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1 | Timestamp | Where did you find the audiovisual clip? | What is the URL (link) for the audiovisual clip? | If the construction you are interested in is linguistic, what is the example you have found? | What is it about the clip that you find interesting? | Please provide your analysis of what you find interesting in the clip. Note that Red Hen may edit your analysis. | If you found this example from a computer command line, what was the command you issued? | If you know the name of the file in the Red Hen archive containing the clip, please provide it here | When in the recording does the interesting part begin? | When in the recording does the interesting part stop? | Optional: What is your name? | If Red Hen chooses to use the information you have provided, may she acknowledge you by name? E.g. "Hat Tip to Anneliese Maier for proposing this tweet." | Red Hen may edit and quote your analysis. If she does, should she acknowledge you by name? | If you found this example by using a search engine or issuing a command, what was the hit that resulted from your search? | What is the actual tweet that you propose? (Don't worry about the link to the citation server carrying the audiovisual clip and reporting information. Red Hen will handle that.) | Optional: What is your email address, so Red Hen can talk to you? | Email Address | |||||||||||||||||||||||||
2 | 12/17/2014 4:47:39 | A Red Hen computer commandline | https://tvnews.sscnet.ucla.edu/edge/video,0f98c936-be7f-11dc-9888-37f5f27b57f4,2842 | "Dick Cheney is the Moby Dick of the Bush administration." | #XYZ_CxG | #XYZ_CxG | for D in {4500..3} ; do dday $D ; DAY=$(pwd | grep -o '..........$') ; peck seg '\/NNP\|is\/VBZ\|the\/DT(\|Mister|\|Mr.|\|Mrs.|\|Miss|\|Ms.|\|Lord|\|Lady|\|Professor|\|Prof.|\|Senator|\|President|\|Governor|\|King|\|Queen|\|General|\|Colonel|\|Pope)?(\/\w+)?(\|\w+\/NNP)+(\|the great|\|Junior|\|Senior|\|III|\|Ph.D.|\|PhD)?(\/\w+)?\|of\/' POS_02 ~/turner/NN_$DAY ; unset DAY; done | 2007-06-20_0400_US_KCET_Frontline | 0:47:15 | 0:47:23 | Mark Turner | Yes | 2007-06-20_0400_US_KCET_Frontline.seg|20070620044722.000|20070620044740.000|CC0|>> Dick Cheney is the Moby Dick of the Bush administration, and it's all very mysterious and it only occurs between him and President Bush, but you get a sense that as soon as the meeting's over he sits down with the president and says, "Okay, here's what you need to take away from this." |https://tvnews.sscnet.ucla.edu/edge/video,0f98c936-be7f-11dc-9888-37f5f27b57f4,2842|20070620044722.000|20070620044740.000|POS_02|Dick/NNP|Cheney/NNP|is/VBZ|the/DT|Moby/NNP|Dick/NNP|of/IN|the/DT|Bush/NNP|administration,/NN|and/CC|it's/NNS|all/DT|very/RB|mysterious/JJ|and/CC|it/PRP|only/RB|occurs/VBZ|between/IN|him/PRP|and/CC|President/NNP|Bush,/NNP|but/CC|you/PRP|get/VBP|a/DT|sense/NN|that/IN|as/RB|soon/RB|as/IN|the/DT|meeting's/NNS|over/IN|he/PRP|sits/VBZ|down/RP|with/IN|the/DT|president/NN|and/CC|says,/NN|"Okay,/NN|here's/RB|what/WP|you/PRP|need/VBP|to/TO|take/VB|away/RP|from/IN|this."/IN| | "#DickCheney is the #MobyDick of the #Bush administration." #XYZ_CxG | ||||||||||||||||||||||||||||
3 | 1/15/2015 23:59:30 | A Red Hen computer commandline | https://tvnews.sscnet.ucla.edu/edge/video,288ce990-9ce9-11e4-99f7-089e01ba0338 | "He don't know his way out of Cincinnati." | The interesting use of the way construction | The verb "know" is used with "way" to signal the manner that the suspect could move out of Cincinnati. | 0:16:23 | 0:16:32 | Emily Jensen | Yes | CNN Wolf Thursday January 15, 2015 at 6:00 pm PST (2015-01-15 18:00 UTC) | "He don't know his #way out of Cincinnati" #wayconstruction | ekj9@case.edu | |||||||||||||||||||||||||||||
4 | 1/19/2015 2:35:07 | Elsewhere | http://www.nytimes.com/2013/01/27/arts/music/asap-yams-partner-to-hip-hops-asap-rocky.html?pagewanted=all&_r=2& | "Rocky’s like Luke Skywalker, and I’m Yoda,” said rapper ASAP Yam of his mentoring role to rapper ASAP Rocky. | It follows the pattern if a is like b, then c is like d construct. | If rapper ASAP Rocky is like luke Skywalker, then his mentor ASAP Yam is like Yoda. Yam consider himself to be a sort of spiritual leader and motivator and compares Rocky to a young Jedi. | http://www.nytimes.com/2013/01/27/arts/music/asap-yams-partner-to-hip-hops-asap-rocky.html?pagewanted=all&_r=2& | Alison McKim | Yes | http://www.nytimes.com/2013/01/27/arts/music/asap-yams-partner-to-hip-hops-asap-rocky.html?pagewanted=all&_r=2& | "Rocky’s like Luke Skywalker, and I’m Yoda,” | axm775@case.edu | ||||||||||||||||||||||||||||||
5 | 1/19/2015 13:21:56 | YouTube | https://www.youtube.com/watch?v=87x_XWWzT3k | A wonderful short scene that begins with viewers knowing they are the found contraband, but know knowing what they are. The viewer-as-contriband is under scrutiny by the crew. The cut and pan allows the viewer access to the crew's direction of gaze, leading the viewer towards the contraband. The second cut, a close up of the contraband, finally reveals what the viewer/contraband was in the first shot. | 0:11:48 | 0:12:01 | Lee Zickel | Yes | #firefly where you are the contraband. | lxz11@case.edu | ||||||||||||||||||||||||||||||||
6 | 1/19/2015 13:23:35 | YouTube | https://www.youtube.com/watch?v=yZDcyanwMdg | continuity across a clip with minimal visual continuity | The clip doesn't begin with an establishing shot or display much visual continuity, but due to clever editing and the viewer’s knowledge of the actions involved in starting up a car, the clip nevertheless portrays a single action effectively. | 0:00:00 | 0:00:14 | Ben Storer | Yes | #Different parts of Jerry Seinfeld start Jerry Seinfeld's car | bds77@case.edu | |||||||||||||||||||||||||||||||
7 | 1/19/2015 14:43:05 | A Red Hen computer commandline | https://tvnews.sscnet.ucla.edu/edge/video,e3312eee-6636-11e4-a13a-089e01ba0338,491 | THE SENATE MAJORITY LEADER IMPLYING HE IS TO OBAMA AS REAGAN WAS TO THE LEADER OF OUR TOTALITARIAN NUCLEAR ARMED NEMESIS | The type of analogy used requires so much background information in order for it to be understood at all. Younger generations who do not understand the source domain of the relationship of Reagan with "THE LEADER OF OUR TOTALITARIAN NUCLEAR ARMED NEMESIS" will then not be able to understand the target domain, making the analogy ineffective. | 0:08:01 | 0:08:21 | Shira Yellin | Yes | "is to" "is to Obama" | shy16@case.edu | |||||||||||||||||||||||||||||||
8 | 1/21/2015 1:08:17 | YouTube | https://www.youtube.com/watch?v=-agTClDfpcQ | The way the viewer takes on the viewpoint of a character, which helps achieve continuity in the scene. | The fact that this clip still manages to maintain continuity, despite the unrealistic angles and wide shots/zoom-ins is astounding. Even though you're really watching from a third person perspective, at times you're also being treated as though you're Harry, as “your gaze” (you gaze being the camera’s perspective) becomes the same as his (“Harry, look!” *points at moon, your gaze follows the same path we assume Harry’s does). It seems to me to be a very clever way to keep the viewer feeling involved in the scene. However, soon after, you break away from his viewpoint as you get a close up shot of Lupin’s eye, which is obviously something you could never see that way in real life. But it doesn’t seem strange in the moment. I propose that the technique of temporarily and intermittently assigning the viewer to one of the characters in the scene (in terms of gaze) can be used to help create a sense of continuity. When you feel involved/part of the scene or story, as opposed to floating, detached outside viewer, you’re more likely to overlook unrealistic shots and angles you might otherwise question. In a way, they slip your attention. | 0:00:00 | 0:00:19 | Being treated like Harry Potter helps continuity be achieved. (*side note* 0-7 seconds in is also a good example of blended joint attention) | ||||||||||||||||||||||||||||||||||
9 | 1/22/2015 15:26:21 | YouTube | https://www.youtube.com/watch?v=TkLO_uL0IEE | The fade-out to a familiar clock-changing scene. | The scene prompts the viewer to (1) believe the main character is dead and then (2) that this hasn't broken the "groundhog day" cycle because of the fade out to a clock scene which is identical to the clock reset scene shown at the beginning of each new "day" in the movie. It uses the fade to indicate the transition, and then the snapping of the clock from 5:59 to 6:00 to indicate the beginning of a new "day"/sequence. As in every iteration of the "reset" scene in the movie, all details are identical - clock, music, and sequence and position of the first 2-3 cuts. | 0:00:48 | 0:01:45 | Maxwell Zimon | Yes | Evading death in #GroundhogDay - all it takes is a fade out | zimon@case.edu | |||||||||||||||||||||||||||||||
10 | 1/22/2015 18:03:59 | YouTube | http://youtu.be/yhaoJxQpRg0?t=1m30s | What I find interesting is the jump from the little screw of the Iron Giant to Tundra where the head of Iron Giant is signaling its body parts. It gives the viewer a sense of wonder and mystery also hope. The quick zoom towards the head in the tundra also deepens the curiosity of the viewer. | The cut from the little screw rolling out the window implies an end to the story that is unknown to the characters in the story. | 0:01:30 | 0:02:28 | Jalia Hubbard | Yes | Draw yourself into the cognitive principles of the resurrection of your beloved childhood film the #IronGiant. | jah275@case.edu | |||||||||||||||||||||||||||||||
11 | 1/22/2015 18:20:01 | YouTube | http://swf.tubechop.com/tubechop.swf?vurl=87x_XWWzT3k&start=3646&end=3708&cid=4516380 | use of slow motion for dramatic effect, juxtaposition cuts for ironic humor | The clip shows multiple slowed shots with different characters to convey the shock and seriousness of learning of Kaylee's 'death', while using the lines “That man’s psychotic!” and “You are psychotic!” as a parallel to cut between to juxtapose the two different reactions to the prank that’s been played on Simon. | 0:00:00 | 0:01:02 | Devon Bentley | Awesome use of slow motion for dramatic build, and juxtaposition cuts for punchline humor! Firefly, Serenity (2002). | dmb173@case.edu | ||||||||||||||||||||||||||||||||
12 | 1/22/2015 18:41:14 | YouTube | https://www.youtube.com/watch?v=cse5cCGuHmE | A Better Politics | The use of politics with a singular article. Also the statement on the side of the clip "a better politics unites us" | Politics is typically spoken in its plural form, but I have never heard it used with a singular article | 0:53:30 | 0:54:26 | Emily Pestello | Yes | A Better Politics #SOTU | emp75@case.edu | ||||||||||||||||||||||||||||||
