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For my experimental film,
titled “Too Early To Rise,” I try, in relation to Marshall McLuhan’s reading on
the humanity’s relationship to “space” and “time” in his short book The Medium Is the Massage, to divulge
the idea of the constraints of time and well-being made onto one by that same
person’s self.
According to McLuhan, for human nature today in
correspondence to current technology, “…guilt is not…privately assigned to some
individual, but is…shared by everybody…” (McLuhan & Fiore 61), and this
quote as was phrased challenged me to identify the one facet of life with which
every person shares guilt: time. And what other technology to project time in
such a glaring fashion that a clock.
We fear we will not be able to do everything we would
like to do with the little presumed time we have on earth, thus we ultimately
define our livelihood by the ticking of our individual doomsday clocks. In
response to this fear, we attempt to achieve so many things in so little time
that we eventually begin to overbear and make ourselves weary. This film is a
personal testament to that situation, as I have often myself awake on early
hours in order to fit more into my schedule in an attempt to be more ambitious,
only to exhaust myself and sub-standardize my quality of life.
Once the introductory title sequence cuts, we finally see
the first few seconds of the film, where it is evident from the transition from
the moon sky to the numbers of early morning alarm clock looming over the
protagonist’s face that time has become a creeping and largely influential
factor, even bigger than the universe itself.
The young man cares about nothing more than getting an early start on
the day, it is apparent that this habit is taking a serious toll on his psyche
and self-confidence. He has made himself more of an aimless creature than a
strictly habitual one, a transformation visualized by his opening of the
curtain, where he is welcomed by blinding light. He has caged himself with his
misinformed and self-damaging decisions.
I think you did a wonderful job of maintaining continuity throughout all of your shots, and the graphic match at the beginning really adds a lot to the subject of your film!
ReplyDeleteI also think that your piece speaks to the manipulation of reality present for all filmmakers, at least for me. I know that in reality, Ben is a great, goofy, wonderful guy who, even though he has moments like this, also has a ton of moments that are vibrant and beautiful, and that if I were to try to capture a part of who I understand is Ben, that world would be colorful. I guess what I'm really trying to say is that who Ben is in my mind isn't what I saw in your film, and yet I understand exactly what you're representing. Nice!