Med101, moving image project

My moving image project was created using George Ella Lyon’s poem ‘Where I’m from’ (G. Lyon, 1999), as an inspiration to base my project on. The project uses cool tones and minimalistic settings along with a variety of both harsh and sterile landscapes to project a feeling of an almost dystopian like environment.

Todd Hido, a US landscape photographer that often focuses on human infrastructure in unsettling environments, provided inspiration for the harsh and sterile setting of the video. I often used Hido’s work as a starting point to visualise and storyboard each scene.
My cinematography stemmed from two filmmakers that regular use environments to further their films narrative.  I emulated Stanley Kubrick’s use of hallways and interior space in films such as A Clockwork Orange (S. Kubrick, 1971), was used to focus the viewer’s attention directly on the subject and further draw the viewer into the environment at which the film is set. Jonathan Glazer’s film Under the Skin’s (J. Glazer, 2013) use of simple sounds and scenes was also used to gain a realistic sense of time and place.

The project aims to keep the viewer visually and intellectually engaged throughout to develop their basis of the projects representations and meaning.

References

Hido, T, Landscapes. Viewed 30 May 2017.  http://www.toddhido.com/landscapes.html

Kubrick, S. Viewed 29 May 2017 http://www.stanleykubrick.de/en/

Under The Skin. (2013). (film) Directed by J. Glazer.

Advertisements

Where I’m From

My sound project was created using George Ella Lyon’s poem ‘Where I’m from’ (Lyon 1999), as an inspiration to base my sound piece on. The sound piece uses a selection of overlapping everyday sounds that occurred in my apartment. I aimed to convey a sense of time ticking away with a tenebrous background track embodying the general pressures and stress accompanying life.

Jacob Kirkegaard’s 4 Rooms (Jacob Kirkegaard, 2006) was one of my main influences on the sound project, focusing my attention on sounds for my project only found in my apartment . 4 Rooms used recordings in 4 different rooms that were once meeting places in the now abandoned Chernobyl nuclear area. Recording, playing back into the room and re-recording up to 10 times before the sound becomes a steady hum in the background.

I gained inspiration to convey meaning through Else Marie Pade’s early electronic compositions. Else Marie Pade’s aim and ability to ‘use the right sound to express emotions in the most truthful way’ (Else Marie Pade, 2014) pushed me to looked towards using sound to generate certain emotions and reactions from the sound pieces used.

Recourses

Fonik.dk. JACOB KIRKEGAARD. http://fonik.dk/ ,Viewed: 25 Apr. 2017.

Nordic Playlist. Magma – Else Marie Pade. http://nordicplaylist.com/magma/else-marie-pade/ ,Viewed 24 Apr. 2017.

Diversity in the digital age

How the digital media age is changing; who controls own news and where it is coming from?

(Featured Image: AP/Josh Reynolds)

How does media ownership concentration affect the way we get our news? Will new online landscapes end up facing these same ownership issues? As we move into the new digital age, a new media landscape is developing; creating opportunities and potential for diversity in the Australian media industry. This is due to a decreasing concentration of media ownership and an increase in differing media platforms.

Government-owned media such as the ABC aim to provide journalism grounded in objectivity. In contrast, privately owned media corporations such as Fairfax and News Corp generally feature opinion based articles, often propagating bias towards the key stakeholder’s views.

‘Brexit’ coverage, BBC vs. the Daily Mail.

However,  journalism that is targeted towards pleasing stakeholders becomes particularly problematic when the same agenda is pushed across multiple platforms of mainstream publications. For example, in Australia News Corp and Fairfax dominate the ownership of media publications. The problem with this is that this doesn’t leave much room for coverage from a differing perspective.

