Design Doc

The central idea for my project is to educate others of how we have made the progressive move from film to digital cameras and the differences between using the two. I plan on describing the process involved in creating a film using a film camera and comparing it to the process using a digital camera, as well as comparing things like physical aspects of the cameras, advantages and disadvantages included in using either camera, and the differences or similarities in the final products.

I want to focus mainly on how even though a lot of filmmakers have made the change to “new media” digital, a significant amount of filmmakers, film critics, and even people in general still prefer film. This preference could be discussed through people’s “stubborn” opinion arguing that film is more authentic.

This project features things we might have learned and discussed in the course such as innovations about photography and motion pictures (Weinman). My project will exhibited through the use of Timeline JS (which will be used to show ‘a timeline’ of the progression of the change). Through Timeline, I will be able to include specific media texts including, but not limited to, citation with links, images (mainly of specific cameras so as to contribute evidence to argument of how film and digital are physically different), and embedded video (YouTube tutorials of how cameras work; Video of the first camera/film; I will possibly also include a short video of someone else providing evidence of the same argument, so as to contribute to my central argument).

Structure: To begin, I will state what my project is about, and then I will showcase a timeline of the change. Then I will present the people who played an important role in either the announcement or development of the type of camera, followed by photographs of course, and slowly transitioning into the evidential going back and forth of advantages and disadvantages of using film or digital cameras. This part will include video that showcases the good, or the better, capabilities that are offered out of using both of the cameras. Finally I will show through video how a film looks after they’re finished shooting it, on film and then on digital, alongside pulled audio from critics’ opinions of which medium is better.

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Rushkoff talks about how his daughter has swiped a screen (computer, Television) with her hand and how she automatically expects something to move or to happen; of which is actually a really great example of how humans (especially of the ones growing up nowadays contrary to the “immigrants to the digital era” or those exposed to a pre-new media universe”) are being programmed by technology.

How Rushkoff explains his meaning behind his title of his book is that “if you don’t know how to program in a digital age, then you will be programmed. In other words, we have a choice either to make the software or to be the software. We’re moving into a world where most everything we touch and do is going to be the result of some programming in one way or another.” It’s interesting to think about how many programs we use everyday, of which have been made by programmers (who know how the program is set up and not just how to use it like every day people), in order to make our lives easier. However what he is saying is that to ‘be programmed’ or to ‘be the software’ means that humans are beginning to grow accustomed to ‘the new way’ of how things work (example being his kid swiping screens that aren’t programmed to).

Rushkoff states that the line between understanding reality and programming isn’t that far off, and at first I didn’t agree with him since I believe one is physical and the other is through technology. Then he explains how social constructions are programs, in the way that it is basically understood as a series of choices given to everyone by the way society sets it up to be; he worries that “if we move into an increasingly programmed reality without understanding that its been programmed, we’re going to be really incapable of distinguishing between the map and the territory.” Is he saying that the future of social constructions going to become as dependent on software as we are (i.e. social interactions)?

Douglas Rushkoff, “Program or Be Programmed”


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11/3/16 Daily

Douglas Rushkoff, “Program or be programmed”

According to Douglas Rushkoff, having a mentally healthy online attitude to being online means allowing oneself to disconnect, and having an unhealthy attitude means to have a need to be always connected. Is it still considered ‘healthy’ to have online devices available to you, but you’re not always using the device?

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I find it interesting that once Castronova decides to himself he has no important role in reality, he turned to alternate reality. But then he still found a way to connect the two, even if he didn’t mean to. Castronova found he could do what he planned on doing in the real world (be a successful economist) in the game, EverQuest. In a way, this could reflect how in reality there are an acknowledged set of rules of ‘how things work’ driven permanently into your mind by society. Steps that are set up in order for you to ‘follow the status quo’; for example after graduating high school, you go to college, then you get a good-paying job, then you get married, and then you start a family. This system doesn’t work for everyone, including Castronova, since he didn’t do too well in school and he didn’t really fit in to any group in is reality as he says, “I’ve always been an outsider. I’ve just been floating around outside communities”, however in EverQuest he was one of the best of his field. He didn’t follow the ‘status quo’ but he still succeeded on his own terms.

