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Soderbergh Has a Fascinating Process

So Steven Soderbergh posted this cool little rumination about the powerful clarity of shot selection/juxtaposition in Raiders of the Lost Ark.  In it, he talks about how he forces himself to really look at films he admires in order to understand them more deeply.  To facilitate that with Raiders, he’s removed the audio, replaced it with a contemplative track, and removed the color.

It’s a great way to get inside a work.  It also reminds me of the fabled, blink-and-you-missed it Topher Grace recut of the Star Wars prequels. Again, it’s about taking something apart to see how it works, putting it back together in a different way to see where its possibilities lie.  Good stuff, both.

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Talk: Media-Making as Plugin

On Tuesday, I gave a talk at the University of Toronto – Scarborough’s Digital Pedagogy Institute entitled “Media-making as Plugin: Considerations for Incorporating Digital Media into Assignments.”  (It’s a version of my piece for the video essay Cinema Journal Dossier.)
If you’re interested in getting a sense of the talk, you can take a look at the Prezi.  Here’s a storify of the Twitter backchannel during the talk as well:
 
I’m interested to hear your thoughts in the Comments. :)
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Most Famous Man You’ve Never Heard Of

Just watched this video essay on Claude Shannon by Delve.tv (via kottke.org).  I had read about Shannon in James Glieck’s book Information: a history, a theory, a flood (which I found deeply intriguing even if I felt almost lost at times).

As the video essay explains it, Shannon’s insight was one that allowed humanity to make a significant leap in the way we thought about information.  I had been telling this to my students in my digital networked media lectures for years – that the insight that all information can be transmitted as 1’s and 0’s was an incredibly important one – but I had not thought about it in such grand terms (a “leap forward” for humanity) not had I known it was Shannon who brought it to us. (This even though I had read Glieck’s book, since he does such an excellent job contextualizing the developments of the 20th Century that brought us to where we are, a technique which tends to downplay individual contributions).

I’m looking forward to stirring in more discussion of Shannon to my digital networked media courses in the future.

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Cool open-source film archiving tool

Cool open-source film archiving tool

This is a pretty sweet project if you’re an archivist trying to figure out how to digitize a large library of films.  

I can still remember opening the print of The Discrete Charm of the Bourgeoisie to pre-screen it for our graduate school film screening series and immediately noticing the vinegar smell.  The color was all tinted pink and red, and it was unusable.  I still haven’t seen that film.

If this kind of technology, at this kind of cost ($3200 including the camera), had been available, perhaps we could have screened the digital version instead so at least more people could have seen it.

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A week in

I’m a week into the semester, and I’m thinking a lot about how many different times I’ve already discussed the fundamentals of narrative: what it is, what it is not, its core components, and ways to develop your own story.  This semester, I’m teaching both Digital Video Production I and Screenwriting, which both begin with this topic.  Plus, I just finished the Go Fellowship digital storytelling workshop this weekend, where we discussed narrative as well.

A useful aspect of this gauntlet of narrative is that I can alter and/or augment what I’ve discussed in previous sessions during later ones.  Unfortunately, it also means I tend to forget which group of students got this anecdote or that example (I hate to use the same material repeatedly unless its really excellent for the point I’m making).

One place I’m not talking much about narrative (yet) is in my freshmen seminar on games and culture, although we’re still working at the fundamental level, discussing the nature of play via Johan Huizinga’s work, Homo Ludens.  So far, the class seems like they’re really leaning forward into the material.  Let’s hope that continues as they begin to be inundated with work in their other courses. 

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Srsly? Award

Srsly? Award

Thompson does a nice job rolling up some of the recent attempts to use statistical methods to identify audience preferences in film and use them for production decisions.

But the award is for the way the NYT seems willing to encourage this man vs. machine Skynet rhetoric. It just seems silly.

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Links for 15 November Tech Talk Lunch

Here are the links to the presentations I’m using in the Lunch:

Here are links to some examples:

And here are some resources you can use if you’re interested in more information:

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In Case You’re Wondering

…Where I’m blogging these days, I’m running two class blogs that are taking most of my blogging attention this semester.

For my Digital Networked Narrative class, on digital storytelling of various kinds, we blog here.

For my Persuasive Media class, on a wide variety of media forms that employ rhetorical techniques, we blog here.

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SLACs and Film and Media

This is just a quick pointer to a post over at Josh Stenger’s blog that organizes media and communication departments at the USN&WR’s top-ranked SLACs (that’s probably too much acronyming).

I just added a probably-too-long comment there, so I won’t go into much more detail here.  (Although its probably worth noting here the limitations of using rankings like this to indicate any kind of relative weight to these programs.  Still, having the data all in one place is excellent work and useful in itself.  We can discuss the validity of the ranking system itself another time.)

Regardless, very interesting info, indeed.