‘Reach over 7 million Australians every day’ 

News Corp’s online home page

The Future of print, radio and televised networks is uncertain due to the rise of social media. Recent studies suggest that ‘more than 90% of consumers access the internet at least once a day and 61% use a smartphone or tablet to access online news’ (Fisher C. and Watkins J. 2016). Furthermore, ‘over half of Australians (52%) reported using online and social media as a source of news’ (Fisher C. and Watkins J. 2016)

Daily Mail Australia and the Guardian Australia, two UK owned entities are two examples of the market stepping up their online campaigns in recent years. The Guardian Australia increased its unique audience from 888 000 in 2012 to 2 685 000 in 2017 (Nielsen Digital Ratings, 2017). This increase of over 200% has led them to overtake media competitors such as The Australian and Yahoo news, who have failed to fully capitalise on social media and online trends. The Guardian and Daily Mail aren’t the only media outlets to successfully infiltrate Australia’s shores; online-centric outlets such as Vice, Buzz Feed and The Huffington Post have invested heavily into the new online industry.

Picture1.jpg

(Nielsen Digital Ratings 2017)

Although new players in the Australian media market have generated large followings in recent time, Fairfax Media and News Corp continue to hold significant proportions of the online media market. Their two biggest online news outlets, news.com.au (News Corp) and smh.com.au (Fairfax) have almost 10 Million unique viewers between them (Nielsen Digital Ratings 2017).

Therefore, although the Australian media heavyweights will undoubtingly look towards expanding their online audiences over the coming years. The nature of the online world and the success of smaller media competitors in recent years suggests Australians will have access to a vibrant and diverse range of media, unlike anything we have ever had access to before. Whether or not this unregulated media machine will provide accurate and unbiased information is another question altogether.

 

 

Bibliography

APO, (2016). Viewed 30 Mar. 2017 <http://apo.org.au/files/Resource/media-reform-overview_0.pdf>

APH (2016). Broadcasting Legislation Amendment (Media Reform) Bill 2016 – Parliament of Australia. Viewed 30 Mar. 2017 <http://www.aph.gov.au/Parliamentary_Business/Bills_Legislation/bd/bd1516a/16bd111#_ftn35>

 Fisher, C. and Watkins, J. (2016). Australia. Digital News Report. Viewed 30 Mar. 2017 <http://www.digitalnewsreport.org/survey/2016/australia-2016/>

The 21st Century Public Sphere

Where is the 21st-century coffee shop discourse occurring?

In the 20th century, German Intellectual Jürgen Habermas likened the public sphere to a European Coffee House, a place where the bourgeoisie and working classes could gather to engage in discourse about the current social issues and needs of society (Habermas 1962)

Featured Image: (Papaspyropoulos, S. 2013)

Jürgen Habermas describes the functioning Public Sphere as a group “made up of private people gathered together as a public and articulating the needs of society with the state”

(Habermas 1962)

So what is our public sphere in the 21st century? It is a meeting place unmediated, that allows us access whenever we desire and able to be accessed by the majority of the population. This public sphere has come through the medium of social media. Facebook, Twitter, Reddit and many other outlets allowing the public to voice their own personal opinions on the issues of the day.

The benefits of this all-inclusive conversation are that it allows a broad range of ideas from all genders, races and religions around the world allowing the users to publish their own journalism, advocacy pieces and opinion articles highlighting their own individual voices and ideas.

For this all-inclusive conversation to function correctly, censorship of the media or the internet must not be enforced on the citizens by the State. Reporters Without Borders latest 2016 World Press Freedom Index (RSF 2016), highlights the concerning number of countries still experiencing press censorship by the State.

carte_en__0.jpg

Image: (RSF 2016)

Australia ranked 25th in the world with Turkmenistan, North Korea and Eritrea facing the highest levels of press censorship.

(RSF 2016)

Even with these restrictions imposed, the power of the new age social sphere has been demonstrated recently with dramatic effect. In 2011, the Arab Spring gave birth to a new era of questioning once feared regimes with advocates for change and reform heading to social media to voice their opinions on the State. Tunisia, Egypt, Libya, Syria, Algeria and many other prominent Arab States were swept up in the dramatic protests with social media the outlet of choice for documenting the events to the world while they unfolded.

http://blockedinchina.net/
Use this link to gain an insight of what popular websites (such as Facebook) are banned in China today.  (Blockedinchina.net, 2017)

While it is contended how much of an effect social media had on causing the uprisings and protests due to the majority of the countries population not being connected to the internet. Using Egypt as an example, research showed that ‘84% of those who are online say they visit social networking sites for news about Egypt’s political situation’ (Pew Research Center’s Global Attitudes Project, 2012).

