From chapter 8 of Keifer Boyd, K., & Maitland Gholson, J. (2007). Engaging visual culture. Worchester, MA: Davis Publications.

Transcription

1 Title for a 6-act Mixed Reality Machinima: Theme: cultural narratives of global, local, or personal-as-political explorations or issues Shift from a metaphysical to an ethical and political model of identity: from a static to a relational model of identity; to a model of identity that focuses on what matters, what is meaningful for us our desires, relationships, commitments, ideals (Alison Weir, 2008, p. 111). TheEvolvingIdeaofStory Thosewhoteachwritingarefamiliarwithfive rhetoricalmodesinessaywriting expository, descriptive,imaginative,narrative,andpersuasive introducedingrades2through6andincludedin moststandardizedtestsonreadingandwritingin U.S.schools,includingtheACT,acollegeentrance exam.(agooglesearchofthefivemodesrevealed 11,500hits,manyofwhichprovideexcellentteaching materialsforspecificgradelevels.)parallelto thesetraditionalmodesofnonfictionwriting,exist anothersetofwritingtraditionsencompassing whatwecallcreativewriting.thesemodesinclude poetry,shortstory,creativenonfiction,andthenovel. Further,withinthesemodes,genrescanbeidentified suchasmystery,romance,sciencefiction,historical, andadventurestories.thesetraditionswillimpact everythingthatcomesafter,buttheideaofstory isever evolving.newmediablurtheboundaries betweentextandimageincontemporaryart. InteractiveStoriesofSelfandPlace Likeotherstoryforms,acomputergametypically involvescharactersandenvironments.however,in computergamesthereareoptionsfromwhichthe playerselects.marie LaureRyanidentifiesthreetypes ofstoriesthatplayerscreatewhileplayingcomputer gamesthatdonotemphasizecompetition:embedded stories,emergentstories,andprescriptedyet interactivestories.13inotherwords,storiesofplace: (a)drawfromtheembeddednarrativesofaplace, (b)emergefromtheauthors insertionoftheirown interpretationsintothosenarratives,and(c)can beenactedbyothers changingthestoryfurther. TheStoryofPlaceactivityrevealsthishumantendency tomakesenseofourexperiencesthrough story,whetheringameplayorreallifeexperiences. Ithelpsusrecognizethestoriescommunicatedbya spacetopeopleinthatspacesothatwemayexamine theimpactofhuman designedspacesonhuman behaviorandsocialrelationships. ChangingStoryModes Simulationsandhypermediaarestorymodescommon tocomputergames.gonzalofrasca,aludology* scholar,arguesthatnarrativesarecomposedof sequencesofsemioticsignsorsharedsocialcodes, whilesimulationsgeneratesigns.4newmediatheorist Marie LaureRyansummarizesfourmodesofstory5: Diegeticmode:tellingsomebodythatsomething happened,usuallyinthepast.novels,oral storytelling. Mimeticmode:enactingastoryinthepresent byimpersonatingacharacterandmimicking action.drama,movies. Participatorymode:creatingastoryinrealtime byplayingaroleinthestoryworldandselecting one sbehavior.children sgamesofmakebelieve,theaterwithaudienceparticipation. Simulativemode:creatingastoryinrealtimeby designing(orusing)anenginethatwill implementasequenceofeventsonthebasisof itsinternalrulesandtheinputtothesystem. Ryansuggeststhatcomputergamesemployboth simulativeandparticipatorymodesofstory. Reflect:BroadeningNotionsofthePlace WhereStoriesReside Therehavebeenartisticmovements,suchasminimalist artandmodernistabstractart,inwhichartists haveattemptedtoeliminatethedistractionofsubject matter.artistssuchasdonaldjudd,jacksonpollock, MarkRothko,andHelenFrankenthalerwantedto appealmoredirectlytobasicperceptualsystems embeddedinhumanconsciousness.thatis,theyused theelementsofbrightorsubtlecolor,andsoftor jaggedlinestotriggerdirect,unencumberedperceptual responses.thatwastheirgoal.yetviewerspersist inmakingabstractionintosubjectmatterand conceptuallyorganizeinterpretationsintosomeform ofnarrative.thisraisestheissueofartistintention. Ifartistssaytheydidnotintendforviewerstosee subjectmatterororganizetheimageinto astory, areviewersincorrecttodoso?putanotherway,ifthe viewerseesmeaninginunintendedsubjectmatter andstory,isthatmeaning(notintendedbytheartist) alegitimateinterpretation?further,supposethe viewerderivesameaningthatisquiteconsistentwith thatdescribedbytheartist,butgetstherebywayof averydifferentprocessthanthemaker s.thus,stories ofplacescouldevenbederived(andcommonlyare derived)fromvisualculturesuchasabstractartifwe imagineourselvesasinhabitantsintheartwork. Fromchapter8ofKeifer Boyd,K.,&Maitland Gholson,J.(2007).Engagingvisualculture. Worchester,MA:DavisPublications.

