Temple University 23 Skidoo and Dreaming My Dreams Films Assignment 8

Description

Below are the guidelines for the end response, which follows, in part, the structure of the mid-term review:PART 1:1. From the second half of semester (week 8-14), select several films that best “worked” for you, or most intrigued/impacted you (both in relation to our topic, and as a experience in general) over the last six weeks, and discuss your reasoning why. How did these differ from the first half screenings you selected, or if not, what similarities attracted you to these works?And again, consider one or two works that didn’t work, and likewise, consider why that was. Would the film have worked better if the score/soundtrack had been different? If so, what selections would you make?2. A brief memory test, or memorable moments/sounds II: From our screenings, list at a couple of examples from each screening session of musical activity or musical spaces (ideally, see if you can recall one or two moments from each feature we’ve screened) – or, a moment that stays in the mind due to a particular score/sound, from our films from this second half.Give brief description of each recollection (you’ll have at least 6-12, I hope), and contemplate why this has remained in memory. (If you’d like you can include screenshot or sound clips).PART II/ Creative Project:3. For this section, I’d like everyone to briefly develop a creative application of our topic. Some options are suggested below, or you are welcome to pitch/develop your own.A. Music Playlists as therapeutic/experiential guide. Develop several playlists, perhaps ca. 10-12 songs each, that you would program for particular circumstances, states of mind, disorders/pathologies. Discuss your reasoning for the selections of songs, what experience you are looking to evoke, and if you’ve posted these playlists, what response you’ve gotten from listeners.You are also welcome to select several selections from the music folders in the MUSIC MODULE, or in the links to NAXOS music database or the Alexander Street Music collection, both accessible via the Temple Library Portal.And finally, consider how your playlists evoke “travels” through music for you? Secondly, consider how you might use your selected pieces as scores for films/visual artifacts, and give some brief details of proposed uses.B. Select several of the photography/project artifacts in any of the modules (including the separate PHOTOGRAPHY MODULE, as well as books on reserve, in both photographic and graphic arts/painting), and discuss how these pieces engage (an audience) in an experience of sound/music; and to what degree does the formal construction and sequence of some of these works emulate the flow or rhythm of a musical/sound piece?Or, you may develop your own image (and/or sound) sequences, documenting notions of travels through music, whether it be your own image-making, found images, or even screenshots from our screenings. This could be also be your music spaces assignment expanded, or you listening/hearing log further developed, into a short visual/audio essay. For whatever you choose to construct, do briefly include a statement of purpose, as to what you were creating, and how you feel your piece embodies your conceptualization.C. Concert/Film/Performance review. Select at least three performances, films, events to attend that are primarily focused on music. Explore our traveling with music topic in both the performance, but also the particular space in which you are experiencing the performances, its history and significance within the culture of the city/landscape it exists. One of these performances could also be a sporting event, where music is not the key experience, but a significant aspect of the event — in this case, document the role and frequency of music/sound for the event.D. Game/Play exploration. Select a couple of games, whether they be computer/digital or analog/folk-loric, and explore in some detail their use of sound/music to evoke the play experience. How would the game work without the musical/sound component? Would it even make sense? And how does the music/sound help create the game/play experience?E. Your own music or recorded/found sound piece. You are welcome to create a piece, or short series of pieces, that relate to our topic. Please submit your compositions, as well as brief write-up about your concept for this, and how it relates to aspects of our course. Is this an imagined soundtrack? A therapeutic piece? An evoke of a particular location or space?In all, Look for ca. 6-8 pages.Please post your response by Monday, 9:00pm, May 6.We’ll incorporate these responses into our wrap class on May 7, so you are welcome to present in that final class. More on this shortly.

