One of my all time favorite YouTube celebrities is Joe Penna, better known as MysteryGuitarMan. Known for his incredible looping skills, Penna never fails to deliver innovative entertainment every Thursday. One of his weekly uploads is entitled "Car Jacker FAIL".
This video begins with the camera placed directly beside the car's taillight, making the light itself seem larger in comparison to the rest of the car. MysteryGuitarMan then enters the frame from the right. With the given angle, it appears as if this camera is hidden from Penna. Since the camera is angled up at him it creates the illusion that he is in charge. The location of the camera, partially concealed by the car, also frames the shot and exemplifies the rule of thirds. The angle of the car and the sidewalk also work as leading lines which, at 0:05, point to Penna who is attempting to break into the vehicle. This beginning shot is the second longest in the entire video at 10 seconds long (the longest being 15 seconds). The majority of the shots are between 2-5 seconds in length.
Another tool used for the duration of the video is the close-up. Throughout the scene, the camera zooms in on all the items that make the sounds contributing to the soundtrack: the handle bar, the air conditioning dials, Penna's fists on the steering wheel, the glove box, the ignition, and the gas pedal. These close-ups are mostly intermixed within the medium shot from 0:36-1:10 when MysteryGuitarMan is behind the steering wheel of the car.
The scene overall has a grey-blue tint. Everything has a dusky look, a cooler "temperature", perhaps adding to the mystery of the car jacker. At 1:29, after a fast-forwarded sequence of Penna preparing his sound equipment, the video turns into a "vlog" (a.k.a.video blog).
Another aspect of film that MysteryGuitarMan explores expertly is depth of field. While outside on the street, the depth of field allows almost all the details in the shot to be in focus. However, while inside the car, everything outside the door is a blur (a shallower depth of field). The smaller depth of field while inside the car allows Penna and the musical car parts to be the only objects the audience can see, not allowing for any distraction from the scene. Outside, with the larger depth of field, the audience is free to allow their eyes to wander from the flashing light in the lower left hand corner to Penna trying to break open the window.
Finally, MysteryGuitarMan's ability to cut between shots is also commendable. One great example is at 0:28-0:30. These two seconds demonstrate his skill in allowing the viewers eye to naturally follow the action of opening the car door from one shot to the next; from wide shot, to medium shot. This idea is seen throughout the video a countless number of times. MysteryGuitarMan's cutting abilities are by far superior to most other YouTube celebrities.
The one aspect MysteryGuitarMan could have benefit from utilizing is the idea of clean entrances and exits. At 0:38-0:42, instead of using another cut between shots, he could have filmed his hand entering and exiting the shot of the air conditioner dial. At 0:41 it appears as if a clean exit was being made; however, his hand re-enters and a cut is made at the end of the shot. The repetition of this cutting can be somewhat dizzying at times and the video would benefit from the intertwining of other techniques (such as clean entrances exits). By using techniques such as this (which I'm 100% confident he is able to do), the issue of making the viewers' heads spin would be solved and the piece would further display Penna's capabilities.
At 2,136,272 subscribers and 288,976,133 total upload views, MysteryGuitarMan must be doing something right. From his iconic dark sunglasses, funky hairstyles and exaggerated hand motions, MysteryGuitarMan has succeeded in creating a brand image for himself. This image not only sells videos, but t-shirts as well. Overall, each of Penna's videos showcases his skill and commitment to his editing and animation meets music technique. Penna really has taken YouTube from a world of webcam-based videos into a world where amateur filmmakers can showcase their talent.
Tuesday, October 18, 2011
Sunday, October 16, 2011
Propaganda or Persuasion: Product Placement
In the world of advertising, the over-arching goal is to "...support existing opinions, change attitudes, and cause actions by those who use their output" (72). Nowadays, as with everything else, people are multitasking. We aren't simply glued to the TV; we have our laptops open with Facebook ready to steal our attention. When a commercial break comes on, we are no longer obliged to sit and watch the commercial. Companies are sneaking more and more product placement into the entertainment itself, so that we are forced to watch it and can't simply navigate away. This makes for more effective advertising and more messages to unsuspecting consumers associating a good life with a brand of computer or beer, and more importantly, the message that you are what you buy. Although the implications of this may seem grave - what it means is that we don't necessarily know we are being advertised to; however, this is also smart advertising.