13 | 1/22/2015 21:17:50 | YouTube | https://www.youtube.com/watch?v=bwGat4i8pJI | Editing, cutting, voice overs, and confessionals | We can all keep track of what's a voice over, confessional, or dialogue and still hold onto the plot line of the episode. | 0:03:42 | 0:04:32 | Conor Driscoll | Yes | Too much #RonSwanson for the average monkey to handle. | ||||||||||||||||||||||||||||||||
14 | 1/23/2015 0:14:54 | YouTube | https://www.youtube.com/watch?v=WV-aUe2JBgE | "Do they call them 'Minecrafters'? 'Minecraftees?'" | When the speaker was trying to verbally explore for a potential term, he used a word that he already knew as a base and tagged on -er or -ee at the end. This pattern is continued throughout the clip as more familiar words ending in -er are tossed between speakers. | The construction of the bantering between the two speakers as they try to figure out a potential name for a group of people, they had the tendency to rely on themed words based on the subject or traits shared by the game this unnamed group of people like, and they either added an -er or an -ee to the end of that word. | 0:12:06 | 0:12:32 | Kelly McGuire | No | "Do they call them #Minecrafters...#Minecraftees?" | kkm46@case.edu | ||||||||||||||||||||||||||||||
15 | 1/23/2015 2:53:06 | YouTube | https://www.youtube.com/watch?v=6uLFFLfma5o | The editing makes for a continuous shot, but it depicts different points in time | In this clip, the main character starts out lounging on a chair in his house, then the camera zooms in on his face. When it zooms out, the scene has changed and he is now in bed as Mrs. Robinson is walking around changing her clothes. As she walks back and forth across the camera, it is clear that some time has passed, but the nature of the shot is continuous. The camera then zooms back into his face, and zooms out, when the scene has changed back to his house. Again, time has passed, but the editing of the scene was such that it looked as though it was all happening in one time. Lastly, when he is swimming, he emerges from the water, and then the scene immediately cuts to him back in bed with Mrs. Robinson. This is interesting because the editing so fluid that the time lapse also seems naturally fluid. | 0:02:58 | 0:05:04 | Siba Saker | Yes | Beautiful editing in The Graduate | sjs160@case.edu | |||||||||||||||||||||||||||||||
16 | 1/23/2015 11:05:06 | Elsewhere | https://www.youtube.com/watch?v=7TBwFfjXd3s&list=PL6402CB8981C6B286&src_vid=TlcxW8KUzks&feature=iv&annotation_id=annotation_118308 | I found the split-screen editing in this clip to be very interesting. | In this clip, the editor and director have split the image on-screen into our vision of the character Sara Goldfarb, and what Sara is actually seeing to manipulate the audience's sense of joint attention on the pills in front of Sara. Additionally, when the camera cuts from Sara's face to the refrigerator, this manipulates the phenomena of blended joint attention by creating the false sense that the audience and the character are looking at the same object simultaneously. | 0:00:00 | 0:00:21 | No | emb172@case.edu | |||||||||||||||||||||||||||||||||
17 | 1/23/2015 11:39:46 | YouTube | https://www.youtube.com/watch?v=1RKt6nZJoB0 | This particular youtuber's popularity is owed partly to his ability to edit his videos in such a way that every five seconds or so is full of new, interesting visual stimuli to keep the viewer constantly engaged. | The way the scenes are edited is to give off a sort of interrupting vibe. One scene will be flowing along only to be interruted by a random interjection, or a change of perspective. It is not done in an annoying way, where the viewer's sesne of continuity is violated. Rather it's done in a stimulating way, so the viewer is never bored, and there are new, engaging things that the viewer can switch his attention to. These cuts never deter from the message of the scene; as they actually add on to, or even build, what the narrator is trying to convey. This is a perfect example of a generational trend. This generation is characterized by massive influx of information and stimuli. Therefore, we no longer have to (or really even want to) focus on a single thing for a stretch of time, but would rather be bombarded by multiple things all at once, so our sensory system is never bored and always engaged. | 0:00:00 | 0:03:30 | Elishama Kanu | Yes | Editing gives mass influx of visual stimuli thus creating enjoyable visual entertainment | enk18@case.edu | |||||||||||||||||||||||||||||||
18 | 1/23/2015 15:58:13 | YouTube | https://www.youtube.com/watch?v=40DykbPa4Lc | The clip transitions from a weak young boy to a skillful older adult who can break anything. | It's interesting how the editors used a single black frame to indicate the time between when the boy was young and now old and skillful. | Yes | pepsi commercial | Fast forward 20 years #intothefuture | ||||||||||||||||||||||||||||||||||
19 | 1/23/2015 18:07:39 | YouTube | https://www.youtube.com/watch?v=C0dFsAtAlEo | The single shot represents the story Silva is telling Bond and introduces Silva as a character | Silva and Bond start out very far apart, but end up together, they represent the last two rats from the story | 0:00:00 | 0:01:56 | John Billingsley | Yes | Silva on rats from Skyfall | ||||||||||||||||||||||||||||||||
20 | 1/26/2015 2:36:44 | Elsewhere | https://tvnews.sscnet.ucla.edu/edge/video,20d35ba2-be80-11dc-9113-f720bcfe632c,846 | The timing of the cut-in of Steve Jobs riding on a motorcycle made the line seem extra funny. The lady's facial expression kinda functioned as a "quotation" gesture when she said the word "high-end geeks". | 0:13:54 | 0:14:18 | Jason Zhao | Yes | ||||||||||||||||||||||||||||||||||
21 | 1/26/2015 14:54:53 | YouTube | https://www.youtube.com/watch?v=KhMel-J6n0U&app=desktop | Ellen explains the Spanish phrase first, and then uses a complex set of gestures (without words) to convey the same message. It is interesting that we are able to understand what she is trying to communicate just by her gestures and facial expressions even without necessarily having the context. | Ellen has two main hand gestures and a facial expression: a deictic gesture pointing to her ear, which conveys that the meaning of the gesture is related to hearing; her hands out in front of her with the palms facing up conveying a metaphoric "what??" meaning; and her facial expressions which, collectively, convey confusion. | 0:01:38 | 0:01:54 | Marisha Kazi | #ellen no habla espagnol. | |||||||||||||||||||||||||||||||||
22 | 1/26/2015 14:44:34 | YouTube | https://www.youtube.com/watch?v=axAmED7lqe4 | "Around and round you're turning me." "Stability at all times. Magic body control." | The clip is made up with quirky chicken dance and corresponding song but aims to advertise automobiles. | The lyrics of the soundtrack are supposed to be interpreted literally rather than with the original meaning of a love story. It also uses the analogy between chicken’s “body control” and the stability of the vehicle. The irony makes the clip interesting as people find out the song and chicken dance actually portrays features of the vehicle. | 0:00:07 | 0:00:50 | Kelly Chen | Yes | #Dancing chicken commercial by @Mercedes-Benz #stability #body control | hxc427@case.edu | ||||||||||||||||||||||||||||||
23 | 1/27/2015 20:19:10 | YouTube | https://www.youtube.com/watch?v=7k0-pSCwcx4 | The scene calls attention to itself as an example of a certain trope in stories and invites viewers to draw certain conclusions. | In the clip, Philip Seymour Hoffman uses a common movie trope to express his perspective to the man he is speaking to on the phone. The trope structures his understanding of the situation he is in. But viewers know that, in their reality, Hoffman is an actor taking part in the very trope he is invoking. In applying the trope to the movie from this outside perspective, viewers understand that the scene is self-referential and that the intention is to make a point about the relationship between life and art. | 0:00:30 | 0:01:17 | Ben Storer | Yes | #Philip Seymour Hoffman invokes movies to explain his reality in a movie, while viewers use what is going on in the movie to explain theirs | bds77@case.edu | |||||||||||||||||||||||||||||||
24 | 2/1/2015 14:23:02 | YouTube | https://www.youtube.com/watch?v=N4siDTe_k4k&feature=youtu.be | It's a silent film space opera with no pre-determined plot or action! | It is sometimes difficult for non-gamers to see analog games as stories. Here, players control a fleet of ships (the dice) and are exploring the galaxy attempting to build machines (the small cubes) on planets so as to produce energy. Would that this were stop motion, but time lapse will have to serve to show the game in motion. | 0:00:05 | 0:00:40 | Lee Zickel | Yes | lxz11@case.edu | ||||||||||||||||||||||||||||||||
25 | 2/5/2015 20:14:40 | Elsewhere | http://www.newyorkwritersintensive.com/wp-content/uploads/2012/06/nineteen_eighty-four_manuscript1.jpg | Through the annotations, the veiwer | By overlaying the edits to the manuscript on top of the original text, we are given a window into the evolving process of editing | John BIllingsley | No | First page of Orwell's 1984 manuscript tells a story | jmb330@case.edu | |||||||||||||||||||||||||||||||||
26 | 2/5/2015 22:10:52 | YouTube | https://www.youtube.com/watch?v=nboFmjuRwZ0 | n/a | the pause for players to select a choice | Videogames allow interactive storytelling, where players can decide how their character will respond to events. While making this choice can disrupt the flow of gameplay, there are subtle cinematic cues used to help us keep our decisions on pace with the action. Note how the character signals what he will do before the choice comes up, and how the music and sound effects continue as the choice is made. | n/a | 0:16:50 | 0:17:20 | Maxwell Zimon | Yes | Player choices create more dramatic moments in #DragonAge | zimon@case.edu | |||||||||||||||||||||||||||||
