Final video project

Final Project.

Directed and played by Donavon Smallwood and Joey Vergara
Edited by Donavon Smallwood
Music by Lucrecia Dalt, Olivia Block, L.O.T.I.O.N., and the Caretaker.

-- Improvised. Filmed in Hunter College's Thomas Hunter Building in ~30 minutes. Editing time: ~3 hours.

BLOG POST #4: Relationships Between Shots

Alan Clarke's short made-for-television film Christine uses editing techniques to create the feeling of mundane continuity -- something that is important for a film of this theme. Above is a section of the film, which is cut in to parts hosted on the youtube channel of the uploader. The sound of the piece is strictly dialog and natural sounds, completely minimalistic in character. The shots are organized in a leading way, very continual and not much editing is shown besides the cuts between the very similar scenes. Everything is followed by the director via Steadicam, so movements are shown realistically.

Since the film follows a young drug addict through her day in suburbia, we have a simple pattern to follow which does not touch on shot pattern and placement.

Field Trip / Museum of the Moving Image

The Museum of the Moving Image proves to be an informative, yet exciting, museum to visit -- especially if you want to learn about the history of media production in a condensed and easy to understand way. My favorite specific demo would probably be the film props, from the Yoda doll to the huge Freddy sweater, and especially the command center from Blade Runner. I had no idea that the latter was actually so small and it was filmed with certain tools to make it appear life sized, the same goes for the Freddy sweater.

Besides that I really enjoyed, though it was a bit too long, the break down of the editing for the Titanic. Getting a feel for the audio and actually hearing the artificial sounds helps you remember that the film is, after all, just a work of art -- this idea can get lost when you are so immersed in the viewing.

I have been to this museum a number of times before so I didn't really learn anything new, I did however stroll around after the tour and check out the other exhibitions (had to get my $6.50's worth after all) and I really enjoyed the Jim Campbell installations.

Audio Portrait Project

Portrait of Joey Vergara.

What I Hear

For me, a "soundwalk" is quite natural. Making a lot of street photographs, à la Gary Winogrand and Joel Meyerowitz, I spend a decent amount of time walking around neighborhoods observing and keeping watch of people and things -- looking for a moment to capture. Here I walked around midtown during the day, this way I would have an easier time paying attention to key details, since the day in midtown is uncharacteristically mellow. I mostly heard the typical sounds of cars passing, muffled conversation, and the rare bird chirp (since it was cold out this day). Unusual sounds heard would be: people drinking coffee, splashing of water falling from high objects due to rain from the previous day, construction workers ordering breakfast at a corner vendor, window cleaners spraying the windows of huge brand-name stores, the constant sound of wind exaggerated by the multiple objects and buildings around, cabs pulling over to the curb and car horns being pressed down, people having conversations (mostly on cell phones), security for said brand-name stores opening doors for passer-byers.

The most notable thing was the silence, not so much complete silence, but the silence of people as they walked to their various destinations as if possessed and on a mission -- organic like.

Project #1: Define a Space

Define a Space.

Music by Anne Guthrie.

Artist Statement

I have a fascination with the human condition and its relation to conventions and patterns, along with its attempt to break free from these very descriptors -- much like typical jazz compositions versus free jazz.

My photographic aesthetic is an amalgamation of meticulousness and minimalism, as inspired by composer Julius Eastman. In an attempt to create sincerity, I work on capturing natural and free-flowing light honestly and earnestly with both old and new technologies in a methodical process focusing on depth and the seemingly absolute.

With my film projects I attempt create a balance between direct cinema documentation and subtle dramatization – an acceptable balance between depiction and deception. This approach allows me to explore and capture brief glimpses of daily life and present them atypically and free of indirect bias, creating brief yet stark minimalist examinations.

 Like my greatest artistic influences, being filmmakers Alan Clarke, Jonas Mekas, John Cassavetes, Mark Rappaport, and Trinh T. Minh-ha, my work attempts to create ambiguity of emotion – in that the viewer cannot easily describe or pinpoint the experiences to one or two clean-cut emotional fragments –  via partial improvisation and experimentation. With no descriptions, forwarded information, or inherent anticipation for a climax my work aspires to stress an appreciation for the present – to probe the unconscious mind (in the Jungian sense) of the viewer.