Term 2 Project 1

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IMMJ ASSIGNMENT 12: David’s Paper

Could be cinematic journalism or not?

Cinematic journalism belongs to video journalism, it is rise in the Internet era, the mounting adoption of video journalism by disparate news organizations,has its own narrative style.

Online journalism is fast becoming a central source of news worldwide. Cinematic journalism also is aesthetics in video journalism, that is, the creative and aesthetic ability to tell stories in a profound way using images and sounds.

Documentary photographers and photojournalists have provided us with what we consider the most persuasive form of historical evidence, and we rely on such reporters and their documents to bring us information about important events and situations around the world. But like words, images can relate fact or fiction. And as with words, our understanding of the veracity of images is largely determined by the genre in which they are used.

The photograph or video, any photograph, is a window onto a world. The photographic style is a key component in determining whether we perceive that world as our own—real, factual, historical—world, or some other—unreal, fictional, imaginary—world. Only when the image is perceived as factual can it carry the full weight of an historical document, and ensure that we will remember the reality of the event depicted.

It should be noted the term ‘aesthetics’. Firstly it refers to work that can contemplated and appreciated for its artistic qualities, both visual and aural. Secondly, that the work reveals a level of technique, on the part of the cinematic journalism , as a means of telling the story in a cinematic way. In this sense, the objective here is to reveal the difference between a cinematic journalism who simply ‘records’ events and one who fully capitalizes on the tools and conventions of the medium to tell their stories.

Dan Chung use special skills show a different Japan earthquake and tsunami, his cinematic journalism has cause a sensation, people are discussion about could journalists use cinematic in documentary.

But what can cinematic journalism add different things to the same story? The audience online, we know unless it grabs them they’re not going to watch it, whereas people watching online video are more likely to let it sort of wash over. Online there are so many distractions, if they get bored they’ll stop watching. If you expect somebody to take four minutes out of their day to sit through a video, it needs to be satisfying…You need to tell a story well…And that’s a lot about visuals.

Video features which perform well are more highly, users are finding high production values.Moreover, as audiences’ digital literacy and online video consumption increase, one might argue that there is a heightened expectation for acceptable online video content across the board. As demonstrated, inextricable links exist between the adoption of an authored form, a rapid increase in digital literacy, and the consequential drive for aesthetic journalism.

A documentary photographer raises the question of what it means at this moment in time to document reality. And like films they seem real in a way that reality is not—better, more interesting, and importantly, more bearable. There is no violence, no horror, no struggle that is too much for a movie viewer to bear. If journalism looks like film it allows us to suspend our disbelief, when we should in fact be (as with the Dan Chung’s video) confronting our disbelief.

There is no rule that a photojournalist’s work cannot be beautiful. But a beautiful image is typically associated with the efforts of an artist. Since art is sometimes thought of as subjective self-expression, the goals of an artist might seem to interfere with the journalistic ideal of objective factual reporting. What is important here is not whether these goals do necessarily interfere, nor whether the photographer is an artist or a journalist—I believe he can be both. The value of an historical document is derived from the relationship between the document and the viewer.

Aesthetic and cinematic journalism are the truth about something, but can manage to get closer to the real by constructing a model of it. In the end, the ability to imagine is closely connected with the possibility of change, and this is the potential residing in all forms of cultural production.

The process leading up to aesthetic journalism can be considered from both perspectives, as art being absorbed by the generalist media industry, or as journalism becoming a art form, which ultimately could produce interesting development. As discussed in the beginning of the chapter, both artists and journalists make use of aesthetics, and are well aware of it: in turn, any act of interpretation, even the most disinterested film or written piece is anything but neutral. Journalism was born with built-in subversive power, but it seems to have lost its drive, constantly compromising its autonomy and mission. Art and other forms of aesthetic information, like documentary, online projects and others has become an expansion of mass-media journalism.

You can be a journalist. You can shoot video. You can have all the technical skills and journalistic skills. It doesn’t necessarily mean you can craft a beautiful feature that can tell a story in a satisfying way, there’s a lot of skills there that you need to try to meld together…Not everyone can get there.

Dan Chung noted that each day only about 2-3 hours was available for shooting still or video images,the logistical challenges of getting to the disaster zone quickly were immense, as were the challenges then faced in moving around the disaster zone. They weren’t allowed more time to operate outside of conventional demands of deadlines and focus on human interest stories. Which way can make this Japanese news different with ordinary article and pictures, bring different feeling to viewer. Dan Chung through use cinematic journalism conveys a special mood. Provide visually rich backdrops and render the narrative in an efficient manner without resorting to lengthy voice-over or interview exposition.

Aesthetically, it brings the audio-visuals to the fore – we saw a peaceful view about the disaster and the damage, through a slower way bring views into those situation. In which a succession of shots pose distinct questions and the answers are delayed in order to actively engage the viewer.