27 | 2/5/2015 22:25:30 | YouTube | http://youtu.be/VIS49S1n5d0?t=19m | The entire clip shows Kim in her original missioni suit. This is like her alter ego, second identity, it remained static and with no hint of change throughout the entire series. But until her outfit changes the viewer learns that Kim's alter ego is not connected to this symbol of her mission crime fighting. A token of a mission outfit is developed from a new type of a mission outfit. | Our minds cannot imagine new things it has not seen before. Even though the idea of a new outfit or a mission outfit is not new, the context is new. TV shows tend to focus our attention to the story and if something is an object that acts as a piece of the setting for the plot then it usually goes unnoticed. But, when something as typical to Kim Possible's mission's gets changed it becomes a part of the plot because it cannot simply be changed without explanation due to how the story has been told before. | 0:19:00 | 0:19:25 | Jalia Hubbard | Yes | Kim Possible Episode 73 | #KimPossible 's new mission outift represents how tokens become types in cartoon series. | jah275@case.edu | ||||||||||||||||||||||||||||||
28 | 2/6/2015 2:59:08 | YouTube | https://www.youtube.com/watch?v=XxGJtjQ3oWU | i find the clip interesting because of the way it illustrates a life story in a short amount of space and time | This clip is of a boy who is keeping track of his height measurements on a wall, along with important life events that have happened to him. The entire wall represents a compression of this boy's life story. The viewers attend to the scene, and without difficulty, are able to make out that he's keeping track of not only his height, but also of events that happen to him. By viewing these measurements, we are able to piece together a narrative for this boy (just from a few seconds, we gather so much information about him). This clip works because of the way our brains are inclined to process stories, but also because we have understandings of linear scales and the verticality. | 0:00:36 | 0:01:42 | Siba Saker | Yes | Life story compressed onto wall | sjs160@case.edu | |||||||||||||||||||||||||||||||
29 | 2/6/2015 8:57:22 | YouTube | https://www.youtube.com/watch?v=Js2_ptfMdxE | "Wow! But how did you--" "But how did you?" "Where did you--?" "Where did you--?" | Combined with the visual actions of the characters as they reunite for the first time, you can tell that due to their excitement that they can barely finish their sentences as the other coincidentally asks the same thing simultaneously. | What I find interesting about the clip is the excitement of the characters in the storyboard as the frames switch from one face to the next in rapid, quickfire shots. As the characters struggle to talk at the same time, we see them together as they share a frame. Another thing I liked is that while the characters seem to be speaking gibberish by not bothering to respond to the other's questions, the audience still gets the thrill of the long awaited reunion of the two childhood friends. | 0:00:56 | 0:01:13 | Kelly McGuire | No | "Wow! But how did you--" "But how did you?" | kkm46@case.edu | ||||||||||||||||||||||||||||||
30 | 2/6/2015 9:44:14 | YouTube | https://www.youtube.com/user/Apple?v=ROZhrRm88ms | A blending of stories to understand not only the product but to understand that you can make your own story with this new technology. The upbeat music conveys how fast, fun, and easy it is to use it in the story of your own unique life. | 0:00:00 | 0:01:00 | Apple Commercials | #iStory | ||||||||||||||||||||||||||||||||||
31 | 2/6/2015 10:18:05 | YouTube | https://www.youtube.com/watch?v=fDgzThsMd1Q | Wayne addressing the viewers to question the convenience of the information received | Often we fall into the story of a movie without thinking about it and suspend our disbelief so that we can accept new information from the movie. In this clip, Wayne addresses that the security guard he encounters reveals more information than one usually would. In that way, Wayne acts as our disbelief, and which is no longer suspended. Wayne's questioning automatically takes us out of the story, so that we can infer that this information will be useful later in the movie. This quick break, as well as many others in Wayne's World, allows us to see how we automatically suspend our disbelief for the story until it is questioned. | 0:00:00 | 0:00:35 | Jacob Kasper | Yes | #WaynesWorld is always good at questioning the story. | jak255@case.edu | |||||||||||||||||||||||||||||||
32 | 2/6/2015 12:11:27 | YouTube | https://www.youtube.com/watch?v=rEkWLzWxRuE | Pretedn Play for adults. The original story telling at it's funiest | Bailey Burk | Yes | blb76@case.edu | |||||||||||||||||||||||||||||||||||
33 | 2/6/2015 12:13:08 | YouTube | https://www.youtube.com/watch?v=XYXXhn9fMYs | N/A | In story telling, we rely on the narrator to frame our perpsective - give us a reference. From there we can construct a sort of reality, based off the events and facts described and the mental states we are told exist. We can then cognitively treat the story as though it were real. However, what happens when the narrator is unreliable? Our constructed "reality" is then brought to shambles, as is what happens in this clip when we realize that the narrator completely fabricated the entire story. And the narration we built up completely unravels in that minute. | I think story telling preys on the idea that reality is subjective. It can be easily construed by presenting the appropriate details and events in order to elicit the desired mental states and perception in the individual, as is what happens in The Usual Suspects, and in all pieces of media actually. The narrator provides us with a description of events that transpired the previous night. As we did not witness the night's events, we rely on the narrator to provide us with factual information so we can recreate that scene as though we were there. We believe it is true, thus our cognition reacts as if we were genuinely there (cognition is genius and context-dependent; all stories rely on this). In that clip, we realize that all the relevant information our narrator gave is completely false and fictional. Therefore the reality we created is completely unreliable and thus begins to crumble. This is a fantastic example of how media seeks to construct reality for its audience, and how easily it can do so by providing just the right information to activate our mental states. Even though none of the information it presents could be factual, it is still able to invoke in us this sense of cognitive reality. | N/A | N/A | 0:02:04 | 0:03:04 | Elishama Kanu | Yes | N/A | Story telling is perspective framing which constructs a "reality" | enk18@case.edu | |||||||||||||||||||||||||||
34 | 2/6/2015 12:48:54 | YouTube | https://www.youtube.com/watch?v=aH0EBpRXixM | The story being a parable of the narrative character's life, using the actual people he knows as characters. | Adam Sandler as "Skeeter" invents a bedtime story for his niece and nephew that ends up being a parable of his own situation as a hotel's handyman, following "Sir Fix-A-Lot" through his encounters with fantasized versions of the hotel staff and owner as he projects his wished for promotion into the tale. | 0:00:00 | 0:01:12 | Devon Bentley | Projection/Parable in "Bedtime Stories" | |||||||||||||||||||||||||||||||||
35 | 2/7/2015 17:34:18 | YouTube | https://www.youtube.com/watch?v=YQo0TfuueaY | Even though the clip shows short fragments unrelated scenes and events, we are able to like them together and view them as though they are related events on a specific timeline. | As mentioned above, we will go to extreme lengths to make things in to what we want to see. In this case, we decided that we were going to see a boy make a pig fly. This was the story we wanted. So when we saw the following clip, we picked out bits of information that made it possible for the scenes to "go together". We chose the interpretation of each small shot that was most likely to give us the story we wanted,and we did this without even being consciously aware that we were doing so. | 0:00:06 | 0:00:17 | Sophia Senderak | Yes | This clip really shows how far we will go to turn what we actually see in to the story, or “script” we expect to see. It really not matter if what we are seeing is ridiculous or not, as long as it's what we expect | sms308@case.edu | |||||||||||||||||||||||||||||||
36 | 2/8/2015 15:27:36 | Elsewhere | https://sites.google.com/a/case.edu/mind-media-spring-2015/home/student-pages/nardine-taleb | Our minds make quick connections between things. Like Jake, we may often be tricked. | The character, Jake, sees the spilled red wine, the stopped elevator, and car as signals that Olivia was kidnapped and taken in the car. In truth, she was actually just pulled into the other room. Just like Jake, our minds can often mislead us because we make quick assumptions. | 0:00:02 | 0:00:49 | #Jakegetstricked | ||||||||||||||||||||||||||||||||||
37 | 2/14/2015 18:48:58 | Elsewhere | http://interactive.guim.co.uk/embed/2014/sep/the-last-saturday/index.html | Chris Ware plays with the narrative potential of comics by introducing an implied narrator who rather self-seriously pushes the medium in nonstandard directions. The real audience understands that this narrator is satirical and thus forgives the real author’s unconventional choices. | Chris Ware plays the old-timey newspaper editor trying to publish a comic strip online, an implied narrator addressing an implied audience whom the real audience understands to be the object of satire. The narrator’s “editorial decisions” in formatting the opening pages of the strip as a sort of diagram simultaneously push the narrative potential of comics and draw attention to the fact that the narrator’s creative mission is a little self-serious, a little grandiose. The real audience understands that this narrator and his audience are satirical and thus forgives the real author’s unconventional artistic choices. | Ben Storer | Yes | #Chris Ware plays the old-timey newspaper editor trying to publish a comic strip online: an implied, satirical narrator | bds77@case.edu | |||||||||||||||||||||||||||||||||
