productivity analysis

A note on Vibration and Washing Machines

If you have taken a sneak peak into a washing machine then you might have noticed that it has a concrete block inside (also why they are heavy).

Their primary purpose is to absorb vibrations caused by the rotating body (in this case the drum) and keep the machine stable.

But this begs the question of what would happen if it didn’t have the concrete dampener. The above gif from the secret life of machines shows you exactly that.

With no cushion to dampen out the vibration, the machine propels forward from the unbalanced linear and torsional forces and eventually breaks down.

Have a great day!

**

Balancing of rotating masses

…so, when is the crossover coming?

TL;DR: Ferbruary premiere is plausible?

You might remember this outtake Dan posted on September 27th (https://twitter.com/DanPovenmire/status/913178981913919488)

(…wow, he actually looks like curious george. and what’s wrong with his nose… anyway) We can see final animation for the first half of the crossover is being shipped back and screened already.

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Immigrants (We Get The Job Done) Music Video

Okay, so I just watched the music video for and I just really wanna talk about it, but like I don’t want to spoil anything so go watch it here first if you haven’t already.

(Also tagging a few people at the end that I think might be interested in this, I hope y’all don’t mind, and you totally don’t have to read all of this if you don’t want to.)

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Rurouni Kenshin Fight Sequence Analysis Series: Production Design

Welcome back to my series analyzing the filmmaking techniques of the RK trilogy! Over the course of roughly over a year now, we’ve discussed how choreography can grant us insight into a character’s state of mind or even their philosophies as well as how costumes can help us keep track of the characters as they move throughout the screen. They have formed an exciting foundation and are instrumental in the grand scheme of a movie’s visual language: Production Design.

Production Design, like many aspects of filmmaking, is a nebulous term. In previous posts, I’ve mentioned that choreography and costumes can be useful tools to reveal a lot about a character and their environment. If that’s true, then production design is the world itself and its aesthetic presentation. People like set decorators and costume designers, art directors, prop makers, hair and make-up artists for anywhere between high fashion or blood or gore, and many other people all work hard to bring the vision of the director to life. Some properties of production design are so iconic that, not unlike costume designs, you don’t even have to be familiar with the film or franchise to recognize its aesthetic. See Star Wars for example. 

This essay, however, will be more concerned with the overall production design relating to the final aesthetic of the finished movie rather than breaking it down technically. Occasionally, I will comment on a specific aspect, but mostly we’ll be looking at the overall aesthetic presentation of the film and how it’s used to convey its story and of course, how it is an integral part of a fight sequence. As a result, it will be very generalized for reader convenience. 

This post, as all the others may spoil ALL of the live action films thus far, so if you haven’t seen them yet…seriously, why not? 

                                              CRAFTING A WORLD


Production design -sometimes called Art Direction-  is one of the most important aspects of filmmaking and it’s the heart of any film’s aesthetic. Some cinematographers, for example, can’t even begin to light or plan shots and camera movements until the set or location is ready, making the production design absolutely essential to the production process. Think of it like the setting of a story; the set is where the audience is going to believe these events are taking place, and strong production design is necessary to have the effect of every scene maximized. 

Production design is really a series of decisions, much like cinematography and directing -decisions from things as small as what kind of lamps to decorate a scene with or what kind of chairs characters should sit in, to designing entire sets that transport us to a different time or even a different universe. These decisions are essential in creating worlds that are believable and weave seamlessly into the story, adding to it rather than distracting from it. And this brings us to the ultimate question: how does the RK Trilogy’s production design contribute to the fight sequences?

On the top of the food chain in the art department, as well as one of the most important people in making a film besides the cinematographer (Director of Photography or DoP), the Director, and the Producers is the Production Designer or PD, sometimes referred to as the Art Director. To simplify for the sake of brevity, the production designer’s job is to meet with the producers and/or director to discuss the visual aesthetic of the world they’re trying to bring to life in film, with regards to the script and story they’re trying to tell. During these talks, the production designer might provide sketches and designs, as well as lay out plans that take the film’s budget into account. Essentially, one of their responsibilities is to balance the needs of the story and the artistic vision of the director with the amount of money available to them and communicate to the rest of the art department to ensure those perimeters are met.

