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ERIC Number: ED355575
Record Type: Non-Journal
Publication Date: 1992-Jun-4
Pages: 13
Abstractor: N/A
Reference Count: N/A
Monkeycam See--Monkeycam Do: Considering Reflexive Aesthetics in the Teaching of Film and Video Production.
Gutenko, Gregory
While in some respects it has never been easier to teach film and video production, in other respects it has never been more difficult and beset with inconsistencies. For instance, pervasive advertising products of the video networks (i.e., epic scale commercials and music videos) frequently engage in the anarchy of postmodern excess, making it hard to formulate an objective critique of work that superficially appears to be violating hallowed rules out of radical spite. How can a critique be developed for the use of such imaging variables as black and white versus color, gain boosted CCD grain versus a low noise signal, Steadicam versus "shakycam?" The latter term, derived from one of many television production technique parodies featured on "Late Night with David Letterman," has been referred to as "the film school look,""watering the lawn," and "monkeycam." The difficulty in distinguishing good from bad shakycam inhibits its usefulness for teaching purposes. Whereas the experienced camera user develops a sense of composition in accordance with established guidelines (the rule of thirds, leading the subject, and the balancing of mass) guidelines for shakycam have yet to be developed. The destabilizing effect of the technique disrupts the ordinarily purposeful movement of the viewer's eye to produce specific emotional responses. A consideration of the fundamental characteristics of perceptual and cognitive processes can perhaps support rules that allow evaluation of good and bad shakycam. It is even possible to opine why, at this time, there is monkeycam--but not how much longer it has to be endured. (SAM)
Publication Type: Information Analyses; Speeches/Meeting Papers
Education Level: N/A
Audience: N/A
Language: English
Sponsor: N/A
Authoring Institution: N/A