Product placement has been criticized as being too stealthy (the propaganda argument), a form of advertising we are unprepared to process. We allow companies to get inside our minds and seamlessly integrate their products into our entertainment, forcing us to associate our favorite characters, artists, and idols with their product. Product placement is a particularly prevalent issue for parents attempting to protect children from negative affects of advertising. In the United Kingdom, there are even plans for legislation prohibiting the placement of junk food, gambling, alcohol, baby formula, tobacco, and over the counter medicine.
The difference between these two opposing view points (one positive, one negative) seems completely subjective. A positive or negative standpoint depends on the social definition of the "persuasion" and "propaganda" in the context of each advertisement and in the mind of each viewer. So what is the difference between the persuasion and propaganda besides the social acceptability? There really is none. Propaganda/Persuasion is a smart business strategy. Accordingly, successful brand marketers do not fear change; they discover innovative ideas and learn how to use them to their advantage. In the twenty-first century, we are always "plugged in". Product placement is the smart way to sell a product. It is a persuasive method of selling a product and should be viewed simply as such. As Diana Kendall stated in her article "Framing Class, Vicarious Living, and Conspicuous Consumption": "Consumerism is a normal part of life" (338). To survive the transforming environment, marketers must ask "How?" How can this new concept help me? How can I use this trend to my advantage?
Product placement has been criticized as being too stealthy (the propaganda argument), a form of advertising we are unprepared to process. We allow companies to get inside our minds and seamlessly integrate their products into our entertainment, forcing us to associate our favorite characters, artists, and idols with their product. Product placement is a particularly prevalent issue for parents attempting to protect children from negative affects of advertising. In the United Kingdom, there are even plans for legislation prohibiting the placement of junk food, gambling, alcohol, baby formula, tobacco, and over the counter medicine.
The difference between these two opposing view points (one positive, one negative) seems completely subjective. A positive or negative standpoint depends on the social definition of the "persuasion" and "propaganda" in the context of each advertisement and in the mind of each viewer. So what is the difference between the persuasion and propaganda besides the social acceptability? There really is none. Propaganda/Persuasion is a smart business strategy. Accordingly, successful brand marketers do not fear change; they discover innovative ideas and learn how to use them to their advantage. In the twenty-first century, we are always "plugged in". Product placement is the smart way to sell a product. It is a persuasive method of selling a product and should be viewed simply as such. As Diana Kendall stated in her article "Framing Class, Vicarious Living, and Conspicuous Consumption": "Consumerism is a normal part of life" (338). To survive the transforming environment, marketers must ask "How?" How can this new concept help me? How can I use this trend to my advantage?
Tuesday, October 11, 2011
Mystery
Using theories, techniques, and other information we learned in class, Matt, Kylah, and I worked together to portray the idea of "Mystery" through 8-10 photographs. While wandering behind the Media Production Center, we came across a cluster of dumpsters and took a couple of shots. After uploading them to the computer I noticed something peculiar lurking in the shadows. Is it a person? Is it a shadow? Whatever it is, it takes that photograph to the next level! (Shown below)
Beyond the mystery object hiding within the shadows, this image utilizes the idea of framing skillfully. By framing the mystery object, the viewer's eye is drawn to the center of interest and keeps the eye from wandering outside the frame. Another concept that enhance this shot are leading lines. Leading lines draw the viewer's eye through a photograph or to a specific object or focal point in the photograph. The lighting in this scene is also note-worthy. The only light sources were two lamps: one on the side of a nearby building, the other a street lamp to the right of the photographer. There is a reflection of one of the lights on the street sign next to the mystery object, further drawing attention to this focal point. Overall, the photograph is fairly dark and makes the viewer physically lean in to see the details. This creates a mystery for the viewer attempting to decode the image itself, forcing the viewer to ask himself/herself "what is in the shadows?"
