Left to right: Front and back
Group Member Roles:
Camera follows the journey of a banana from the shelf to the trashcan. The banana will start on the shelf, a student will grab it then pay for it then put it in his bag, and so on. Many of the shots are from the perspective of the banana. Final shot recreates the Andy Warhol art piece.
Soundtrack: The Velvet Underground
- Opening shot: Establishing shot that shows the banana on the shelf/ in a basket. (Shot at Einsteins where there is a basket of bananas)
- POV shot from the perspective of the banana of a student grabbing the banana (Same Location)
- Shot of student putting banana in backpack
- Shot from the perspective of the banana inside the backpack (everything is dark).
- Shot of banana being tossed onto a desk
- Someone else picks up the banana and brings it with them outside
- Shot of banana falling on the ground (path in front of McKinley)
- Shot of someone stepping on banana (Same location)
- Aerial shot of banana on white sidewalk (forming the original Warhol piece)
No Country For Old Men Scene Deconstruction
Scene: 31:40 – 33:20
The scene I chose to deconstruct is the scene when Anton enters Llewelyn’s trailer, which he has already abandoned. In the scene Anton eerily explores the trailer, which is still filled with Llewelyn’s things, in order to find information about where Llewelyn might be headed.
31:40 – 31:45: The camera is focused on the ground and the steps leading up to Llewelyn’s trailer. Anton’s boots and bolt pistol connected to the compressed oxygen tank come into frame and the camera follows the feet to the door.
31:45- 31:52: The camera uses the “Search Up” technique and pans to reveal Anton unscrewing the valve on the bolt pistol tank, adding suspense because the viewer isn’t necessarily sure whether or not Llewelyn is in the trailer. The camera continues to pan upwards to watch Anton as he knocks on the door four times.
31:53 – 31:56: The camera cuts to Anton’s hand raising the bolt pistol to the lock on the door, firing it. When Anton fires the bolt at the lock, the camera jump cuts to inside the trailer showing the lock flying across the room and hitting the inside wall of the trailer, leaving an imprint.
31:57 – 32:10: The camera then cuts to a perspective of inside the trailer and we see Anton’s full body emerge as the door slowly opens with a long, drawn out creek. The lack of noise other than the thumps, creeks and shuffling of Anton’s interactions with the trailer creates a suspenseful environment, even though Anton is alone. The lack of noise also alludes to the Hitchcokian influences on this film. Anton steps into the trailer, looks down, and bends to collect unopened mail lying on the floor.
32:11 – 32:42: Anton rifles through the letters then the camera cuts and watches Anton as he slowly travels to the other room. The camera then match cuts to face Anton as he enters the bedroom. Anton’s face looks empty of emotion and the camera cuts away to the image of Llewelyn’s unmade bed. The only movement in this shot of the bed is a slight breeze that moves window curtain in the background, evoking a feeling of abandonment as well as calm. The camera cuts back to Anton as he glares around the room, motionless, before looking at the telephone bill retrieved from Llewelyn’s mail.
32:43 – 32:54: The camera then cuts to an over the shoulder shot of the kitchen and Anton slowly enters the frame, with the noise in the shot being the thud of Anton’s boots on the floor as he walks. Anton approaches the refrigerator and opens it, pausing to look at what is inside, then reaches in to grab something as the camera cuts to the empty couch.
32:55 – 33:16: Anton enters the frame and sits down on the couch, holding a container of milk in one hand. He sits and stares and just breathes.
33:17 – 33:20: The camera jump cuts to the image of an off television with Anton’s head being reflected and contrasted with the light pouring in from the window behind him. The scene ends.
This is perhaps my favorite scene in the entire movie No Country For Old Men. Of the many times I have seen this movie and read the book, Anton Chigurh has always been my favorite and the character that I find most interesting. Although in this scene seems very drawn out and without meaning, I think its role in the movie is to give the viewer a chance to observe the actions of Chigurh and assess his character. Other characters in the film view Chigurh as a psychopathic killer, and perhaps that is what the audience thinks of him also, but Chigurh adheres to a very strict moral code. Chigurh rejects the notion of free will and, through his action, shows his own belief that actions are driven by chance and that you’ve effectively been wagering your whole life even though you’ve never thought of it in those terms. When prompted with whether or not to kill someone, Chigurh gives him or her a final chance at life by calling heads or tails on a coin toss. This method often leaves the victims perplexed and frantic but Chigurh always says, “I got here the same way as the coin.” The Coen brother’s direction in this scene in particular illustrates that idea of Chigurh as a force fueled by chance. Chigurh’s empty facial expressions and long, slow movements moving throughout the trailer visually create a feeling of Chigurh as almost drifting or being mindlessly led to Llewelyn. He isn’t emotionally attached to anything and the only real human characteristic displayed in the scene is when he drinks the milk from the fridge on the couch. This scene is also especially important to the idea of chance because, when Sheriff Bell shows up to the trailer, the milk still has condensation on it and the deputy explains, “We just missed him!” Sheriff Bell then sits in the exact same spot and observes his own silhouette through the reflection of the televison, just as Chigurh did. The idea that Chigurh came that close to being caught by the Sheriff shows that even he is susceptible to the powerful force of chance.
