project 3

Project 3 QT from smg on Vimeo.

Sound Image/Image Image Relationship

Ferris Bueller Museum Scene

This iconic scene depicts Ferris, Sloan, and Cameron exploring the paintings and sculptures in the museum. This is done through montage as short clips of paintings and sculptures are presented and juxtaposed with their faces in relation to the works of art. They show a sculpture with a quick cut to them all imitating the sculpture, then they cut to them all staring at three different paintings. Through the beginning of the montage a friendship and connection in experiencing the art together is depicted, followed by them staring at separate paintings illustrating a separation, which is then followed by the beginning of Cameron staring into the painting A Sunday Afternoon on the Island of La Grande Jatte alone juxtaposed by a clip of Ferris and Sloan together. We then see an over the shoulder view of Cameron's view into the painting followed by a back and forth of clips--Cameron to the little girl in the painting, getting closer and closer each time until the little girls face is unrecognizable. John Hughes states that the closer you look into the painting the less is able to be seen, nothing's there, which is how Cameron feels. This meaning is presented accurately as Cameron's feeling of loneliness is contrasted to Ferris and Sloan's relationship. The sound in the scene is The Dream Academy's cover of The Smiths Please Please Please Let Me Get What I Want. It's only instrumental in this scene and it evokes a sense of emotion and is a used to portray their journey as close friends experiencing the museum and day away from school together to Cameron's distancing himself to ponder into his own being through gazing into a painting. The clips depict the journey in order as they happen, they show what they are looking at, their responses to what they're looking at, and the score music evokes an additional sense of emotion. The smooth rhythm of the cuts are seamless in the sense that they make sense with the story and with the song as a montage of time lapsing the event.

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project from smg on Vimeo.

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MOMI

Costumes, make-up used, and masks from movie sets, such as Jim Carry's face from The Mask, are on display in The Museum of the Moving Image. One demonstration that stood out was in the sound exhibit, which held a sound studio as well as demonstrations that played scenes from movies and television shows without their musical score and had four song choices for users to integrate into the clip. This was done to see which genre of music portrayed the emotion and action of what was actually happening. It showed that the musical score must relate to the scene and help it progress, not stand-alone. Some examples the demonstration used was the movie Twister with the options to choose between electronic fields 1998 randy Clancy, concerto for cello and orchestra by Richard Danielpour, Georgia on a fast train by burnt toast, and wheatfield by mark Mancia—the actual Twister original soundtrack. Another movie used in this demonstration was Independence Day. Mars bringer of war by Gustav Holst, Gabriel's Oboe by Ernio Morricone, Rammstein by Rammstein—all songs that seem out of place—show the how musical score choices are important within the movie and not just aesthetic choices.

Soundwalk

To open up your ears in a place like New York City requires no need for heightened awareness, as it's a place offering a rich sound environment, but throughout a "soundwalk," it becomes difficult not to hear even the slightest noise. An hour walking around the beautiful Upper East Side is one with a lot of lonely areas and empty blocks at around 2pm. All that is audible is the wind rustling trees, and leaves blowing around. Even the leaves hitting the sidewalk can be heard, having a slightly scratchy sound and then the crunching of them being walked over. One apartment’s air conditioner is quite loud. There is the faint sound of Katy Perry's Roar coming from one storefront, so naturally I walk away from that ear-piecing noise. A dog walker walks by with a golden retriever and the clanking of his metal leash stands out within the sounds of nature. There is another sound of metal, as a metal hatch on the sidewalk being pushed in when walked over. There is the sound of a car screeching its tires to stop quickly. Another cars horn goes off with the sound of fluttering wings of pigeons as they fly away. There are faint sounds of footsteps from far away. Through the grates below me the sound of the subway swooshing past can be heard. This area consists of many families with children creating sounds of little plastic wheels rolling on the uneven sidewalk from strollers and scooters. Here lies a connection to nature in a city of machines. 

Artist Statement

The experience I gained through working at a television show projected any small interest I had in creating media into a whole new level. The show may have balanced real, hard-hitting news with shallow celebrity gossip, but this still effected me to the point where I realized I wanted to be apart of this world of entertainment--a world that makes people happy. 

As I am very new at this, my work is still in progress--transforming and becoming more than just a thought. What I want to establish as my artistry are visuals made up from clean lines balanced by the gritty appearance of the real world and themes that will entertain in any way, whether through the means of laughter or confusion or both, through the 

The goal for me isn't to create great films, but to be the person who helps the vision make away to the screen. Living behind the scenes with editing as my passion. Inez & Vinoodh, Lady Gaga, and the film A Clockwork Orange are the inspirations in terms of how the vision was executed in a clean and futuristic way.