Without social media, the voices of the Citizen during the Arab Spring would have been limited to State Censored Journalists and the State itself.

o-SOCIAL-MEDIA-ARAB-SPRING-facebook.jpg

Image: (Getty Images, 2017)

With the It’s clear that this new medium of communication is one that will continue to develop over the years and hopefully become a more inclusive outlet capable of allowing controversial and important topics to be discussed around the world without fear of persecution.

 

 

Bibliography

Blockedinchina.net. (2017). Test if any website is Blocked in China in real-time .Viewed 30 Mar. 2017.<http://blockedinchina.net/&gt;

Brown, H., Guskin, E. and Mitchell, A. (2017). The Role of Social Media in the Arab Uprisings. Pew Research Center’s Journalism Project. Viewed 30 Mar. 2017.<http://www.journalism.org/2012/11/28/role-social-media-arab-uprisings/&gt;

Getty Images, (2011).Viewed 30 Mar. 2017. <http://i.huffpost.com/gen/1648245/images/o-SOCIAL-MEDIA-ARAB-SPRING-facebook.jpg&gt;

Habermas, J. (1962). The Structural Transformation of the Public Sphere. 1st ed. Hoboken: Wiley.

Papaspyropoulos, S. (2013).Viewed 30 Mar. 2017.<https://www.flickr.com/photos/spyrospapaspyropoulos/11293370385/in/photolist-icXtyv-qbSzGo-dSk6ng-neetM8-4ptVGq-mX5qFZ-9sssSG-CFRfJS-9pXeu6-atea6s-e5iCmT-anqqfd-9Y2JCR-4H1oc8-aXZrMn-9Y2Khz-7w6XdU-7gRPxG-S5ye7z-2tx789-SAbaBY-qbpTD5-eN5EsS-6xYxWn-m83cRd-Ru3EPT-6xYy7M-j6Rv5-7SazeL-6tLGot-jFdntH-ScaL9Y-mXHgdh-5eYiQo-29AWjE-9Y5Cp9-RhtECQ-9Y2GVk-8TX1rQ-8vx1XK-9Y2Jjr-9vKtxM-9Y5C6Y-J9UBqd-aYDb7-4o3p99-m839w7-5SnyJQ-HJWk17-Tc6X8n&gt;

Pew Research Center’s Global Attitudes Project. (2017). Chapter 1. Views of Political Change.Viewed 30 Mar. 2017.<http://www.pewglobal.org/2011/04/25/chapter-1-views-of-political-change/&gt;

RSF. (2017). 2016 World Press Freedom Index, Reporters Without Borders.Viewed 30 Mar. 2017.<https://rsf.org/en/ranking&gt;

 

 

 

Blue Escapes and Grey Realities

My ‘remoscope’ project centred on my interpretation of George Ella Lyon’s poem ‘Where I’m from’ (Lyon 1999). My narrative developed my escapes from the monotony of life in suburbia to the coast, where I felt a true sense of belonging.

The inspiration for the scenes of day to day life and compositions came from Seamus Murphy in his video work for Eliza Griswold on ‘Snake’ (Griswold 2013). The poems of ‘Snake’ were a collection of poetry from the women of Afghanistan, the visual scenes focusing heavily on the moments of daily life of the poems authors.

Adele Myers ‘Racing Time‘ (Myers 2012) influenced the mix of shots conveying either a representative or interpretive message to the viewer to gain a more individual and insightful interpretation of the events depicted.

Bibliography

Griswold E, Snake, viewed  27th Mar 2016 <https://www.poetryfoundation.org/media/landays.html>
Lyon G. E, Where I’m from,  viewed  27th Mar 2016 <http://www.georgeellalyon.com/where.html>
Myers A & Page R, Racing Time, viewed  28th Mar 2016  <https://vimeo.com/52222410>
Seamus Murphey, Snake, viewed  27th Mar 2016<http://www.seamusmurphy.com/Photography/Snake.-Afghan-Womens-Poetry/32/>

The vulture and the little girl

Interpreting Kevin Cater’s Pulitzer Prize winning image

Kevin Cater’s photo of a collapsed Sudanese girl while a vulture looks on. A photo which gained both universal praise and condemnation from critics and viewers alike when it was first published in the NY Times (Lehigh.edu, 1999) and again after winning the Pulitzer Prize. Over ten years on, the photo today is still used as one of the defining images of the Sudanese Famine and a starting point for discussions on the ethical dilemmas of photographing the human condition during times of suffering.