I chose to focus on a theme of exploration via bicycle for my photo essay project. As a series, this collection of photos is meant to convey the same journey I experienced through the use of purposeful sequencing and experimentation with depth of field. In order to create a feeling of a journey in the series, I two pictures of my bike as bookends as well as very deep, long pictures to convey movement continuing onwards. These pictures come before and after photographs that are more stationary in aesthetic and focus on a single subject. Another central theme my photos all seem to share is a vertical element somehow portrayed in the image, such as trees, signposts, or just the orientation of the image as a whole. Although these vertical elements aren’t often the central element of the photographs itself, they help tie the collection together and aid the viewer in transitioning from viewing two very different images. The photographer I drew inspiration from the most was Ansel Adams. Although my photos are nowhere near as grand or awesome as his are, I’ve always really liked Adam’s work and did a project on him in gradeschool. His work inspired me to try and emulate the drive behind his work on a much smaller scale. One photo in particular, that shows a road leading off to the horizon with a mountain in the background, I think exemplifies some of the techniques that I tried to implement into my series.
Photographs I drew inspiration from:
I chose to design a handcard that could also be used as a web material for DCI. The handcard I designed focused on the schools One-to-One Laptop Technology Program. The idea I had in mind designing this handcard was that these handcards could be produced as a series of sort where each handcard focuses on one aspect of the school that makes DCI stand out. For example, there could be a handcard with information about the schools diversity or language immersion programs, each with an image relating to the topic and specific statistics about each category. The handcard also includes the school’s contact information as well as their address so that the handcards could be useful in perhaps attracting donors or potential families who might want to enroll their children. Although my draft does need some adjustments such as matching logo and text color, I think that the handcard does a good job of not overloading the viewer (who realistically probably wont spend that long looking over it) with textual information and instead provides an image of students and what life is actually like at the school. Overall, I think my design serves the role of actual literature that DCI could easily distribute and get in the hands of potential families and donors.
The photo I chose is from the Newseum’s Ted Polumbaum collection. Ted Polumbaum was a freelance journalist/photographer who photographed a variety of extraordinary moments in history. The photo I chose is from a particular collection of Polumbaum’s work called Freedom Summer. Ted Polumbaum covered the 1964 Freedom Summer campaign for Time magazine, from the volunteers’ training sessions in Ohio to their arrival in Mississippi, where they defied segregationists in a door-to-door campaign to register blacks to vote. The volunteers also taught thousands of children in Freedom Schools. The historical significance behind the photo is perhaps what attracted me to it the most. The photo I chose is of African Americans lining up in Greenwood, Mississippi, to register to vote on Freedom Day, July 16. In this particular queue, voters were waiting since early in the morning in order to vote and by noon, only six blacks had been permitted to apply. This historical context highlights the amount of white resistance to keep blacks from voting, especially in the southern states, in order to maintain control of the political situation in these states. The photo also highlights how little the passing of amendments to the constitution, like that allowing blacks to vote, affects society on a more regional basis. Even though blacks now had the right to vote, it would still take more than the amendment of the constitution to change deep-rooted instincts of oppression.
Many formal elements of photography are displayed in the image. The first being texture. Polumbaum’s photo primarily displays a section of the line where the men and women are older, more ragged looking, and whose faces show the signs of frustration and oppression. Polumbaum captures each wrinkle, scowl, and dimple on the faces of those in line to physically show the physical toll years of oppression has had on these people. This gives the photo a lifelike texture and creates the focus of the image on the faces of those waiting in line, where the central meaning of the photograph lies. Polumbaum’s choice to capture this portion of the queue also adds meaning to the photograph. By choosing primarily older men and women as subjects of the photo he conveys the history of oppression these people experienced as they wait in line, waiting to make a step towards equality. The formal element of high apparent contrast is underscored by the fact that the picture is in black and white. Without color in the photograph, contrast is created between the black color of the African American’s skin and the white of the clothing they are wearing. Another element displayed in the photograph is repetition. Although repetition might be somewhat expected in a photo of a queue, the way Polumbaum created repetition in facial expression, but also broke repetition in body positioning makes the photo very pleasing to the eye but also very dynamic. The photograph also fufills the rule-of-thirds by placing focus on more than one subject in the photo. Everywhere you look in the photo there is an interesting aspect to dissect. Even though the photo seems very straightforward concept, by utilizing the rule of thirds Polumbaum creates a very informative and emotional piece of art.