FINAL EDIT OF IONA

IONA NEW

Iona Senior Services Flyers

SETTING UP YOUR SHOTS

MY VIDEO
https://www.youtube.com/watch?v=tvU2VSCK2X0&list=UULk9dlgFhZI6nLeVrZQC6bQ

PRETTY IN PINK
https://www.youtube.com/watch?v=F8vzL9Xdm_o

BREAKFAST CLUB

https://www.youtube.com/watch?v=pfhIcgGpWhs

SIXTEEN CANDLES
https://www.youtube.com/watch?v=zcroWRd4BuE

Molly Ringwald is my spirit animal, seriously, her hair is amazing. Molly Ringwald's high school seemed really real like a Missy Elliot video, and her problems insurmountable. Yet somehow in Molly Ringwald and John Hugh's version of high school, everything works out perfectly. In Pretty in Pink, the girl from the wrong side of the tracks get the guy with a trust fund. In Breakfast Club, the bratty virgin ends up with the super hot rebel. In Sixteen Candles, the second year who has yet to be seen, is pined over by the rich jock. In my trailer I aimed to get scenes I believe to be essential to the 80’s film. A pan up of the female lead, while the male lead decides whether or not he is into it. The quick one liners that sum up Molly Ringwald's hopelessness. As well as the attached best friend who cannot bear to proclaim his love to her, only in secret. The random dancing scene or what I like to think is the pinnacle of a John Hughes film. The scene that is probably the most unrecognizable is the sex scene quiz from Sixteen Candles but I wanted to use it because it is interesting. Then comes the blowout, the female lead realizes the male lead is a jerk. Either way it works, because the male lead raises his hand in triumph, he has got the girl. 

Painting to Life Production Plan

Painting to Life Production Plan

A)     Each group member’s role

a.       Nick-Producer, writer, actor

b.      Genesis-actress, editing, writer

c.       Direction, writer

B)      Timeline:

November 2: Create shot list, find location

November 4: Writing script

November 5: Filming day (Sam directing and on camera, Genesis acting, Nick actin/camera)

November 6-9: Editing (Genesis will be editing, Nick will be a second eye to editing)

C)      The Dance Class by Edgar Degas

D)     College student taking a dance class. This is about her whole thought process to her taking this class. The student is getting ready to show off her final project to her professor.

E)      Shot list and scene locations

1. Walking to class (on AU campus to the Katzen building)- Ja'ime at this point is talking about herself, where she went to school, where she is currently going, and quiche (her favorite word). She will explain what quiche is.

2. Shot of Ja'ime as she walks into Katzen

3. Standing outside the classroom- Ja'ime will see the classroom she believes she is practicing in is full. She will become irrationally angry.

4. Ja'ime finds the professor who is supposed to be watching her perform. The professor informs her that the performance is tomorrow which angers Ja"ime. She breaks out into an angry fit.