2 Kate Skopowski: Rat Laura Leyde: (Cheshire) cat Alaina McNeal: Helmet & goggles Cynthia C Barlow (Avatar: Cydar) ccb@ .arizona.edu Megan (Megalump): Remote/ Memote Dalton (Dalton Kendrick): Skateboard Uly (Uly-A-Saurus): Bright Yellow Balloon Jesse (Sumilla33): Livestrong Bracelet Eryn Chiu Neff (DrRobothead). Object: TBD (erynchiu@ .arizona.edu) Nicole Walter Julie Miller Heather Rayius Nicole: bike Samantha: ring stack toy hat Serene: necklace Laiang Kou: Noah's ark (Avatar: Happyhappyman; kou@ .arizona.edu Autumn Anderson (FallAnderson) - tie-dye book bag Brittany Suchwala (Bartholomew Tripoli) - spring Brittany Eisele (Brittster) - dress, hair and cheetah tattoo Downi Griner (Dagnyjones) - watch (absent) Katelyn Witman Laura McGowen Katherine Deandrea Jessica Miller Lara Jeanne Somers: An umbrella with a photo of an oil field (Avatar name: Zarlar; ljs4@ .arizona.edu) Objects: Obnoxiously Huge Red Telephone; Navy Blue Baseball Hat; Stop Light; Yellow and Purple Wrist Watch; umbrella

3 Act 1 Act 2 Act 3 Act 4 Act 5 Act 6 FILM TREATMENT & SCRIPT for MACHINIMA PRODUCTION In writing your script for YOUR one act, of an 6-act machinima, include production statement, goals, description (by the end of class on Oct 4th), and shot by shot script (by Oct. 6th). Remember PSU and UA will each film and edit separately from the same script/plan and same acting. Therefore, there will be 2 final versions of your script. Production Statement: Describe action + concept in one or two sentences. State the title, length, what or who the video is about, why it's important, and how it will be conveyed. Online media catalogues of films are listings of production statements that may be helpful to look at for examples. Communication Goals and Objectives: In no more than 5 sentences state your goal (i.e., your purpose)--what you want to communicate. Include in this purpose statement: (a) What perspective you are going to take, (b) Who the target audience(s) is, (c) What you want the audience members to get from your machinima, (d) Why it is important to communicate (what benefits, insights, etc.) this idea, and (e) How (what strategies) you are going to use to communicate this? Description: This section is not a shot by shot list but it does describe in general the kind of action the audience will see. Be more specific on the opening and conclusion. Break the video down into basic sequences that will make up the story. Briefly describe transitions. Below is the basic story formula. However, it does not need to be strictly adhered to but rather as guide of what to think about in preparing your script. Opening (grabs attention, tone & mood set, hints of what is to come) Beginning (context set: who, what, when, where; a leading sequence tied to the content, goal, or concept of the video; something happens: a conflict encompasses both the events of the plot itself & the tension that creates interest) Middle (Action is sustained or built up. Possibly develop further intrigue/complications. The event of the story occurs.) End (climax--resolution of the conflict(s)) Conclusion (Relates to the opening and often leaves the viewer wanting more.) VIDEO: Visualize your video shot by shot: Describe in abbreviated form: (1) the composition, (2) camera angle, (3) lighting (natural daylight, spots, interior lamps, etc.), (4) camera movement (if any), (5) movement on part of subject (if any), and

