Today my group wrote up a list of points to include in our e-mail that we would send to our chosen community group, Mind The Gap.
Mind the Gap are an experienced touring theatre company based in Bradford, Yorkshire, who perform around the UK and internationally.
They are a professional theatre company that help people with learning disabilities become professional actors, and helps actors with learning disabilities achieve their potential.
We are hopeful to work with them as we believe it would enhance their experience of interaction as well as our own.
We have proposed an idea to them; to arrange for them to perform in one of our college halls, to publicise and make students aware of this group.
These are the points we included in our e-mail:
• Talk about who we are
• What we would like to do- course details
• If they would be interested in taking part
• Why they would benefit from this project
• Events coming up
• Interested in our proposal
• Our contact details
• We would like them to get involved
• Where would be best for them to meet
• College/Tutor details
We also included our free time slots in which we are able to meet up with them and discuss our ideas.
We really hope that the group will be co-operative and eager to work with us, and we think it's such a great opportunity and experience for us all.
www.mind-the-gap.org.uk
Tuesday, 30 March 2010
Monday, 29 March 2010
Interaction
Today, two of our members have not turned up to class.
We have heard that one of the members will be off tomorrow as well and that the other has left the course.
This means that myself and our other team member have now to do the reports for the missing members' groups, and we will have to continue with our presentation as a pair on Thursday, if our remaining team member doesn't appear due to consequences outside of college.
However, me and my other team member feel good as a pair, and that we would successfully get on with the remaining work as we will only have to respond and communicate with one another, which will be much easier than 4.
We may need help while filming however, to be able to carry equipment to and from our location.
We will then need to get our team member up to date with our group, which could be an issue, as we have worked successfully as a pair so far.
Today, we had a meeting between us and noted down some points and problems on how we will overcome this situation.
We know what we need to do now; we have chosen a group to focus on and now we need to make contact and arrange a meeting after half term. We will write a script together so that we know what to ask them when we telephone them, or we may e-mail them beforehand and ask to call them when we return over the holidays.
I still need to get lots more personal research for my folder and check that i have done my research logs and data collecting.
I need to print out my contact e-mails to the community groups i contacted, and also my plans; brainstorms, notes, leaflets etc.
We have heard that one of the members will be off tomorrow as well and that the other has left the course.
This means that myself and our other team member have now to do the reports for the missing members' groups, and we will have to continue with our presentation as a pair on Thursday, if our remaining team member doesn't appear due to consequences outside of college.
However, me and my other team member feel good as a pair, and that we would successfully get on with the remaining work as we will only have to respond and communicate with one another, which will be much easier than 4.
We may need help while filming however, to be able to carry equipment to and from our location.
We will then need to get our team member up to date with our group, which could be an issue, as we have worked successfully as a pair so far.
Today, we had a meeting between us and noted down some points and problems on how we will overcome this situation.
We know what we need to do now; we have chosen a group to focus on and now we need to make contact and arrange a meeting after half term. We will write a script together so that we know what to ask them when we telephone them, or we may e-mail them beforehand and ask to call them when we return over the holidays.
I still need to get lots more personal research for my folder and check that i have done my research logs and data collecting.
I need to print out my contact e-mails to the community groups i contacted, and also my plans; brainstorms, notes, leaflets etc.
Mark Lawson Talks To; Tracey Emin
'Tracey Emin:
- Provocative British art
- 1999 Turner Prize Nomination; My Bed
- Book; Strangeland
- Part of the YBA (Young British Artists)
In this BBC Four programme, journalist and broadcaster Mark Lawson interviews British artist Tracey Emin, most notably known for her work; My Bed.
The interview reveals Emin's thoughts of politics, art, her personal life and the media.
This candid interview completely changed my opinion of Tracey Emin.
At first I thought she was this wild, crazy, pompous artist, only famous for this mess that she exhibited as a bed.
But during the programme, I became so engrossed in her life and Emin herself, and my opinion completely changed.
Emin says in the interview that she wanted to create art for the people. People in hopsitals, prisons and court houses. This was different from my first opinion of her care-free, flippant attitude towards creating art.
She obtained an MA in painting at the Royal College of Art, and with that came the prejudice of a typical art student.
She then studied philosophy at University of London, after describing her times at RCoA as a negative experience, and also destroying her early paintings.
Emin's most famous piece is her work entitled "My Bed".
The exhibit attracted an array of media fury, particularly over the fact that the bedsheets were stained with body secretions and the floor had items from the artists' room (such as condoms, a pair of knickers with menstrual period stains, other organic matter, and functional, everyday objects, including a pair of slippers).
Emin presented the bed as it had been when she woke one day to find the mess she had been living in, although she does say that she did edit the bed and did not present it just as it was. She says she took care in it and censored some of it.
Emin explains the story behind the bed; saying that she was in a bad place and awoke to find the horror she was living in. She knew she had to change and the way of doing this was to present it as an art form, to show others how she was living.
"I make art that is really personal", she says, and she believes that people felt that they could criticise her for her work, because it was so different from their own lives, and they didn't want to see something so raw and uncensored.
I found this interview so fulfilling to learn from Emin's experiences and to understand her art now that i have understood her childhood and her life.