Another point in this article where society is mentioned is during the change in interest about the video game and others of the medium; “Experimental online worlds had been kicking around for years, but they took a leap forward in 1997, when Ultima Online- a medieval fantasy world similar to EverQuest- launched, and quickly amassed a hundred thousand users. The idea of having a second life online suddenly didn’t seem so geeky, or, at the very least, it seemed a profitable niche; companies like Sony and Microsoft swarmed online”. The shift from video games being ‘geeky’ to ‘profitable’ and popular with “more than fifty active games worldwide, and anywhere from two to three million people playing regularly in the U.S.” shows a predictable, yet only potential, change in society’s opinion about playing video games coming. However there are those who are still dead against people playing video games, more specifically their children. Concerned parents provide a big voice against violent video games and argue that the games will eventually communicate to their children that violence is alright to take a part in reality. My question is, are these concerned parents upholding and ‘rule-abiding’ citizens in society? And would they feel so strongly against (violent) video games if they were not?

Game Theories by Clive Thompson

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Applied Media Analysis

The Walking Dead is an American horror-drama Television program set in a post-apocalyptic zombie run world. The AMC networked show has been popular ever since it started running in 2010, and in 2012 the season 3 premiere became the most watched basic cable episode ever. The show follows a large amount of characters (some we’ve been following since the very beginning of the show and some are newer), but it varies because the show kills off a lot of characters in order to keep it corresponding with the plot.

The much anticipated seventh season of The Walking Dead premieres on cable TV on October 23rd, 2016. This particular season has been talked about a lot through social media since the sixth season’s final episode in April of 2016, because of a certain critical and evil character being introduced, named Negan. In the last few minutes of the suspenseful season finale, Negan brutally killed off one of the major characters, but the camerawork was careful to make sure that the audience (and even the actors) did not know who was killed. This is behind the reason the suspense for the premiere has slowly been building up for fans, and the fact that the fan base has taken it upon themselves to argue their personal theory of who Negan killed and why- using supposed easter eggs from the finale episode to build their argument.

In “Peak TV and The Problem with Our Addiction to ‘More'”, the article by Steven Hyden that we read for class, he discusses how the media is becoming increasingly accessible to the point that consumers can’t get enough and don’t necessarily care whether or not the things they are consuming is pleasurable. He says, “I’m more interested in how “Peak TV” affects the average viewer. I think it’s turning us into addicts.” I think this really applies to the show The Walking Dead, because of the “addiction to more” argument, which could apply to how cable shows with large enough fan bases can expand to creating their own presence in other (social) media. Like for example, The Walking Dead TV series is ultimately based on a comic book, or graphic novel, written by Robert Kirkman and artist Tony Moore (now replaced by Charlie Adlard). And that is definitely not the extent of TWD‘s media presence. Once TWD really started becoming popular in the media as well as pop culture, AMC’s network decided to start other shows that were similar yet independent. To start, they added a show that airs immediately after TWD, which is called Talking Dead, and is dedicated specifically to discussing the details which just took place in that episode of TWD, in an entertaining way. The network also added an almost equally popular spin-off show called Fear the Walking Dead, with it’s own characters and specifically it’s own separate timeline from the original show. During the live airing of the show there is also ‘live tweeting’ that is encouraged so viewers can be even more involved; The tweets that discuss what is happening during the show are done through the app Twitter, and are occasionally shown through commercial breaks. Things like this are only possible because of the huge fan base The Walking Dead has created, or as they go by Spoil the Dead.


The Walking Dead



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Project Proposal

I will be working alone to produce a web 2.0 story consisting of a timeline detailing how we made the move from film to “new media” digital cameras, specifically focusing on the film industry. I plan on discussing the differences in the process of how each camera operates (during filming and viewing), and the difference in the end product as well. I will be presenting critic’s views on both as well, positive and negative, ones that prefer film and ones that prefer digital. I also plan on presenting actual facts, and not just opinions, about potential advantages and disadvantages for using both, through articles from websites.

