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FA7036 - Notes on Montage

March 31, 2016

NOTES on ‘Montage & Sound’
Thursday 31st March 2016

  • Think ‘text’ as ultimately defining a message, whereas an image can be suggestive and interpreted in any number of ways.

  • Watch “La Jetee” (1962) by Chris Marker

  • Watch other films from the Reportage, Montage and Documentary Powerpoint

  • Watch the film by Noriko Okaku:



  • Consider an ‘old film’ effect and subtitles, describing the thoughts behind the caravan...

    • It is a story of sadness and closure

    • It expresses how I feel about ‘losing’ it

    • The ending does hint at ‘what’s to come’, i.e. a new lease of life, with the song from ‘HMS Pinafore’ echoing in the background

  • Don’t just ‘slap’ sound on – think about how it can evoke certain emotions/moods (consider this for the major project, coinciding with the singing/music)

  • Consider the effect of ‘dream-like’ rotoscoping, as with Waking Life (2001)…

    • (trailer)

    • (full film)

    • Can I ‘project’ such imagery behind the character animation of the major project film? Perhaps I can think of representation like this…

    • The puppet character – ‘me’ – is solid and life-like (I am sure of my existence, experiencing myself as reality)

    • The drawn characters – those of friends and family – are more impressionistic (they exist, but memories of them in the past are more faded – and I can only be sure that I, myself, exist in the reality that I know, because “I exist, therefore I am”)

    • The other memories are even more faded (objects, environments, events) because they no longer exist (only in memory)

    • Can the ‘unstable, anxious dream-like’ quality be adopted to nostalgic memories? Perhaps ‘absolute’ memories are more solidly drawn, while faded ones are more unstable

    • Maybe suggest emotion in the lighting too? Even characters’ faces can change colour using this technique (like in Paddington Bear)

    • How does the rotoscoping of the caravan affect the viewer’s feeling? What am I trying to evoke? A magical feeling – shapes, colours, movement


FURTHER NOTES on ‘Documentary & Representation’
Thursday 31st March 2016

  • Is my film – and the major project – an animated documentary? What defines such a ‘genre’?

    • ‘Indexicality’ = footage to reference truths/facts within ‘expository’ (the most common) documentary, such as a footprint – revealing the existence of a being – without actually showing the being itself

    • ‘Substitutive mimetic’ = footage (animated) to recreate things that could not otherwise be filmed, such as dinosaurs

    • ‘Direct representation’ = clearly depicting what you want to say

    • ‘Substitutive non-mimetic’ = footage that isn’t necessarily animated, but possibly from live action, in order to get a point across more clearly (for emphasis)

    • ‘Expressive’ = more abstract

    • Knowledge is produced through discourse – so abstract imagery cannot create knowledge? Just a feeling? An impression?

  • “Aesthetic experience can be as meaningful as any kind of factual discussion”

    • ‘Poetic mode’ = merging reality with abstract imagery to create a type of  ‘documentary’ in its own right, such as Kucia’s Parada (1986):











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