.... is ready for new posters!
Monday, August 30, 2010
Kibera TV: Process & More Research
15 second storyboard: I would like to approach explaining Kibera TV and the different skills that they need as "building blocks" that make a difference in their community and, in turn, the world.9 Blocks:
1. writers-script
2. actors
3. musicians
4. producers
5. casting
6. editors
7. camerawork/filming
8. Distribution
9. Visual artists (painters, designers, etc)
Some of my thoughts:
More Research from Pamela Collett:
She also mentioned that she is going to ask the youth to receive more complete answers.
1. What specific types of music do many of the students at the film school listen to? From the website, we gathered the emphasis on hip hop, but are there any specific kinds or artists?
Will enquire…there is also reggae and mixtures of traditional music like Ohangla.. More later
2. What is the family life like among the youth, specifically high school age?
Varied.. some have made their own “intentional” families living together with siblings (no parents), or friends (sometimes old friends, sometimes a mixture of people who just decide to stick together, can even be from different tribes), sometimes with original parents, more often with father and step mother (sometimes problematic)… usually little or no financial support form parents.. May live with grandmother… or have grown up with grandmother in village and came to Kibera looking for a better life.
3. What other schools can be found in Kibera (public, private?)
There are few government (public) schools for such a large population… and no real technical training institutions or education beyond secondary. Most youth do not complete secondary education. Many never start. The government just changed the policy to make secondary education “free” but there are not enough schools, teachers, facilities and youth must still pay school fees, uniform, books, supplies, etc. plus of course they are not earning while studying so someone must support them. Most families cannot.
There are a wide range of small private schools, trying to fill the gap, particularly from preschool through middle school. Most are fee paying. Some are self supporting, some get funds from church groups.
There are schools attached to orphanages, usually church sponsored.
4. Has the community shown specific instances of positive change due to Kibera TV?
Recently a group of youth (I don’t have the numbers) who could not get entrance into Kibera Film School (limited numbers) have joined Kibera TV and learning as they go. I can get quotes from them. They are very excited about the opportunities of learning and doing something with their lives.
5. After graduating from the film school, where/what do those students that do not work with Kibera TV go/do? Do they; leave, help the community through film in other areas, use the skills they learned to find jobs?
Some have gotten other jobs: one a full time job as assistant editor at a local TV program,
Others have gotten short term employment. Others are working with Hot Sun Foundation as trainers at the Kibera Film School and producers at Kibera TV.
Saturday, August 28, 2010
Karrin Allyson: 10 "Evocative Signs"
- Alto C Clef (symbol for the third line of the musical staff, the alto clef)
- Ignite (spark)
- Heartbeat
- Fearless (playful)
- Dancing (movement)
- Kaleidoscopic (versatile, "Renaissance Woman")
- Dreamy (Utopian)
- Visionary (superior)
- Sensation
- Current (flow)
F + S: Rhetorical Tropes
Hyperbole, Personification & Metaphor*! All in one!
extinguish]. 
This advertisement uses personification by making the arrow look like a human hand holding a hand weight and implying action through the circular motion.
This advertisement uses personification by making the arrow look like a human hand holding a hand weight and implying action through the circular motion.
The example above uses 2 rhetorical tropes; a parody through imitating the American flag by giving us a kind of ratio of Apple to Windows users, and metonomy because the American flag stands for freedom which could mean that Americans are free to choose whichever system they would like.
Metaphor
Hyperbole*Metonymy
Reading Response: Visual/Verbal Rhetoric
The War of Words (logomachy)
The reading, Visual/Verbal Rhetoric from Gui Bonsiepe, gave concrete definitions and answers to the relationship between information, the viewer/audience and the designer. It explained how the Greeks divided rhetoric into three categories; the political, the legal and the religious, with the objective of obtaining a definite decision, implanting an opinion, or evoking a mood. There are two aspects to every sign; shape and meaning. Bonsiepe explains that, "...classical rhetoric is no longer adequate for describing and analyzing rhetorical phenomena in which verbal and visual signs (word and picture) are allied." He gives three categories of figures that explain how to visual/verbally use persuasion and analysis (in practice and theory) through; Syntactic Figures (meaning), Semantic Figures (reference) and Pragmatic Figures (dialogue) [see below]. It is good to contrast persuasion with information because, "...communication is not limited to this; informative assertions are interlarded with rhetoric to a greater or lesser degree. If they were not, communication would die of sheer inanition." " 'Pure' information exists for the designer only in arid abstraction. It takes concrete shape through the process of rhetorical infiltration." Bonsiepe also notes that advertising is addressed information which means that the the informative content is secondary at best when directed towards the audience. Raw information is hard to digest and must be expressed in a different manner in order to significantly persuade.