By the time I complete the project, I hope to raise awareness to others of the differences, or advantages and disadvantages, between making a film using film or with digital.

Resources: computer and Internet. I will use Prezi, which will allow me to present my project through text, still pictures, screenshots of cited websites with reinforcing opinions or facts, audio from a mic, and even video.

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“Restricting youth to controlled spaces typically results in rebellion and the destruction of trust. Of course, for a parent, letting go and allowing youth to navigate risks is terrifying. Unfortunately, it’s necessary for youth to mature.”

It’s said in the reading how restricting youth from reaching out online is discouraged, yet they very briefly admit that some teenagers are restricted, specifically from using Myspace. I’m wondering how big of a difference the effect is on teenagers who constantly use social media, use it and get banned, or have never used it. I’d like to talk about more specific examples for each of these in class.


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Final Project DRAFT


One might define “film” as an optical illusion that merely captures an abundance of still images and sequences them in rapid succession in such a way that it hypnotizes an audience into feeling a particular experience. But, why does film matter? I found an interesting response by Intellect Publishing Short films editor, Richard Raskin, to that very question—“There is simply a need that has to be fulfilled—a need to experience meaningful, life-enriching stories unfolding on the screen.” It is an art. There’s nothing like a good movie. But, there’s nothing like a good movie that hypnotizes you in such a way that it confuses you, loses you entirely—it puts a touch of love and comedy into a poetic spin of dark suspense and irony. It is the art of Noir. Now, what the hell is that? Before I proceed any further, it is important for us to take a step back into gaining an understanding for what “Noir” really is. Is it a “genre?”—and if so, how could we even begin to classify it as a Genre when there are so many different kinds of categories of “genres” that contain noir? Is it even appropriate for me to even ask that question? It was the beginning of an era when filmmakers began to twist and add a sense of style to their films. It was taking a love comedy and compounding it with dark conflict against one’s own biggest downfall that we ascertain ourselves as we decode information about a character or plot. The innovation of Noir comes into development during the World War II era when film critics in France became intrigued by the particular style and cinematography of American films of crime and detectives. It was a style that was seemingly influenced by the mood of the post-war generation that implemented a different sense of style and suspicion. It was the beginning of something that many weren’t really sure what that something really was. I’ve concluded that it is not necessarily a “genre” but a style of genre. The elements of these styles and confusions is the purpose of this endeavor of an excerpt that I will attempt to analyze and explain.

  • Describing/defining Noir and discussing it’s history
  • Identifying what “Genre” is.
  • Discussing what different websites are saying about what Noir is.


  • GILDA:
    • Themes:
    • Styles:
    • Flashback/Narrative:
    • Lighting:
    • Femme fatale HER SEXUALITY:
      • She does kind of a striptease
      • A little revealing in her dress wardrobe
      • Her facial expressions, the way she moves. She seduces to manipulate men into getting them to do what she wants—it drives them crazy.
      • Wears dark red lipstick
      • Even in her femme fatale roles Rita’s vulnerability came through. Her likeability and vulnerability are essential factors in her appeal.” (
      • Gilda is not your regular femme fatale who manipulates everyone to get what she wants. To me she is a woman who doesn’t know what she wants, so instead she ends up rebelling against everyone and everything. Not as a search for her place in life, but as the only thing she can think of. This isn’t an evil woman who makes you cold to the bone. Gilda is a tragic character that makes me truly sad.” (Noir of the Week)
      • MY RESPONSE:
      • I actually feel like Gilda knows what she wants but is fighting so hard against what she really wants. She knows exactly what she is doing, but it’s almost like that if she cannot have her way, then she will bring the rest of the world down with her.

One of the pioneers of Noir.