38 | 2/19/2015 11:41:35 | YouTube | https://www.youtube.com/watch?v=PsD0NpFSADM | N/A | The way we, the audience, know how to interpret the narrator based on the visual stimulus we see. We decide that when he says boy and girl, he's referring to the boy and girl seen earlier in the clip. When he said "this is not a love story", we | There are a lot of things at work here. We decide that when he says "boy and girl", he's referring to the boy and girl seen earlier in the clip. Why? Because those are the characters in the frame that we are working with. We know that the characters he's referring to are in the fictional world we share with him, and can't be someone outside that realm like our sister and brother. These are people only we have access to. And we assume that he's abiding by the same rules, and is not talking about someone that he knows but that we don't know. Therefore, it must be the girl and the boy we saw earlier in the clip. Because of the role narrators typically play (they tell us what’s going on, and we expect them to be truthful) we normally believe what they say. However, when the narrator says "this is not a love story", we all disregard this and know that really, it is. This one is a bit more complicated. I believe a lot of it has to do with what’s going on on-screen when he says this, and the world he has built leading up to this. He’s been telling us about these two characters and their opinions on love, and as he says “this is not a love story”, it zooms in on them holding hands. For these reasons, we have a large body of evidence that supports the theory that this really IS a love story, and we discredit the one opposing comment the narrator says. Because we want to like and trust the narrator, however, we don’t want to believe that he’s simpy lying to us. So, we assume his words have an alternate meaning. For instance, what he must mean is that this love story is special in some way, and is different from your typical love story. | N/A | 0:00:00 | 0:00:57 | Sophia Senderak | How we use visual media to fill in the gaps of/interpret narration. | sms308@case.edu | ||||||||||||||||||||||||||||||
39 | 2/19/2015 14:42:57 | YouTube | https://www.youtube.com/watch?v=TPZ0Rl62kRc | The plot shift | We normally look at media as self-explanatory, but after a plot shift like this one that "second head" shows up automatically. You can't think about Fight Club without thinking about how the methods in which they masked this important fact (specifically how the narrator slyly hides that info) | 0:00:00 | 0:00:53 | Conor Driscoll | Yes | The point of no return: after this scene you can't look at Fight Club the same way ever again. | cpd34@case.edu | |||||||||||||||||||||||||||||||
40 | 2/19/2015 19:44:44 | Elsewhere | http://esl-bits.net/ESL.English.Learning.Audiobooks/Slaughterhouse-Five/Slaughterhouse-Five%20-%204/26/default.html | ...They were all being killed with their families. So it goes. The girls that Billy had seen naked were all being killed, too, in a much shallower shelter in another part of the stockyards. So it goes. | The region of interest in the film spans fro 6:20 to 8:00. Specifically, the moments 7:00, 7:12, 8:00 are my examples. The author uses "so it goes" after events of mass death, or any instance of death. This phrase works so effectively at setting the mood of the book that it is almost too particular to describe. I have some links that explore this idea further: http://emm373.hubpages.com/hub/The-Truth-behind-So-It-Goes-Kurt-Vonnegut-Jrs-Message https://modayode.wordpress.com/2013/10/04/they-rust-slaughterhouse-five-and-the-senselessness-of-war-review/ http://101books.net/tag/slaughterhouse-five/ | The "so it goes" phrase is a narrative commentary. It is reflective of its story's context and content as well as the historical events that it is parallel to (mass death and destruction of the 20th century). It expresses a lack of responsiblity and lack of a source for the actions through its ambigous pronoun and verb choice with the purposeful absence of direction or object. It is ironic due to human morality which is mostly believed to see killing and death as bad but on a mass scale it is not massively grave. Instead, it is even more overlooked. An example of moral compression. | 0:06:20 | 0:08:00 | Jalia Hubbard | Yes | #Soitgoes #Slaughterhouse-5 by #KurtVonnegut exemplifies the cognitive complexity of narration. | jah275@case.edu | ||||||||||||||||||||||||||||||
41 | 2/19/2015 23:17:36 | YouTube | https://www.youtube.com/watch?v=6ACq7Mp6bxc | "That's great! It starts with an earthquake, birds and snakes, an aeroplane, Lenny Bruce is not afraid." | On the topic of narration, the video clip narrates two separate stories to its audience. | On the topic of narration, the video clip narrates two separate stories to its audience. The first story includes the apocalyptic story by the band R.E.M. called "It's the End of the World As We Know It (And I Feel Fine)", and the second layer of narration comes from the TV show Pop-Up Video, which details a story about the filming of the video, the writing process of the song, and the lives of the actors and musicians. | 0:00:05 | 0:00:40 | Kelly McGuire | No | pop-up video | "That's great, it starts with an earthquake Birds and snakes, an aeroplane, #Lenny Bruce is not afraid" | kkm46@case.edu | |||||||||||||||||||||||||||||
42 | 2/20/2015 2:11:15 | Elsewhere | http://xkcd.com/33/ | The narrator uses the comic strip to refer to themselves, but does so in a way that brings attention to the fact that they're "trying" not to refer to themselves | The humor of the strip depends on the fact that the narrator is asserting that the strip is funny with the last frame. The title of the strip "self-reference" is claiming that the strip is a form of self-reference, however, in the first strip the narrator does not wish to bring attention to the fact that they're referring to themselves. In this way, the narration makes sense because we've assumed the mental states of not only the character in the strip but also the author of the strip | Siba Saker | Yes | Self-Reference in XKCD | sjs160@case.edu | |||||||||||||||||||||||||||||||||
43 | 2/20/2015 10:55:00 | YouTube | https://www.youtube.com/watch?v=G4OKrZ-k43o | The way an omniscient narrator can bring understanding to a series of unrelated images/videoclips. | By engagaing our curiousity with a question of, "Have you felt it?" the narrator prompts us to start searching for that "feeling" throughout the trailer. This suggest that each short scene shown belongs there as a type of source material from which we should gain the "feeling" mentioned at the beginning of the trailer. | 0:00:13 | 1:30:00 | Graham Zimmermann | Yes | The narration of the trailer brings it all together. | gsz2@case.edu | |||||||||||||||||||||||||||||||
44 | 2/20/2015 11:47:11 | YouTube | https://www.youtube.com/watch?v=HoIKDWfiwFg | Daniel Gray Kontar uses the concrete reference of beat boxing, drug absuse, and the image of a flowing river (as a parable) to establish joint attention on the abstract concept of Black nihilistic space and Soul. | What I love about poetry is that it relies on the immediate establishment of joint attention of concrete images/references in order to frame complex and abstract meanings that the author wants to convey. In this poem, Daniel Gray Kontar does this by referencing beat-boxing, very specific and familiar images of drug abuse, and continuing to reference the parable of the river. | 0:00:00 | 0:03:52 | Eva Barrett | Yes | "The Elder Lion," by Daniel Gray Kontar (Replife) establishes joint attention on concrete images to frame abstract thought | emb172@case.edu | |||||||||||||||||||||||||||||||
45 | 2/20/2015 12:49:00 | YouTube | https://www.youtube.com/watch?v=mdJ6aUB2K4g | The art and soul of poetry allows us to understand why we like stories: It makes us feel alive, it highlights the human experience, it makes us vulnerable, and puts context to our daily lives. That is why we are so receptive to these usual changes and layers of narrators in media because we understand the intricacy and multiple perceptions in life. | The changing narrators represents the changing of love | |||||||||||||||||||||||||||||||||||||
46 | 2/20/2015 17:52:02 | YouTube | https://www.youtube.com/watch?v=oh3zRZhwhSQ | None of the actors know what the story is, or how it will unfold. They must actively pay attention to what is happening now and think of new possibilities that the story could take. They must then find a way to work those possibilities into the current narrative framework and introduce a new perspective or "twist". | t around 4:35, Kristen Bell jumps into the conversation and exclaims: "Dr. I'm so sorry; I'm freaking out right now because I think I got my boyfriend pregnant, and I'm allergic to cats." What strikes me about this is that she completely comes up with that out of the blue. Except it's not entirely out of the blue. At the very beginning, the actors received a prompt from the audience, with which to build a story: "I'm pregnant". From there, they began to construct the story. Kristen Bell actively attended to the story as it progressed, watching the different characters and plots unfold. Simultaneously, her mind was engaging in counterfactuals as she imagined various ways the story could progress, and by paying attention to what was currently going on, she picked the most "feasible" one - the one that fit best or the one that achieved the most desired effect (perhaps it was the one that would be perceived as the funniest by the audience). The story now switches from one about a cheating boyfriend to one about a woman with allergies. The transition is seamless. | 0:03:23 | 0:04:44 | Elishama Kanu | Joint attention is utilized in improv as the actors attempt to construct a story from scratch | enk18@case.edu | ||||||||||||||||||||||||||||||||
47 | 1/16/2016 11:27:01 | YouTube | https://www.youtube.com/watch?v=n5DZF7YvwwM | I feel that the constant use of jump cuts and the fact that they display graphs that contain lots of information for only a second or two is interesting. | After reading Tim J. Smith's paper on editing, continuity, and eye tracking, I remembered that many of the vloggers that I have watched on YouTube do not follow many of the concepts and ideas proposed within Smith's paper. I suppose that the use of jump cuts is to keep the viewer interested in the video, and I wonder if this is actually the best way for these vloggers to do this, since it is so different from how film directors keep viewers attention. | 0:00:08 | 0:00:30 | Karen Zoeller | No | Do jump cuts help or hurt the viewer in YouTube vlogs? | ||||||||||||||||||||||||||||||||
48 | 1/20/2016 21:47:20 | Elsewhere | http://57.media.tumblr.com/6229ca7baa22a5ada0dec8cb59b313f0/tumblr_o0jvodnlbt1qdp8pko1_1280.gif | The ironic action despite the deep sense of understanding and awareness of the sometimes hurtful truth. | #CalvinAndHobbes is too far ahead of its time. | |||||||||||||||||||||||||||||||||||||