The man who shoulders this particular burden is named Hashimoto So, according to Variety. Unfortunately, I couldn’t find a picture of him or most of the people I wanted to highlight in this section, which is a bit awkward, but please bear with it. 

                              THE WORLD OF RUROUNI KENSHIN


The setting of our film is obviously 10 years into the Meiji era for a majority of all three films, which means that there is a unique challenge the production designer faces: there’s a lot of integral details that need to be accounted for, such as making sure everything used existed either within the source material or belongs in that time period, otherwise, it can conflict with the immersion at best and cause distraction at worst. On top of that, they must also decide which parts of the historical setting they want to emphasize, with regards to the script/story.

Unlike the seemingly endless stream of huge budget films in Hollywood, most movies have a limited amount of money and audiences have even less attention span. Audiences more often than not are not willing to give movies second chances if it doesn’t grab them immediately or bores them. As a result, a movie needs to minimize details to the essential as to not overload the audience with useless information that doesn’t serve the narrative. The emphasis placed on aspects the story requires can cause movies that take place in the same time period to look very different. If you examine a movie that takes place in the Meiji era like, say, The Last Samurai, it looks very different from the Meiji era of Rurouni Kenshin. This is because the two films are completely different narratively and everyone, including their respective production designers, must make decisions that suit their stories.

This means that we can potentially examine a film’s subtexts and themes through the backgrounds the characters traverse to. Production design is more than simply making a world feel alive, it can be used to tell a story, even just by examining extras. There is an enormous amount of thought that goes into extras, like making sure they all have costumes, closing down streets and dressing them to look like they turned the clock back, making sure every location and set is juuuuuuust right for the scene, and making sure it doesn’t run too expensively on the budget. 

                                           ESTABLISHING A WORLD


Before we can examine how production design services a fight sequence, we must examine the impact that it has on the story and what the director uses it for, and one of the ways Otomo uses the production design is to introduce the audience to two pivotal time periods: The Bakumatsu, and the 10th Year of the Meiji. So-san must work with the art department to decide how these worlds should look and what details about the time period should be emphasized. Because the central theme of the story is the turning of an era and the story stating that the Bakumatsu was a turbulent time in Japanese history, and the Meiji era was an era of change and modernity, So-San’s primary concern here is to create visual distinction between the two worlds, which we see in the first film’s opening act. 

The first things we see when the film first opens and the text crawl ends is a world draped in cold, January snow falling on the battlefield of Toba-Fushimi. The camera slowly pans like an invisible observer as we follow it through the bloody, war-torn battlefield. We’re introduced to a lot of important information in this scene: we see people at war, lots of explosions, dirt, and people dying before finally leading us into Kenshin at the height of his skills in battle. This also serves as our introduction to Kenshin as a character, or more aptly, his legend. Suddenly, he hears his comrades call out victory cries and he realizes he has been victorious. He has successfully won a battle to secure a new future for Japan.

Shortly after we see Kenshin put down the sword, we’re now in a Japan 10 years after that battle where we see bustling and lively streets, people running around and celebrating. Bright summer sun, people sweating, vibrant music… All of this persists, even after the corpse of one of Kanryu’s opium dealers is discovered with Battousai’s call sign. This expresses to the audience visually that this is the start of the Kenshin killed for. This is the world he wanted. When we see men like Kanryuu and eventually men like Jin-e, and Shishio, we begin to realize that they’re out of place. The world and the aesthetic Hashimoto So created contrasts against the main antagonists and serves to highlight how weird and outmoded Jin-e, Gein, Banjin, and the twins look in this world. It’s because they don’t fit in the Meiji Era that Kenshin helped create, and that contrast will boil into the conflict the film revolves around.

This visual motif is repeated even once more with even more to say in the Kyoto Taika-Hen film when we see modernity blooming in Tokyo. We see Caucasian men dressed in western clothing of their time period, Japanese people dressed in western clothing, jazz musicians, and a bustling trade opportunity. These introductory scenes give us the impression that this is a typical day in the Meiji, which reinforces to the audience the stakes Kenshin faces as he eventually goes to battle forces that seek to destroy this fragile new era. 

