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Analysis: Juxtaposition

This clip makes a humorous use of juxtaposition by describing Penelope Cruz as "hot hot hot hot hot hot" and then suddenly cutting to a shot of Geoffrey Rush and saying "NOT."

The humorous setup here works on two levels. First, the description of Penelope Cruz with multiple rapid uses of the word "hot" pokes fun at the fact that most actresses are expected to be sex symbols, with a strong focus on their physical appearance. This draws an initial laugh just based on the fact that the narrator describes nothing else about her except for her "hotness."

Then, the sudden shift to Geoffrey Rush with the all-capital-letters subtitle, "NOT," turns the tables on the previous humor. It could even be seen as a parody of the double-standard in filmmaking, where males are seen as chosen purely for their acting talent, not needing to be sex symbols the way that females are.

The juxtaposition also allows for a very simple description on the Geoffrey Rush shot. By focusing so strongly on Cruz's sex appeal with the repeated use of the word "hot," the narrator is able to show the contrast with a quick, simple use of the word "NOT."

Analysis: Genre

In this scene, the video gives the audience the first close-up shot of Jack Sparrow, played by Johnny Depp. In the original video clip, another character calls him by name as "Jack Sparrow," to which Depp replies, "There should be a 'Captain' in there somewhere..."

This line in the original clip is a shout-out to a running joke throughout the Pirates of the Caribbean series, where Jack frequently corrects people about his proper title. This is essentially a 'signature' part of the character, who in turn stands for the entire series. Thus he warrants a more direct and focused introduction than the other characters, who aren't called out until later in the clip.

To draw humor from this, the literal trailer replaces the dialogue with a drawn out and heavily punctuated line: "Dra-mat-ic/main/char-ac-ter/re-veal." This pokes fun at the drama of the moment, which is further accentuated by narrating the "Slow fade-in" to Jack. Even the narrative song at this point takes a brief pause to note the significance.

This entire scene is a distinct representation of the genre of the movie. The focus is on Jack, who is not only a pirate (and thus represents pirate movies in general), but is also the most notable figure of the "Pirates of the Caribbean" series as its own sub-genre.

Analysis: Gesture

In the original video, the scene portrayed here simply shows some flirtation between the characters played by Johnny Depp and Penelope Cruz. Depp swings a sword at Cruz, but the gesture is not interpreted as a violent one. The body language and facial expressions in the scene indicate indicate that the swing likely happened because Depp didn't realize who was sneaking up on him, and she was amused by his reaction. In the original video, she asks him in a playful tone, "How is it we can never meet without you pointing something at me?"

The literal trailer draws attention to this moment with the line, "Swinging a sword at a hot pirate's basically first base." The narrator is essentially explaining and making fun of the way this scene was used in the original trailer. It playfully hints at the romantic tension of the scene, bringing the previously 'hidden' meaning of the gesture out to the forefront.

The humor of this moment is essentially achieved by exposing the original director's technique. Similar scenes of 'flirtatious violent gestures' are common in many movies, such as 'The Lord of the Rings,' during the first scene between Arwen and Aragorn. This commonality can make the gesture almost cliche, and thus a prime target for humorous jabs.

Analysis: Montage

This scene near the end of the clip shows a rapid montage of short clips from different parts of the movie. In the original video, the fast-paced style, combined with the fact that all the clips are of action-oriented scenes, gives the viewer a sense of intensity. The intent here is no doubt to instill the audience with a feeling of excitement, building anticipation for the upcoming film, and making them think that they will experience this fast-paced excitement during the movie.

The Literal trailer follows this same rapid pacing, with the result that the narration becomes nonsensical: "...don't waterfall, swing, zoom, kiss, boat, spin, dark." This is then followed by several seconds of characters falling away from various different explosions with the narration: "falling and falling and falling and falling and falling and falling and LAND IN A LAKE."

This literal narration of the montage draws attention to how disconnected the events are. None of the individual scenes at this point in the video really tell the viewer much of anything. The eight clips during the sequence from "don't waterfall ... dark." span a period of less than three seconds total, which isn't enough time to convey any deep meaning from each scene. Instead, it's the rapid pacing itself that is the primary focus. This scene is more about pacing, intensity, and emotion that it is about the content of each individual clip.

Final Reflection:

Being screen literate to me essentially means having an understanding of the tools and pieces that go into creating a work on the screen. Just as how with writing, we need an understanding of grammar, vocabulary, punctuation, and sentence structure; so, too, does a screen literate composer need to understand the skills needed to utilize genre, juxtaposition, and the other tools we have studied.

Without understanding these tools, a creator cannot utilize them properly. Each piece must be placed together with intent and meaning, along with an understanding about how a viewer will interpret the final product. For example, a montage will have no meaning if the viewer can't make a connection between the scenes being pieced together, and adding a soundtrack will have no meaning if the viewer doesn't understand why it was chosen and what purpose it serves.

