talkies in 1927, sound has comprised dialogue, music and effects. Yet some of the greatest moments in cinema have resulted in the removal of one or more of these elements.
Stanley Kubrick’s masterpiece 2001 opens with the haunting music of Richard Strauss, followed by the long, wordless “dawn of man” sequence. It’s 25 minutes before the first line of dialogue. (An early draft of the script included narration, thankfully dropped.)
More recently, Pixar’s WALL-E has a long speech-free opening, as the waste-clearing robot roams our deserted planet. The studio’s next film, Up, used a silent montage to tell the story of two characters’ long marriage.
Of course, the term “silent” is misleading. Even the age of silent movies featured live musical accompaniment, now part of the soundtrack. Michel Hazanavicius’ new black-and-white “silent” film The Artist has no dialogue but a fantastic score by Ludovic Bource.
A wonderful throwback was Guy Maddin’s Brand Upon the Brain! Although available on DVD, its premiere performance at the Winter Garden theatre during the 2006 Toronto International Film Festival involved a live orchestra, narrator, singer and foley artists.
The power of the score can be proven by removing or changing it. Fritz Lang’s 1927 film Metropolis was re-released in 1984 with a contemporary, pop-music soundtrack featuring Freddie Mercury. The Wizard of Oz is said to work well accompanied by Pink Floyd’s Dark Side of the Moon.
Other times, a score can be so subtle as to escape notice. I watched No Country for Old Men several times blissfully unaware that it was set to the (admittedly sparse) music of Carter Burwell.
Silence can play into a film’s plot, as in Fantastic Voyage, where a miniature submarine will be damaged by any sudden sound; or the first Mission: Impossible movie, with Tom Cruise’s character thwarting a sound-sensitive alarm system. Horror moviemakers have long known that a drawn-out silence can be just as scary as a scream.
Still, instances of total silence in the movies are exceedingly rare. One is the famous mirror scene in the 1933 Marx Brothers comedy Duck Soup – after a crash of glass, two characters mime each other’s movements from either side of an empty pane, with no sound at all.
Another comes near the end of The Artist. In an emotionally climactic scene, the otherwise omnipresent score drops away, and we watch the characters’ faces as they talk in total silence. Words can’t describe the impact of such stillness. They don’t have to.
Reference:
1. http://arts.nationalpost.com/2011/12/07/the-power-of-silence-in-the-movies/
March In 2012
The first problem I met in the phase 1 is about the definition of " silence", I regard the " silence" as completely quiet without any sound, however when I discuss the problem with Ivan, I changed the opinion and mistake. The " silence" can be anything without dialogue, it can be background music, sound effect and " nothing". The impressive example is the song " My heart will go on" of Titanic, it is an excellent and amazing melody in many audiences' mind-the True and Eternal love.
Saturday, 21 April 2012
March In 2012
The first conversation between Ivan and I related to phase 2 discussion, the amazing moment was happened today. Based on the lasting interest of social network, I prefer to choose my topic around it in Screen Culture field. Recently amounts of social network focus on making friends produced both in UK and China bring a popular storm, eg. Talk box, Weixin. I present a detailed description to my tutor, from my classmates and Ivan's facial expression, I confirm that it should be a "Fresh" in today.
What is " TalkBox":
★ Push-to-talk INSTANT voice messaging, text messaging, photo sharing and location sharing with your friends
★ Cross-Platform Messenger
★ FREE and works over WIFI, 3G and any other data network
★ GROUP CHATS
★ Post voice to Facebook, Twitter and make broadcast to all your friends
★ Address Book and Facebook contact Integration
★ Conversation History & message notification
★ Themes to suit your moods
★ iPod Auto-Resume: Seamlessly work with iPod. Pause iPod when playing voice from TalkBox, and auto-resume afterwards
What is "Weixin":
It is likely a clone of " Talkbox", but has one key advantage to Chinese Users. Just about every single Chinese Internet users has a QQ account, for many QQ is the internet. For Weixin, a QQ account is the only log-in option, which also immediately allows the app to pull from a user’s existing QQ social graph.