"If ten rhetorical figures and five normal sentences appear in a text, it may be said to have a persuasion grade of 2."
The second reading, Type + Image, reiterated the Rhetorical tropes discussed in the lecture on Friday (i.e. simile, metaphor, personification, metonymy, synecdoche hyperbole, antithesis, allegory). It explains that language is a systematic means of communication ideas or feelings through signs (sound, visual gestures, marks) and that visual symbols and images are used in the same way as literature and everyday language. The classification system set up by the Greeks is useful to designers and should not be overlooked when trying to persuade an audience. "Discover all available means of persuasion in any given situation either to inform (rational appeal) to delight or win over (ethical appeal) or move (emotional appeal) an audience." -Aristotle
"The purpose of graphic design is to convey thoughts ideas and feelings between people."
Visual/verbal comparison = a comparison that starts with verbal signs and is continued with visual signs
Visual/verbal analogy = a relatum [one of the objects between which a relation is said to hold] expressed verbally is paralleled by a similar relatum expressed visually
Visual/verbal mentonymy = a relatum indicated by verbal signs is visualized by signs in a real relationshop to the verbal relatum (cause instead of effect, tool instead of activity, producer instead of product)
Visual/verbal chain = a topic begun in words continued and complete visually
Visual/verbal negation = verbal signs negate what is shown visually
Visual synecdoche = a relatum expressed verbally is visualized by a part representing the whole, or vice-versa
Verbal specification = a visual sign accompanied by only as much text as is necessary for its comprehension
Visual substitution = one visual sign replaced by another because of its formal characteristics
Syntactic climax and anticilmax = a purely visual figure
Visual/verbal parallelism = visual and verbal signs representing the same relatum
Associative mediation = one verbal sign out of a series is illustrated by a series of
visual signs, which lead, in turn, to another relatum of the verbal signs
___________________________________
As a Reference:
Transpositive figures (departure from normal word order)
Apposition (explanatory insertions)
Atomization (treating dependent parts of a sentence as independent)
Parenthesis (enclosing one sentence in another)
Reversion or anastrophe (dislocation of a word or emphasis)
Privative figures (omission of words)
Ellipsis (leaving ut words which can be supplied form the context)
Repetitive Figures
Alliteration (repeating an initial letter or sound)
Isophony (repeating sounds of similar words, or parts of words in a series)
Parallelism (repeating the same rhythm in successive clauses or sentences)
Repetition (repeating a word in various repetitions)
Contrary Figures (based on the union of opposite relata)
Antithesis (confrontation in a sentence of parts having opposite meanings)
Conciliation (coupling of contradictory relata)
Comparative figures (based on comparisons between the relata)
Gradation (words in an ascending order of forcefulness)
Hyperbole (exaggeration)
Metaphor (transfer of a word to another filed of application in such a way that a similarity of any kind between the two fields is assumed and given expression)
Understatement
Substitutive Figures (based on replacement of the relata)
Metonymy (replacement of one sign by another, the relata of both being in quantitative relationship)
Fictitious dialogue (speaker asks the answers himself)
Direct Speech
Conversion of an objection into an argument in one's own favor
Asteism (irrelevant replies to a question or argument)
The reading, Visual/Verbal Rhetoric from Gui Bonsiepe, gave concrete definitions and answers to the relationship between information, the viewer/audience and the designer. It explained how the Greeks divided rhetoric into three categories; the political, the legal and the religious, with the objective of obtaining a definite decision, implanting an opinion, or evoking a mood. There are two aspects to every sign; shape and meaning. Bonsiepe explains that, "...classical rhetoric is no longer adequate for describing and analyzing rhetorical phenomena in which verbal and visual signs (word and picture) are allied." He gives three categories of figures that explain how to visual/verbally use persuasion and analysis (in practice and theory) through; Syntactic Figures (meaning), Semantic Figures (reference) and Pragmatic Figures (dialogue) [see below]. It is good to contrast persuasion with information because, "...communication is not limited to this; informative assertions are interlarded with rhetoric to a greater or lesser degree. If they were not, communication would die of sheer inanition." " 'Pure' information exists for the designer only in arid abstraction. It takes concrete shape through the process of rhetorical infiltration." Bonsiepe also notes that advertising is addressed information which means that the the informative content is secondary at best when directed towards the audience. Raw information is hard to digest and must be expressed in a different manner in order to significantly persuade.
