formal written proposal.

https://docs.google.com/presentation/d/1IVXUNVXJzXAqEyh9OYzDooiENq7NksFiiNUYGyfDY0g/edit?usp=sharing

To begin with, my experience in school has been shaped by volunteer work and helping others with projects such as senior capstones and fiction workshops. I have noticed that burnout is particularly prevalent within creative projects and I wanted to visually show those feelings. As a student filmmaker at RIT, the possibility to make great work is consistently at the fingertips of the students with access to a lot of great material and equipment. In my own way because of this, I put a lot of effort into my work and my personal projects. When I make something I want it to be the best film or ‘product’ that I can make, which puts a lot of pressure to do my best work and create the best art. With this contextualization, my radical film explores the pressure of creating art from my experience by visually illustrating the feeling of pressure of creation in the terms of the school system. 

On the basis of theme and story, the film opens with a stop motion portion with imagery of water provided by magazines and photography. I really wanted to include this medium as a form of non-reality and dream-like visuals. With this imagery at the start of the film, the water stop motion reveals the underwater woman in the bathtub in a live-action portion. After the imagery of the woman, I wanted to include the proposition to the audience through a question as my working title of the film. Although unnecessary, I wanted the viewer to feel reflective for the next portion of the film through the question “do you believe in life after work?”. After this question, the film continues with the live-action portion as the camera moves through a film set with dark background as many moving parts are in the frame. As the camera reaches the central part of the scene the woman in the tub operating a camera facing a bathroom scene in a soundstage. As the viewer reaches this scene the camera quickly switches to the perspective of that camera itself and the viewer is transported int to the imagery of the bathroom with a water-like projection on the walls. For this brief moment, the imagery is revealed that in a way that nothing is real almost fabricating the belief in the beginning that the stop-motion imagery was from the mind of the girl underwater. However, continuing the imagery following this moment is through the film medium completely playing with the medium in this sense as the film aspects begin to fly by and flicker in a slower way where the sprockets and raw look of the film are visible. At the end f the film, I wanted to include the manipulation of faces in a distorted way film as the imagery reveals distortion in faces. In the final moments of the film, we are transported to the bathroom where the person in the tub must take a breath as the arrive my radical ends. 

I want the film look to blue and surreal with nonlinear story elements. After seeing Kobato’s work in class I was really inspired by her digital work. I wanted to explore film through the medium and play with the visual components of that medium. In this way, I really want to see the possibilities of digital and analog distortion. I think that a powerful moment in my film is a building moment, in the end, is the imagery of the people’s faces. In this way manipulating that view to create an emotional response from the audience as the final images are the distorted faces of possible loved ones. Continuing, on this section of the film I also entertain the idea of found footage as a major component of past filmmaking encapsulating the true historical and communal nature of the art form.