- Provocative British art
- 1999 Turner Prize Nomination; My Bed
- Book; Strangeland
- Part of the YBA (Young British Artists)
In this BBC Four programme, journalist and broadcaster Mark Lawson interviews British artist Tracey Emin, most notably known for her work; My Bed.
The interview reveals Emin's thoughts of politics, art, her personal life and the media.
This candid interview completely changed my opinion of Tracey Emin.At first I thought she was this wild, crazy, pompous artist, only famous for this mess that she exhibited as a bed.
But during the programme, I became so engrossed in her life and Emin herself, and my opinion completely changed.
Emin says in the interview that she wanted to create art for the people. People in hopsitals, prisons and court houses. This was different from my first opinion of her care-free, flippant attitude towards creating art.
She obtained an MA in painting at the Royal College of Art, and with that came the prejudice of a typical art student.
She then studied philosophy at University of London, after describing her times at RCoA as a negative experience, and also destroying her early paintings.
Emin's most famous piece is her work entitled "My Bed".
The exhibit attracted an array of media fury, particularly over the fact that the bedsheets were stained with body secretions and the floor had items from the artists' room (such as condoms, a pair of knickers with menstrual period stains, other organic matter, and functional, everyday objects, including a pair of slippers).
Emin presented the bed as it had been when she woke one day to find the mess she had been living in, although she does say that she did edit the bed and did not present it just as it was. She says she took care in it and censored some of it.
Emin explains the story behind the bed; saying that she was in a bad place and awoke to find the horror she was living in. She knew she had to change and the way of doing this was to present it as an art form, to show others how she was living.
"I make art that is really personal", she says, and she believes that people felt that they could criticise her for her work, because it was so different from their own lives, and they didn't want to see something so raw and uncensored.
She also spoke of her other exhibit. In 1997, she created 'Everyone I Have Ever Slept With 1963 - 1995', a tent appliquéd with names of the people she had slept with; sexually and non-sexually.
She says she took a lot of care into that tent, making it for personal use, stitching every single stitch in that tent for around 6months. She said that she also practically lived in the tent while creating it.I found this interview so fulfilling to learn from Emin's experiences and to understand her art now that i have understood her childhood and her life.
Thursday, 25 March 2010
Tracey Emin - Top Spot
In this "loosely autobiographical" film, Tracey Emin explores the experiences of 6 teenage girls living in Margate. This documentary-style film captures Emin's experiences and showcases the culture at the time.
Top Spot, named from the sexual interaction at the point of which a man's penis reaches the top of the vagina, is visually a documentary, but can also be interpreted as an art form.
In the beginning of the film, Emin plays the role as an interviewer and talks to the girls as they sit opposite her and open up about their experiences, quite flippantly too.
This technique of filming the girls so frontally and with amateur lighting highlights the fact that they are just children still, yet they contrast to the sexual experiences they speak about.
There are semiotics in this scene; the school uniform, no make-up, which shows the naivety of the girls and how vulnerable they are.
It's refreshing to see stereotypical promiscuous girls being so down played and naive, instead of the fully made-up girls we see today, who we would stereotype as promiscuous.
There are a lot of visual signs to reference the location of the documentary, such as the scenes of seagulls flying, public walking on the pier, and periods of stillness as the camera films the sea.
These shots often come between scenes in this documentary, to separate the stories and to re-enforce that element of freedom; the fact that these girls seem trapped in this lifestyle yet the ocean is there, and it's vast and free, just like the seagulls, a visual symbol of escapism. Almost a paradoxical situation between freedom and impoundment.
There is a scene in which the 6 girls each take a turn in a photo booth.
I found this scene quite interesting as photo booths show who a person really is. The harsh lighting captures the 'real you', and because we're not allowed to smile or wear hats, we become uniform; all becoming a part of one thing, just like the girls in this documentary too, they wear uniforms for the majority of the film.
I believe Emin chose for them to wear the uniform while they took the photos so that again they would all be regimented and organised; made to look the same through the same technique of photography (stark photo booth) and dress code (uniform; everyone is equal).
I believe Emin chose for them to wear the uniform while they took the photos so that again they would all be regimented and organised; made to look the same through the same technique of photography (stark photo booth) and dress code (uniform; everyone is equal).
Another scene features one of the girls running through a connection of tunnels and passage ways, chasing a large cat. It seems to symbolise the confusion and anxiety brought from their experiences. The cat may also be a symbol of what the girl wants to be, what she wants to become, rather than this trapped shell.
In Puritan times, cats were associated with dark, demonic forces. They were hailed as familiars to people who had sold their soul to the devil. This link of demonisation is personified in the girls, as they battle between their innocence and the lives that they are leading; these dark, unholy situations that they are accustomed to.
Animals in dreams usually appear as part of ourselves. Cats may represent you or an aspect of you. So in this scene where the girl in trying to find the cat, chasing it through the series of tunnels, she may be chasing herself, chasing herself to catch up and stop her from what she in doing. Or the cat may represent the lost freedom the girl has, and she is trying to capture it.
Cats are also often associated with women and sexuality. In women, it's a sign that they're in charge of their sexuality.
I like how Emin has really picked up on this to allow us to think and wonder why she has placed this scene in her film, why she directed and wrote this scene in.
In Puritan times, cats were associated with dark, demonic forces. They were hailed as familiars to people who had sold their soul to the devil. This link of demonisation is personified in the girls, as they battle between their innocence and the lives that they are leading; these dark, unholy situations that they are accustomed to.