"If ten rhetorical figures and five normal sentences appear in a text, it may be said to have a persuasion grade of 2."
The second reading, Type + Image, reiterated the Rhetorical tropes discussed in the lecture on Friday (i.e. simile, metaphor, personification, metonymy, synecdoche hyperbole, antithesis, allegory). It explains that language is a systematic means of communication ideas or feelings through signs (sound, visual gestures, marks) and that visual symbols and images are used in the same way as literature and everyday language. The classification system set up by the Greeks is useful to designers and should not be overlooked when trying to persuade an audience. "Discover all available means of persuasion in any given situation either to inform (rational appeal) to delight or win over (ethical appeal) or move (emotional appeal) an audience." -Aristotle
"The purpose of graphic design is to convey thoughts ideas and feelings between people."
Visual/verbal comparison = a comparison that starts with verbal signs and is continued with visual signs
Visual/verbal analogy = a relatum [one of the objects between which a relation is said to hold] expressed verbally is paralleled by a similar relatum expressed visually
Visual/verbal mentonymy = a relatum indicated by verbal signs is visualized by signs in a real relationshop to the verbal relatum (cause instead of effect, tool instead of activity, producer instead of product)
Visual/verbal chain = a topic begun in words continued and complete visually
Visual/verbal negation = verbal signs negate what is shown visually
Visual synecdoche = a relatum expressed verbally is visualized by a part representing the whole, or vice-versa
Verbal specification = a visual sign accompanied by only as much text as is necessary for its comprehension
Visual substitution = one visual sign replaced by another because of its formal characteristics
Syntactic climax and anticilmax = a purely visual figure
Visual/verbal parallelism = visual and verbal signs representing the same relatum
Associative mediation = one verbal sign out of a series is illustrated by a series of
visual signs, which lead, in turn, to another relatum of the verbal signs
___________________________________
As a Reference:
Transpositive figures (departure from normal word order)
Apposition (explanatory insertions)
Atomization (treating dependent parts of a sentence as independent)
Parenthesis (enclosing one sentence in another)
Reversion or anastrophe (dislocation of a word or emphasis)
Privative figures (omission of words)
Ellipsis (leaving ut words which can be supplied form the context)
Repetitive Figures
Alliteration (repeating an initial letter or sound)
Isophony (repeating sounds of similar words, or parts of words in a series)
Parallelism (repeating the same rhythm in successive clauses or sentences)
Repetition (repeating a word in various repetitions)
Contrary Figures (based on the union of opposite relata)
Antithesis (confrontation in a sentence of parts having opposite meanings)
Conciliation (coupling of contradictory relata)
Comparative figures (based on comparisons between the relata)
Gradation (words in an ascending order of forcefulness)
Hyperbole (exaggeration)
Metaphor (transfer of a word to another filed of application in such a way that a similarity of any kind between the two fields is assumed and given expression)
Understatement
Substitutive Figures (based on replacement of the relata)
Metonymy (replacement of one sign by another, the relata of both being in quantitative relationship)
Fictitious dialogue (speaker asks the answers himself)
Direct Speech
Conversion of an objection into an argument in one's own favor
Asteism (irrelevant replies to a question or argument)
Friday, August 27, 2010
Tender Buttons: Initial Choices
NOTHING ELEGANT(short)
A LONG DRESS (medium)
MUTTON (long)
CRANBERRIES (medium)
TAILS (short)
SINGLE FISH (medium)
A RED STAMP (short)
A FRIGHTFUL RELEASE (short)
CARELESS WATER (medium)
A MOUNTED UMBRELLA (medium)
A SELTZER BOTTLE (medium)
BOOK (medium)
END OF SUMMER (short)
A LONG DRESS (medium)
MUTTON (long)
CRANBERRIES (medium)
TAILS (short)
SINGLE FISH (medium)
A RED STAMP (short)
A FRIGHTFUL RELEASE (short)
CARELESS WATER (medium)
A MOUNTED UMBRELLA (medium)
A SELTZER BOTTLE (medium)
BOOK (medium)
END OF SUMMER (short)
Tuesday, August 24, 2010
Karrin Allyson: Initial Research
Bio:
Born in Great Bend, KS, she has lived in California and attended school in Nebraska. She is now based in New York City because of the Jazz scene but claims to love rural life. She launched her career in Kansas City at the Pheonix (!!!).