In film studies, the unique influence of sound design at a narrative and artistic level has been well documented. It is in a sense ‘invisible’, and the audience often unconscious of its presence, are guided in a subliminal level. Documentary works too often undergo creative sound augmentation, manipulation, and even replacement. Yet there are also instances in which the actual recorded sound is disregarded in favor of one that will better help to tell the story. Whether fiction or non-fiction, the filmmaker’s priority is in telling the story. 插入对视频背景音乐的理解和感受。One should note, though a critical element of cinematic technique, recording quality audio and implementing creative sound design is one of the biggest challenges that face VJs; those that tend to “stand out, get good audio.

Aesthetically speaking, the piece delivers an array of creative camera perspectives and compositions – from low-angle wide shots of the cityscape and 视频景象。 In terms of lighting, the author purposefully shot into the sunlight in parts, creating a rich backlight that adds visual depth and contrast to the shots.  Through direction, editing, sound and cinematography at both an aesthetic and narrative level to achieve a sadness but touching place.

He could be able to deliver a story in the most direct way possible, and thought that traditional reports put a barrier between the viewer and story. Also, in broadcast news, there is simply no other way to tell a story other than with pictures – whereas an online journalist has the ability to choose between a written, visual and/or sound feature, supplement and provide more observational, personal stories. That is, a form in which narration is primarily driven by the subject, not journalist – and where the visuals and soundtrack direct the story in a cinematic way, not merely accompany it . I would be more troubled if I didn’t have any feeling over it. That would mean that I’d been desensitized by all the bad things that happen in this world today.

Images are cut to the music, scenes changing with changes in the key. Is manipulating camera and edit manipulating the viewer? I don’t think so: what are recording should still be true to life. But like a writer has different ways of manipulating language, and a photojournalist has different ways of manipulating their stills, so it is for video journalists. Up until now most camera people have left these powerful tools untouched. It’s like a writer refusing to use similes, metaphors or alliteration to tell their stories.

I wish to hear the voices of the people of Haiti just as much as you do but I think Khalid’s piece served a valid purpose – simply putting you there with Khalid’s eyes.

I am not arguing that art must always be beautiful, only that a visual image that is beautiful conforms to what is typically understood as an artist’s goal. A beautiful painting does not happen by chance, the way a beautiful photograph can, and many paintings we see are beautiful. Therefore, whether or not it is true in the case of a photograph, we may be tempted to equate beauty with design, which affects the viewer’s beliefs about an given image.

The rise of digital literacy and online consumption increasingly has a marked impact on viewers’ aesthetic expectations of moving image media across the board, whether it be in entertainment or factual/news form. Video journalism, now a dominant source of news worldwide, has traditionally been perceived as having little production value, yet its predominately authored form more closely aligns to the cinematic aesthetics present in participatory documentary. Through direction, editing, sound and cinematography at both an aesthetic and narrative level to achieve a sadness but touching place.

IMMJ ASSIGNMENT 11 : Book Review

“Children of War Children of Peace”, from the name of this book, we can quickly get the main content about this photography book.A collection of images of children taken by Robert Capa.

The style of those photos are photo journalism, shoot the most reality situation, use black-and-white photography show the most touching pictures.

This book collect many picture in the different war shoot by Robert Capa. Incluidng France, China, U.S.A and Britain, Italy, France, Germany, the Netherlands in World War II, and Japan ect.

Those pictures in this book, are mainly about children, the most weak role in war. What would you think about children when they experience the war?Fear?Crying? or something else.

Before I read this book, As far as I know, Robert Capa is one of the greatest photographers to have ever lived. When he was still alive, he was proclaimed as “The Greatest War-Photographer in the World”. He captured some of the most intense wars during his time, including the Spanish Civil War (1936-39), Chinese resistance to the Japanese invasion (covered in 1938), the European theater of World War II from (1941-45), the first Arab-Israeli War (1948), and the French Indochina War (1954) and tragically passed away by stepping on a mine.

Robert Capa through shooting told us directly. Those photos make me feel so memorable is that they were not primarily about guns and explosions. But show us the emotion during the war period.

Robert Capa shooting World War II through close-ups, I think those pictures became a powerful symbol of war.

His pictures are just black and white, but all of them are very touching.

I like the picture shows some children sit on the subway, living on the platform of a subway station for refuge from the bombing of the city. The feeling from this picture show the peaceful and children still could smile and have some happiness during the war.

Robert Capa’s images also show deep love to his subjects, and to show all the horrors and ills of war. Some pictures make me feel hopeless, and some pictures truly make me feel peaceful. It is weird, you can find totally different feelings from those picture in the war period.

 

IMMJ ASSIGNMENT 6: Cinematic Video

Today, he have a serious backache, so he can’t do anything but sit on a chair and look at a natural scene.

But when Mr. Qu began to grow up, China was founded. He has very deep feelings about communist party and China. As a soldier for too long, Mr. Qu forgot how to smile. It is not easier for him to chat with people pleasantly. When he became older, he has his own leisure time in garden.