Already, we see a clear distinction between the nature of the two worlds, not just in the color grading, but in the framing itself. So-san takes advantage of his extras and reduces the space between them in both scenes to create a sense of chaos but to polar opposite effects. The opening sequences have chaos in violence, and the new era shots have chaos in celebration. Otomo and his cinematographer then shoot these scenes in medium to longer lenses, which put more emphasis on snippets and details of this world rather than the world itself, making the stakes feel very personal as we see individual people celebrating. Every single one of these people feels important to Kenshin, at least on a thematic level. It runs parallel to the theme that modernity wasn’t Kenshin’s goal: the happiness of the people around him was, and he felt modernity was the best way to achieve that, and that’s reflected in these scenes. 

This is the strength of So-san’s production design when directed by Keishi Otomo. Not only does it establish the world of the film, but it also visually reinforces both its central theme, and the most important thing to Kenshin as a character by creating a contrast between the two eras he’s is torn between.

And keep in mind, these are not real people. They’re probably just told to look like they’re having fun, but a costume designer dressed every single one of them. Set decorators designed this set or maybe even dressed up a street to look like Meiji Japan and because it looks so authentic, we believe it which is the sign of a production designer who knows what they’re doing. This plays wonderfully into a later section of this post.

                                        EXPRESSION OF CHARACTER


Have you ever noticed when watching a movie and we’re introduced to a character in their room, we always see other characters walking around as the camera slowly tracks them, revealing to us little details like their bookshelf, or maybe their wardrobe? Maybe the main character fidgets with something casually sitting on their dresser? 

The reason for this is because, even as we’re engrossed by the dialogue, our eyes are being treated to visual information given to us by the director and production designer. Much like our real lives, our rooms or personal spaces can carry a lot of details about us, and sometimes those details might be relevant to an audience. 

What does this room say about the main character of Black Swan? Can you tell whose room it is by the image? What kind of personality do you think she has?

What does this say about her character? What does it say about her mind and world view? Another example: 

Just by looking at the environment and the characters in this shot, who do you think this space belongs to? What does it say about that character? 

Now that we’re on a roll, how about this?

In this set, we’re introduced to the main antagonist of the latter two films and this set immediately establishes the essence of Shishio’s character. It’s dramatic and gaudy, we see old, decadent structures being consumed by fire, and an insane man and his posse standing behind him. In a lot of ways, it creates a parallel to the first film when we see Kenshin in the Meiji era for the first time, only inverted. This is the world Shishio seeks to create, and it is utterly horrifying. This parallel and contrast in production design also sets up the conflict between Kenshin and Shishio immediately as well as their similarities.   This warring ideology motif is echoed again later on in Kyoto Inferno when we see the same blue tinted war ground we saw in the first film’s opening, only this time at the end, we see a bright contrast of the orange fire against the blue-ish snow, symbolizing Shishio’s desire to rebuild the world through fire just as he was.

So how does this relate to crafting a fight sequence? Well, simply put, the essence of a great fight scene isn’t just two people hitting each other: it is the conflict between characters, themes, and environment expressed through the background is the true essence of production design. Each major battle/fight that takes place in the three films all occur in enemy territory since Kenshin doesn’t really have anywhere to protect except the Kamiya Dojo, which means that the main stages for the final conflict of each must express his opponents. He’s walking into enemy territory and the production design must reflect that. Consider the first movie. Each major fight in the third act of the first film takes place in Kanryu’s mansion except the final one. Observing each room, we can tell what kind of character Kanryu is and subsequently, what each of his henchmen is about.

Something unique to So-san is that he uses his production design and choice of location for each fight sequence to constantly remind us what’s at stake, both literally and narratively. The battle for the holy sword in Kyoto Inferno against Cho takes place in a shrine, like the manga. The shrine as the main battle stage could thematically sanctify the ideals of the Sakabatou as well as Iori, while two unworthy titans clash for the future of those ideals. The location for the battle isn’t simply cool, it’s thematically important to the fight sequence and subtly but constantly reminds us what Kenshin is up against and thematically reinforces the situation rather than simply being a cool area for characters to fight. It’s part of the statement the overall scene is trying to make.