Graduate of the University of Nebraska in 1987 with a major in Classical Piano and a minor in French
Has an accompaniment trio
Alto
Singer, songwriter, pianist, composer and bandleader
She’s been doing so just
about everywhere jazz can be heard or seen since
1992.
Borrowed funds from her family to assemble her Kansas City-based rhythm
Recorded a series of eleven CDs for Concord Records
French and Brazilian music in English, Portuguese,French, Italian and Spanish
Allyson spends two days out of three on the road, playing the major jazz festivals and clubs of the U.S. and making repeated tours overseas.
Had her own all-girl band called, Tomboy
The three times, Grammy-nominated singer and pianist, plus her trio birthed her career in KC. Her work ranges from blues to ballads & bossa nova. She looks up and has been likened to Norma Granz, Joni Mitchell and Carol King
She has a convincing style, and firing scat vocals back and forth as a counterpoint to Geils' blues guitar. She likes to widen her audience by studying multilingual lyrics and including them in her repertoire.
Descriptive Words:
Sultry
Smokey
Otherworldly
Imaginative—dreamy
Personal
Tender yet tough
Versatile
Authoritative
Honest
Thoughtful musicality
Fearless
heart, intelligence, and musical
sophistication
Innocent, sexy and world weary
“She blends grit and folk wisdom into the
sophistication of her blues singing and piano playing.”
“A wonderful, enthusiastic woman.”
Quotes:
“I wanted folks to get these songs no matter what language they speak…”
“If you are not swept away by Karrin Allyson’s recording of “Imagina,” you had better check for a heartbeat.”
Imagina: Songs of Brasil, = “I hope that these songs speak
directly to your heart, as they have to mine.”
“She brings a timbre that is part ice and part grain...incisive, original, and
emotionally convincing.”
“Stunning debut! Irresistible twists of melody and inflection,” wrote veteran jazz critic Neil (seductive?)
Tesser in Playboy Magazine
“Allyson coolly stakes
her claim.”
“She’s such an otherworldly
talent that the creator probably already has her on heavy rotation.”
Choice Lyrics:
Happiness is like a little feather
Happiness is just a drop of dew that’s nestled in the petals of a flower
Every mornin' finds me moanin'
I'm alone and crying the blues
I'm so tired of paying my dues
Ev'ry body knows I'm moanin'
Too young so he tells me
He says we’ll have to wait
Why wait, until it may be
Her Written Lyrics:
This is the kind of thing I love to do
So if you say you really want me to
I’ll play for you
I used to dream of jazz all night
So if you ask me nice well I just might
Jazz is a way to work out your cares and woes
If you close your eyes you will soon realize
And so my friend now you can plainly see
This is the kind of thing that is for me
Well I don’t have to call betty crocker
I don’t have to call sara lee
This man has done his homework
Makes up his own recipe
Sweet Home cookin’
Negatives:
Allyson's alto voice doesn't have a particularly wide range. Curiously, neither did she venture much beyond the middle range of the piano.
Questions To Ask:
1. Why are the members of her accompaniment not recognized?
Born in Great Bend, KS, she has lived in California and attended school in Nebraska. She is now based in New York City because of the Jazz scene but claims to love rural life. She launched her career in Kansas City at the Pheonix (!!!).
Graduate of the University of Nebraska in 1987 with a major in Classical Piano and a minor in French
Has an accompaniment trio
Alto
Singer, songwriter, pianist, composer and bandleader
She’s been doing so just
about everywhere jazz can be heard or seen since
1992.
Borrowed funds from her family to assemble her Kansas City-based rhythm
Recorded a series of eleven CDs for Concord Records
French and Brazilian music in English, Portuguese,French, Italian and Spanish
Allyson spends two days out of three on the road, playing the major jazz festivals and clubs of the U.S. and making repeated tours overseas.
Had her own all-girl band called, Tomboy
The three times, Grammy-nominated singer and pianist, plus her trio birthed her career in KC. Her work ranges from blues to ballads & bossa nova. She looks up and has been likened to Norma Granz, Joni Mitchell and Carol King
She has a convincing style, and firing scat vocals back and forth as a counterpoint to Geils' blues guitar. She likes to widen her audience by studying multilingual lyrics and including them in her repertoire.