49 | 1/20/2016 22:54:07 | Elsewhere | The Movie Birdman, directed by Alejandro G. Inarritu, appears as if the whole movie was shot in one take. | Unlike regular movies or television shows were editing and cuts are obvious, especially when you're looking for them, Birdman appears as if the whole movie was shot during 1 long take! Some consider Inarritu's work one of the greatest cinematic tricks ever. Instead of cutting from one side of something to the other side of something, typically seen in everyday TV and movies, the director took advantage of cutting during pan shots. That is, when the camera paned from one side of the room to the other, there would be a cut in the middle. Only staged objects would be captured in the shot in the middle as the camera panned so make a cut here goes almost unnoticeable. | Obinna Ugwuegbu | No | ||||||||||||||||||||||||||||||||||||
50 | 1/21/2016 12:32:15 | YouTube | https://www.youtube.com/watch?v=pbpf7vJNLVw | The Joker's use of the news to broadcast | The overlay of the Joker's voice | That the audience understands that it is being played over the news eventhough his voice is clearer then the newscasters and that every person we see is watching it | 0:00:00 | 0:00:32 | Nicole Arnold | Yes | #TheJoker uses the news | nea21@case.edu | ||||||||||||||||||||||||||||||
51 | 1/21/2016 19:51:08 | YouTube | https://www.youtube.com/watch?v=uelHwf8o7_U | I'm interested in the cuts and edits of the music video | 0:00:10 | 0:00:59 | Eminem's | |||||||||||||||||||||||||||||||||||
52 | 1/21/2016 19:55:35 | YouTube | https://www.youtube.com/watch?v=uelHwf8o7_U | I'm interested in the cuts and edits of the music video | The music video is a narration of a story, however the video shows the end of the story as the first scene, before starting from the beginning. | From the first 15 seconds, viewers already know that this music video is a narration of a story; that the singer Rihanna does not play a role in the story. | 0:00:10 | 0:00:59 | Karina | No | Eminem's "Love the Way you Lie" tells a cycle in reverse | kgh32@case.edu | ||||||||||||||||||||||||||||||
53 | 1/22/2016 1:49:05 | The Edge Server | https://tvnews.sscnet.ucla.edu/edge/video,ac2003c8-c047-11e5-8654-2c600c9500f4 | "Palin serving up red meat for the conservative crowd" | The way that CNN portrays Palin and her audience in its phrasing as it covers her endorsement of leading republican presidential candidate Donald Trump. | CNN likens Palin's passionate speech in praise of Donald Trump to a tasty meal, a treat for her audience. CNN's use of phrasing gives off an impression that Palin's audience is like a pack of wolves, which she entices and manipulates by telling them exactly what they want to hear. Given CNN's status as a more liberal-leaning news source, it is really interesting how they appear to deliberately use a careful choice of words to convey a second layer of meaning in their coverage of the news. | 2016-01-21_1300_US_CNN_Newsroom. | 0:07:16 | 0:07:21 | Christopher Gittings | Yes | https://tvnews.sscnet.ucla.edu/edge/index.php?mode=advanced&q=candidate%20joke%20date_from:%2212/23/2015%22%20date_to:%2201/22/2016%22%20network:%22AlJazeera,BBC,CNBC,CNN,CNN-Headline,CNN-International,CSPAN,MSNBC,CSPAN2,Discovery,ESPN,FOX-News,HBO,History%22%20sort_by:datetime_desc%20display_format:list%20regex_mode:raw%20tz_filter:lbt%20tz_sort:utc%20limit:10&display_format= | #Palin serving up red meat for conservative crowd. -CNN describing Palin's speech in which she provides an endorsement of Trump, boosting his polls in Iowa. | cwg28@case.edu | ||||||||||||||||||||||||||||
54 | 1/22/2016 5:19:14 | YouTube | https://www.youtube.com/watch?v=P-sWReV2DDQ#t=1.118 | As the heroine gazes toward another direction, the frame switches to the black shadow and then back to the heroine, I find this editing very smooth and natural | This editing recreates a join attention scene where another person's gaze directs our attention to an object and we look back to check the person's reaction in order to infer his/her intention | 0:01:25 | 0:01:39 | Jason Zhao | Yes | Joint attention scene in #Vertigo | txz99@case.edu | |||||||||||||||||||||||||||||||
55 | 1/22/2016 9:34:11 | YouTube | https://www.youtube.com/watch?v=g7gYFhJ2eCQ | Rooster Teeth uses quick cuts to pump up the horror in their Immersion: Five Nights at Freddy's video. | After watching the video several times, I thought it was interesting that despite being the shortest night portrayed Night 3 is still the most terrifying. Probably because the cuts made (cuts between video feed to live action and to different moments during the night) were done in such a way as to portray a cohesive, coherent conversation between Gavin and Michael. As such, viewer did not find the gradual change in the participant’s confidence as out of place or fake while the music started getting louder, adding to the tension. All of this increased the fear in the viewer so that they alongside Gavin and Michael jump in fear when the Rooster finally gets into the building. | 0:08:08 | 0:10:28 | Huvra Mehta | Yes | Rooster Teeth Immersion Five Nights at Freddy's | @RoosterTeeth uses quick cuts to pump up the #horror in their #Immersion #FNAF video. | hsm20@case.edu | ||||||||||||||||||||||||||||||
56 | 1/22/2016 11:59:37 | YouTube | https://www.youtube.com/watch?v=ePncRloeBZ8 | The use of a split screen showing two alternate realities to directly compare Tom's expectations vs. reality. | 500 Days of Summer is a movie about defying expectations. The movie deconstructs tropes found in nearly every commercialized romantic piece of media. Despite being warned at the very beginning that the story between Tom and Summer is not a traditional love story, we still fall into this trap and create certain expectations that they will eventually be together despite all adversity. During the first half of the movie, the movie plays on our expectations and shows us the rise and the fall of their relationship. It even hints at a reconciling right before this scene. This is when this scene tears down the expectations both Tom and the audience has held for the majority of this movie. Simultaneously playing the two scenes causes the audience to directly acknowledge the difference between the grand romanticism we expected from a love story and the sad reality of Tom’s life. At the every end, the reality side of the screen overtakes the expectations side of the screen as it becomes clear that Summer has moved on and Tom cannot win her back despite what popular media has led us and Tom to believe. All of this is heightened by the music playing in the background. As Summer’s engagement ring is revealed, “I’m the hero of this story” overtakes the audio of the party and the juxtaposition between Tom’s realization and this song highlights the moment where everything crumbles for Tom. It almost seems like denial, as the music became louder and repeated its chorus. However, at the end of the scene when the skyline begins to vanish, Tom and the audience have finally realized that expectations aren’t often matched by reality. | Preetham Yarlagadda | Yes | @MarcW's deconstruction of romance tropes in 500 Days of Summer | pxy79@case.edu | |||||||||||||||||||||||||||||||||
57 | 1/22/2016 12:01:03 | YouTube | https://www.youtube.com/watch?v=822qdKqae1A | The example of discontinuous editing mirroring the cognitive deficit of the protagonist. | The usage of discontinuous editing in the film "Memento" helps the viewer empathize with the narrator/protagonist. | 0:03:25 | 0:05:25 | Anthony Hersh | The discontinuous editing in the film Memento creates a necessary discomfort in the viewer | |||||||||||||||||||||||||||||||||
58 | 1/25/2016 1:18:51 | YouTube | https://www.youtube.com/watch?v=ZOKsdQm0JFo | I think the progression and transitions of the video to be very interesting. | It is like a sine wave (my pun from the tweet) of beauty -- it starts off on a negative note, where she is bare-faced with acne. But as the music quickens, she uses makeup to transform herself into someone who is considered “beautiful”. However, the positives are short-lived and she is faced with criticism for her makeup face, and at the end of the video she has quotes describing the feelings of other commenters who suffer from acne. While there are a lot of angle jumps in the video, it is the comments that Em uses that mark the transition from the different phases. Also, I think it was very powerful how she ended the video with the quote about self-acceptance and “you are beautiful” because it contrasts strongly with the title of the video – “you look disgusting.” | 0:00:00 | 0:03:11 | Mandy Wong | Yes | "the sine wave of #beauty" or, "the sin of #beauty" | mxw432@case.edu | |||||||||||||||||||||||||||||||
59 | 1/25/2016 11:54:33 | Elsewhere | http://explosm.net/comics/3031/ | editing/framing | This comic is interesting due to its use of point of view for the sake of humor. The first 2 frames have the female character as the focal point, so we don't get a clear look at the male character. The last frame focuses on the male character to accentuate the punchline that he is blind and that his previous statement was misconstrued as a break up. | 0:00:00 | 0:00:00 | Niko Flores | Yes | Cyanide and Happiness with some excellent use of editing @Explosm | ngf3@case.edu | |||||||||||||||||||||||||||||||
60 | 1/28/2016 21:31:43 | YouTube | https://www.youtube.com/watch?v=9gspElv1yvc | The fact that by simply combining a picture and a song, we entirely understand the story. We quickly recognize that this is an advertisement for battered animals and the people putting on the commercial are hoping for people to adopt or raise money for these animals. | I am impressed with the human ability to quickly combine information from past memories and create the story that the commercial is attempting to create. | 0:00:00 | 0:00:20 | Karen Zoeller | Complete story is formed without someone speaking at all. | kaz14@case.edu | ||||||||||||||||||||||||||||||||
61 | 1/29/2016 17:21:20 | YouTube | https://www.youtube.com/watch?v=PuiQgfxgMJc | The use of silence and monophony to contrast the polyphony, the syncopated repetition of the last word of the lyrics, the distortion of the singer's voice, the rhythmic variation. | I find it interesting that the music defies expectation by not only distorting the voice, but by using syncopation and alternating between monophony and polyphony. | 0:01:35 | 0:01:58 | Maia Delegal | Yes | Lido's remix of "Drowning" takes you high, low, and to other unexpected places. | mrd89@case.edu | |||||||||||||||||||||||||||||||