      • Gilda actress (Rita Hayworth)—mostly known as a comical actress.
      • Gilda: 1946 (World War)
  • Femme Fatale


    • THE MEN:
      • Johnny Farrell
      • “But Ford’s performance is equally memorable for the actor’s sudden, dramatic shift from happy-go-lucky rogue to brooding sadist. That degree of intensity and world-weariness was perhaps intensified by the actor’s recent return from a stint in the Marines during World War II. It was, after all, the pessimism and sense of ennui created during that war that helped nurture film noir as an expression of national despair.” (
      • Mr. Munson
      • Dressed very stylish in Tuxedo dress.
  • What makes this films “Noir-ish?”
    • The film Gilda is centered around 2 gentlemen caught between a love triangle of a beautiful woman named Gilda and money illegally made from an illegal gambling casino.
    • BIG surprise with Mr. Munson coming back to life to stir up the plot and climax
    • Not as claustrophobic
  • STYLE: discuss the violence.
    • Depicts crime from criminal point of view instead of the police.
  • Both films have a love story.



    • Themes: the director seems to want to find ways to get the audience to sympathize with the criminals.
    • One of the first films to portray crime from a criminal’s point of view.
      • Crime is a left-handed form of human endeavor.”
    • Styles: Very uncluttered styling. Relies on the City style setting to influence everything within the film, even the characters.
    • “he uses space, shadow and a very clever mise-en-scene to physically illustrate the film’s themes. Scene after scene, we feel the actors closed-in and trapped, almost crushed by the very frame itself. It’s all the more ironic when the last surviving member of the heist dies — in long shot in an open field, surrounded by horses.” (Rotten Tomatoes;
    • “the claustrophobic quality is less pronounced.”
    • MY COMMENTS: what does this say about the style and characteristics of how noir films are illustrated??


    • Mise-en-scene:
    • “In his exemplary mise-en-scene, Huston treats the material with utmost respect and precision, avoiding any moralistic judgment on the characters on either side if the law. He shows in visually graphic detail the position and movements of each character before, during, and after the heist.  There is no use of any gimmicks, and the absence of music during the robbery, relying on naturalistic sounds, heightens the tension involved in the entire process.”
    • Flashback/Narrative:
    • Lighting:
    • Femme fatale:
      • There are no femme fatales. Although, the men’s drive for the women’s attention could be their biggest enemy.
    • Themes:
    • Styles:
        • Uses low angles which are reminiscent of film noir.


    • “Film noir is the term initially used for stylized crime dramas of Hollywood, now the definition is blurry, but they all have few common characteristics. – Grey main characters, usually with some shadowy trait/secret, there are always strong viewpoint in how they view the world. – The storyline is almost always dark and cynical, thats why the name “film noir” which means “black film” in French. Everything in the storyline is pausible, there are no supernatural or sci-fi elements and no sugary romance either, instead there may be strong sexual motivations. – The concept of “mood” of the film is extremely prominent, a good film noir sucks you into an uncomfortable abyss which leaves you in a state where you are confused as what your reaction to the movie should be, you find yourself empathizing with the imperfect setting and even more imperfect characters. Let’s come to Pulp Fiction. It’s definitely a black comedy, you love it or hate it but you can’t ignore it. It has everything a classic film noir requires, dark setting, flawed characters, crime, boxing, drugs and violence. I would like to point two very striking thing about Pulp Fiction that is essence of a film noir, a) All characters have strong opinions and they express it in a very strong way, the movie itself portrays a message, it just slams it on your face. b) The matter-of-fact attitude of the characters regarding well everything is particularly alluring and disturbing at the same time.”
      • DISAGREE:
      • “I don’t think that Pulp Fiction is a noir, it can be categorized as nihilistic one, most of the Tarantino movies are. Where for Noir, apart from theme, the use of shadows, low angle shots and shoulder angle shots are salient features.” (Ali Lliyas)
    • Flashback/Narrative:
    • Lighting:
    • Femme fatale:
      • Can we consider Mia a femme fatale??