Animals in dreams usually appear as part of ourselves. Cats may represent you or an aspect of you. So in this scene where the girl in trying to find the cat, chasing it through the series of tunnels, she may be chasing herself, chasing herself to catch up and stop her from what she in doing. Or the cat may represent the lost freedom the girl has, and she is trying to capture it.
Cats are also often associated with women and sexuality. In women, it's a sign that they're in charge of their sexuality.
I like how Emin has really picked up on this to allow us to think and wonder why she has placed this scene in her film, why she directed and wrote this scene in.
Again, a seaside shot is screened before one of the girls is sat eating an ice cream, with a cenotaph in the background. I believe Emin used this as a sexual connotation, using this as a theme for oral sex and promiscuous behaviour.
One of the girls has a French pen-pal that she seems to have fallen for. The camera cuts to dusty Egypt, showing a tower block with a sign which reads; 'Dreamland'.
The fairground in Margate was called Dreamland, where the girls went and hung out together. This juxta position of the two places shows the differences in each place; one is a fun place, where the girls can relax, the other looks seedy and derelict.
Her thoughts of this boy could also purely be a dream; a blatent sign of Dreamland showing the dreams and aspirations this girl has to travel and visit new places.
However, there is an audio clip of a man saying: "So i need to speak French fluently?".
This could be a sordid attempt of child trafficking that Emin has picked up on. The fact that these girls can end up in abusive situations far from home.
It shows naivety and again the child-like personalities the girls still have. They could be fooled by anyone, even though they may feel mature because they are sexually active.
The music in this documentary is quite abstract for the genre of film this is. Eurythmics, Shirley And Company and the song "Last Christmas" feature in the film, yet they don't seem to go well with the imagery. It's quite weird as you then become detached from the film, I was really into it yet felt pointless when the music was aired. The audio seems to be awkwardly attached to the visual imagery, which I believe Emin produced on purpose, to make the audience feel uncomfortable while watching, as the girls may have felt uncomfortable trying to balance their lives.
There is a scene where one of the girl's is dancing in a ballroom, with the Shirley And The Company song "Shame On You" playing in the background. The song title may be a bold, obvious reference to the fact that these girls should be ashamed, but the tempo and feel of the music allows the piece to be upbeat and disattached to the film, yet it is.
There's a sepia tone and a blurred effect, insinuating the use of drugs and alcohol Emin and her friends used to abuse.
The blurred, disorientated effect may also be a reference to the euphoric sense of requirement and love the girls feel while endulging in sexual intercourse with strangers, a sense of want, imitating the point during intercourse in which the 'top spot' is reached.
In one of the final scenes, one of the girls in sat in her bathroom, kicking the door gently and holding her stomach.
We then cut to her in the bath, a razor blade at the side and red colouring in the water.
She was pregnant, and she killed herself.
It's one of the most harsh moments in the film, showing the downfall of her experiences.
The scene is quite harsh and upfront; blatently showing that she was unhappy and she didn't want to suffer with this child. I believe Emin filmed this scene as she did because she wanted abortion to be a social conversation, and not to be a taboo as it happens more often than you think. In my opinion she tried to highlight this suffering so that people talk about it, and more help is offered for those in this situation, as the girl in the film didn't even tell her mum or her friends.
Emin also had an abortion, and openly talks about the experience in an interview with Mark Rawson.
The fact that she filmed an abortion scene shows her passion towards the cause and her emotions from her own personal experience.
The final music clip is "I'm A Believer" by The Monkees. It's an uplifting scene, where the girls sit together and paint each one of their thumbnails; reinforcing that sense of uniform and the girls' bond.
The song may also be a reference to the belief that they will change and life will get better for them.
Emin used some techniques during the film such as the Super 8 Film camera to capture that old-style of filming, circa 1920s-50s. It's nostalgic and reminiscent, and shows that this film is an art form by using art techniques rather than a simple DV style of filming.
The way the film is shot mimics a dream like state; the 'real' present day, the good times.
The blurred, staggered captured effect mimics a virtual world, a perfect world far from the raw, clean image the DV style of filming picked up on.
There are some fairly weird moments in the film, such as the air raid siren and Emin featuring in the film at the end.
But overall I enjoyed the film, it was different to others as it wasn't set in a genre.
It was personal and from the heart and it really opened my eyes to see Emin in this creative light, far from the crazy, partying stereotype set to her.
There is a scene where one of the girl's is dancing in a ballroom, with the Shirley And The Company song "Shame On You" playing in the background. The song title may be a bold, obvious reference to the fact that these girls should be ashamed, but the tempo and feel of the music allows the piece to be upbeat and disattached to the film, yet it is.
There's a sepia tone and a blurred effect, insinuating the use of drugs and alcohol Emin and her friends used to abuse.
The blurred, disorientated effect may also be a reference to the euphoric sense of requirement and love the girls feel while endulging in sexual intercourse with strangers, a sense of want, imitating the point during intercourse in which the 'top spot' is reached.
In one of the final scenes, one of the girls in sat in her bathroom, kicking the door gently and holding her stomach.
We then cut to her in the bath, a razor blade at the side and red colouring in the water.
She was pregnant, and she killed herself.
It's one of the most harsh moments in the film, showing the downfall of her experiences.