62 | 2/4/2016 13:05:02 | YouTube | https://www.youtube.com/watch?v=mWZ6b_I-Djg | And the moral of the story is... | The message that the clip provides for us. | The director wanted us to watch this then reflect on our own lives and all of our own problems that probably have nothing to do with the problem in this story. Yet we take a message from this story and then relate it to our own lives, even though our lives have nothing to do with this story. And sometimes we even have a sense of having bettered ourselves from doing this. | 0:00:16 | 0:01:57 | Obinna Ugwuegbu | Yes | It is inherent for us to search for and take a message away from a story and even, at times, try to implement it in our lives | |||||||||||||||||||||||||||||||
63 | 2/4/2016 20:46:56 | Elsewhere | http://townhall.com/political-cartoons/2016/02/04/138636 | Cartoon story telling of Donald not bothering with Iowa the juicy grapes. | Not only are you giving Iowa an entity you are then making it a grape instead of just personifying the state. From here you can make a story that Trump the fox is too lazy to get Iowa the juicy grapes. | By labeling the entities in the cartoon with Iowa and Trump we can create a story out of the events and draw a conclusion. We can still understand what is going on even though it is a fox and a grape. | Nicole Arnold | Yes | #UnderstandingIowa the unattainable grapes @DonaldTrump the fox | nea21@case.edu | ||||||||||||||||||||||||||||||||
64 | 2/5/2016 0:54:26 | YouTube | https://www.youtube.com/watch?v=ll5qiWa6YDk | The story of the genetically inferior Vincent beating his genetically superior brother by never saving anything for the swim-back is a vivid parable of Vincent's story of giving everything to achieve his dream as an astronaut despite being discriminated and having a serious heart disease. | The story of not giving anything for the swim-back illustrates very well a general story of one giving everything to achieve something that is worth his entire life without a plan for draw-back because it takes place at the most human scale with everyday objects and events that we interact with physically. The source-path-goal image schema applies literally to the swim and metaphorically to what Vincent has been through. Through the conceptual metaphor LIFE IS A JOURNEY, projections are made between the shore and Vincent’s life before his quest, between the strokes and his efforts, between “the other side” and his dream, between swim-back and draw-back, and between drowning and dying from his heart problem. | 0:00:25 | 0:01:40 | Jason Zhao | Yes | The swimback parable from Gattaca | txz99@case.edu | |||||||||||||||||||||||||||||||
65 | 2/5/2016 2:12:02 | YouTube | https://www.youtube.com/watch?v=jc7EMYIG0_Y | Demonstrates the principles of how slight alterations can give a story completely new meaning. | I've been thinking about the concept of "story" ever since we discussed it in my COGS 311 class with Mark Turner this Monday. I loved how this video, though intended to be comedic, so clearly demonstrates how taking a story and adding a twist can endow it with entirely new meaning for the audience. Therefore, every component of a story must be considered extra carefully so that the story as a whole delivers its intended message and effect. | 0:00:00 | 0:03:01 | Christopher Gittings | Yes | Sometimes material doesn't to be rewritten, but merely looked at in a different way. | cwg28@case.edu | |||||||||||||||||||||||||||||||
66 | 2/5/2016 10:05:16 | YouTube | https://www.youtube.com/watch?v=YmfPT47awUg | The parallelism between this and another scene in the movie; the question and answer format; the lingering on the audience's faces | Jordan Belfort is not a good person. He is slimy, scummy, a cheat, and liar. He does whatever he can to get to the top and stay on top while scamming people out of their money for his own profit. As he put it, he did not feel bad about taking other people’s money because he “knew how to spend it better”. Despite his arrogance and selfishness, the audience can’t help but root for him a little bit. Due to the way Scorsese constructs the story, we only see the glamour of Belfort’s life. By seeing it only through his viewpoint, we are just as susceptible to being seduced by the high rolling life as the very same people he scammed out of their money. Despite knowing what he does is a bad thing, the story that is constructed makes the audience forget that for a little bit and essentially make them envious of Belfort’s life. Only at the end does Scorsese lift back the curtain and make the audience come to terms with the damage Belfort had done and the kind of charismatic scum he is. The final shot with the audience in the clinic reflects the audience watching the movie. They, just like the audience in an almost mirrored image, are enraptured by Belfort’s tales and hope to become just as successful as he was. However, as the audience by that point, we’ve learned about both the glamor and the dark sides of Jordan’s life. Scorsese uses story to make us sympathize with an otherwise very unlikeable guy. He then uses story, despite having the character go through any dynamic change, to have the audience come to the realization that the movie is not trying to condone Jordan Belfort’s life, but to condemn it. The Wolf of Wall Street is an example of how story and viewpoints can be used to manipulate the audience’s sympathy and morality. | 0:02:25 | 0:03:54 | Preetham Yarlagadda | Yes | @LeoDiCaprio and Martin Scorcese's ability to make us sympathize with a sociopath #WolfofWallStreet | ||||||||||||||||||||||||||||||||
67 | 2/5/2016 11:16:29 | YouTube | https://www.youtube.com/watch?v=TP8RB7UZHKI | co-speech gestures used by Mateo to emphasize his point; he is imitating his parents; there are intonations when he tries to emphasize his mother's name | It is interesting that we are able to understand what Mateo is saying and the situation, despite not be given context beforehand until halfway through the clip. Moreover, we are able to understand the situation that he is talking to his mother, whom he calls "Linda", and we can also inference that he learned that by watching his parents interact. Moreover, we are able to fill in the blanks of what Mateo is saying even though he is not using proper English. Also, when we look at this video, we understand that this is a home documentary, and not a professionally made video or an orchestrated video. | 0:00:14 | 0:01:07 | Mandy Wong | Yes | "Linda, Linda, Linda, listen to me!" | mxw432@case.edu | |||||||||||||||||||||||||||||||
68 | 2/5/2016 11:20:03 | YouTube | https://www.youtube.com/watch?v=XLpDiIVX0Wo | NA | Stories can come in many forms - some of which are verbally and visually. This clip compressed a love story into a few gum wrappers. | The male lead character managed to not only compress a few years worth of a relationship into a story, but also he sent a message to his girlfriend (now fiancee). She picked up the messages as she was going through the gum wrappers in order, and then when she saw the last gum wrapper she understood that it meant he was going to propose to her. | NA | NA | 0:01:19 | 0:01:41 | Karina | No | NA | Gum wrappers tell a love story | kgh32@case.edu | |||||||||||||||||||||||||||
69 | 2/5/2016 12:09:36 | YouTube | https://www.youtube.com/watch?v=I7kQSxfc_JQ | The video uses a familiar color scheme and formatting to cue into our preconceived notion of what happens at debate. Through this set up it deconstructs the debate with the candidates speaking at times in complete gibberish, but we still get the idea and can place real people in the roles. | 0:01:31 | 0:03:05 | ads139@case.edu | |||||||||||||||||||||||||||||||||||
70 | 2/8/2016 13:42:39 | YouTube | https://www.youtube.com/watch?v=dNJdJIwCF_Y | Clever and original usage of various ingredients corresponding to its edible counterparts. | Not everything is what it seems, even when it serves the function perfectly. | 0:00:00 | 0:01:41 | No | What is actually in the #Guacamole of our lives? | |||||||||||||||||||||||||||||||||
71 | 2/10/2016 22:19:26 | YouTube | https://www.youtube.com/watch?v=i_Y5UB3xxW8 | This portion of the clip is when the character realizes that he has been lying to himself. | The film Memento is very interesting because the narration of the story is often deceptive. You might be led to think one way in the first scene, and then in a later scene find that you were given false information. | 0:01:29 | 0:01:45 | Karen Zoeller | Narration can sometimes be deceptive. | kaz14@case.edu | ||||||||||||||||||||||||||||||||
72 | 2/17/2016 13:36:08 | Elsewhere | https://www.goodreads.com/book/show/4789658-the-way-through-doors | Jesse Ball stretches our ability to follow nested narrations to new, confusing heights in his novel The Way Through Doors. | The nested narrations do not progress linearly but acts like a spider web. That alongside the fact that the viewpoints are constantly shifting and rarely do the various nested stories have an ending but instead just leads into the next nested story make it incredibly difficult to follow along and yet it isn’t impossible. How are we capable of following so many different narratives that have so little in common with each other (not even the main character is in all of them)? | Our ability to create patterns is probably what allows the reader to follow this story and it’s overall plot. The author takes the time to set up an overall premise: Selah is telling a series of story to a woman with amnesia in hopes that she will recognize herself in these stories and remember herself. From that point on, the reader knows that they should pay attention to the women characters in the novel. Yes, it’s not always stated that this is the woman Selah is talking to, but thanks to our ability to blend ourselves with various viewpoints thanks to blended joint attention and pattern recognition, we’re able to spot her. This allows us to follow a common thread from narration to narration. | Huvra Mehta | Yes | Author Jesse Ball stretches our ability to follow nested narrations to new, confusing heights in his novel The Way Through Doors. | hsm20@case.edu | ||||||||||||||||||||||||||||||||
73 | 2/17/2016 17:17:55 | YouTube | https://www.youtube.com/watch?v=KgPcpXZga9E&list=PL3DE2373EAC00C948&index=12 | Blended joint attention, nesting, "over-blending" therapy | "The Talking Dead" seems to be a unique phenomenon. People watch it for help understanding and processing "The Walking Dead", much like the purpose of narration. Is this a sub-type of narration? If not, what? Some reports suggest that people blend themselves into the story so significantly that "The Talking Dead" is a form of therapy of sorts. | 0:00:00 | 0:16:37 | Anthony Hersh | Yes | Is "The Talking Dead" the 1st ex. of post-fiction broadcast narration? | anthony.hersh@case.edu | |||||||||||||||||||||||||||||||