Another example we should consider is the Rengoku as it is blasted into oblivion by modernity. This war galley, a symbol of the spark that ignited a revolution, goes up in flames much like Shishio himself. We watch Shishio and his empire crumble under modernity as cannons tear through the ships halls and decks, and Shishio himself exhausted to the point of combustion burns surrounded by the fires that consume his ship. 

These sets are not simply the battle stages of a fight, they are carefully and elegantly crafted to express the story’s characters and ideologies. They are important storytelling tools that are a necessary component in creating a compelling action sequence and good production design, through themes and tone, can create memorable and powerfully cinematic experiences when working together with the rest of the filmmaking team.

                                   THE BATTLEGROUND AS A WEAPON


Here’s a mouthful: Verisimilitude. It is what drives all cinema and RK is no exception. For an experience to work and for all the lofty stuff we discussed in the previous sections to pay off, the most basic and crucial element must be secured: the audience MUST believe it.  We know it’s a set. We know the light is artificial in a lot of scenes, and we know that the sword Kenshin is smacking people with is just piece of rubber. We know the people falling are just actors. Hell, Kenshin isn’t even Kenshin, he’s just some dude in his mid-twenties playing pretend. But when the opening text pops up on-screen telling us about the backdrop, as the camera pans through a snowy battlefield, and as we see a single red-haired kid tear through a legion of soldiers without even needing to catch his breath, we’re sucked in. It *feels real, and we believe it despite ourselves. We believe it because we want to believe it. 

Arguably, the director’s job can be boiled down to them forcing us to want to believe it. They need to lull our incredulity into taking a backseat to anticipation and excitement, and that works, not necessarily by creating a realistic experience, but by creating an authentic one and that requires all of TeamOtomo to accomplish, including So-San.

They have plenty of techniques to accomplish this and to cap this long post off, I want to focus on just one thing TeamOtomo does incredibly well in conjunction with So-san: incorporating the battlefield into the fight by having characters directly interact with their environment. 

This involves all of the production team working in tandem. The costumes and actors get sufficiently dirty. The swords get damaged and whack at objects in the environment. The choreography calls for a moment where a character kicks a staircase and sends the splinters flying towards an opponent. The stunt team plans a sequence where Kenshin has to use a tree to maneuver and flank his opponent, and the production design is the hub that all of these decisions are based on.

So-San’ s decision making, choice of location, and aesthetic all play into crafting what amounts to a springboard, from which all of these ideas sore. The gif above can only work in that location because it is a decision Kenshin made BASED on his location. It’s a small detail, some might even say trivial as we’re too busy being dazzled by the high-speed choreography, which judging from the popularity of my choreography post is something a lot of the people notice immediately, but let’s take a moment to appreciate that the choreography is directly informed by production design, which is informed by the script, which in turn informs the cinematographer how to light and move the camera, which feeds back into the costume designs creating costumes and making sure the colors are good for the shot and so on.

When we consider this, we can see how So-San’s production design truly is the bedrock the film’s action sequences are built on, and I don’t think there is a more elegant or telling expression of this than when I see Kenshin run up a wall in Kamiya dojo to procure a bokken to fight with, or when Kenshin actually uses an enclosed area underneath the shrine to limit Chou’s swing to unleash devastating hand-to-hand combat on him. We see the world inform the fight because we see characters use the environment to gain an advantage or to compensate for a weakness. It makes the characters feel richer and alive, autonomous even in a tightly scripted situation, and maybe even real.The emphasis is never drawn away from the character, and the conflict feels real because it comes directly from them. Because of this, at least in part, the fight feels verisimilitudinous; it feels real and authentic. 

All great martial arts films do this since it’s an old technique. Jackie Chan, for example, is probably the greatest choreographer when it comes to working with the environment. That said though, Otomo’s Rurouni Kenshin films takes words from the vocabulary established before it and uses it to compose excellent fight sequences that will remain in our memory for as long as we can remember as well as employing old techniques in new ways unique to the story that we all love. Each decision from every member of this team is filled with hard work and faithful to the essence of what made the original manga so amazing. This wouldn’t be possible without men like Otomo at the helm, or men like Hashimoto So designing magnificent sets that bring the manga to life. That’s the magic of filmmaking, and pertinently, that’s the magic of So-san’s production design. Thank you for reading.


SPECIAL THANKS:

@whiteplum

for creating HYRK as well as providing most of the graphics of this post. 