 Featured Image: (Kevin Carter/Corbis Sygma, 1993)

Kevin Cater’s image is compelling an image can be. A vulture staring down the emaciated frame of a young naked child collapsed on the ground. Immediately a photo like this draws an emotional response, trying to make sense of the situation depicted in the photo. Questions and connotations are formed within us while trying to develop a possible backstory to the image.

  • Why is the child collapsed?
  • Is the vulture stalking the child?
  • What happened to the child following the photograph?

The caption attached places further emphasis on the grim outlook of the situation portrayed, stating, ‘A little girl weakened from hunger, collapsed recently along the trail to a feeding centre in Ayod. Nearby, a vulture waited’ (Donatella Lorch, 1993)

Interview of Kevin Cater and his view on the moralities and representation of the image.

(The Death of Kevin Carter: Casualty of the Bang Bang Club, 2004)

Regardless of the facts and realities behind this image, immediately you start to form your opinion and possible stories. The two most striking elements that form our opinions and thoughts on the image are the collapsed child and the vulture.

The child, generally seen as a universally innocent character in life. One vulnerable, in need of nurturing and care stalked by an on looking vulture, a scavenger bird representing death. These two components of the image work together to form a distressing narrative in our minds.

A third element present that is not normally as discussed when dissecting an image was the human behind the camera. Was It ethical to document such suffering without intervening?

The powerful narrative this photo portrayed consequently led to the NY Times facing public backlash and queries into the fate of the young child resulting in the release of an editor’s note; ‘Many readers have asked about the fate of the girl. The photographer reports that she recovered enough to resume her trek after the vulture was chased away. It is not known whether she reached the centre (NY Times, 1993).’

While the idea of whether the imagine was ethically and morally acceptable is still ongoing today, the fact that the conversation about it has lasted over a decade highlights the impact it had on society and the individuals who viewed it.

Kevin Cater was a South African photojournalist who focused on the social issues and violence surrounding Apartheid South Africa. He committed suicide three months after winning the prestigious Pulitzer Prize at age 33 (McCabe, 1994).

 

 

Bibliography: 

Donatella Lorch, (1993). Sudan Is Described as Trying to Placate the West. Nytimes.com. Viewed 9 Mar. 2017 <http://www.nytimes.com/1993/03/26/world/sudan-is-described-as-trying-to-placate-the-west.html?pagewanted=all>

Geurts, M. (2015). The Atrocity of Representing Atrocity – Watching Kevin Carter’s ‘Struggling Girl’. Viewed 9 Mar. 2017 . <http://www.aestheticinvestigations.eu/index.php/journal/article/view/50>

Kevin Carter / Corbis Sygma, (1993). Viewed 9 Mar. 2017 <https://www.theguardian.com/media/2014/jul/30/kevin-carter-photojournalist-obituary-archive-1994>

Lehigh.edu. (1999). THROUGH A GLASS DARKLYViewed 9 Mar. 2017 <http://www.lehigh.edu/~jl0d/J246-06/THROUGH%20A%20GLASS%20DARKLY%20(full%20text).htm>

McCabe, E. (1994). Photojournalist Kevin Carter dies – obituary: from the archive, 30 July 1994. the Guardian. Viewed 9 Mar. 2017 <https://www.theguardian.com/media/2014/jul/30/kevin-carter-photojournalist-obituary-archive-1994>

Nytimes.com. (1993). Editors’ NoteViewed 9 Mar. 2017 <http://www.nytimes.com/1993/03/30/nyregion/editors-note-513893.html>

Pulitzer.org. Winners Kevin-Carter. Viewed 9 Mar. 2017 <http://www.pulitzer.org/winners/kevin-carter>

The Death of Kevin Carter: Casualty of the Bang Bang Club. (2004). Motion Picture. USA. directed by Dan Krauss.