Descriptive Words:
Sultry
Smokey
Otherworldly
Imaginative—dreamy
Personal
Tender yet tough
Versatile
Authoritative
Honest
Thoughtful musicality
Fearless
heart, intelligence, and musical
sophistication
Innocent, sexy and world weary
“She blends grit and folk wisdom into the
sophistication of her blues singing and piano playing.”
“A wonderful, enthusiastic woman.”
Quotes:
“I wanted folks to get these songs no matter what language they speak…”
“If you are not swept away by Karrin Allyson’s recording of “Imagina,” you had better check for a heartbeat.”
Imagina: Songs of Brasil, = “I hope that these songs speak
directly to your heart, as they have to mine.”
“She brings a timbre that is part ice and part grain...incisive, original, and
emotionally convincing.”
“Stunning debut! Irresistible twists of melody and inflection,” wrote veteran jazz critic Neil (seductive?)
Tesser in Playboy Magazine
“Allyson coolly stakes
her claim.”
“She’s such an otherworldly
talent that the creator probably already has her on heavy rotation.”
Choice Lyrics:
Happiness is like a little feather
Happiness is just a drop of dew that’s nestled in the petals of a flower
Every mornin' finds me moanin'
I'm alone and crying the blues
I'm so tired of paying my dues
Ev'ry body knows I'm moanin'
Too young so he tells me
He says we’ll have to wait
Why wait, until it may be
Her Written Lyrics:
This is the kind of thing I love to do
So if you say you really want me to
I’ll play for you
I used to dream of jazz all night
So if you ask me nice well I just might
Jazz is a way to work out your cares and woes
If you close your eyes you will soon realize
And so my friend now you can plainly see
This is the kind of thing that is for me
Well I don’t have to call betty crocker
I don’t have to call sara lee
This man has done his homework
Makes up his own recipe
Sweet Home cookin’
Negatives:
Allyson's alto voice doesn't have a particularly wide range. Curiously, neither did she venture much beyond the middle range of the piano.
Questions To Ask:
1. Why are the members of her accompaniment not recognized?
Kibera TV
Groundwork: What it is.
Directed towards: students, actors, youth & adults. Exposing: youth, children, and adults to new ideas through community film screenings and large open-air screenings to crowds of hundreds in the slums. Includes; writing, camerawork, music, painting, and visual art, with journalists, editors and producers.
• In August 2009 they started the innovative, hands-on, first ever Kibera Film School where trainees learn all aspects of filmmaking from script, acting, casting, camera, production, editing, and distribution. Professionals from the Kenyan film and TV ind¬ustry work as instructors in the school.
• Focus on: Education, talent development, & training
Quotes:
“I feel like I can edit now:
“I can write a story…tell a story”
“Joining the film school has been a turning point in my life”
“...coming up with something the community can relate to.”
“We need support.”
-Voice of Kibera
- Future, change, support, eyes, creativity
Website:
Fun music—hip hop
Love Red!
Films: fiction and documentary
Romeo & Juliet –like love story with hustler, artist & a preacher’s daughter
• Challenges of poverty, unemployment, crime and lack of basic human rights.
• Collaboration with Kiberia’s youth 3 years ago
• Watch the Trailer!
Kibera Kid , 2005 (Started the Hot Sun Foundation Hot Sun Films 2004)
• Watch the Trailer!
Groundwork: What it can be.
Those who participate in the Kibera Film School and those who produce Kibera TV, all desire to make Kibera a better place by providing a future to the youth through education and community exposure. In collaboration with the Hot Sun Foundation, they are able to not only broadcast within their community, but also share Kibera with the world.
After watching many of the clips, both on the Hot Sun Foundation website and the Kibera TV blog and some searching, I gathered that among the 40 different ethnic languages spoken in Kenya, Kiberans speak Enlish, Swahili and are also known for Nubi (a form of Arabic Creole). As I develop different ideas for my 15 seconds, considering that the audience is multilingual will place more emphasis on my imagery rather than voice or text.
Kibera TV is publicized within the community of Kibera to educate and inform the inhabitants through broadcast television. Hot Sun Foundation made it possible for them to produce two feature films developed entirely by student collaboration in writing, acting, filming and editing. I would be creating a short clip that would be broadcast in the community alongside Kibera TV news.
The website referred to the youth’s interest in hip-hop music and reiterated this by using it in their short clips describing the Hot Sun Foundation, the film school and students. I have decided to choose against showing images from Kibera on the basis that 1) this is my audience’s home--I should build something else from it. I would like to be able to only take inspiration from images of the town and focus on creating something new by means other than photography (illustration). In addition to this, their footage includes clips from Kibera. I would like to add visual contrast to the viewer by creating something new (this could mean illustration or graphics?). At this point, I would like to work a mosaic. Looking at photographs from Kibera, the town is full of color that I would like to join to make one larger "picture". A visual demonstration of Kibera TV's ability to create something new (change) from within their community.
