Tuesday, March 15, 2016

Adv. New Media - Final Project: PhotoPolar & Polychromorphosis - Michael Hubbard

For this final project, I went back to what I know best, which thus far is making short films of the experimental kind. Over the winter break, I prepared a twenty-page script for a horror-spoof that would take advantage of minimalist, surreal imagery as well as lengthy improvisation of lines that would produce multiple, alternate takes to shuffle through and select for the best possible cut. The premise of that film would have been not too dissimilar from what I ultimately churned out: two supposed friends with an unsteady relationship who would both have to eventually accept a horrible, seemingly implausible truth. The only exception here is that postponed script would have dealt with supernatural elements involving an unseen, soul-sucking pagan idol and one character would have died horribly, whereas the film that I actually ended up making did away with that, is much more loose in plot, and sinks deeper into irreverence with its corny acting and several fourth wall-breaking moments that quickly identify how clich├ęd the plot is. Yes, this demon-possession movie changed into a nonsensical stalker/slasher flick with no real substance to it rather than maybe some memorable visuals and an evident slap-sticky quality, especially with the dance number in the end for the end credits sequence, and while that was all a result of bad scheduling and overwhelming odds, I believe that in a way those problems contribute a unique identity to the film that reflect Jean Baudrillard’s theories on not only what he calls the “hyper-real," which I have already to death about in prior posts, but also his opinions on the nature of film, both in regards to simulations. Baudrillard points out that in film, "The images fragment perception into successive sequences, into stimuli toward which there can be only instantaneous response, yes or no..." (Baudrillard 119). The film is ultimately a compilation of various odd, vivid shots with limited dialogue that you are either with or not, but you at least understand what is going on.

The same could be said about the short found-footage/music video collaboration I did with fellow student Noah Gunther titled “Polychromorphosis,” which is an experimental take on a scene from the famous 1927 silent science-fiction film “Metropolis.” In this particular sequence that I work with, a female character gets her consciousness transferred to the body of an android; her body dies, but she is still seemingly and eerily alive in her completely alien vessel. I made various quick cuts to ramp up the intensity of the scientist at work overseeing his bombastic creation and I use a vibrant, but sickly purple/red/yellow color scheme that bring out certain highlights and tones to reflect the uneasy yet beautiful imagery. When I gave Noah the rough cut to apply his music to, I simply instructed him to make something that reflects the film’s age and bizarre visuals at play, and I believe what he came up with perfectly mirrors that and synchronizes well with the many movements on the screen.

Both videos will be up on YouTube shortly, but probably within the next week as I would like to implement some additional effects to them, it take a ridiculously long time to load the finished cuts, and will be Florida for the time being where there is terrible internet reception.    

No comments:

Post a Comment