The scene is quite harsh and upfront; blatently showing that she was unhappy and she didn't want to suffer with this child. I believe Emin filmed this scene as she did because she wanted abortion to be a social conversation, and not to be a taboo as it happens more often than you think. In my opinion she tried to highlight this suffering so that people talk about it, and more help is offered for those in this situation, as the girl in the film didn't even tell her mum or her friends.
Emin also had an abortion, and openly talks about the experience in an interview with Mark Rawson.
The fact that she filmed an abortion scene shows her passion towards the cause and her emotions from her own personal experience.
The final music clip is "I'm A Believer" by The Monkees. It's an uplifting scene, where the girls sit together and paint each one of their thumbnails; reinforcing that sense of uniform and the girls' bond.
The song may also be a reference to the belief that they will change and life will get better for them.
Emin used some techniques during the film such as the Super 8 Film camera to capture that old-style of filming, circa 1920s-50s. It's nostalgic and reminiscent, and shows that this film is an art form by using art techniques rather than a simple DV style of filming.
The way the film is shot mimics a dream like state; the 'real' present day, the good times.
The blurred, staggered captured effect mimics a virtual world, a perfect world far from the raw, clean image the DV style of filming picked up on.
There are some fairly weird moments in the film, such as the air raid siren and Emin featuring in the film at the end.
But overall I enjoyed the film, it was different to others as it wasn't set in a genre.
It was personal and from the heart and it really opened my eyes to see Emin in this creative light, far from the crazy, partying stereotype set to her.
Monday, 22 March 2010
Interaction: Development
Team: Myself, Ruby, Ben, Adam
Today, we have been told to do presentations on a group within our chosen community group.
I have chosen to do my presentation on Childcare for young parents.
Myself and Ruby also held a minute meeting where we discussed which community group we would choose to present to the other groups from all the communities we have looked at.
We have decided to focus on the disabled community, hopefully working with a theatre company called 'Mind The Gap'.
Based in Bradford, the theatre company works with disabled people to produce plays for the community.
They're a really interesting group to work with, and we hope that we will work with them in the future.
Ben e-mailed Mind The Gap who sent him a booklet with information of their work.
Because Ben and Adam aren't here, and because myself and Ruby have not yet received their Investigative Reports, we have had to research their groups by ourselves, and tried to work together to bring the information as a collective report.
I have had to e-mail Mind The Gap to request an information booklet so that we can work with the information and present a proposal to the class as to why we should work with this community group.
Today, we also discussed TV shows which would be of interest to us to base our filming on. We came up with four ideas: Dancing On Wheels, Sports Relief, Secret Millionaire and Masterchef.
Each have their own characteristics in which we can compile ideas and techniques from and use them in our work.
Dancing On Wheels: showcases people with disabilities performing dance routines while in their wheel-chairs. It contains stories of the contestants and how their disabilities will not stop them. Hopefully, we could collect information from the Mind The Gap students to create a profile of each actor.
Sports Relief: During this programme, there are clips of the charitable fundraising by celebrities and the public. Then, the camera cuts to the presenters who then introduce us to footage of the people in which the donations will help. We can create a similar theme, using narration to talk about the work that 'Mind The Gap' do, then record clips or rehearsals of the actors at their workshops.
Secret Millionaire: In this show, a millionaire is told to live on benefits under disguise. They have to work with local groups and find people who they are willing to help by donating them a sum of money.
We could produce a similar situation in which one of ourselves takes part in the theatre group, working with the actors and producing a play, then discussing their experience on camera. Almost like "A Day In The Life Of...", we could possibly swap roles for a day, with one of the actors changing places with one of us to become a producer for the day.
Masterchef: We chose Masterchef because of the camera transitions throughout the programme and the journey of the contestants.
Each contestant is given a brief profile and clips of them cooking. We could follow suit and do this with each actor at 'Mind The Gap'.
We have made quite good progress to say that there is only 2 of us at the moment, but hopefully we will complete our work to a good standard.
Today, we have been told to do presentations on a group within our chosen community group.
I have chosen to do my presentation on Childcare for young parents.
Myself and Ruby also held a minute meeting where we discussed which community group we would choose to present to the other groups from all the communities we have looked at.
We have decided to focus on the disabled community, hopefully working with a theatre company called 'Mind The Gap'.
Based in Bradford, the theatre company works with disabled people to produce plays for the community.
They're a really interesting group to work with, and we hope that we will work with them in the future.
Ben e-mailed Mind The Gap who sent him a booklet with information of their work.
Because Ben and Adam aren't here, and because myself and Ruby have not yet received their Investigative Reports, we have had to research their groups by ourselves, and tried to work together to bring the information as a collective report.
I have had to e-mail Mind The Gap to request an information booklet so that we can work with the information and present a proposal to the class as to why we should work with this community group.
Today, we also discussed TV shows which would be of interest to us to base our filming on. We came up with four ideas: Dancing On Wheels, Sports Relief, Secret Millionaire and Masterchef.
Each have their own characteristics in which we can compile ideas and techniques from and use them in our work.
Dancing On Wheels: showcases people with disabilities performing dance routines while in their wheel-chairs. It contains stories of the contestants and how their disabilities will not stop them. Hopefully, we could collect information from the Mind The Gap students to create a profile of each actor.
