For this still, I decided to use the concept in Wollen's essay on counter cinema. This depicts me overdosing as the last images I will ever see are my drug induced hallucinations. Also, my brother is seen in the window behind me looking at the camera and begging the audience to help me. I chose foregrounding and narrative intransitivity specifically for my film concepts.
I like this photo and how it portray's counter cinema well with its use of exagerrated props and the story line is also interesting. I see how this encompasses foregrounding and narrative intransitivity in the props and such. Very nicely done. -LV
ReplyDeleteVery well done, Ryan. I like how you chose to present drug-induced hallucinations in a more objective and depersonalized manner than we normally expect; in "drug" movies, you'll typically see a bunch of POV shots and shot-reverse-shot sequences that establish the images as taking place in the mind of the character, but here the camera is off-center and not inherently connected to the character. We can locate Captain America and... whatever that Wookie-thing is within the diegetic world of the shot. At the same time, though, you break diegesis by having your brother acknowledge the presence of the audience, or perhaps even the camera itself. Foregrounding the apparatus like that has always been one of my favorite elements of postmodern art, and your picture reminds me of both Wollen's definition of counter cinema and the snarky, irreverent attitude of New Queer Cinema. Once again, very well done.
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Thanks you guys. That's exactly what I was going for Drew I'm glad that you were able to see those aspects in my image.
ReplyDeleteThis was very cleverly put together. The choice to have your main character among the strange happenings of his hallucinations, rather than being the focal image of the shot witnessing them as the viewer, intensifies the chaotic feel of his last moments. Also a very nice touch with the brother yelling at the audience, getting them engaged in the chaos as well.
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