@heckyeahruroken For giving all Rurouni Kenshin fans a place to congregate and providing a platform for me to share these posts with a larger audience.

And you guys for even taking the time to humor me and read these rambling posts!

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Part 2 of @dawillstanator‘s wedding proposal to Midnight Sonata!! ^^

How YouTubers Capitalize On The Self-Care Movement

“Many of these videos follow a similar pattern: YouTuber reveals her hidden struggles with anxiety, or stress burnout, and suggests a routine to the viewer to combat this struggle in day-to-day life — with recommended products to purchase. Many gurus make their money off of YouTube through brand deals and collaborations, product placement, in-video advertisements, and affiliate links (e.g., YouTuber recommends a product, then places a link to the product in the video description box, and then makes money off of all the clicks).

It might be overly cynical to suggest that vloggers have simply found in the mental health advocacy phenomenon another avenue through which to peddle products. Perhaps young female media creators, formerly relegated to the domain of makeup and clothes, want to stretch the boundaries of what they can talk about online. And naturally they want to do this while still earning money and forming lucrative corporate partnerships. But regardless of intent, the lines have become blurred over what, exactly, the audience is to assume they are watching. Is this a commercial, a tutorial, an honest analysis of products, or simply a video diary of a girl talking to her fanbase?”

Read the article here.

anonymous asked:

I don't know if this will make sense but I'm kind of responding to your answer about Cas seeming different and wondering about your conclusion that Cas feels like a tool/needs to feel he deserves love and I feel like it's not wrong but like we're having to put all these pieces together and concluding instead of getting Cas' side of this from Cas? Like we had to get Mary's side from Dean and I'm wondering if that's just me? And if not, why aren't we getting more of Cas' story from Cas?

I think it is something that we can get directly from Cas or stuff that happens to Cas, but then I also got the impression of all of Mary’s stuff from Mary :P 

I think in 12x22 Dean had a lot of personal realisations about HIMSELF and told them all to Mary, but it was quite clear, but not to him until he realised it, that Mary was going to ignore him. If nothing else, immediately before he went into her head, she was paralleling demon!Dean in 10x03, tied to a chair in a very similar manner and recalling how Dean didn’t want to be saved there and was having all sorts of negative feelings about his family come to the surface for the first time in that way. 

So there was a context clue for us before he ever realised that she wasn’t going to be easy to reason with and want to be saved. Aside from that, her part in the season was to be perpetually depressed, suicidal, or in avoidance, running away from her family, and early on her guilt about them and loss was presented very clearly to us over the introductory run of episodes up to the halfway point. Since no good storytelling just tells us straight out what they’re thinking, only 12x02 had Mary just straight out tell us what she was worried about, but we’re supposed to be able to understand stories without that sort of exposition, and I think a lot of it was given to us in moments which weren’t that hard to read. I’ve written so much about her over this year and this question is about Cas, but anyway, I think her story was laid out well enough that it wasn’t like a surprise twist that she was feeling this way, and I don’t think it was supposed to be for anyone but Dean. 

Since you’re talking about what we can read, without much effort, I don’t think Mary’s story this season was at all difficult, and the only reason I can imagine people think it’s buried in the subtext is because we’re so used to being told that readings in the subtext don’t count for Destiel that we forget that normal readings of the story happen on all layers and when it’s not about the queer reading people in general can be expected to pick up an awful lot more even if they don’t know it - the sort of thing a casual viewer would be just “oh yeah right I remember” when you explain it to them, not needing a diagram, just a refresher that obviously the writers would remember the pilot of their own show when you point out the similarity between scenes or whatever. :P

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Part 1 of @dawillstanator‘s wedding proposal to Midnight Sonata! ^^

So I’ve just realized something about 17776. Pioneer 9 gets disgusted at people for doing nothing but playing football and watching football and all that, and they get specifically disgusted that people would waste time playing a game of football in the middle of a canyon for hundreds of years on end. Pioneer 10, though, is more or less completely fine with it.

