Video Sample
Created for my Intro to Video Production course this quarter.
Writing Sample
Written for my Business of Media course Fall quarter. This is a hypothetical memo about whether or not a TV station should air a racially-charged episode of Law & Order. The full context is available here if you wish to read it.
Other entries on this blog (favorites culled from my MDIA 203 coursework) include examples of writing, music production, and of course, blog publishing.
Thursday, April 28, 2011
Monday, February 14, 2011
Scene Analysis
For this assignment, I analyzed a scene from Kill Bill Volume 1, directed by Quentin Tarantino and photographed by Robert Richardson.
Sunday, January 30, 2011
Music Critiques
Tuesday, January 25, 2011
Cover Songs
For this discussion of cover songs, I will be using Edith Piaf's classic song "La Vie en Rose" and a cover version by Louis Armstrong as my examples.
Edith Piaf
Louis Armstrong
Edith Piaf (subject of the Oscar-winning biopic of the same name as this song) first released her version of the song in 1946, and it became her signature tune. Both her and Armstrong’s versions have been featured in a variety of movies and other media. While the basic melody and feel of the song remain the same, the Armstrong version is a very different take on the classic.
The most noticeable difference is the lyrics. Obviously, Piaf sings in French and Armstrong sings in English. The English lyrics are not a direct translation, but were written at a later time since the song was so popular. I don’t know French, but by comparing the literal translations available online with the adapted lyrics, I think they maintain the same ideas of romanticism. “La vie en rose” means “life in pink,” or as we say, “seeing through rose-colored glasses.” The singer expresses that the object of their affection makes them see life in a brighter, more positive way. The sentimental vibe of “La Vie En Rose” makes it a popular choice for romantic scenes in films—the Louis Armstrong version is used in Wall-E when Wall-E tries to win Eve’s affections.
The two versions of this song have quite different organization. The original takes a pretty straightforward approach with the structure: a short introduction of the melody by the orchestra instruments, then alternating verses and choruses until the end and another short instrumental outro. The Armstrong version uses this structure, throwing out verses altogether: a long piano intro, with no use of the main melody, then the chorus played on trumpet, then the chorus sung by Louis, the piano part repeated, a vocal chorus, the trumpet chorus (slower, and with a key change), and the typical full-band “jazzy” ending. It wasn’t until I thought about this in depth that I noticed the cover version completely does away with the verses. I think it still succeeds in creating a dynamic mood, though (the song still builds tension and then provides release).
Louis Armstrong takes Piaf’s song and seems to give it a more relaxed feel, both through structure and rhythm. By just using the main chorus throughout the song, Armstrong keeps the feel loose and consistent, rather than the start-and-stop feel of Piaf’s version (notice how she seems to slow down between each part of the song). And in both the trumpet and vocal renditions of the chorus, he brings a jazz-influenced touch to the main melody, making it more irregular as opposed to rhythmic and straightforward. The singing and playing is not always right on the beat. Piaf plays more with rhythm a bit, but more with speed, slowing down and starting again when she transitions from verse to chorus.
The sound quality or timbre of both songs is one of the other main differences between the original version and the cover version. It might be because the original was recorded when technology was not as good, but it sounds a little more “fuzzy” and all the sounds seem to blend together. The more traditional orchestra has a different feel than the jazz band, and Piaf’s voice and Armstrong’s voice and trumpet sound pretty different.
I love both versions of this song (and there are many other great versions out there), but I tend to like Armstrong’s cover more, just because it is easier for me to sing along and relate to the English lyrics. I also like that the sound quality is a little better, and that added piano intro is really a great addition. But by understanding how the original and cover versions compare, I can better appreciate both of them.
Wednesday, January 12, 2011
Creative Influences from Mad Men
I'm a video production major, which is just an excuse to watch lots of TV.
One of my all-time favorite shows is Mad Men, which is the creative vision of creator and executive producer Matthew Weiner. Of course, the work of many other brilliant people comes together to make this show as great as it is.
Mad Men, set in the Manhattan advertising world of the early 60s, has the close attention to detail, depth of characters and plot, and visual flair that I hope to reflect in my own creative work. Every aspect of the show has so much care and research put into it--costumes, props, story, music, visuals and editing. Everything is accurate to the time, and carefully chosen to add to the greater meaning of the story. And each episode has an overarching theme which rewards careful viewers. I admire the thought and care it takes to combine all the parts to make a meaningful whole, and I hope my own creative work will someday live up to that standard.
Contrasting Characters
Watch this clip here
In this clip, the colors of Peggy (Elisabeth Moss, right) and Joan's (Christina Hendricks) clothing contrast with each other to show the difference between their personalities: Peggy is a timid new secretary in muted, conservative colors, and Joan is the vivacious head secretary in attention-getting pink and a huge bag. We also notice that the other secretaries' clothing is in affinity with the colors of the office, visually tying them to their environment: their lives are all about work, and to the men they work for, they are little more than fixtures. Costume designer Janie Bryant often uses color and shape deliberately to reflect the characters' personalities, whether it's matching a housewife to the colors of her home or putting Peggy in girly silhouettes to contrast with the men's sharp suits.