    • Themes:
    • Styles:
    • Flashback/Narrative:
    • Lighting:
    • “Any film you watch will have an element of lighting that will add to a specific scene or theme. The movie Scarface (1983) was directed by Brian DePalma and features Al Pacino as Tony Montana. This movie is a very dark movie as it is a part of the gangster genre. Mise en scene would dictate the types of props used in the movie; the things that you see in the scene. For instance in Tony Montana’s house, you can see that he used dark colors in his house, dark reds and blacks. These colors will reflect very dark lighting and a sense of evil. This is how mise en scene correlates to the type of lighting that is used in a film. The picture below will show a better description of what I am speaking of. You can see how even though there is lighting being used on the walls and in the doorway, there still a dark aura because of the colors used on the wall and floors, to include all of the props in the room”


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Production Reflection

I really enjoyed working on this production with the class. I feel like I personally learned a lot about the work it takes in film production; like directing, filming, creating the screenplay, and I wish I learned more in editing the final product. Sadly I had a conflicting schedule with our filming schedule so I feel I didn’t learn as much as I could have, however I did try my best to help with the film when I could. This experience has made me really want to learn more about the film industry and process.

I really think the final product turned out as good as it could have, given the extent of our abilities and access to the proper facilities. Examples of this include; lighting. Overall the lighting was consistent except in a specific sequence where Julia comes to Brian’s apartment, in which the back-to-back shots went from dark to light and back to dark. To be more specific, the shot where Brian opens his wine, pours it into a glass, takes his first sip and hears a knock at the door is all shot with very dark lighting. It is easy to note how dark it was because as he walks out of shot and it cuts to the next shot of him answering the door, the lighting from inside is obviously way lighter, and the lighting (darker than inside but still not as dark as the previous shot) from outside makes the shot even more confusing. Then we cut back to very dark lighting, the couch scene where Julia sits first and motions for Brian to sit with her.

This was not beneficial in the film because it confuses the audience where it’s supposed to be easy for them to piece together where the characters are and focus on what they’re talking about, not the difference in lighting. We really took into account what Tellote, Altman, Place and Peterson had to say about the characteristics of the genre. Place and Peterson define key lighting as, “the key light is the primary source of illumination, directed on the character usually from high and to one side of the camera. The key is generally a hard direct light that produces sharply defined shadows.” The lighting other than that, and the lab scene, was cleverly decided to keep dark with very low-key lighting in order to create an eerie mood to the film that is often connected to noir films. The style is also recreated here through our use of flashback and voiceover. Tellote defines narration as “a voice in present time introduces and then comments on a scene from the past, so that we see as if through the narrator’s mind’s eye”.

These two techniques are consistently used in classic noir film, in order to further develop characters’ individual storylines as well as develop the plot as a whole. Based on this we decided to use the combination with flashback and voiceover in the beginning of the film because we wanted to make it clear to the audience that something bad was going to happen, and that this character that is shown, is narrating it to the audience.

We’ve been discussing lately over the argument of whether noir is in fact a genre or if it’s simply just a style.

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Noir Film Reflection

Given that I had zero knowledge whatsoever as to what Noir is nor was prior to the semester, I would say this has been one of my favorite courses that I’ve taken in Media Studies. How fun is it that we get to study and analyze different films as classwork?! But, it’s even more fun when you can take a handful of the things we have learned over the course of the semester and apply those same elements in our own creation of a short film noir. The difficulty in understanding these elements is whether not we identify Noir as a separate Genre or whether we consider it as a particular style to any existing Genre. In our short film, we aimed to illustrate a number of themes and styles that were characteristic to previous film noir screenings such as femme fatales, voice-over, flashbacks, and dark key lighting. Given the short time period we had to innovate and put this altogether, it was somewhat difficult to be able to portray a clear backstory to the audience regarding our characters Brian, Richard, and Julia. It was also very difficult to focus and implement as many of these themes and styles as we could within that said limited time frame.