Sports Relief: During this programme, there are clips of the charitable fundraising by celebrities and the public. Then, the camera cuts to the presenters who then introduce us to footage of the people in which the donations will help. We can create a similar theme, using narration to talk about the work that 'Mind The Gap' do, then record clips or rehearsals of the actors at their workshops.
Secret Millionaire: In this show, a millionaire is told to live on benefits under disguise. They have to work with local groups and find people who they are willing to help by donating them a sum of money.
We could produce a similar situation in which one of ourselves takes part in the theatre group, working with the actors and producing a play, then discussing their experience on camera. Almost like "A Day In The Life Of...", we could possibly swap roles for a day, with one of the actors changing places with one of us to become a producer for the day.
Masterchef: We chose Masterchef because of the camera transitions throughout the programme and the journey of the contestants.
Each contestant is given a brief profile and clips of them cooking. We could follow suit and do this with each actor at 'Mind The Gap'.
We have made quite good progress to say that there is only 2 of us at the moment, but hopefully we will complete our work to a good standard.
A Band for Britain: Episode 1
In this series, Sue Perkins attempts to rebuild the Dinnington Colliery Band.
She visits the band and tries to encourage them to re-invent themselves and to recruit new members, to breathe new life into the brass band over 4 episodes.
This programme shows the interaction between a community band, formed from the coal mine workers which has now deteriorated into what it is today. It also shows the community engaging with a creative and media activity.
This show is a good example of how we can interact with our community groups, and how we can work with that group; in this programme Perkin's tries to reinvent the group, we could do something similar with ours.
She visits the band and tries to encourage them to re-invent themselves and to recruit new members, to breathe new life into the brass band over 4 episodes.
This programme shows the interaction between a community band, formed from the coal mine workers which has now deteriorated into what it is today. It also shows the community engaging with a creative and media activity.
This show is a good example of how we can interact with our community groups, and how we can work with that group; in this programme Perkin's tries to reinvent the group, we could do something similar with ours.
Tony Earnshaw: In Conversation with John Hurt
On Saturday 20th March, I went to the National Media Museum in Bradford, to listen to a conversation with John Hurt as part of the 16th Annual Bradford International Film Festival.
I was very anxious but excited as i sat in my seat, but began to ease as Hurt began to talk, his voice being one of my favourites after David Attenborough's.
It was a great opportunity to meet the actor and hear of his career, and how he sees this industry.
He came across as a very laid-back, approachable, grounded man; which was refreshing to see as so many actors are taken up by the lifestyle and culture and become lost in their career.
He started his career in 1962, making his debut in 'The Wild and the Willing" directed by Ralph Thomas. And from then on, he starred in notable films such as "Alien" - 1979, the "Harry Potter" series - 2001, 2010 and he is most noted for his portrayal of Joseph Merrick, dubbed the "Elephant Man" because of his congenital disorder which caused bodily disfigurem
ents.
The make-up for Hurt's portrayal of Merrick took 12 hours to apply. Hurt said in his interview: "If i were to come out of the make-up room and the crew laughed, or if i heard the slightest giggle, that was it. But i was met with stunned silence".
I enjoyed the interview and found myself admiring Hurt even more, because of his personality and remarkable career.
One thing i was disappointed with was interviewer Tony Earnshaw.
I found his demeanour to be very abrasive and through his voice felt that he himself felt somewhat superior to Hurt. I believe in being professional while working but thought that the interview could have been more light-hearted and comedic from Earnshaw's point of view.
Overall it was a great evening, and I'm glad that i had the opportunity to attend the event. I am looking forward to next year's festival and seeing the conversations that will take place then.
Thursday, 18 March 2010
The Virtual Revolution- 2. The Enemy Of The State?
In this episode, Dr Aleks Krotoski tells us how the web is trying to forge a new brand of politics.
The web is collapsing the distance between countries; they're now communicating through the web, party policies posted on YouTube and even politicians signing up to social networking sites such as Twitter.
So is it ironic that the internet was invented to protect the most powerful countries?
Now, policies are being spread between nations worldwide, sharing information and confidential talks.
Parties have even posted policies online through videos, sharing them worldwide and also competing with other parties' videos.
The power of information has become very valuable; with the simple movement of a mouse click information can be transported within seconds.
However, this episode wasn't promising. Again her monotonous voice and lack of presentational skills deterred from the point of the episode, and another note i picked up on was the interviews.
There are clips from interviews with Stephen Fry and the founders of sites such as YouTube and Amazon. Although their opinions are good and valuable, the structure of the programme does not allow these interviews to have any input or relevance. They seem to be quite off topic and don't give any valuable quotes or key points that we could note down. They also speak too fast for you to take notice, and then the subject moves back to Krotoski and her lapsed information.
The web is collapsing the distance between countries; they're now communicating through the web, party policies posted on YouTube and even politicians signing up to social networking sites such as Twitter.
So is it ironic that the internet was invented to protect the most powerful countries?
Now, policies are being spread between nations worldwide, sharing information and confidential talks.
Parties have even posted policies online through videos, sharing them worldwide and also competing with other parties' videos.
The power of information has become very valuable; with the simple movement of a mouse click information can be transported within seconds.
However, this episode wasn't promising. Again her monotonous voice and lack of presentational skills deterred from the point of the episode, and another note i picked up on was the interviews.