This project, overall, was an compelling experience that required a lot of exploring, creativity, and teamwork. Matt and I wandered around the American University campus on a dark night, searching for an interesting piece of architecture, bizarre lighting, spooky shadow, or creepy plant to convey our theme of mystery. We tried several cameras, helped each other situate the camera in engaging angles, point one another towards a possible photo shoot location, and gave each other advice. Our on-scene teamwork was both fun and academic. Matt and Kylah both had training in photography before this year while I had training in art. It is intriguing to see how the two arts intertwine and how our point of views connect and blend to create a visually enticing final product. The only problem our group had was scheduling. We're all very busy. Kylah has rugby, Matt has work study, I have RHA, and we all have to eat, sleep, and go to class. Scheduling is a constant struggle.
If I were to redo this project, I would have found a flashlight! On the shoot, Matt and I struggled to find a way to cast light on objects in the distance; often, our shots came out entirely black. Not having a suitable light source destroyed some of our ideas and concepts such as a dark figure sitting in the middle of an empty field or on a hill under a tree. Without a light source, we couldn't achieve these goals.
What I like most about the finished product is how it transformed from my initial vision. What started off as cliche, reshaped itself into something more complex based on the particular night of the shoot. About a week before we actually took the photos, I explored campus at around 10:30pm looking for possible sets. Within a week, these areas changed: the lighting was different, but the scene beside it was gripping. These natural changes allowed our photo shoot to occur almost fluidly, allowing the mysterious atmosphere to unfold itself. This was also the most important concept I learned: allow your subject to speak for itself. As a photographer, I should be there to capture what is already in existence, I do not need to create the subject, I need to capture it in an thought-provoking and engaging way.
Saturday, October 8, 2011
Flight of Refugees Across Wrecked Bridge in Korea
In the remarkable Newseum on Pennsylvania Ave. two photographs stand out from the rest: Faith and Confidence and Flight of Refugees Across Wrecked Bridge in Korea. These exceptional images can be found in the Pulitzer Prize Photographs Gallery on the first floor.
Flight of Refugees Across Wrecked Bridge in Korea - Max Desfor
Associated Press photographer Max Desfor who was covering the Korean War took this photograph at a destroyed bridge over the Teadong River near Pyongyang, North Korea. "As a war corespondent, I was attached to a military unit," Desfor explained, "Whichever one I chose." The 187th Regiment, a group whose goal it was to liberate United Nation prisoners by parachuting deep into North Korea was the group Desfor chose. On one such journey through North Korea, Desfor encountered hundreds of refugees crawling over the warped metal of the destroyed bridge. "It was a fantastic sight," Desfor said, "All these people clambering over the girders and the broken girders were dipped down into the icy water." Desfor only took a few shots of this "fantastic sight," his own fingers numbed by the frigid air. The Pulitzer Prize winning shot encompasses the determination and desperation of the refugees successfully.
This wide shot photograph was taken from a high angle. A high angle is not as severe as a bird's eye view, but still makes the people being photographed seem to be swallowed up by their surroundings. The bridge, at one point, towers above the rest of the objects in the photograph, rendering it intimidating, just as the photographer would want to portray to the viewer. When the viewer first glances over this photograph, if he/she starts at the bottom he/she will feel as if he/she is in a godlike position, looking down onto the action, but as his/her eyes scan up the image, tracing the spokes of the bridge, he/she gradually reaches eye-level, bringing the viewer into the daunting scene. The wide shot also initially gives the audience a feeling of godliness as if they are overseeing the flight of the refugees.
The concept of pattern was used expertly in this photograph. Pattern repetition creates a sense of unity and structure. The pattern in this photograph initially appears to be a supporting element to the movement of the people. This could cause a distraction from the flight, which may overwhelm the viewer. However, this pattern was interrupted, making it an important focal point of the image, strengthening the image and making it more interesting. The interrupted pattern (the broken and bent spokes) enhances the chaos of the scene. When looking upon the image, the viewer can feel the instability of the bridge and the imminent danger of possible collapse. The asymmetry and the random placement of people emphasizes this sense of chaos, interrupts the calmness of the normalsy of the bridge over the river, and draws the viewers eye to the photograph.
A high depth of field is used in this photograph in order to allow the viewer to see that the movement of refugees is everywhere: on the bridge (in the foreground) and off (in the background). Cleverly, the horizon line did not divide the work in half, but is positioned very high in the photograph, bringing the emphasis to the bridge. Interestingly, the horizon line is still emphasized. Besides the line where the sky appears to touch the ground, there is a line of houses parallel along with a row of people. Horizontal lines (such as a horizon) create a feeling of tranquility and calmness, which is not at all what the photographer is trying to portray. The emphasis of this horizon and repetition of horizontal lines in the background changes the "flight" into a "migration". While this calms the anxiety the viewer feels from the breaking bridge, it does convey the reality that this flight is being taken place everywhere for refugees. Conveying this reality is important even if it detracts from the main message.
