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스크립트

Don't Shoot

For the Greater Good

Be Prepared

Homage to Psycho

"My Favorite Things"

Introduction to Situation

Time: .07 seconds

Time: .39 seconds

Time: .50 seconds

Time: .23 seconds

Time: .30 seconds

Description: The nuns are leading Maria to her fate; an unhappy marriage that she believes is the only way to save her family.

Time: .57 seconds

Description: Maria and her step-daughter Greta are hiding from some (at this point in the video, indistinguishable) bad guy. Gretl asks Maria if singing about their favorite things will help, but Maria gently tells her that will not fix the problem this time and tells her it is important to stay quiet.

Description: The nuns are meeting in the Abbey to discuss a plan as to how to help Maria and her family.

Description: Maria is entering an unknown room to a horrid sight.

Description: Rolff confronts Maria and the Captain after they thwart the Nazi who are after them and their family.

Description: Eery singing by Liesel and the other children.

Analysis: Montage

Analysis: Gesture

Analysis: Soundtrack

Analysis: Juxtaposition

Analysis: Intertextuality

Analysis: Closure

Montage is putting together a series of shorter clips to form a new longer one. A great example of montage was used in Ricardo Autobahn’s video “The Golden Age of Video” where he used a variety of clips to make lyrics to a song and therefore remix the meaning of those clips.

One thing this remix does not struggle with is montage. In fact, montage makes up the majority of this video and subsequently plays an aid to the genre the remix is trying to portray: thriller. Using the quick cuts of a bunch of scenes from the movie (taken out of order of course), the remix is building suspense for the viewer. Once again, I’ll mention how the creator of this video took liberty with distorting the color to sometimes a psychedelic palette to simply making normal seems more monochromatic by making the picture darker.

I also find it somewhat funny the myriad of the things in the montage. Obviously there are several cuts of Maria and some of the Von Trapp children, always with looks of horror displayed on their faces (though we know this is not true due to intertextuality). However, they also cut to the nuns in the Abbey before switching rapidly to Nazi’s goose-stepping. I find this funny because for one, the nuns only run into the Nazis toward the very end of the movie (and end up aiding Maria and the Von Trapps in the process, by hiding them in the cemetery). But also because it’s made to look like nuns are conspiring to cause Maria harm somehow.

The fact that this can be revealed through cut scenes split to portray one message when the actual reality of the situation is something completely different is the true magic of montage and why many are used in these type of movie remixes.

Juxtaposition, according to our class definition, is two or more contrasting genres/ ideas/ words/ images mashed together. An example of this can be seen on the website “Garfield Minus Garfield”. The whole point of the Garfield comics is that a sarcastic cat is having conversations with his owner, Jon. But what makes this website show juxtaposition is that Garfield the cat is no longer in the comic strip; instead, there is Jon, sometimes talking to himself, sometimes in an empty screen. The meaning is contrasted because there’s no one (thing) left to talk to or make jabs about.

The juxtaposition that is happening in this scene mainly as to do with how one interprets it. The whole montage of scenes with nuns and Nazis is discomforting, but the fact that in this scene the nuns appear to be leading Maria to a fate she does not want totally sets off the actual scene in the real movie.

In the real movie the nuns happily follow Maria to the main cathedral, where she leaves her life as a nun behind and chooses instead to marry The Captain who she is in love with. While in the actual movie no audio but church bells appear in this scene the viewer still knows it is a joyous occasion.

The thing that makes it unsettling in the remix is due to the lighting and the suspense setting soundtrack. The jump clips used in the montage make Maria an eerie bride, make the nuns look like a mob following behind her. From other gestures throughout the montage, one can tell Maria is fearful and there is no sense of love interest besides the Nazis or the bad guy in the window from within the first seconds of the remix. The main contrast is that the joy in this moment for the original viewer is sucked out by the context the scene is now put in. The lighting also plays a main part throughout the remix as stated before, making the wedding scene appear dark and ominous.

However, it is a smart tactic to lead the remix in a different direction so there are many reasons for her to be hiding at the beginning and at the ending of the trailer if the viewer believes the wedding scene (and the rest of the montage is all done in flashback). Either way, there is order to the juxtaposition, there is enough contrast to make the viewer feel for Maria and the art of the remix is capturing its true goal: emotional appeal.

Google defines gesture as “a movement of part of the body, especially a hand or the head, to express an idea or meaning.” Because of this, I think this point is relevant to Ferguson’s video “Everything’s a Remix”. It is just a matter of interpretation. The facial expressions Maria uses throughout the montage in the remix are nothing new: surprise, fear, awe. It just how the viewer interprets them in the setting of the video as it is being portrayed.

Many remixes use gesture rather than audio to convey what they are changing about the original trailer. That being said, I never realized it was an effective tactic. The scene I chose for gesture is one of many frightened images of Maria that is used throughout the montage in the middle of this trailer. In actuality, Maria is just stunned at the enormous room she is entering, but in freeze frame she looks like she just entered into a room where something appalling is or has happened, giving the trailer that horror/thriller feel.

The other Von Trapps appear with various scared expressions as well: the Captain looking over his shoulder, Kurt with his mouth agape. However, Liesl, the eldest daughter, is shown looking conspiratorially out of the side of her eyes.

Now why Liesel out of all the children was chosen to have portrayed a different expression besides fear is lost on me. But that is the beauty of remixes! The art of manipulation.