Bibliography:
1. Green Tomato Limited ( 2011), " TalkBox Voice Messager," Available at :
http://itunes.apple.com/us/app/talkbox-voice-messenger/id412710421?mt=8
2. Sunny Ye ( 2011), " Weixin, Tencent's Bringing The Mobile IM Revolution To The Main Stream",
Available at:
http://techrice.com/2011/09/21/weixin-%E5%BE%AE%E4%BF%A1-tencents-bringing-the-mobile-im- revolution-to-the-mainstream/
March In 2012
Nakata’s Ringgu, which in its opening ‘teenager
at home’ death sequence, technophobia and female investigative journalist as
central character.” (Ruth Goldberg, 2005). At the beginning of Ringgu, an urban
legend has begun to spread among the teenage population of Tokyo during the
late summer of 1997. The legend concerns a mysterious video cassette, the mere
playing of which dooms the viewer to certain death. Those people who watch the
video immediately thereafter receive a telephone call informing them that they
have but one week to live. Each person who died in “Ringgu” can readily by infer
from the terror-stricken expressions on their dead faces: their heart have
stopped beating from sheer fright. What’s more each of the dead would receive a
call as a death notice, the telephone ring come to be the terrorist signal
through the movie. As the representative horror cinema in Japan, it contains almost all of the factors and characteristics called as " Japanese style", it fully deserved as the study case in my work. I find a common phenomenon in this typical film, the ghost always turns up in a unexpected situation without any dialogue or sound, the " suddenly" moment should be the most effective way to shock the audiences heart.
Bibliography:
1. 1. Richard J. Hand (2005), “JAPANESE HORROR CINEMA: Aesthetics of Cruelty: Traditional Japanese Theatre and the Horror Film”, Edinburgh University Press Ltd.
March In 2012
After I collecting information and field management, I search for the clue of the entire arrangement. The purpose of my work is analysis the power of silence in film industry, I select the horror cinemas both in Japanese and American's as my research target. Examples for study case will be more highly persuasive evidence combined with illustration. I start the first step of my whole research process with the Japanese horror film " Ringgu" which is the original idea in my opinion. From the book which is written by Richard J. Hand “JAPANESE
HORROR CINEMA: Aesthetics of Cruelty: Traditional Japanese Theatre and the
Horror Film”, I learnt amounts of information and analysis related to this cinema, in meanwhile I get a completely definition and developing process of Japanese Horror film industry. Including all of the factors, issues and material, I arrange the management step by step, a good harvest to my work.
Friday, 20 April 2012
March In 2012
I do a research focus on Japanese and American horror cinema, I select the books that I will be used in my essay, the list as follows:
- “JAPANESE HORROR CINEMA: Aesthetics of Cruelty: Traditional Japanese Theatre and the Horror Film”
- “The Sound of the World Turned Inside Out”
- “HORROR, THE FILM READER: PART ONE: THEORIZING HORROR: Why Horror? “
- SOUND DESIGN: CHAPTER 5: MUSIC TO OUR EARS: RHYTHM AND ANTICIPATION: Silence”
Bibliography:
- Richard J. Hand (2005), “JAPANESE HORROR CINEMA: Aesthetics of Cruelty: Traditional Japanese Theatre and the Horror Film”, Edinburgh University Press Ltd.
- Ruth Goldberg (2005), “JAPANESE HORROR CINEMA: The Nightmare of Romantic Passion in Three Classic Japanese Horror Films”, Edinburgh University Press Ltd.
- Philip Brophy (2005), “The Sound of the World Turned Inside Out”, Edinburgh University Press Ltd.
- . Noel Carroll (2002), “HORROR, THE FILM READER: PART ONE: THEORIZING HORROR: Why Horror? “ British Library Congress Cataloguing in Publication.5. David Sonnenschein (2001), “SOUND DESIGN: CHAPTER 5: MUSIC TO OUR EARS: RHYTHM AND ANTICIPATION: Silence”, Published by Michael Wiese Productions.
March In 2012
Today I settle up the frame of my essay, I compare with the three different form of my work, finally I prefer the traditional essay than the others, it can both show the illustrations and words to give a clearly comparison and definition of my opinion, it directly present the analysis between Japanese and American Horror films.
March In 2012
The first tutorial with Ivan, I made the decision to change the idea from the Chaplin to Horror cinema, it was inspired by the unforgettable impression of my first experience of Japanese horror cinema " Ringgu", it has been several years happened in my junior high school, however it left quite terror memory until now. Without perfect story design and charters dialogue, underlying the scaring psychological hint and horror atmosphere, in between sound effects, character design and unexpected scene take the important part in the film. Usually the ghost turns up with low background music and without any dialogue, it creates strong impact to audiences' mind and reaches the best effective of horror cinemas. Silent plays a quite important issue in this typical film. I present the opinion and communicate with my tutor, we arranged the agreement and got the permission to do the research of horror films, and Ivan suggested me to do a comparison between Japanese and American Horror cinemas.
March In 2012
The first idea come to my mind about the phase 1: the silence of power is about the world famous comedy master Chaplin, he is well known for the silence cinema, there is no word through the entire cinema. He performed by action and facial expression in the stage, however Chaplin's humorous style creates a unforgettable and deeply impression in audiences' mind.
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