Assignment_2_Chad_Aizicowitz_103073403.mp4

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Biography: I’ve previously worked on projects affiliated with my school, a notable one being a promotional video I created to attract the interest of former prime minister, Kevin Rudd. I produced, filmed, and edited the video, and distributed it via a network of students in order to reach The Hon. Mr. Rudd, and as a result, I was successful in inviting him to my school to play handball. I have also worked on a production of my own at university, as the main producer, director, and editor of my 90 second film, ‘Defrost’. This involved a large amount of work that related directly to logistics, and organisation of location, food, ensuring a safe set, and further responsibilities. In regards to my inspiration as an experimental film maker, I have been excitedly watching the work of Steven Soderbergh, and his use of phone cameras instead of cinema grade cameras. I believe that the construction of films with such cameras lend credence to the notion that story is the most important part of a production, and can be the only real factor leading to success. In leading to my experimental film, Soderbergh’s message has encouraged me to focus primarily on the narrative, or messages and themes I wanted to explore in my experimental film, and not be so concerned with the quality of the gear ‘necessary’ for the film in general. I am more focused on creating an experience for audiences that pushes them to perceive the art in a different way, rather than simply enjoy a nice image

Synopsis: My film is one that I could take advantage of the naturalistic surroundings to create. In utilising the different aspects of the surrounding area, such as the sky to be a natural high, and the ground to be a natural low, I could attempt to disorient viewers in subverting the direction of the movement of the camera. Thus, it can serve to develop a sense of confusion, and general uncomfortableness. In addition, I intend to deliver a sense that audiences feel as though they ‘need’ to rotate their heads in order to get the ‘true’ view of the image presented. The long, drawn out cuts are in an effort to push audiences to accept the image presented, despite the natural inclination to flip it around. Hopefully it will achieve the desired effect, that is, a general uneasiness. In addition, the diegetic sound used is a recording of the outdoor sounds, reversed to add to the subverted ideas. The general texture of the soundscape is similar, however the details feel a bit off, and thus entering an uncanny valley area, further punctuating the strange sensations. The choice of broad day-light is one made largely for convenience, and to present bright, engaging colours in order to maintain attention with viewers.

Log Line: Flowers blossom, oranges scatter, birds sing. All are flipped, and not quite as they should be. Something’s wrong…

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