There are clips from interviews with Stephen Fry and the founders of sites such as YouTube and Amazon. Although their opinions are good and valuable, the structure of the programme does not allow these interviews to have any input or relevance. They seem to be quite off topic and don't give any valuable quotes or key points that we could note down. They also speak too fast for you to take notice, and then the subject moves back to Krotoski and her lapsed information.
Interaction
We've been put into groups to research community groups in our local area of Bradford, and if I'm honest I have found it quite difficult to start with.
I'm a very independent person and do not trust people or rely on others for information that is valuable to contributing to group work.
It's also very hard to demand work from your peers, as you know they won't listen to you because you're not an authoritative figure in this college.
It's just hard working with others who you don't trust.
It's a different way of working for me and I suppose I'll have to adapt to it and make it work.
One of our team members has not been in for a few of our sessions and so we have had to work around that and divide the research between the three of us left.
I have been off ill the past couple of days but I did e-mail my reports to 2 of my team members whose emails addresses I had.
I then received another member's reports so we now both have one-another's reports.
Now we will have to research the absent members' work by ourselves and write our essays after we have collated all our information.
I think it would have been better to start this module by ourselves; I think it's created too much stress for some people, I know that it has for me.
Although the aim at the start of the topic was for everyone to contribute to the group work and to make an effort, and spread the research out carefully, it has not happened at all.
Me and a team member are now forced to research 2 community groups which our other members were meant to research. But because of their absence, we have to do the work.
I would have been much happier and more efficient in doing this module by myself.
We've ended up taking on more research than needed at the start of the topic, which angers me as I would have made a better job of it if this was an individual assignment.
I obviously understand the need to work with one-another and encourage one-another to work and contribute, but I cant do it. Not when the other members either don't get along with me or have no interest in this field.
I have started to have feelings of isolation while on this course. I feel that some of the students have no interest or passion for the media or careers within this field.
I could be wrong, but at the moment I feel that something needs to change.
There's also been a split change in the class.
At times I feel out sided from others, and have even heard that someone has sent an e-mail to me explaining something along the lines of me being disrespectful to them.
However, I honestly feel as though I have never disrespected anyone's work. If I have laughed for some reason, I have got caught up in a running joke with a friend or laughing at something that they're doing.
Because of these feelings, my passion for this work has begun to subside, and now I'm beginning to dislike this course, purely because of who is studying it. I feel as though I shouldn't put the work in if others don't, and as though I'm wasting my effort.
I just hope that next year there are students who want to be on this course and that we can work well.
I'm a very independent person and do not trust people or rely on others for information that is valuable to contributing to group work.
It's also very hard to demand work from your peers, as you know they won't listen to you because you're not an authoritative figure in this college.
It's just hard working with others who you don't trust.
It's a different way of working for me and I suppose I'll have to adapt to it and make it work.
One of our team members has not been in for a few of our sessions and so we have had to work around that and divide the research between the three of us left.
I have been off ill the past couple of days but I did e-mail my reports to 2 of my team members whose emails addresses I had.
I then received another member's reports so we now both have one-another's reports.
Now we will have to research the absent members' work by ourselves and write our essays after we have collated all our information.
I think it would have been better to start this module by ourselves; I think it's created too much stress for some people, I know that it has for me.
Although the aim at the start of the topic was for everyone to contribute to the group work and to make an effort, and spread the research out carefully, it has not happened at all.
Me and a team member are now forced to research 2 community groups which our other members were meant to research. But because of their absence, we have to do the work.
I would have been much happier and more efficient in doing this module by myself.
We've ended up taking on more research than needed at the start of the topic, which angers me as I would have made a better job of it if this was an individual assignment.
I obviously understand the need to work with one-another and encourage one-another to work and contribute, but I cant do it. Not when the other members either don't get along with me or have no interest in this field.
I have started to have feelings of isolation while on this course. I feel that some of the students have no interest or passion for the media or careers within this field.
I could be wrong, but at the moment I feel that something needs to change.
There's also been a split change in the class.
At times I feel out sided from others, and have even heard that someone has sent an e-mail to me explaining something along the lines of me being disrespectful to them.
However, I honestly feel as though I have never disrespected anyone's work. If I have laughed for some reason, I have got caught up in a running joke with a friend or laughing at something that they're doing.
Because of these feelings, my passion for this work has begun to subside, and now I'm beginning to dislike this course, purely because of who is studying it. I feel as though I shouldn't put the work in if others don't, and as though I'm wasting my effort.
I just hope that next year there are students who want to be on this course and that we can work well.
Tuesday, 2 March 2010
Fashion Photography - A History Of The Genre
As I researched fashion photography as part of my research into photography for my project "A Day In The Life Of...", I found this slide show particularly interesting as I could compare and contrast the images shown to the ones I had researched, and also the ones I had chosen to base my test shots on for my personal research.
Fashion photography is commercial; meaning that it is an enterprise created to make money. It is used to promote, inform and the theme is "more beauty than reality".
It is a parallel to reality, showing us fashion that we wouldn't normally wear on a day-to-day basis and forming this virtual reality in which clothing is idolised and receives prime place in the media. It's a lifestyle to idolise in which clothing is something to aspire to. There is also a hierarchy associated with clothing ranges and labels; the more expensive the clothing the more respected someone becomes, and labels have begun to take over, with companies such as Primark and Topshop recreating catwalk designs for a cheaper price; making high-end fashion designs available to the public.