74 | 2/18/2016 21:49:34 | YouTube | https://www.youtube.com/watch?v=JqiPVEa8PPs | Narration difference between inner voice and words actually spoken | The ability to tell the difference between inner voice and actually speaking for the same character. | This is done from starting from afar and cutting to the character. Also neutral clear voice vs one showing emotion. Towards the end of the clip tim's lips moving also shows when it is him speaking vs narrating. | 0:00:00 | 0:00:26 | Nicole Arnold | Yes | #Narrating inner voice vs speaking | nea21@case.edu | ||||||||||||||||||||||||||||||
75 | 2/18/2016 23:53:18 | YouTube | https://www.youtube.com/watch?v=o0u4M6vppCI&list=LLlzkD_7r3Wl4oAiKlRsNqWg&index=2 | The narration itself is dark but the overall film is amusing | If one where to read the monolog of the narration or just listen to it without the music or performers on stage, this could be something terrifying. The narration it's self is something out of a scary movie. But when you add in aspects like the jazzy music and the entertaining performance, the overall short clip becomes amusing as opposed to scary | 0:00:00 | 0:03:17 | Obinna Ugwuegbu | Yes | Great example of aspects that can affect narration | ||||||||||||||||||||||||||||||||
76 | 2/19/2016 1:14:31 | YouTube | https://www.youtube.com/watch?v=mMb-RrhTxIE | The introduction of the bad guys and the briefing of their missing are lines of the characters and at the same time a narration of the trailer. While this is very common in today's trailers, trailers of the older movies almost always use explicit narrations. | It seems that letting the movie’s characters narrate their own stories is more appealing in movie trailers. Although an explicit narration might better summarize the story, it shifts the ground from the scenes within the movie to the interaction between the narrator and the audience and therefore stops the audience from immerging into the story. | 0:00:43 | 0:01:19 | Jason Zhao | Yes | Narrating with character lines in Suicide Squade trailer | txz99@case.edu | |||||||||||||||||||||||||||||||
77 | 2/19/2016 1:44:42 | YouTube | https://www.youtube.com/watch?v=AauiEGH99Lo | At the start of this reading of "The Tell Tale Heart" by Edgar Allen Poe, the narrator establishes trust with his audience, building himself up with seemingly truthful observations and background story. However, by the end of the reading, it becomes clear that the narrator was responsible for a murder, which he had previously obscured from the readers view, but gradually became less and less able to hide in his storytelling | I find this reading really interesting for how it explores an important quality of narration: the sense of trust that is immediately established between the narrator and the reader. By having the reader grow uncomfortable with the narrator, Poe creates and interesting sense of unease that propels the story forward and makes it much more frightening then is would have been if the reader had known about the narrator's actions and untrustworthly charcter from the beginning. | 0:00:00 | 0:14:27 | Christopher Gittings | Yes | Tell-Tale Heart explores the concept of trust in narration | cwg28@case.edu | |||||||||||||||||||||||||||||||
78 | 2/19/2016 10:34:54 | YouTube | https://www.youtube.com/watch?v=jW3XtKBlTz0 | co-speech gestures, narration, | Interesting that when a narration is superimposed onto the guinea pigs, we actually assume that the guinea pigs are speaking. We do not have trouble matching the narration to the guinea pigs, even though we know that guinea pigs can't speak. Interesting case of personification; also interesting because we are choosing to suspend our disbelief so we can enjoy the video. | 0:00:00 | 0:01:44 | Mandy Wong | Yes | "Is Donald Trump's hair a guinea pig?" asks a guinea pig | mxw432@case.edu | |||||||||||||||||||||||||||||||
79 | 2/19/2016 10:43:49 | YouTube | https://www.youtube.com/watch?v=XFGAQrEUaeU | The use of minimal information in order to narrate what is happening. | In 15 seconds this clips travels 20 years into the future. We are told nothing except that the past self would like to talk to their future self. Then random clips are shown with a date at the bottom. Despite this limited information the message is clear. What the viewer is seeing is the aging of the 12 year old into his 32 year old self. | 0:00:09 | 0:00:24 | ads139@case.edu | ||||||||||||||||||||||||||||||||||
80 | 2/19/2016 11:25:47 | YouTube | https://www.youtube.com/watch?v=YEkYXzXPRNU | Listening to the narration has a different effect cognitively than listening to the song. | This narration is originally a song. The narration quite literally has less "noise" going on in the background which allows listeners to have a better grasp of the scene being talked about. | 0:00:00 | 0:00:45 | Karina | No | narration to Rihanna's "We found love" | Different cognitive processes when listening to a song and listening to a narration | kgh32@case.edu | ||||||||||||||||||||||||||||||
81 | 2/19/2016 15:21:57 | YouTube | https://www.youtube.com/watch?v=1IUX0Qy-IDM | Unique and minimalistic art style; erratic structure; no dialogue aside from narration | Hertzfeldt singlehandedly created a work that garnered immense critical praise by having the audience sympathize greatly with a stick figure named Bill. Despite being nothing but seemingly random simple drawings, the audience was able to attach meaning to these drawings solely through the narration of Hertzfeldt. His narration gave Bill a personality with characteristics. The audience is able to attribute a story and character solely though this narration. Even in the beginning of this clip, Bill is seen as someone socially awkward, nervous, and slightly neurotic. While the images give context to the narration, the images themselves mean nothing to the viewer. | 0:00:10 | 0:01:41 | Preetham Yarlagadda | Yes | @donhertzfeldt's use of narration to give character to his minimalistic film, It's such a beautiful day. | ||||||||||||||||||||||||||||||||
82 | 2/19/2016 22:54:23 | YouTube | https://www.youtube.com/watch?v=xtIr8k4eC7o | In this song, Kendrick offers three first-person perspectives, the first two being friends of the narrator and the third being the narrator himself. By juxtaposing these viewpoints together, he not only tells two objective stories, he also implements the perspective of the narrator to make us feel sympathy on a deeper level for all three people. | In this song, Kendrick offers three first-person perspectives, the first two being friends of the narrator and the third being the narrator himself. By juxtaposing these viewpoints together, he not only tells two objective stories, he also implements the perspective of the narrator to make us feel sympathy on a deeper level for all three people. | 0:00:00 | 0:07:00 | Only a great storyteller like #KendrickLamar can weave together stories like this. | ||||||||||||||||||||||||||||||||||
83 | 2/22/2016 15:58:03 | 2016-02-22 Excelencia Grant from Spain's program for fundamental research awarded to Cristóbal Pagán and Inés Olza, for a project on TIME expressions in language and gesture in NewsScape. In 2015, Javier Valenzuela got a grant from the Region of Murcia for the same project. | ||||||||||||||||||||||||||||||||||||||||
84 | 4/2/2017 6:01:03 | Elsewhere | http://markturner.org | Hilarious joke | This is just a test. Boring | Duh, it's funny | grep everything | 2010-10-29_1700_US_KABC_The_View.mp4 | 0:00:00 | 0:01:00 | Crowing Rooster wannabe | Yes | https://tvnews.sscnet.ucla.edu/edge/video,f813809a-e37d-11df-834b-00e0815fe92e,926 | This is just a test. Please do not tweet | redhenlab@gmail.com | |||||||||||||||||||||||||||
85 | 9/6/2017 11:24:25 | YouTube | https://www.youtube.com/watch?v=hCuMWrfXG4E | She's been living in her white bread world | the cuts of each shot that shows the advances of the guys getting closer to her and the words of the song and the video, even though they sing that they can't get a girl like her, the video shows otherwise | 0:01:10 | 0:02:03 | No | @a-ha If you can't buy her pearls at least get her some 12 grain bread | |||||||||||||||||||||||||||||||||
86 | 9/6/2017 21:30:07 | YouTube | https://www.youtube.com/watch?v=cuAZmisGLLY | The flawless visual editing from a medical scene to a dining scene is disturbing and impressive at the same time. | I enjoyed this clip because it was masterfully done with the cuts and editing to create a suspenseful and queasy atmosphere. The viewer gets sucked into the nauseating procedure and then is faced eating food that looks exactly like the diseased skin. | 0:03:00 | 0:03:55 | Sarah Krueger | Yes | #GoT editing mastery | sek105@case.edu | |||||||||||||||||||||||||||||||
87 | 9/7/2017 0:55:05 | YouTube | https://www.youtube.com/watch?v=k2qgadSvNyU | The editing cut of the transition from one scene to another. | The song is called "New Rules" and is about a woman who is setting new rules/boundaries for herself to remove herself from an unhealthy relationship. In the beginning of the music video, the singer portrays a sad and weak woman who gets easily pushed around, but after the transition of opening a window (which represents opening her eyes), she starts to portray a powerful and confident woman. | 0:02:05 | 0:02:10 | Crystal An | No | Opening the window to a new day and a new woman. | ||||||||||||||||||||||||||||||||
88 | 9/7/2017 16:39:52 | Elsewhere | "Dopamine is the Kim Kardashian of neurotransmitters" | Anders Hougaard | Yes | Dopamine is the Kim Kardashian of neurotransmitters #Vaughan Bell | hougaard@sdu.dk | |||||||||||||||||||||||||||||||||||
89 | 9/7/2017 21:10:35 | Elsewhere | http://www.dailymotion.com/video/x3kc8ce | The cut works in a way to change the listener's emotions (annoyed to humor). The change in intonation from Robin and Lily's voice to Barney's voice during the cut also changes the listener's reaction. | The listener’s thoughts about a character (Barney and Ted) changes immediately in response to the cut (quick flashbacks putting Barney in the same scenes as Ted doing the same gestures and facial expressions). The quick cuts (the fast timing, same gestures, mimicking intonation) adds to the humor of the situation. This is effective because the strategically placed flashbacks arrive at the height of annoyed and distressed facial expressions by the female characters (Lily and Robin), conveying the absurd reality of the situation to the listener as they learn what actually happens (Ted did not cheat on Robin, but instead it was Barney who acted as Ted to prove a point). | 0:11:00 | 0:12:08 | Karthik Ravichandran | Yes | Nice use of editing, cuts, and transitions in #HIMYM to change the listener’s disposition to a character! | kxr221@case.edu | |||||||||||||||||||||||||||||||