The thing is, Pioneer 9 was built and launched in 1968, at the peak of the Space Race just before the Apollo 11 landings in 1969. Of course they’d be all strung up by people wasting their time, they were built during a period where time was of the essence and space exploration was a major part of American culture. Meanwhile, 10 was built and launched in 1972, after “One small step for man,” just three years before what many consider the end of the Space Race. It makes perfect sense that 10 would be way more chill about people filling their time with pursuits that weren’t particularly productive.

anonymous asked:

Jimin and Yoongi first kiss after a show

Kissing Park Jimin feels nice, the way bubble baths and chocolate ice cream feel nice.

one shot, idolverse!YoonMin


“That’s a wrap!”

“You don’t need to tell me twice,” Seokjin says, draining his water bottle while eyeing to check if the kids have their own too.

“Good job out there, hyung,” Taehyung manages out panting, his awkward Daegu accent slipping in between the cracks when he’s too tired to cover it up with his acquired Seoul dialect.

“Thank god, I thought I was going to die,” Jungkook mumbles, pushing past Yoongi covered in sweat and Yoongi can’t say he doesn’t agree. Yoongi cannot remember the last time he wasn’t tired; not for the past year anyway, definitely not since their debut. This comeback has been taking its toll on all of them though, stakes rising with every stage they perform, more eyes on them, more people to impress, mounting expectations of a forever hungry crowd. There’s never an end to things they need to improve; that rap Yoongi isn’t doing quite right, that move Namjoon cannot make himself accomplish. Yoongi will be the first to admit it wasn’t always just him noticing the way all their feet drag a little more than usual after rehearsals at 2 AM or the way even Hoseok can’t bring himself to choke up his terrible gags from the corners of his mouth behind pained wide smiles at 5 AM dance practices these days. 

It’s lucky Yoongi doesn’t really remember a time before all this without the haze fogging up his brain any longer or else he might have lost it a year and a half ago.

“I messed up again.”

There’s a twist in Yoongi’s heart as his body responds to the voice before he comprehends it, turning towards the owner even though he already knows only Park Jimin would say something like that.

“Jimin, we talked about this -”

“I really messed up. I got none of that choreography right, Hoseok hyung was looking at me like he was about to kill me after all the hours of practice we did. You don’t understand, hyung,” Jimin mumbles, lowering his head, sweat shining on his skin under the shabby dressing room lights, making his hair look a lot more orange than it really is. The other members have already gone, leaving the dressing room deserted, shuffling to the van in slow steps and Yoongi has the vague urge to turn away and follow them.

Except Jimin isn’t okay.

And something about that makes Yoongi feel like the world is slipping under his feet.

Yoongi’s no good at comfort, but he’s never done trying when it comes to Park Jimin.

“Look at me,” Yoongi commands, voice steady but gentle, so that Jimin’s gaze slowly finds its way to Yoongi’s and there’s a light in them that hits Yoongi in the stomach. It’s hope mixed with a little bit of apprehension and a whole lot of disappointment, the kind of turbulent emotions that take Yoongi’s breath away.

“You did perfect. You worked your ass off and don’t let anybody else tell you different. Even yourself. Especially yourself. I look forward way too much to keep that stupid smile on yourself for you to go tearing it down, you know,” Yoongi says, trying the words on his tongue he’s never said out loud before so that he even surprises himself.

Jimin’s gaze flickers, unconvinced and Yoongi has no more words to say.

And maybe Yoongi doesn’t remember a time before he was a sea of endless sighs and ‘I can fit ten minutes of sleep’s into any given schedule, but Park Jimin was different. Different because he still woke up every morning and wrestled Kim Taehyung awake with the same enthusiasm he did three years ago when they first met. Different because he took took one sugar with his coffee because he was forever ‘watching my weight, hyung’ but eventually slipped in two more because he was never a black coffee person. Different because Yoongi can remember a time Jimin was actually happy and the light in his eyes was that same lost sixteen year old boy from Busan who only knew dance to make his way into a harsh idol world.

And Yoongi can’t lose that Jimin, even if he’s lost it in himself.

There’s really no connection to Yoongi’s thought process in that moment except Yoongi places a firm hand behind Jimin’s neck and pulls him towards Yoongi’s own lips till they’re kissing, because his brain has suddenly decided to put all the words he cannot say to just do the work this way instead. 