However, fashion photography first started back in 1913. Baron Adolphe de Meyer was hired by Conde Nast to take some experimental photographs for Vogue magazine. Photography was also used to take photographs of high society individuals, aristocrats and actresses wearing their own clothes to display their wealth and power. This was the first example of fashion photography; although the individuals do not intend to use the images for publication, they are wearing their own clothing and it stands out in this regal and exhibitionist way. They were largely seen in mannequin style poses but those poses re-inforced the levels of society in the early 1900's and boasts that they are wealthy enough to own such posessions.
In the 1960's there was a social change. Fashion photography came to the foreground with the uprising of mass production, the economic boom and a prosperous industry. There was a birth of teenagers with money, eager to buy produce and the civil rights movement allowed the government to accept that no-one was inferior. People questioned the movement and they also began to explore new ideas; ethics, the pill, liberation. More people were becoming more open-minded and questioning the laws enforced on them from their own government. It was different to the lifestyle their parent's had, and they loved it.
Photography stood out in this time as it was a way of communicating on a broad scale. People also relied on magazines and radio as they didnt have televisions which could broadcast the news immediately.
As teenagers had their own money to spend, there was also an uprise in interest of pop-culture. This was the beginning of "The cult of celebrity".
With the growth of mass print media, it made magazines and newspapers cheaper to produce and far more easier to distribute. There was also a boost of national pride and a raise in global interest in British art, music, style and fashion. The union jack became a cultural symbol; boasting prosperity, camaraderie and a signature for the popular culture of teen life and individuality. 60's photographs epitomised the sexually liberated and the fashionable figures within the elite group of individuals.
Fashion photography is commercial; meaning that it is an enterprise created to make money. It is used to promote, inform and the theme is "more beauty than reality".
It is a parallel to reality, showing us fashion that we wouldn't normally wear on a day-to-day basis and forming this virtual reality in which clothing is idolised and receives prime place in the media. It's a lifestyle to idolise in which clothing is something to aspire to. There is also a hierarchy associated with clothing ranges and labels; the more expensive the clothing the more respected someone becomes, and labels have begun to take over, with companies such as Primark and Topshop recreating catwalk designs for a cheaper price; making high-end fashion designs available to the public.
However, fashion photography first started back in 1913. Baron Adolphe de Meyer was hired by Conde Nast to take some experimental photographs for Vogue magazine. Photography was also used to take photographs of high society individuals, aristocrats and actresses wearing their own clothes to display their wealth and power. This was the first example of fashion photography; although the individuals do not intend to use the images for publication, they are wearing their own clothing and it stands out in this regal and exhibitionist way. They were largely seen in mannequin style poses but those poses re-inforced the levels of society in the early 1900's and boasts that they are wealthy enough to own such posessions.
In the 1960's there was a social change. Fashion photography came to the foreground with the uprising of mass production, the economic boom and a prosperous industry. There was a birth of teenagers with money, eager to buy produce and the civil rights movement allowed the government to accept that no-one was inferior. People questioned the movement and they also began to explore new ideas; ethics, the pill, liberation. More people were becoming more open-minded and questioning the laws enforced on them from their own government. It was different to the lifestyle their parent's had, and they loved it.
Photography stood out in this time as it was a way of communicating on a broad scale. People also relied on magazines and radio as they didnt have televisions which could broadcast the news immediately.
As teenagers had their own money to spend, there was also an uprise in interest of pop-culture. This was the beginning of "The cult of celebrity".
With the growth of mass print media, it made magazines and newspapers cheaper to produce and far more easier to distribute. There was also a boost of national pride and a raise in global interest in British art, music, style and fashion. The union jack became a cultural symbol; boasting prosperity, camaraderie and a signature for the popular culture of teen life and individuality. 60's photographs epitomised the sexually liberated and the fashionable figures within the elite group of individuals.
Lesley Hornby, aka Twiggy, was named the “The Face of 1966” by the Daily Express and was photographed in 1964 by Cecil Beaton. Her natural "skinny frame" caused controversy, as does the deabte about size zero does now, as the 60's believed that a woman should be curvy, and not have a boyish frame.
Another very famous fashion photographer is David Bailey.
"The first half of the century belongs to Picasso and the second half belongs to photography"
He was famous in the 60's for his fashino photography, music and film, and also for photographing the Kray Brothers.
Bailey also had notorious temptuous relationships with women. He would often use these women as his 'muse' for a period of time. They were known as Bailey's Babes.
The 80's centered on consumption, acquisition and the visible demonsration of wealth supported by fashion.
80's styles stressed an individual's wealth and power. It was called power-dressing; shoulder pads, jewels and big hair defined this fashion period.
There was the idea of being aspirational; the idea of power in the workplace over-ruled the idea of starting a family.
Shows such as Dallas and Dynasty also helped to fund the craze over power; prints, acid colours, cheap materials and chrome displayed confidence and power.
Fashion photography then changed slightly.
The cult of celebs was in the forefront of the media; models became celebrities and vice versa.
Modern publications began to cover fashion and celebrity gossip.
Fashion photography became an art form, than a advertising industry, with the continuation of the merge with portraiture (circa 1913).
