The first episode of MN Original featured Alec Soth, Heather Doyle, the Twilight Hours, two students from MacPhail Center for the Arts, and Joe Paquet, as well as additional music by local musicians. I had never heard of any of these people before, so it was really interesting see the artistic talents Minnesota has to offer. I definitely enjoyed Alec Soth's pictures. There's something about them that really catches my eye, but I don't know what to call it. Kind of like a superficial simplicity covering a very complex picture. At first glance, his pictures are pretty simple: an ice house, a woman on a sofa, a man standing. But when you stop and really look at it, you can see deeper into the story behind the picture.
Recently in analyses Category
The film I chose for this analysis was The Hurt Locker.
The first 10 seconds of the film are very unsteady and low to the ground. This gives the viewer the point of view of the small remote operated vehicle later shown in the scene. The camera zooms out to show the vehicle moving past frantic people. The movements and zoom of the camera are quick and sharp, which adds to the panicked, chaotic mood of the scene. Several times, the camera zooms and focuses briefly on a specific object. A few times throughout the scene on the small vehicle, once on the machine gun on top of a tank. The zoom draws the viewer's focus to emphasize what is being shown. The camera jumps from shot to shot, adding to the rising tension being shown on screen. The angle of the camera shots are almost always shot upwards from the ground, or from quite high up, as if sitting on a roof. These angles make me feel as though I'm trying to stay out of sight, or hiding. The scene then switches from the panicked street to several solders watching through the camera on the remote operated vehicle. The first angle gives the impression of looking over the controller's shoulder. The camera zooms close to the controllers' faces to show the tension of the situation. The camera then shifts between shots of the solder's eyes, hands, and the point of view of the vehicle camera. The zooms show the tension of the situation and cause the viewer to focus on what the filmmakers see as the most important parts.
OP_ERA: Sonic Dimension
Artists: Daniela Cutschat and Rejane Cantoni
To be honest, I chose this piece because the image shown on the website looked really cool. But after reading about it, I admit I'd probably enjoy interacting with this "interactive music box." The piece is described as an open cube filled with tuned violin strings that, with the help of a microphone and movement sensors, each play at a different frequency. I really like the idea of this piece because it throws music, light and viewer interaction into a box, literally. After doing some googling, I found a video of this piece in action. The overlapping sounds give the piece a slightly sinister mood. Judging from the video, the sounds put out by the "strings" are all diverse and loud, but in a tasteful, not overly loud or obnoxious way.
Butch Cassidy and the Sundance Kid, the Hole in the Wall Gang/Knife Fight Scene
Throughout the whole segment, the colors, tone, costumes and environment are used to set the desired timing of the film. The colors and tone of the film have an "old-time" type look. This is most likely due to the technology available when the film was shot, but by not enhancing the colors on the film, it adds to the feeling of the time period. The costumes worn by the characters as well as the environment and scenery also reflect the timing of the story. Unlike the color and tone, the costumes and settings were most likely chosen with the intent to show the time period meant to be represented.
During the horseback riding parts of the scene, the camera either shoots the characters from behind, or from a distance in front of the horses, pivoting to follow the riders as they travel. this shows the movement of the horses as they ride away. When the riders are talking to each other, the camera focuses closer on their faces to emphasize the dialog. A character rarely speaks from off camera or without being seen facing forward in the frame. When facial expressions are important to the mood or dialog, the camera zooms in closer to make the expression clear. During the knife fight part of the scene, the camera switches angles and distance to best view whatever action is happening at that moment.
One piece displayed at the Women and Water Rights: Rivers of Regeneration exhibition at the Nash Gallery was a video/sculpture by Liz Dodson and James Brenner. I was drawn to the piece initially because of the water sounds and music coming from it. The piece had a video of students from Perpich Center for Arts Education dancing projected on to the pool of water. I liked this piece, but I think I would enjoy it more in pieces, or simpler. If the extra music and the video were removed, the sounds of the trickling water would be clearer and the rippling on the pool in the middle would have been more visible. I would have rather enjoyed the music and video of dancing as a different work.
In one of the banquet rooms of Minneapolis' Chambers hotel is a piece titled "Pencil I," by South Korean artist Hong Kyong Tack. It is an oil on canvas piece made up of three canvases placed together.
The piece is very large, and consists entirely of various drawn writing utensils: pencils, pens and markers. On the canvases, there are a couple of clusters or bundles of pens, pencils and markers "on top" of those in the background. The bunches of writing utensils in the foreground are larger, and draw the eye in first. The entire background is filled, there are no holes or negative space.
The colors used by this artist are very bold and bright. There are no shadows in the piece, as if the subjects of the picture are being lit from all sides by very bright lights. The striking, bold colors also contribute in drawing eyes to the piece.
All together, "Pencil I" is cluttered, but not totally random. I see it as organization in chaos. The bundles of pens, pencils and markers are the organization/not random, the background is the chaos and random clutter.
The shadowless, bright color theme creates a light, happy, excited mood. It was pleasant to view, but I do not believe there is a deep meaning or symbolism in the piece. Regardless, I enjoyed "Pencil I" for it's color, business and exciting mood. With all the different pens, pencils and markers drawn into the piece, it is interesting to look at.