Overall, the author adeptly conveys the "desperation- and determination- of the refugees' flight". This piece is visually interesting online, but emotionally captivating in person. The instability emanating from the image is what initially draws the viewer in. The incredible detail put into the photograph never ceases to amaze. The only thing this piece of art is missing is a face. Each body, every spoke, every minute detail makes one appreciate the photograph even more, but as one admires all the pieces present, he/she craves the vision of strength, drive, terror in one person's face in order to fully understand the idea of "flight".
Flight of Refugees Across Wrecked Bridge in Korea - Max Desfor
Associated Press photographer Max Desfor who was covering the Korean War took this photograph at a destroyed bridge over the Teadong River near Pyongyang, North Korea. "As a war corespondent, I was attached to a military unit," Desfor explained, "Whichever one I chose." The 187th Regiment, a group whose goal it was to liberate United Nation prisoners by parachuting deep into North Korea was the group Desfor chose. On one such journey through North Korea, Desfor encountered hundreds of refugees crawling over the warped metal of the destroyed bridge. "It was a fantastic sight," Desfor said, "All these people clambering over the girders and the broken girders were dipped down into the icy water." Desfor only took a few shots of this "fantastic sight," his own fingers numbed by the frigid air. The Pulitzer Prize winning shot encompasses the determination and desperation of the refugees successfully.
This wide shot photograph was taken from a high angle. A high angle is not as severe as a bird's eye view, but still makes the people being photographed seem to be swallowed up by their surroundings. The bridge, at one point, towers above the rest of the objects in the photograph, rendering it intimidating, just as the photographer would want to portray to the viewer. When the viewer first glances over this photograph, if he/she starts at the bottom he/she will feel as if he/she is in a godlike position, looking down onto the action, but as his/her eyes scan up the image, tracing the spokes of the bridge, he/she gradually reaches eye-level, bringing the viewer into the daunting scene. The wide shot also initially gives the audience a feeling of godliness as if they are overseeing the flight of the refugees.
The concept of pattern was used expertly in this photograph. Pattern repetition creates a sense of unity and structure. The pattern in this photograph initially appears to be a supporting element to the movement of the people. This could cause a distraction from the flight, which may overwhelm the viewer. However, this pattern was interrupted, making it an important focal point of the image, strengthening the image and making it more interesting. The interrupted pattern (the broken and bent spokes) enhances the chaos of the scene. When looking upon the image, the viewer can feel the instability of the bridge and the imminent danger of possible collapse. The asymmetry and the random placement of people emphasizes this sense of chaos, interrupts the calmness of the normalsy of the bridge over the river, and draws the viewers eye to the photograph.
A high depth of field is used in this photograph in order to allow the viewer to see that the movement of refugees is everywhere: on the bridge (in the foreground) and off (in the background). Cleverly, the horizon line did not divide the work in half, but is positioned very high in the photograph, bringing the emphasis to the bridge. Interestingly, the horizon line is still emphasized. Besides the line where the sky appears to touch the ground, there is a line of houses parallel along with a row of people. Horizontal lines (such as a horizon) create a feeling of tranquility and calmness, which is not at all what the photographer is trying to portray. The emphasis of this horizon and repetition of horizontal lines in the background changes the "flight" into a "migration". While this calms the anxiety the viewer feels from the breaking bridge, it does convey the reality that this flight is being taken place everywhere for refugees. Conveying this reality is important even if it detracts from the main message.
Overall, the author adeptly conveys the "desperation- and determination- of the refugees' flight". This piece is visually interesting online, but emotionally captivating in person. The instability emanating from the image is what initially draws the viewer in. The incredible detail put into the photograph never ceases to amaze. The only thing this piece of art is missing is a face. Each body, every spoke, every minute detail makes one appreciate the photograph even more, but as one admires all the pieces present, he/she craves the vision of strength, drive, terror in one person's face in order to fully understand the idea of "flight".
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