Watch this clip here
In this scene, ad man Don Draper (Jon Hamm) is giving a pitch for a new Kodak slide projector. His speech about nostalgia and the human longing for simpler times rings true for his own life--Don's life is all about work, and he regrets drifting away from his family. He keeps his past secret from even his wife, and he seems to be growing tired of keeping up a facade. None of this is never said outright, but through the acting, emotional score (by David Carbonara), and scene direction, we as the audience can actively deduce these meanings, instead of being told in a didactic manner. This would be a horrible scene if didactic storytelling was used! All I can think of is some cheesy voiceover of Don's thoughts: "Maybe I should spend more time with my children, now that I think about it..."
Tension & Subtext
In this last scene, Joan and her onetime lover Roger (John Slattery) are returning from a dinner date, though both are now married to other people. His wife is distant and her husband is off in Vietnam. They have a romantic history and are still attracted to each other, though neither will do anything about it. To add to the romantic and sexual tension already going on before the scene, they get mugged while walking home. The baseline of normality (talking while walking down the street) is set at the beginning of the scene, then tension is introduced when the mugger appears. When he takes their wedding rings, the subtext is that they are both unhappy with their marriages and are about to re-start their affair--this only adds to the buildup of tension. This tension is finally released when they (finally!) kiss.
While is Mad Men a visual treat and fun for history buffs, it is at heart an example of great storytelling. The subtle techniques used to create deeper meaning keep me coming back to this show every week!
One of my all-time favorite shows is Mad Men, which is the creative vision of creator and executive producer Matthew Weiner. Of course, the work of many other brilliant people comes together to make this show as great as it is.
Mad Men, set in the Manhattan advertising world of the early 60s, has the close attention to detail, depth of characters and plot, and visual flair that I hope to reflect in my own creative work. Every aspect of the show has so much care and research put into it--costumes, props, story, music, visuals and editing. Everything is accurate to the time, and carefully chosen to add to the greater meaning of the story. And each episode has an overarching theme which rewards careful viewers. I admire the thought and care it takes to combine all the parts to make a meaningful whole, and I hope my own creative work will someday live up to that standard.
Contrasting Characters
Watch this clip hereIn this clip, the colors of Peggy (Elisabeth Moss, right) and Joan's (Christina Hendricks) clothing contrast with each other to show the difference between their personalities: Peggy is a timid new secretary in muted, conservative colors, and Joan is the vivacious head secretary in attention-getting pink and a huge bag. We also notice that the other secretaries' clothing is in affinity with the colors of the office, visually tying them to their environment: their lives are all about work, and to the men they work for, they are little more than fixtures. Costume designer Janie Bryant often uses color and shape deliberately to reflect the characters' personalities, whether it's matching a housewife to the colors of her home or putting Peggy in girly silhouettes to contrast with the men's sharp suits.
The "Carousel" Monologue
Watch this clip hereIn this scene, ad man Don Draper (Jon Hamm) is giving a pitch for a new Kodak slide projector. His speech about nostalgia and the human longing for simpler times rings true for his own life--Don's life is all about work, and he regrets drifting away from his family. He keeps his past secret from even his wife, and he seems to be growing tired of keeping up a facade. None of this is never said outright, but through the acting, emotional score (by David Carbonara), and scene direction, we as the audience can actively deduce these meanings, instead of being told in a didactic manner. This would be a horrible scene if didactic storytelling was used! All I can think of is some cheesy voiceover of Don's thoughts: "Maybe I should spend more time with my children, now that I think about it..."
Tension & Subtext
In this last scene, Joan and her onetime lover Roger (John Slattery) are returning from a dinner date, though both are now married to other people. His wife is distant and her husband is off in Vietnam. They have a romantic history and are still attracted to each other, though neither will do anything about it. To add to the romantic and sexual tension already going on before the scene, they get mugged while walking home. The baseline of normality (talking while walking down the street) is set at the beginning of the scene, then tension is introduced when the mugger appears. When he takes their wedding rings, the subtext is that they are both unhappy with their marriages and are about to re-start their affair--this only adds to the buildup of tension. This tension is finally released when they (finally!) kiss.
While is Mad Men a visual treat and fun for history buffs, it is at heart an example of great storytelling. The subtle techniques used to create deeper meaning keep me coming back to this show every week!
Friday, January 7, 2011
Hello
Hey blog readers! I'm Maddie Wolfe, a video production major... this is my blog for Media and the Creative Process!And, here is a picture of a snowman for your viewing pleasure.
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