Some of the videos we have viewed left me and some of the other students confused as to their meaning. To me, this says that the composer didn't make proper use of their tools. Just as with writing a paper, a video composition must have a clear theme or thesis in order to be successful. Each method used in the creation of the video must further the goal of expressing this thesis, and must be used in a way that does this clearly. A juxtaposition that doesn't draw enough attention to the meaning behind the contrasting scenes will only end up confusing the viewer. This doesn't further the goal of getting the message across, and shows that the composer isn't using their tools properly.

In addition to understanding these tools, I think that it is important for a screen literate composer to have an understanding of the source material they utilize in their composition. If an understanding of genre, montage, and gesture are the tools a composer uses, then the video clips they compose with is their vocabulary.

How to utilize this vocabulary properly is much the same as it is with writing. A composer needs to know their audience in order to know which vocabulary to use. When writing a story, a writer shouldn’t use obscure words that a reader won’t understand; overusing the thesaurus and filling a story with ‘big’ words will only serve to confuse an average reader. Stronger vocabulary has its place in different writing, such as in a scholarly journal.

Likewise, a screen composer needs to know what their audience will recognize or understand. If they use obscure news footage from a little-known event, it’s possible that the viewers will not make the intertextual leap of understanding needed for the composition to have meaning. Instead, a composer should use material they are confident their viewers will be familiar with. This ensures that the vocabulary used won’t be too complex for viewers to understand.

A proper understanding of how to use the tools and vocabulary of the screen is the key to being a successful visual composer. Anyone can make a video to simply be entertaining, just as anyone can make a simple drawing by putting pencil to paper. Knowing how to successfully and intelligently use these tools to get your message across is the difference that will make someone be seen as screen literate.

Movie-Preview Spoof Opening

Geoffrey Rush is NOT hot.

0:03 Seconds

Description: A spoof of a MPAA movie preview screen that draws attention to the lyrics of the clip.

0:21 Seconds

Description: A humorous juxtaposition between Penelope Cruz and Geoffrey Rush.

Literal description of a montage

Analysis: Soundtrack

The opening of the video clip is made to look like a familiar MPAA movie preview opening screen (which is a further example of intertextuality, but I address that elsewhere). Instead of the normal message, it draws attention specifically to the fact that the clip "Has been put to lyrics for no discernible reason."

I think the fact that this is the first thing the viewer sees is somewhat significant, since in the Literal trailers, the music soundtrack is the only part of the audio that remains. However, all dialogue is cut out and replaced by the literal narration.

By keeping the original soundtrack, and writing his narration as a song to that music, the creator is essentially making a 'shout out' to the original video's theme, pacing, and overall vibe. Even if the visual aspects remained unchanged, this video would be very different if set to different music. It's also an interesting stylistic choice, since the entire narration sequence was sculpted around that music, and that gives each literal trailer a very different feel.

2:05 seconds

Description: A rapid montage sequence with quick, single-word descriptions.

LITERAL Pirates of the Caribbean: On Stranger Tides

Theoretical Analysis of a Remix

Jason Cantrell, #WRTF12

Created 10-1-12

Swinging a sword at a hot pirate's

basically first base

Literal Description as a

"Corona Commercial Set"

LITERAL Pirates of the Caribbean: On Stranger Tides, 2011, By: Tobuscus

Pirates of the Caribbean: On Stranger Tides, 2011, Directed by Rob Marshall

http://www.youtube.com/watch?v=KR_9A-cUEJc

http://www.youtube.com/watch?v=NefJFHL0dmY&list=SP3C14444766460071&index=11&feature=plpp_video

0:10 Seconds

Description: An example of Intertextuality by referencing the styles often seen in Corona beer commercials.

1:46 seconds

Description: Literal description of a gesture drawing attention to the nonverbal meaning.

1:30

2:40

0:00

0:10

1:00

1:50

2:00

2:50

1:40

0:20

0:30

0:40

0:50

1:10

1:20

2:10

2:20

2:30

0:03

0:13

0:21

0:27

2:05

1:46

Analysis; Intertextuality

The narrator at this point compares the island shot shown above to the style of a Corona beer commercial. This is an example of intertextuality, where the narrator assumes that the viewer is familiar with these commercials in order to get the joke. It also brings a "real life" aspect into a video that was normally meant to be kept "in character." This makes the viewer remember that there are connections between the fictional "world" represented in the movie and the real world around us.

Considering that the LITERAL trailers are made purely for humor, the creator likely wanted to create an "Oh, yeah!" moment where he draws on the viewers recognition. This could also make the viewer wonder why they didn't see it themselves before, which creates a stronger connection because they now feel that they recognize something in the video on a personal level. As a humor technique, this is similar to Jerry Seinfeld's "Did you ever notice...?" style of jokes, which draw on the audience's personal experiences to add to the humor.

Thus, not only would this use of intertextuality not work if the audience wasn't familiar with the other medium (Corona beer commericals), but it also draws on the audience's ability to recognize this more personally. It creates a sense in the viewer of "I would have noticed that," instead of "Only the artist would have noticed that." The artist point it out is merely his way of sharing it with his viewers, which makes it seem like a more personal experience. The viewers can relate more, and that creates a stronger connection.

Main Character Reveal

0:27 Seconds

Description: The introduction of Jack Sparrow, the main character of the movie series.

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