sketch for project 3

project #3: the "real me"
Portraying my identity as a "victim" of my own everyday life where I live in constant fear of ominous encounter and accidents.

In the form of a movie trailer, I plan to challenge myself to face the threats that I desire to overcome, fears that I have never been able defeat (because in actuality, nothing out of the ordinary really occurs). These happenings that I will portray may seem like exaggerated possibilities that are not very realistic, but are things that go through my mind occasionally that I may be unknowingly anticipating. Perhaps I secretly hope that these unusual events occur in order to excite my rather banal life, or possibly to see how I would act in such a peculiar situation that usually only exist in movies. In terms of Sourkes idea on playing with identity, by 'trying out' a new identity who is more vulnerable and overly conscious of the surroundings, it places the body in a different environment that allows for reconstruction of the self... By portraying myself as the protagonist of this narrative, I am able to medialize myself and dramatize my everyday encounters and unusual imaginations.


rough movie trailer sketches:

opening


scene 1: my bedroom. I hear a knock from the closet next to my desk.


scene 2: my livingroom. sitting at the dining table with my back towards the empty livingroom, and the curtain blinds make a noise.


scene 3: bathroom. Strange gurgling noise are heard from the shower head and the tub drain.


scene 4: bedroom. About to go sleep, turns lights off, climbs into bed, and looks toward the dark hallway to see a dim shadow of a figure.


abrupt closing

Happening

"I stage myself as someone or something" ... knowing what's beyond the staircase, that's there is an inaccessible door to the rooftop, and also how there is a dark hole in the ceiling that I am extremely afraid of. The unknown darkness is what puts me at a situation of instability, that fills up with the desire to look into the hole closely and anticipate something ominous to glare back or jump out at me. My desire is "the very dynamic of the dramatic form,where the protagonist must be challenged, must overcome an obstacle that poses a threat to the self..." and so I expose myself to one of my fears, and I face it alone, through the eyes of my camera lens. I'm not sure what might happen, I start of over-think what might be there waiting for me, and I prepare myself to react to the worst that could happen.

Attractions

the movie trailer for 'Last Exorcism' on Chatroulette

http://www.youtube.com/watch?v=elYvi3I8MK4

This form of movie trailer functions as an attraction that first presents itself as an ordinary seductive subject, to capture the viewer's attention for the upcoming short narrative. Through the use of Chatroulette, the promotional discourse of this movie is able to disguise itself as an ordinary “show” at first, and when the girl gestures that she is about to begin a performance, the role of the spectator is quickly set. At this point, as mentioned in Gibson's article, the audience is invited to sit back and participate in the film's discourse in some way, while they are unaware that they are about to encounter a movie trailer. Because these viewers on Chatroulette automatically attracts their own gaze to the female subject, the movie trailer does not need to actively promote and sell their product. Even once they realize that this girl they met on Chatroulette turned out to a commercial for the 'Last Exorcism,' spectators continue to sit there in awe, because they are held back from the unexpected cinematic experience.

Fantasmatic Scenes

Wearing brand clothing/accessories

Many women are obsessed with having brand clothing and accessories, for the purpose of displaying them in public and drawing society's attention to feel like a celebrity. This is what Sorkin calls, “inhabiting the brand.” While the wearer feels like she is in control of the brand and fantasizes about attracting society's envious gaze, in reality she is simply walking around advertising for the fashion brand. In fact, her identity is no longer in power because she has agreed to surrender herself to be seen as a living ad display. Sorkin mentions that there is a sort of thrill that this experience provides; the closest she can get to being like a real celebrity. Her posing exhibit does indeed attract the public eye, but it is mainly concentrated on the branded object rather than the figure herself. In fact, once spectators mentally connect the brand to an actual celebrity, the focus is completely lost on the bearer, and now is only recognized as a logo, not an identity. However, the wearer is free to fantasize about her desires and enjoy the gaze to make herself feel famous.

Impersonations

Elvis Presley impersonators

There are hundreds of Elvis Presley impersonators in the world (so many that there's even a wiki page about them). While many choose to impersonate him as a tribute act to the famed musician, some specialize in experimenting in gender, sexuality, taste, and decency using Elvis's name and status. Wiki notes that some impersonation “points more directly to homoerotic implications...,” similar to how Ramakers describes drag as bringing about an “excessively sexualized” effect. These actions that serve more for personal reasons rather than paying tribute to the actual, is only purposeful in gaining public attention and causing commotion. As Ramakers notes that drag should be read as “nonproductive expenditure,” impersonating for monetary or personal benefits is also wasteful action that is solely aimed at increasing effect.

Intensities

nude protest

Some public protests use the tactic of public nudity in order to attract more attention. But their reason for disrobing is not purely for spectacle, but to send a message through exposing the self and revealing the truth. Examples of their slogans are “Disrobe for disarmament”, “Naked for Peace”, and “I'd rather go naked than wear fur!” In Nancy's article, she notes that “to be without any covering... is to reveal everything, but at the same time, to show that there is nothing more to see.” By uncovering themselves in public, these protestors are able to communicate effectively through both their voices and physical gestures, and put more emphasis in what they're speaking out for. Though undressing the self may be thought of as an embarrassing action, according to Simmons “humility is an expression of self-opacity,” and these protestors have the courage to unveil the ugly truths that most others prefer to conceal within themselves.