Matt Johnson 302-003

      It's interesting considering the process of building a self-portrait. It seems that we each enter into this assignment with some specific idea or concept in mind. And then we shoot, record, and build our materials with which to carry out this idea. For some (speaking to myself) we don't always get the footage we hoped for, or perhaps along the way we discover some new objective or idea. The process of curating this project is somewhat of a self-portrait (in and of itself) if you really think about it.       In my own work I had set out to build a self-portrait by capturing the reflections and reactions in others, as a reflection of me. What I found was that most of the subjects we either trying to please me by posing or smiled for the camera just out of habit. To work around this I often conversed with them and then took a candid photo when they weren't consciously on display/posing. But through this process, I also discovered that my manipulation of the subjects wa

Looking ahead at the Music Video project there are definitely going to be a lot collaborations and mutual efforts (both hectic and fun) between all of us, so it’s essential that we each key in on our respective roles and go forth with our tasks and fulfill them as best we can. My own role in the project is split between PA/Craft and Gaffer. So while keeping up and working with lighting, it will also be important that I’m always available, as a PA, to lend a hand at a moment’s notice. And while it is low on the tier on intensive work, I believe that PAs are a vital component to a successful set; as there will always be need to run and do some unexpected task, provide assistance to the lighting, the DP, or even just to provide the crew with morale, in knowing that there’s an extra hand always ready to help. Craft service is also an underappreciated role during production. I can recollect my own experiences of a long day on set. And those sets that had a nice spread well-needed s

                I feel as though the sense of community is the key element here when considering the best elements of “Microcinema.” In 302 alone we’ve been nurturing a community with the class by collectively involving ourselves in various projects with various partners. And with the upcoming music video project our collaborations and associations with continue to grow into bigger and better groups!                 Regarding Avin’s article, I enjoyed getting a sense of her idea of Microcinema she that “there was a sense of adventure in seeking out the obscure films shown there…” I can certainly say that while my own exposure to Microcinema is limited, a can totally get on board with this sentiment. Microcinemas have this unique ability to foster a localized film community, branching out from the ciné-clubs out post-War France, or Vogel’s Cinema 16 (40s- 60s) in New York. I remember going to a Microcinema last winter in the basement of a café in Greensboro, NC. There were some s

            I really enjoyed the more socio-politically driven filmmakers from this week! We really seem to have some elusive vanguards on our hands. It was especially interesting considering Gabby’s presentation of Jen Proctor. It must have been quite a challenge to pool together resources based off a few Interweb videos and a single interview via phone. Though in the same vein, Gabby also had a great chance to really get to know the filmmaker by speaking with her directly. And she really seemed to have a sense of who Proctor was, having described her as an intellectually soft-spoken person; though one more than happy to chat on at length.             I felt as though there was a great deal to take away from Proctor’s philosophy on filmmaking too, as she favors re-purposing footage from home movies and various films. Her way of appropriation, subversion and deconstruction of filmic materials really fits in nicely with her collection of shorts. In addition, I’m really looking forwar

                To be candid, I’m a bit unsure how I should go about this portrait. I want to find a way to survey myself without being self-serving. Find a means to be self-aware, but not self-conscious. It’s funny how often we tend to be so divided, so dually self-gratifying and self-effacing. I certainly don’t want to celebrate myself, if fact I’m not sure if I truly could. If I can, I would like to find a way to survey myself, but without glorifying or memorializing my image in any way. I would be better if I reflect, better yet, refract my image. These certainly pose some restrictions, but I think that setting boundaries will be a good means a discovering some new avenue to portraying myself. To paint a portrait that both eschews my image, but also refracts it in some way                 Already I’m becoming too pretentious or conceptual in this design!                 So…. How should I approach this? How can I authenticate myself, without distorting or pandering to my o

               Talk about engaging with the class… Dylan was great! So engaging and full of energy!     I really enjoyed his introduction where he asked the class to keep our heads down and eyes closed. Continuing his dialogue he circled the room, rousing this sense of anxiety and excitement  (akin to the nervous feeling as a kid playing Duck-Duck-Goose). And finally… LOUD NOISE!                 He knew what he was doing I did so well. At that moment all of our attention was on him, and served as a nice segue for the remainder of his spirited presentation.                 Jan Svankmajer was such an interesting artist. I love how his sound designs makes the images feel so abrasively tactile. Almost to the point of corporeal perversion. So many tongues! So creative in how he created both genial and dissonant conversations in Dimensions of Dialogue (1982). How the lovers in the second segment were molded and meshed together, in both loving and antagonistic ways.