5. Ja'ime leaves her conversation with the professor, angry about it.

6.  Ja'ime goes to her audition with the intention of nailing it. Shot of her walking in.

7. Ja'ime begins her dancing and does what she thinks is a great job.

8. Shots cutting back and forth of the teachers reaction to Ja'ime's horrible dancing.

9. Ja'ime and the professor have a short conversation about her dancing and when she will know how she did.

10. Ja'ime walks out of the audition and talks about how she did, she believes she did amazing, and will get the part.

11. Fade to black

NO COUNTRY FOR OLD MEN

https://www.youtube.com/watch?v=fcjRNOfvVgM
:40 to 1:55

No Country For Old Men is a violent and telling film about how badly men’s haircuts can get and what it can do to a man’s psyche. The scene I chose from the film offers a significant number of film techniques to showcase suspense. In the moments leading up to the scene the viewer sees Sheriff Bell contemplating entering the building, knowing the killer could be in there as he sees the key hole blown out, a signature of the criminal.  This contemplation is seen through a back and forth of look down and look up shots, from the key hole to Sheriff Bell’s face at a medium shot. There is then a revealing cut, showing the killer Anton Chigurh waiting in the motel room ready to kill if he is caught, the viewer barely sees the killer but knows he is there lurking. Then next cut is to the keyhole form the perspective of Anton, all he sees is the lights of the car shining through. The scene cuts to a medium close up shot of the Sheriff who has made his decision on entering and then quickly cuts to the sheriff taking out his gun from the holster, making the viewer aware that he has intentions to kill if necessary. This shot is intriguing because the viewer sees both the sheriff doing this action and his shadow performing the same act, mirror shots and multi-layer action. It then cuts to the action and shadow but from a front and side angle. This leads to the establishing shot of the scene, Sheriff Bell enters the motel room and the backlight of his car creates a silhouette, as he stands in the door, surveying the area. Sheriff Bell takes a step into the motel room, so his silhouette moves as well and the camera cuts to a medium close up of Sheriff Bell. Camera pans with Sheriff Bell as he views the room after first entering, at the same time we see the sheriff’s shadow. The camera is interestingly enough panning horizontally but at downward slope, seeing what the sheriff is seeing which is where the light is hitting.  Sheriff Bell has viewed the rom, we get a medium close up of his reaction to what he sees. The shot cuts from Sheriff Bell to see what he is staring at, the camera is cut to a look at/look down shot to a pool of blood in the carpet leading the viewer to assume someone is gravely hurt. This shot of the Sheriffs feet and the pool of blood is a low camera height and reveal. The camera then cuts to a Locked Down Shot, the camera is steadily focused on this scene but the Sheriff is walking out of the shot going into a different shot. The viewer at this point knows the Sheriff is in danger and thus frustration is built because the Sheriff is leaving the scene and the viewer cannot guarantee or even witness his safety. The camera does not cut at this point, but there is a Fill, Reveal, Frame shot in which the viewer sees Sheriff Bell moving into another door but as he does his shadow and body is obscured by the darkness. Perhaps one of the most significant attributes of this scene is the lack of sound. There is no sound to emulate suspense. The tension the viewer feels is due to lack of sound and the realism that it entails. The viewer hears the same thing that the Sheriff hears and that the criminal hears, which creates enough tension, there is no need for artificial sounds to make you feel something. The snippets of sound that are heard are of the gun leaving the holster, and the creaking of the door as the sheriff opens it, awry noises that build up the intensity. What this scene in No Country For Old Men does best is build tension, and emotionally invest the viewer. Through the dramatic cutaways, the lack of sound, the different shots, the viewer understands that the Sheriff is risking his life and until the end you do not know if he will make it out. 

IONA SENIOR SERVICE FINAL

My initial approach to the client design exercise was always a flyer because it is a simple medium that gets right to the point. The flyer is meant to display the information the client wants to advertise, while being eye catching, and something worth continuing to look at. Iona Senior Services is a non profit that has a clear goal in mind, to cater to the needs of the baby boomers, the color scheme is similar to provide simplicity. The single image serves to show the age group and emotions felt by those who have traveled through Iona’s doors. I do believe that this draft could be expanded into a Final Project, a flyer may be seen as an overdone medium or outplayed, but it does its job. The flyer fulfills Iona’s need to focus on the Take Charge Age Well Academy, and to update its market ad/flyer approach. It looks modern because of its simplicity. There is no necessity for a dark or neon color, an obnoxious background, or many graphics. I would improve the alignment because as of now it is mostly right aligned but I need to see if a fully centered alignment would work. I am unsure as to whether or not the pattern at the bottom of the flyer works to being playful or takes away from the seriousness of the program. I believe the flyer gives off a calm and relaxed feeling much like what TCAWA aims to due with senior citizens. Overall I think the flyer works to fulfill its purpose.  

HAIR FINAL

The trait that I would argue segregates people most next to skin tone. Hair in my country is what defines a woman, in the Dominican Republic everyone has big hips, but not everyone has "beautiful" hair. I have been going to the salon since what I believe to be out of the womb, once a week for two hours, I let someone terrorize my scalp. I am 18 years old, and I have gone since I was 10, that is 8 years, 2 hours a week, 52 weeks out of the year, which means I have spent 832 hours of my life in a salon. Count in how much it costs, $25 a visit, so 10,400 so far, on my hair. I would like to say that this was a forced activity on the part of my mother, who did not want to walk around with a child with a birds nest on her head, but at some point, I was the one asking to go to the salon. Why do we look at someone and expect a certain type of hair? Why do we then judge them based on their hair? If I saw someone with bright blue hair, I probably would think they are less responsible than someone with normal brown hair, this is coming from someone with purple tips. Why is it that hair is a tool for judgment, an indicator of race, indicative of someone’s professionalism? In the photos I took I aim to explore to hair, and how sometimes the hair does not match the person or the expectations we have for their hair.

Justice and Cleansing in Iran ~ 1980 Pulitzer Prize, Spot News Photography, Jahangir Razmi of Ettela'at, Iran

The photo above received the Pulitzer Prize in 1980 given to an unknown photographer, to me it depicts the stages of life. The victims are in varying positions, some are dead as they have hit the ground, some are just being shot, and some men are awaiting their death. The moment being captured is of religious persecution, an idea that continues to plague humanity.