4 (6) duration. Example: (1) L.S. Exterior. Yard in front of maple tree. Early autumn afternoon. Downward angle from roof. Two boys enter leaping playfully on screen right. Action Tips: 1. Keep the activity unfolding. Change angle and image size. Use about 7 shots for a sequence--like entering a space and sitting down rather than a continuous shot. 2. Try to capture the specific action most telling of the larger picture. Action can happen in each frame (subjects move), or by the camera movements (pans, zooms), or by the sequence of the shots that came before and after (cut-ins, cutaways). 3. Long wide shots have the affect of slowing a program down. Going from a smaller image (wide/medium) shots to larger (close-ups) speeds up the pace. Cut-ins keeps action moving, it supports the action, and pace seems faster. Cut aways are in relation to the action. They extend action, and slow the tempo down creating suspense and heightening interest. Close-ups or zoom-ins should be of something relevant to the program. Action is most likely seen (in USA films) in the upper right side of screen. 4. Cut on the action not a still shot. 5. Avoid jump cuts by following the 180 degrees rule of thumb--that is imagine a line that cuts through the action and stay on one side of the line. If you need to cross the line take a front on or tail end shot as a transitional device. Changing image and angle by 30 degrees helps to avoid jump cuts too. 6. Don't confuse with too much information in a shot be clear about what you want the audience to see. Pace the detail. Video is an intimate, close-up medium. Shots in and of themselves say nothing--they are meaningful by what was before and what follows. Corresponding to each shot describe what is on the audio tracks. There are two audio tracks so music, ambient sounds, and/or primary audio can fade in, out, up, or down. Be specific. Instead of "girl talks" write what she says. Or for ambient sounds write what it is of, or from (e.g., "footsteps coming closer"). Or describe title of music used, what section, or what it sounds like (e.g., rhythm, fast paced, lyrical). You can draw a vertical line to indicate that it continues through several shots. Shot Descriptions: Pan (lt. to rt. or rt. to lt.) for horizontal Tilt up (for vertical)

5 Tilt down Zoom in Zoom in Zoom M.S.(medium shot) to C.U.(close up) Fade out or fade in L.S. (long shot) W.S. (wide shot) C.U. (close up) M.C.U. (medium close up) X.C.U. (extra close-up) Upward angle (gives emphasis & strength) Downward angle or top shot Transitions: Exit left, enter right or exit bottom, enter top Exit straight to camera--reenter straight on Focus/defocus or dissolve or fade out or in Swish pan same direction (pan fast-cut-pan fast) Zoom in on color surface/cut/zoom out on same color surface in a new location. Use cut aways (Person throws paper down outside, cut to person picking up paper in a new location). AUDIO Sound can bridge visual cuts so the editing is more harmonious when audio begins before visual it relates to, or filmclip is seen before audio is heard. Strategies for Machinima Dialogue, question & problem-pose Seek multiple possibilities Critique socialized identities Imagine & create empowering all in scenarios of relationship Process for Creating Machinima 1. Create storyboards and scripts 2. Create avatars (actors) 3. Select movie scenes 4. Perform 5. Screen record 6. Voice record 7. Edit movie clips 8. Upload Machinima movie to YouTube

6 Film & Video Treatments (IDEAS for Machinima treatments) Montage (quotation & fragmentation) (Eisenstein, Pablo Helguera) (montage film theory triad: innovation, reaction, consolidation) Rapid cuts or camera movement (Nam June Paik) Layered texture (Lahire) Fixed camera/long takes (Andy Warhol, Bill Viola) Out of focus (Brakhage) Serial, centered, or overlapped views (Ulrike Rosenbach) Symbolic space (Esther Parada) Multiscreen projection (Wodiczko, Paik, Viola, Oursler) Subject/object point of view changes (Maya Deren) Repetition/ritual (Deren, Helguera) Dialogue with viewer (Vito Acconci) Extreme close-ups (Sadie Benning) Work space below for collaborative scriptwriting from inspiration and ideas from Exquisite Corpse game and include objects attached to avatars as part of the cultural narrative. Also include mixed reality, i.e., combine virtual and physical worlds in the script, filming, sound, and editing. It can be more virtual than physical or vice versa but needs to have elements of both virtual and physical.