The same can be said of the nuns that are seen throughout the montage. In some clips they look like they are full of penance for committing a crime. In others they seem earthshaking and reverent; almost forcing Maria to make a choice she is full on against, but willing to do for the sake of her family.

It is through gesture that suspense is ultimately built up throughout the montage and the rest of the trailer, starting with the fearful look in Maria’s eye at the beginning of the trailer.

According to our in class discussion, intertextuality is the audience’s ability to understand a text in a different context that differs from how it is originally seen. The intertextuality that is displayed in this clip comes from knowing why the Von Trapp family is running away in the first place. While this remixed clip portrays the Von Trapps as hiding from some sort of bad guy, the viewer watching the remix may not necessarily understand that the bad guys are Nazis.

In Kevin Kelly’s article “Becoming Screen Literate” he speaks of screen literacy as

“….being able to parse and manipulate moving images with the same ease (as with written text)”. It is essential to understand that this is what is happening with these remixes and we would not be able to understand how convoluted some of these interpretations are if we did not have the prior intertextual knowledge.

It is interesting that the remix gives the viewer the same sense of fear the last hour of the original movie gives the viewer. It is a suspenseful scene regardless if it is in or out of context. While the audio is still playing, the remix hints that the scene is taking plan in some part of Austria; though the distorted coloring and ambiguous bad guy still linger in the back of your mind as an effect that must reap some later purpose in the remix.

It is also interesting to me that they choose to use a clip with Gretl asking Maria if singing “My favorite Things” will help. To those who have seen The Sound of Music, it is understand that “My Favorite Things” is a pivotal song in the movie, specifically because it is the song Maria uses to cheer up the Von Trapp children when they are scared of the storm. The fact that she can’t cheer up Gretl, after teaching Gretl that that exact song can make things better must be heart-breaking for Maria.

The viewer of the remix just understands that Gretl is nervous and is trying to seek some solace in any way she can. They see as Gretl as a child, who, if she spoke, would break the cover for both her and Maria.

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Closure is referred to as how you connect things together to make meaning. McCloud explains this best in his article “Blood in the Gutters”. Gutters are the spaces between screens in a comic and sometimes one screen jumps to another without explaining what happened in between. We use closure to make up a situation or meaning of what happened in the gutter so as to understand what the next screen is showing. I chose this moment for closure for several reasons, both contextually and intertextually. The contextual reason I chose this was because it brings the viewer back to the beginning of the remix when Maria was telling Gretl that they needed to be quiet. Rolf telling the Von Trapp family that he would kill them and wouldn’t hesitate to shoot is showing the brutality that Maria feared from the beginning. It also can relate to Maria’s expressions of horror throughout the montage and again to Maria choosing differently than what the Nazis (and hypothesized nuns’ plans for her) wanted from her.

Intertextually I chose this scene because it brings the original reader to the highest moment of suspense in the original film. Rolf was someone that Liesl had loved and who had supposedly felt the same way about her, until his duty was no longer to his heart but to his country. Both The Captain and Maria know this, Maria specifically knows about his relationship with Liesl and you see on their faces in the movie that they want him to make the right choice. When he betrays them anyway, it leaves the viewer one the edge of their seat, wondering if the Von Trapp family will make it out alive.

In reference to the remix I appreciate the author not bringing this clip in prematurely. Waiting until the end of the remix to explain why Maria is in trouble and allowing that possible flashback moment/montage in the middle, not only builds suspense for the remix viewer but it leaves the viewer satisfied as well.

Soundtrack is the music or sounds behind the scene of the video. I think this can best be exemplified through Gaylor’s RIP: A Remix Manifesto. Gaylor uses the musician GirlTalk to explain how songs get remixed to form conversations and dialogue that was not there before. Through this technique, GirlTalk creates an entirely new song with a different meaning all through manipulation of the track. Soundtrack for a video can do the same thing, switch the meaning of the video.

The soundtrack for this remix is interesting because while there is audio, it is not necessarily a specific song or instrumental. Rather it sounds like gun fire or random shots being fired at different intervals with music that is building up slowly behind them. It builds the suspense, because the random drum beats in the music match the pace at which the scenes are being cut up.

The soundtrack for this trailer could have been a variety of things knowing that The Sound of Music, is, in fact, a musical. There could have been song parodies that mocked the original movie; there could have been a song from the original movie throughout. Instead, the creator of the remix chose audio that would increase the suspense as well as illicit fear from the viewer. The fact that the sounds also incorporate audio that you would find in an Abbey or on the streets of war also gives the viewer a disconcerting feeling as is intended by the creator of the remix.

However, most interesting is the reprise of “My Favorite Things” added, acapella, to the end. Intertextually speaking, the Von Trapp children begin to sing the song Maria taught them after learning that The Captain is intending to marry the baroness. That is why Liesl’s voice is the strongest, because she leads the children. (Eventually Maria joins in and the song regains a lighter note). The use at the end of the trailer is eerie. For one, it is another sense of closure, because Gretl already mentioned it, but it almost mocks that “My Favorite Things” can alleviate scary situations. In fact, it makes the situation scarier by having those haunted voices sing to begin with. I personally find that it wraps the theme of a thriller/horror up nicely into the final product that is the remix.

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Reflection

Remix Trailer (2010) by chuck13171

Original Trailer (1965) by Robert Wise

"http://youtu.be/FzG8ZQAhKrE"

http://youtu.be/TRPEpJHI9zg"

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The Sound of Music Remix Analysis

Gabby Lund - 7 October 2014

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