It’s a lot warmer than Yoongi expected; no fireworks or shots of electricity shooting through Yoongi like the Fourth of July. It’s silent symphonies and a heat in his body warmer than lying under the sun on a summer’s day till every inch of Yoongi’s skin is filled with a warmth named Park Jimin, liquid elation under the edge of his fingertips. 

There’s a small fist clenched tightly against Yoongi’s chest; Yoongi can feel the knuckles press against his beating heart. It’s nice kissing Jimin, Yoongi thinks. Nice is a good word for it; not too fancy or stripped down but realistic, like the way bubble baths or eating chocolate ice cream where nice. Jimin isn’t hurried or slow, just gentle, like he’s afraid that if he presses to hard, Yoongi will fall apart (like Yoongi is the one that needs taking care of) and god, Yoongi wants to keep Park Jimin in his heart forever and never let him go.

They break apart to the harsh ringtone of Yoongi’s phone and Yoongi knows the moment is lost, that it’s probably Namjoon asking where the hell he is. Yoongi sighs and puts the phone to his ear.

“Where the hell are you?” Namjoon’s voice blares through the speaker and Yoongi flinches.

Two minutes later, Yoongi and Jimin are pressed thigh to thigh against each other in the van and Jimin is nodding off, head placed on Yoongi’s shoulder and there’s something so comfortable about the whole thing that Yoongi can’t get enough of.

He doesn’t try to explain away to Taehyung’s raised eyebrow later the way Jimin’s fingers find Yoongi’s in the dark.

It’s nice.

Masterpost on How to Study For Media/Film

In the WACE Curriculum the Media Production and Analysis is a class where you analyse media texts and then produce a short film/photographic portfolio. The production part is pretty self explanatory and down to your creativity, however the analysis part is much harder.

Analysis is much like English, but I do Literature so I can’t say to what extent this is true. You look at the codes and conventions and contextual factors that make up how a film is created and for what purpose.

Approaching the text

When approaching the text, it’s important to take in several factors:

  • are you looking at a specific director? If so, watch some of their other films. Notice things about their style that will be beneficial to your study of this text.
  • When was the film made? What was happening then? This is the context. Look at cultural, social, political and economic factors, as well as trends in the media industry.
  • Is the film commercial or independent? Note down the budget, distribution, financing and production, and this will inform you of the controls and constraints within the specific industry.

Context

Context is essentially what was happening within the film and outside the film. The context is important for deciphering what audience the film was made for, what kind of films were being made at the time, why the film was accepted/rejected by the wider audience according to their own context etc.

Leave the film alone and focus on the political climate in the world at that time. What was happening? In the industry? Make sure you look at all these factors and note them down. Later, you’ll find some connections between the context and the film itself in terms of content, values, audience etc.

Audience

The audience is the most important part of a film - they are who the film is being made for. Deciphering the target audience of the film helps to discuss the values being presented in the text as well as the way the audience is positioned to view certain themes within the text.

  • Are they a niche audience? Art-cinema?
  • What age group? Teenagers? Children? Adults?
  • What socioeconomic background? Wealthy, white middle class people? Working class people?
  • Is it a mainstream audience? If so, how does the film appeal to a widespread set of global values?

Codes and Conventions

Now you have why and who for the film was created. The codes and conventions will allow you to use evidence by identifying the techniques used to position the audience to accept an issue in a certain way.

Aesthetic Codes and Conventions

Mise en Scene:

  • lighting
  • colour
  • framing
  • costume
  • body language
  • set design
  • props

Cinematography

  • camera movement
    • pans
    • pull in/out
    • tracking
    • jib
  • angle
    • low
    • high
    • canted

Editing

  • seamless/linear
  • abstract/non-linear
  • ambiguous
  • transitions
  • titles and font

Audio Codes and Conventions

diegetic

  • natural sounds
  • dialogue
  • props

non-diegetic

  • sound effects
  • soundtrack
  • score
  • voice-over/narration

Narrative Codes and Conventions

Characterisation - The use of character as a vehicle to communicate themes and issues

Representing Themes and Issues

  • social issues (e.g. depression, anxiety, bullying)
  • political issues (e.g. inequality, feminism, racism)
  • cultural issues (e.g. stereotypes, discrimination)
  • economic issues (e.g. poverty, debt)

How these are represented

  • Character action and dialogue
  • Costume
  • Body language
  • Reaction from other characters

Plot - the use of plot and structure to create a film sequence and storyline

  • linear, three-part story structure
  • non-linear, irresolution, ambiguity
  • circular - loops around to end where it began
  • chapter-divided chronological story
  • flashbacks

When studying make sure you note all these things down. Make a mind map to see how they connect to one another if you’re confused, and then write essays and plan responses to practice as well as embed the knowledge in your mind.