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PART 1:
1. From the second half of semester (week 8-14), select several films that best
“worked” for you, or most intrigued/impacted you (both in relation to our topic,
and as a experience in general) over the last six weeks, and discuss your reasoning
why. How did these differ from the first half screenings you selected, or if not,
what similarities attracted you to these works?
And again, consider one or two works that didn’t work, and likewise, consider why
that was. Would the film have worked better if the score/soundtrack had been
different? If so, what selections would you make?
2. A brief memory test, or memorable moments/sounds II: From our screenings,
list at a couple of examples from each screening session of musical activity or
musical spaces (ideally, see if you can recall one or two moments from each
feature we’ve screened) – or, a moment that stays in the mind due to a particular
score/sound, from our films from this second half.
Give brief description of each recollection (you’ll have at least 6-12, I hope), and
contemplate why this has remained in memory. (If you’d like you can include
screenshot or sound clips).
PART II/ Creative Project:
3. For this section, I’d like everyone to briefly develop a creative application of our
topic. Some options are suggested below, or you are welcome to pitch/develop
your own.
A. Music Playlists as therapeutic/experiential guide. Develop several playlists,
perhaps ca. 10-12 songs each, that you would program for particular
circumstances, states of mind, disorders/pathologies. Discuss your reasoning for
the selections of songs, what experience you are looking to evoke, and if you’ve
posted these playlists, what response you’ve gotten from listeners.
You are also welcome to select several selections from the music folders in the
MUSIC MODULE, or in the links to NAXOS music database or the Alexander Street
Music collection, both accessible via the Temple Library Portal.
And finally, consider how your playlists evoke “travels” through music for you?
Secondly, consider how you might use your selected pieces as scores for
films/visual artifacts, and give some brief details of proposed uses.
B. Select several of the photography/project artifacts in any of the modules
(including the separate PHOTOGRAPHY MODULE, as well as books on reserve, in
both photographic and graphic arts/painting), and discuss how these pieces
engage (an audience) in an experience of sound/music; and to what degree does
the formal construction and sequence of some of these works emulate the flow
or rhythm of a musical/sound piece?
Or, you may develop your own image (and/or sound) sequences, documenting
notions of travels through music, whether it be your own image-making, found
images, or even screenshots from our screenings. This could be also be your
music spaces assignment expanded, or you listening/hearing log further
developed, into a short visual/audio essay. For whatever you choose to construct,
do briefly include a statement of purpose, as to what you were creating, and how
you feel your piece embodies your conceptualization.
C. Concert/Film/Performance review. Select at least three performances, films,
events to attend that are primarily focused on music. Explore our traveling with
music topic in both the performance, but also the particular space in which you
are experiencing the performances, its history and significance within the culture
of the city/landscape it exists. One of these performances could also be a sporting
event, where music is not the key experience, but a significant aspect of the event
— in this case, documentthe role and frequency of music/sound for the event.
D. Game/Play exploration. Select a couple of games, whether they be
computer/digital or analog/folk-loric, and explore in some detail their use of
sound/music to evoke the play experience. How would the game work without
the musical/sound component? Would it even make sense? And how does the
music/sound help create the game/play experience?
E. Your own music or recorded/found sound piece. You are welcome to create a
piece, or short series of pieces, that relate to our topic. Please submit your
compositions, as well as brief write-up about your concept for this, and how it
relates to aspects of our course. Is this an imagined soundtrack? A therapeutic
piece? An evoke of a particular location or space?
In all, Look for ca. 6-8 pages.
Please post your response by Monday, 9:00pm, May 1.
Sources:
Session 8:
Superstar: The Karen Carpenter Story (43m, 1987, Todd Haynes, USA)
Superstar The Karen Carpenter story ToddHaynes (Links to an
external site.)Links to an external site.
Skidoo 23 (1964, Julian Briggs, Canada, 9m)
https://www.nfb.ca/film/23_skidoo/ (Links to an external site.)Links to an external site.
Session 9:
Lauren Smith — “Dreaming My Dreams with You” (2012, cover of
early 1970s Waylon Jennings country song)
Dreaming My Dreams with you Cover (Links to an external
site.)Links to an external site.
Little Wings — “The Shredder” (2002, with user-added super 8 footage of shredding in the
late 1970s, SoCal)
Little Wings ~ The Shredder ~ Vintage Palos Verdes Skateboarding 1970’s-early 80’s (Links
to an external site.)Links to an external site.
Session 10:
Ferdinand Leger, “Girl with the pre-fabricated heart segment,” 1947
https://www.youtube.com/watch?v=jemM9o3EvKQ&t=1835s (Links to an external
site.)Links to an external site.
Devo, “Whip It,” 1980
https://www.youtube.com/watch?v=j_QLzthSkfM (Links to an external site.)Links to an
external site.
Session 11:
Taking Off (1971, Milos Forman, USA)
Hoichi the Earless (1965, section of film Kwaidan, Japan)
Session 12: Day in the Death of Donnie D (1968, USA, 15m)
A Day in the Death of Donny B., 1969 (Links to an external site.)
Space is the Place (1974, John Coney/Sun Ra, USA, 65m original version in class; extended
cut with brothel scenes listed below, 82m)
Sun Ra – Space is the place ( movie – 1974 ) (Links to an external site.)Links to an external
site.
Session 13:
Nordoff-Robbins Center for Music Therapy NYC promo video (12m)
https://steinhardt.nyu.edu/music/nordoff/music-changes-lives (Links to an external
site.)Links to an external site.

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23 Skidoo

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