90 | 9/7/2017 22:30:27 | YouTube | https://www.youtube.com/watch?v=cbqv1kbsNUY | Surreptitious cuts create feeling of one continuous tracking shot; fades and limited CG used to hide edits. | This clip is interesting as it takes great pains to hide editing to portray the opening scene of Spectre as a long tracking shot. In reality, the shot includes several cuts, masked by fades, CG and other tricks. While most edits aim to be ignored by the view, in this opening 'shot,' the edits actually intend to disappear altogether and become nearly invisible. | 0:00:00 | 0:04:10 | Shane Karas | Yes | Reality-@007 walks on one street to enter a hotel on another; visits England. Edited-4min tracking shot in Mexico City. #Spectre | smk161@case.edu | |||||||||||||||||||||||||||||||
91 | 9/8/2017 0:15:09 | Elsewhere | https://www.instagram.com/p/BVjITZ2FKEH/ | Many of my friends back home in Hawai'i are into photography and videography. My friend Andrew has a great eye for scenic photos and videos. This video was posted on Instagram and can be watched as a continuous loop. His use of different filming techniques and equipment (e.g, drones, GoPros, high/low shots) allow for unique transitions and cuts. | If you watch the entire video, you will notice that it starts and ends in the same place. Andrew uses a rapid zoom-in technique and slight blur to create transitions. These transitions can make the viewer feel as though he is being transported. | 0:00:00 | 0:00:57 | Marissa Miyagi | No | Summer as seen through the lens of @quiksterace! Sick use of transitions and angles. | mcm178@case.edu | |||||||||||||||||||||||||||||||
92 | 9/8/2017 0:15:48 | Elsewhere | https://www.instagram.com/p/BVjITZ2FKEH/ | Many of my friends back home in Hawai'i are into photography and videography. My friend Andrew has a great eye for scenic photos and videos. This video was posted on Instagram and can be watched as a continuous loop. His use of different filming techniques and equipment (e.g, drones, GoPros, high/low shots) allow for unique transitions and cuts. | If you watch the entire video, you will notice that it starts and ends in the same place. Andrew uses a rapid zoom-in technique and slight blur to create transitions. These transitions can make the viewer feel as though he is being transported. | 0:00:00 | 0:00:57 | Marissa Miyagi | No | Summer as seen through the lens of @quiksterace! Sick use of transitions and angles. | mcm178@case.edu | |||||||||||||||||||||||||||||||
93 | 9/8/2017 2:04:22 | YouTube | https://www.youtube.com/watch?v=CnvUUauFJ98 | In this clip we see President-elect Obama addressing the nation for the first time after his victory. He appears hopeful, humble, often looking off toward the horizon. He keeps his hands on the podium for the majority of the speech. In the highlighted section he only makes a co-speech gesture a handful of times (pun intended). This is very contrasting to his victory speech 4 years later. In that speech he is using his hands almost constantly. He often looks down, possibly feigning eye contact with the crowd. He gives a very positive message but his body language is more reserved and tired. | This clip and its twin (the victory speech Obama delivers 4 years later) show the effects of power and the Presidency on Obama. He commands a much larger stage presence and is much more animated with his co speech gestures in 2012. In the victory speech during his first term his hands remain on the podium the majority of the time. In his 2012 speech almost every point is accompanied by a co-speech gesture. He still shows humility by occasionally "bowing" to the camera but his posture and movements are significantly more commanding after his first 4 years in office. In his 2012 speech Obama wears his power suit. He is the President of the United States, Leader of the Free World and you are to know it. When he is first elected he wears his power with great humility, almost an apprehension. | 0:01:40 | 0:08:00 | Power is not simply obtained it is worn like a suit. To be powerful one must learn to appear powerful. The only way to learn is to wear it. | ||||||||||||||||||||||||||||||||||
94 | 9/8/2017 7:36:17 | YouTube | https://www.youtube.com/watch?v=wMoKcocpXh4 | Nothing in the ad mentions the benefits or the positive aspects of Mountain Dew. All that it consists of is people drinking a Mountain Dew and dancing. This was a popular ad aired during the Super Bowl. | The ad uses upbeat music and fun dancing to sell the product, not actual logic or presentation of the drink's benefits. | 0:00:20 | 0:00:58 | Jordan Godfrey | Yes | Mountain Dew super bowl advertisement | Mountain Dew's advertisements are weird and effective. | jvg9@case.edu | ||||||||||||||||||||||||||||||
95 | 9/8/2017 7:54:15 | YouTube | https://www.youtube.com/watch?v=GQymBzfuftc | Steven Spielberg demonstrates mastery in "push-pull" camera editing | How the camera work made me feel anxious | The dolly zoom camera work makes the viewer feel very uncomfortable, because it seems to represent the feeling of vertigo. The ability to use camera work to evoke even a pseudo-vertigo to millions of viewers is amazing. Compressing the feeling into a camera motion, and then sending the feeling across time and space in the form of a movie. | 0:00:00 | 0:00:04 | Luke Robbins | Yes | "jaws dolly zoom" | Spielberg's #Jaws shows us how effective the #dollyzoom is. | alr123@case.edu | |||||||||||||||||||||||||||||
96 | 9/8/2017 11:53:40 | "i was made heavy/half blade and half silk/difficult to forget/but not easy for the mind to follow" | Rupi Kaur’s poetry can be classified as extremely vulnerable, confessional poetry, where she share a great depth of information about herself. She doesn’t follow traditional sentence structure; she hardly capitalizes the the first words of her lines and uses punctuation only on occasion. | Much of her poetry is extremely eye-catching. The alternating short and long lines are attention-grabbing, and matches the “fire and ice” tone of much of her poetry. That is, her themes within her poems often contain elements of warmth and serenity which are contrasted with harsh sounds and words. Despite this, her poems are melodic, and have a smooth and inviting cadence. | Yes | #rupikaur shares much of her spirit and her fire with these staccato lines | nxs437@case.edu | |||||||||||||||||||||||||||||||||||
97 | 9/8/2017 20:15:27 | YouTube | https://www.youtube.com/watch?v=wjVPv5aO_no | Not linguistic | I really like how they merged the two different things going on into one cohesive scene. You have the police cops outside shooting into the house and then the people in the house defending themselves. So its two different story lines, but the director jumps so quickly from the police cops to the people and does this so many times that you are not even aware that there are two story lines. You are able to see both sides of the battle in such a flawless cut and editing manner and get the whole gist of the story. | I find the fact that the editing is so clean that cognitively it takes us time to even realize the fact that there are two different scenarios going on. But is the editing and cutting and jumping is done in a precise manner, our mind may not even be able to realize that we are actually watching two different scenarios. The way a producer can make a clip so flawless and fulfilling is so interesting. | None | Unknown | 0:00:24 | 0:01:27 | Akila Nallappan | Yes | None | The cuts, jumps and transitions during the battle between the people and police cops was so interesting. There is two totally different things going on, but since the editor had cut the clips so well you were able to see both sides of this amazing battle and also from both perspectives without realizing that they had to actually film two separate scenes and then put them together. | amn55@case.edu | |||||||||||||||||||||||||||
98 | 9/8/2017 17:57:26 | YouTube | https://www.youtube.com/watch?v=mFHs5oTWBdg | The Draughtsman's Contract is an 18th century moving Tabloid | The camera movements are fascinating and fluid, perfectly coordinated with the conversation at hand. | The movement of the camera up and down the table as the conversation continues is an amusing way to generate flow and fluidity of speech. The clip presents the people on the screen like dolls in a dollhouse, and makes for a theatrical interpretation of what gossiping is like. | 0:01:53 | 0:04:11 | Daria Ryabogin | Yes | #TheDraughtsmansContract is an 18th century walking talking tabloid | dxr222@case.edu | ||||||||||||||||||||||||||||||
99 | 9/8/2017 21:02:34 | YouTube | https://www.youtube.com/watch?v=IdssuxDdqKk | N/A | The transitions evolve with the changing image | The transitions change from the direction of the movement to following the motion of the camera. Then to matching the reflection of light on the liquid. To finally to matching the formation of the lights. The transitions seem to transition like they were evolving with the imagery. The transitions get more complex after each iteration. | 0:01:03 | 0:01:11 | Adrianna M Harris | Yes | #EXO scene transitions are like a timeline of music video history | amh228@case.edu | ||||||||||||||||||||||||||||||
100 | 9/8/2017 22:41:16 | YouTube | https://www.youtube.com/watch?v=G_7JKVuC9Bw&list=PL7u4lWXQ3wfI_7PgX0C-VTiwLeu0S4v34 | Louie's imaginary friend | Louie, the reviewer of this channel, often looks past the camera, or to the side, off screen, to an imaginary(or real?) person named Jack. He refers to him throughout the video. I found this to be interesting since it is a topic of attention when news casters talk to the camera as if they are talking to a human, these videos portray a sense of conversation to the viewer through questioning someone who doesn't respond, much like the viewer. | I found this to be interesting since it is a topic of attention when news casters talk to the camera as if they are talking to a human, these videos portray a sense of conversation to the viewer through questioning someone who doesn't respond, much like the viewer. | 0:00:47 | 0:08:33 | Tytus Chen | Yes | @Louie has an #imaginaryfriend | tytychen@gmail.com |