I’m not an expert but these are my tips and I really love media it’s my favourite class. Hope these help xx

You Always Know How to Accessorize:  Mako and Bolin’s outfits as an emphasis to character arc

Kylie: Hopefully you’ve read the wonderful submitted meta, “Left My Heart in Republic City: How Asami and the City relate to and inform one another throughout the series.” I am pleased (and humbled) to announce that the same author, Productive Procrastinator, gifted me with yet another essay, this one on wardrobes…my favorite topic. It is both humorous and deep, and I truly recommend it to anyone who loves this show.

The old adage that the clothes make the man has its truths in life just as it does in the world of animation.  Character design is something remarkable and nuanced in how it can be a shortcut method of telling the audience a great deal of information from just a glance.  Out of the many characters and their outfits in TheLegend of Korra it is Mako and Bolin’s clothing which has the greatest impact on their individual and paired character arc.  Their story developed from brothers who were codependent, to brothers who went their separate ways, to brothers who reaffirmed their familial bond, and finally to brothers who came to recognize each other as an individual they are proud to call brother.  

Incredibly, their clothing helps to tell this tale.  I actually found Mako and Bolin’s arc far more relatable and compelling than Katara and Sokka’s wonderful sibling relationship in AtLA.  The following interpretation is subjective and influenced by my own understanding of sibling dynamics as a younger sibling myself, but it also offers a viewpoint of some of the fundamental themes in LoK concerning power, authority, identity, and shifting internal paradigms.

Keep reading

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Wikipedia:

“William James used the term metanoia to refer to a fundamental and stable change in an individual’s life-orientation.

Carl Gustav Jung developed the usage to indicate a spontaneous attempt of the psyche to heal itself of unbearable conflict by melting down and then being reborn in a more adaptive form – a form of self healing often associated with the mid-life crisis and psychotic breakdown, which can be viewed as a potentially productive process. (…)

In transactional analysis, metanoia is used to describe the experience of abandoning an old scripted self or false self for a more open one: a process which may be marked by a mixture of intensity, despair, self-surrender, and an encounter with the inner void.”

Aldous Huxley:

“There has to be a conversion, sudden or otherwise, not merely of the heart, but also of the senses and of the perceiving mind.

What follows is a brief account of this metanoia, as the Greeks called it, this total and radical ‘change of mind.’ (…) 

What is prescribed is a process of conscious discrimination between the personal self and the Self that is identical with Brahman, between the individual ego and the Buddha womb or Universal Mind.

The result of this discrimination is a more or less sudden and complete ‘revulsion’ of consciousness, and the realization of a state of 'no-mind’, which may be described as the freedom from perceptual and intellectual attachment to the ego-principle.“

Jonathan Bricklin:

“James labeled consciousness-without-self “sciousness,” and consciousness-with-self “con-sciousness” (…)

Pure and simple sciousness may characterize the experience of newborn babies, who have no consciousness of themselves, separate from the exact passing moment, what James calls “one pulse of our life—not conceived so, but felt so””.

See also: Tom Ford - ENFJ, George Falconer - INTJ

Fan...

…and let others fan the way they want. What makes one person happy does not have to make another feel the same way. No need to rain on anyone’s parade. It’s productive to engage critical analysis but sometimes it’s best to just let people be. Not every battle has to be fought.

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GCSE CHEMISTRY C3 NOTES 


C3.1 The Periodic Table 

C3.2 Water 

C3.3 Energy Calculations 

C3.4 Further Analysis and Quantitative Chemistry 

C3.5 The Production of Ammonia 

C3.6 Alcohols, Carboxylic Acids and Esters


If you need help/can’t read something please message me! :) 


C1 NOTES (part 1) (part 2)

C2 NOTES (part 1) (part 2)