                My favorite part of this photo, is the fighter that becomes the center of the photo and creates the line that goes through the center of the photo. He stands out being the last shooter in the line, the only one not wearing a head piece of some sort, and his gun is very clearly seen and standing out. Yet he is not the focal point of the photo, it is too strong of a message and photo for that to be true. The horizontal lines of the guns to the victim, lead your eye to the victim. There are the two most obvious lines, the line of victims and killers.

                The tone of the photograph is very balanced. The upper right of the photograph has more luminosity than other areas but it is not the brightest, and it does not automatically catch the eyes. There is a balance between dark and light areas within the photograph. There is no color in the photograph, the black does not have brown undertones, and it is gives off a muddled gray. There is not zoomed in texture in the photograph, however the sand in motion gives the viewer an idea of the action taking place, the dry area, and the texture of the sand. The most deceiving part of the photograph is the background, the mountains and terrain seem as if they can be beautiful, but in the photo they simply serve as the background to death.  The angle of view is excellent in this photo because the viewer sees both lines, yet the photo’s angle is skewed so the viewer perception is almost that of the rightmost gunmen. The row of victims and gunman serves as the repetition in the photograph, yet the stances of the gunman and stages of death that the victims are in serves as a reminder of individuality. The victim that is standing straight, has yet to be shot, but his death is pending and the gunman looks ready to delve out the punishment.

                The most important aspect of the photos is the lives being taken away within it, the photo’s purpose is to show the gruesome death of individuals at the hands of social, political, and religious injustice. The photo Firing Squad in Iran, was taken on August 27, 1979 and published anonymously for fear of punishment, in the Iranian daily newspaper Ettela’at. The photo circulated and appeared in newspapers around the world. The victims in the photo are Kurdish militants, charged with murder and inciting riots, they were sentenced to death. The photo is depicting the turbulent times Iran faced during Ayatollah Khomeini’s Islamic Revolution, when he imposed Shiite Muslim beliefs on the country, attempting to remove Western influence. The rejection of Khomeni’s beliefs and rule came from the country’s millions of Sunni Muslims. In turn Khomeni send his revolutionary guard to slaughter Sunni Muslims, his very of justice and trials.

                This photo is what photojournalism should be, capturing a moment that truly conveys a message. It is meant to make the viewer see, understand, and make them a little angry, this photo does just that.

                

Photo Scavenger Hunt

1 X

2 U

3L

4 H

5 Y

7 C

8 I

9 Z

10 M

11 K

12 D

13 T

14 V

15 S

16 A

17 O

18 F

19J

20 P

21 E

22 N

23 R

24 B

25 W

26 G

HAIR

The trait that I would argue segregates people most next to skin tone. Hair in my country is what defines a woman, in the Dominican Republic everyone has big hips, but not everyone has "beautiful" hair. I have been going to the salon since what I believe to be out of the womb, once a week for two hours, I let someone terrorize my scalp. I am 18 years old, and I have gone since I was 10, that is 8 years, 2 hours a week, 52 weeks out of the year, which means I have spent 832 hours of my life in a salon. Count in how much it costs, $25 a visit, so 10,400 so far, on my hair. I would like to say that this was a forced activity on the part of my mother, who did not want to walk around with a child with a birds nest on her head, but at some point, I was the one asking to go to the salon. This is where the hair fascination comes in, I always wondered why I did not have wavy hair like my Puerto Rican friend Gabriella. My mother's answer was always the same, "No se Henesis, tienes el pelo de tu padre" or "I don't know Genesis, you have your father's hair" but I'll say this knowing my mother will not see it, we have the same hair. 

Why exactly do I not want curly hair? Well I cannot comb it to save my life, it varies between frizzy and knots, much like my weight, and I have this irrational fear that guys do not find me attractive because of it. I grew up thinking that good hair was bouncy, straight, and unaware of split ends, so what Dominicans calls "gringa" hair, or white people hair. So imagine my surprise when I saw this Caucasian female with curly hair, first reaction was "HEY THAT'S MY HAIR TYPE NO FAIR" second reaction "WHAT CONDITIONER DO YOU USE" my hairdresser, who I have on speed dial, would have fainted knowing I asked a white girl for hair advice. She yelled at me as if I was her own child when I used garnier fructis once, but that relationship is normal to me. The point is, why do we look at someone and expect a certain type of hair? Why do we then judge them based on their hair? If I saw someone with bright blue hair, I probably would think they are less responsible than someone with normal brown hair, this is coming from someone with purple tips. Why is it that hair is a tool for judgment, an indicator of race, indicative of someone’s professionalism? In the photos I took I aim to explore to hair, and how sometimes the hair does not match the person or the expectations we have for their hair.