Steven Klein is a photographer known for his contemporary work and the merge of celebrities with fashion. He uses unusual angles but doesnt use aspirational scenarios.
He was also the official photographer for Madonna.
Corinne Day is a photographer and former model famous for her work with Kate Moss and the close friendship she has with her models.
She was prolific in the 90's, her photographs were informal, confrontational and confessional.
It was a contrast to the 80's glamour seen previously.
She used androgynous models to debate against stereotypes and conformity.
She was noted for starting the trend of 'shabby chic' after her Freedom Child shoot for Vogue UK in February 2002.
The phrase 'heroin chic' also began to circulate; describing the new wave of waif-like figures in squalid surroundings.
This reportage style of photography was thought to make this lifestyle desirable and aspirational; obviously controversial by then and today's standards. There was a moral panic around these taboo subjects in the fashion world; the media exaggerated though and made something out of nothing. But it was all about creating the perfect environment, constructing this make-believe place where worries and thoughts are long gone.
However, Klein and Day were against the whole staged phase in photography. They wanted the raw emotions to translate through the photograph, not to creep out from behind props and layered make-up.
Steven Meisel was Klein's predecessor; he photographed Madonna for her 1992 book; Sex.
Like Klein, Meisel works in a very strong way; his photographs are well structured and poised, and definately sell the products the models are wearing. Buzz words were invented in the 60's. They are words given to photographers to inspire them while they work. Here are a few personal examples of buzz words i thought of for this photograph by Steven Meisel:
STRUCTURED, PLASTIC, MANUFACTURED, MANNEQUIN, GLOSSY, STYLISED.
Rankin.
Rankin is a British portrait and fashion photographer.
He founded 'Dazed + Confused' magazine in 1992. He also publishes several magazines including 'Another Magazine'.
Rankin is controversial but commerically popular; having previously photographed for Bailey's, Nike and Oxfam, on a charity campaign.
You can see from these images that Rankin has a very strong style and approach to photography. He captures the celebrities in such a powerful way that the photograph is the only thing you concentrate on, it fixates you to really take in every detail and line you see.
He's definitely a photographer that i will refer to for a project, as his style is so admirable and consistent.
Another very famous fashion photographer is David Bailey.
"The first half of the century belongs to Picasso and the second half belongs to photography"
He was famous in the 60's for his fashino photography, music and film, and also for photographing the Kray Brothers.
Bailey also had notorious temptuous relationships with women. He would often use these women as his 'muse' for a period of time. They were known as Bailey's Babes.
The 80's centered on consumption, acquisition and the visible demonsration of wealth supported by fashion.
80's styles stressed an individual's wealth and power. It was called power-dressing; shoulder pads, jewels and big hair defined this fashion period.
There was the idea of being aspirational; the idea of power in the workplace over-ruled the idea of starting a family.
Shows such as Dallas and Dynasty also helped to fund the craze over power; prints, acid colours, cheap materials and chrome displayed confidence and power.
Fashion photography then changed slightly.
The cult of celebs was in the forefront of the media; models became celebrities and vice versa.
Modern publications began to cover fashion and celebrity gossip.
Fashion photography became an art form, than a advertising industry, with the continuation of the merge with portraiture (circa 1913).
Steven Klein is a photographer known for his contemporary work and the merge of celebrities with fashion. He uses unusual angles but doesnt use aspirational scenarios.
He was also the official photographer for Madonna.
Corinne Day is a photographer and former model famous for her work with Kate Moss and the close friendship she has with her models.
She was prolific in the 90's, her photographs were informal, confrontational and confessional.
It was a contrast to the 80's glamour seen previously.
She used androgynous models to debate against stereotypes and conformity.
She was noted for starting the trend of 'shabby chic' after her Freedom Child shoot for Vogue UK in February 2002.
The phrase 'heroin chic' also began to circulate; describing the new wave of waif-like figures in squalid surroundings.
This reportage style of photography was thought to make this lifestyle desirable and aspirational; obviously controversial by then and today's standards. There was a moral panic around these taboo subjects in the fashion world; the media exaggerated though and made something out of nothing. But it was all about creating the perfect environment, constructing this make-believe place where worries and thoughts are long gone.
However, Klein and Day were against the whole staged phase in photography. They wanted the raw emotions to translate through the photograph, not to creep out from behind props and layered make-up.
Steven Meisel was Klein's predecessor; he photographed Madonna for her 1992 book; Sex.
Like Klein, Meisel works in a very strong way; his photographs are well structured and poised, and definately sell the products the models are wearing. Buzz words were invented in the 60's. They are words given to photographers to inspire them while they work. Here are a few personal examples of buzz words i thought of for this photograph by Steven Meisel:
STRUCTURED, PLASTIC, MANUFACTURED, MANNEQUIN, GLOSSY, STYLISED. Rankin.
Rankin is a British portrait and fashion photographer.
He founded 'Dazed + Confused' magazine in 1992. He also publishes several magazines including 'Another Magazine'.
Rankin is controversial but commerically popular; having previously photographed for Bailey's, Nike and Oxfam, on a charity campaign.
You can see from these images that Rankin has a very strong style and approach to photography. He captures the celebrities in such a powerful way that the photograph is the only thing you concentrate on, it fixates you to really take in every detail and line you see.
He's definitely a photographer that i will refer to for a project, as his style is so admirable and consistent.
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