Outlandishly Coping With The Apprehensions of Adulthood

Last night, a friend and I were discussing the new faces of art/life/other-things-of-the-like, and he mentioned Ray Tintori, a new young name in film, who recently directed this video by MGMT. Below is the youtube video but given the aesthetic purposes of the video I recommend watching the higher resolution here. Regardless of whether you’re interested in the video, the song pretty great in itself.

We talked about what motivates these reasons for using low-grad equipment and fidelity and the possibilities of it being more emotive and effective than strenuous attempts of “professionalism.” Of course, other such proponents of this freewheeling expression that where mentioned was of course those kooky kids from Wham! City. One of the most notable elements of the music video is the idea of the occult, which has curiously become a large point of interest with young people these days as well as other artists such as Animal Collective.

Another interesting area where these themes have been present in the artistic world was 100 years ago in France with the Northern-Paris collective who called themselves Les Nabis (meaning “the prophets” in French). Similar to the aforementioned artists, the Nabis painters such as Pierre Bonnard and Edouard Vuillard were interested in using heavy-handed brush strokes in order to evoke the emotion in their subjects and pay more attention to the idea of color rather than theme.

Now don’t misread this, I’m not simply trying to name drop; moreover, I’ve noticed that responses have been floundering on the blog I hope that this will spark an open discussion on some of the techniques discussed and whether or not they seem as credible as I might be led to think.

Ray Tintori’s first short film can be found here.

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3 Responses to “Outlandishly Coping With The Apprehensions of Adulthood”

  1. it all comes down to what feels right in your gut. making films through film school makes you think about sucking out emotion though, doesn’t it?

  2. When it comes to pulling a key I think you have two choices: make it perfect and seamless or make it bad with obvious jaggies along the edges.
    On the one hand a seamless key will imply a higher level of competency with the visual craft and focus the eye on the overall composite and production value. To some extent the goal is making a believable scene which the untrained eye would not assume compositing was involved.
    In the case of this video, I believe the rough key evokes a response of “what the hell is this?” in the audience, even the lay person, because they know something isn’t quite right.
    I’ve watched this MGMT video dozens of times. The first time I watched it I hated it and stopped watching it after 12 seconds. But the music made me come back and reconsider what I was looking at. The rough keys make the experience more enjoyable for me with an appreciation for the simplicity and truth of the composite. I feel as if the director is saying “Hey, look at this crappy key. Isn’t it awesome? Now watch while I work with it as art and truthiness rather than focus on the lack of production value. Doesn’t it make you kind of warm and fuzzy inside once you get over yourself? Like a child with scissors, a glue stick and a stack of magazines.”
    It’s the democratization of the chroma key and the director telling young people out there you don’t need to shoot HDCAM in a studio and digitize as 10bit uncompressed HD with 4:4:4 color space to make art well crafted and realized composites. Grab that 4 year old mini DV camera and a green cloth, shoot in your walk-in closet and use your frickin’ imagination already.
    The suspension of disbelief is much more enjoyable when everyone’s in on it and goes with it together as opposed to a “how did they do that?” experience. At least in this case. IMHO.

    proactively • digressing • peter

  3. […] I came across this post through the wham city tag thread.  A brief […]

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