All of this stated, we were still able to capitalize on the illustration of the most typical key elements and styles of Noir. Earlier on in the semester, we discussed the importance of perhaps the most common element of noir and that is the implementation of the use of voice-over and flashback. The combination of their uses tends to demonstrate a character’s obsession over the past to provide a unique backstory that gives information to an audience that allows them to better understand a character or for them to speculate on different outcomes or even trick them when they think they might know what is going to happen. Tellote mentions in his article of Noir Narration that– “a voice in present time introduces and then comments on a scene from the past, so that we see as if through the narrator’s mind’s eye.(37).” He then follows up with this saying “In this way, the narrative can insert some significant information from the past or set up a context for present events, as in the case of Double Indemity.”  We definitely used this combination strategy of voice-over/flashback when I was being filmed in our short film when playing the character, Brian. In the beginning of the film, Brian is sitting on the couch through flashback replaying the joyful memories with his ex-girlfriend Julia while reflecting on how and why things went wrong with them through my voice-over narration. Another few things I will touch up on here while I’m discussing this scene is the use of the dark lighting. The low-key lighting that we implemented was very crucial for setting the mood of our film. Place and Peterson discuss these characteristics in what they felt was anti-traditional lighting and style compared to previous films. In this scene while Brian is on the coach, there is a very distinct bit of light coming from the right side of Brian’s face to portray a gloom of a shadows past the left side of his nose to illustrate the characters dark sadness. The lighting reflection on his eyes at this moment emphasize even more of his sadness as he his attempting to hold back his tears. Place and Peterson depict this in their article when discussing their ideas of the “key light.” “The key light is the primary source of illumination, directed on the character usually from high and to one side of the camera. The key is generally a hard direct light that produces sharply defined shadows.” This element is very obvious in this scene.

As the short film progresses, the audience learns through Brian’s voice-over narration that this Julia woman had just rocked his world in a bad way. Furthermore, we learn that Julia is the femme fatale in this film. Her characteristics, however, were different than most other femme fatales we see in noir. While she was indeed a cold-blooded killer, she was not very sexually revealing nor did she create any real sexual tension to get what she wanted. Instead, it would appear that she relied heavily on her smarts and intellect as source for her manipulation into getting what she wanted and killing Richard so “innocently.” In Dickos’ discussion of Women in Noir, he gives his perspective on the femme fatale when he says–“Here, bad women, despearate women, determined women, or women blind to the destructive passions that motivate them are, much like their male counterparts, consciousnesses accruing the individuality and power to command recognition on their own terms. The femme fatale may indeed be wicked, but she is also fascinating, because she does not (or does not easily) acquiesce or suffer the traditionally imposed travails of her subordinated function in a male-dominated society.” There is quite a congruence here when I look at Julia’s character. Julia has an obsessed passion for her work that she will stop at nothing to prevent anyone from taking away or destroying her “life’s work.” There is also the aspect of how Julia supercedes both of our male characters as both of them die and she continues on when making the connection to Dickos’ remark about femme fatales refraining from subordination to males.

it should be noted that there were a number of additional things that we applied in the making of this film such as the dark jazz music to add a cold-blooded touch to the scenes, the corruption of Brian and Julia, but given limited length to this excerpt, I shall not expel any further of what I felt was most important to the contribution  of this production. I would say that I participated as best as I could in this project given the limited time I had with it. One should also be reminded of the difficulties in putting together a production. In every production, there is always a deadline due to limited amount of resources and of course time. In a limited time, it is always so crucial to have a plan of action to coordinate personnel and equipment to appropriate schedules. There is also the potential issue of being limited in skillset regarding personnel. Fortunately for us, I feel very confident in saying that I was very content with how we came together to make this production work. I don’t think we had a single case of disagreement/frustration. Everyone seemed very well prepared and were definitely very cooperative. Before this semester, again, I had no clue what Noir was. But, having put together a production combining many of the key elements we’ve learned and discussed over the semester, I’m confident in saying that I’ve had a great  learning experience with the course and definitely happy to say that I enrolled in it.





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