Directed Towards:
Those who believe in what Kibera can be through broadcast, community exposure made possible by the collaboration of different skills such as; writing, camerawork, music, painting, visual art and other creative talents. Specifically, those who are willing to use their creative abilities to develop a positive change within their community. I need to inspire my audience to inspire their community.
My Audience:
1. Values and identity (purpose, relevant beliefs, sense of belonging): To make Kibera a better place through Kibera TV and the Hot Sun Foundation’s Film School
2. Visual symbolic codes: Footage, photographs of faces = primary interest is the people and students themselves.
3. Communications styles based on language and speech: multilingual with various levels of education
4. Preferred media and distribution channels of communication: videos, films, stories, theater, music
Directed towards: students, actors, youth & adults. Exposing: youth, children, and adults to new ideas through community film screenings and large open-air screenings to crowds of hundreds in the slums. Includes; writing, camerawork, music, painting, and visual art, with journalists, editors and producers.
• In August 2009 they started the innovative, hands-on, first ever Kibera Film School where trainees learn all aspects of filmmaking from script, acting, casting, camera, production, editing, and distribution. Professionals from the Kenyan film and TV ind¬ustry work as instructors in the school.
• Focus on: Education, talent development, & training
Quotes:
“I feel like I can edit now:
“I can write a story…tell a story”
“Joining the film school has been a turning point in my life”
“...coming up with something the community can relate to.”
“We need support.”
-Voice of Kibera
- Future, change, support, eyes, creativity
Website:
Fun music—hip hop
Love Red!
Films: fiction and documentary
Romeo & Juliet –like love story with hustler, artist & a preacher’s daughter
• Challenges of poverty, unemployment, crime and lack of basic human rights.
• Collaboration with Kiberia’s youth 3 years ago
• Watch the Trailer!
Kibera Kid , 2005 (Started the Hot Sun Foundation Hot Sun Films 2004)
• Watch the Trailer!
Groundwork: What it can be.
Those who participate in the Kibera Film School and those who produce Kibera TV, all desire to make Kibera a better place by providing a future to the youth through education and community exposure. In collaboration with the Hot Sun Foundation, they are able to not only broadcast within their community, but also share Kibera with the world.
After watching many of the clips, both on the Hot Sun Foundation website and the Kibera TV blog and some searching, I gathered that among the 40 different ethnic languages spoken in Kenya, Kiberans speak Enlish, Swahili and are also known for Nubi (a form of Arabic Creole). As I develop different ideas for my 15 seconds, considering that the audience is multilingual will place more emphasis on my imagery rather than voice or text.
Kibera TV is publicized within the community of Kibera to educate and inform the inhabitants through broadcast television. Hot Sun Foundation made it possible for them to produce two feature films developed entirely by student collaboration in writing, acting, filming and editing. I would be creating a short clip that would be broadcast in the community alongside Kibera TV news.
The website referred to the youth’s interest in hip-hop music and reiterated this by using it in their short clips describing the Hot Sun Foundation, the film school and students. I have decided to choose against showing images from Kibera on the basis that 1) this is my audience’s home--I should build something else from it. I would like to be able to only take inspiration from images of the town and focus on creating something new by means other than photography (illustration). In addition to this, their footage includes clips from Kibera. I would like to add visual contrast to the viewer by creating something new (this could mean illustration or graphics?). At this point, I would like to work a mosaic. Looking at photographs from Kibera, the town is full of color that I would like to join to make one larger "picture". A visual demonstration of Kibera TV's ability to create something new (change) from within their community.
Directed Towards:
Those who believe in what Kibera can be through broadcast, community exposure made possible by the collaboration of different skills such as; writing, camerawork, music, painting, visual art and other creative talents. Specifically, those who are willing to use their creative abilities to develop a positive change within their community. I need to inspire my audience to inspire their community.
My Audience:
1. Values and identity (purpose, relevant beliefs, sense of belonging): To make Kibera a better place through Kibera TV and the Hot Sun Foundation’s Film School
2. Visual symbolic codes: Footage, photographs of faces = primary interest is the people and students themselves.
3. Communications styles based on language and speech: multilingual with various levels of education
4. Preferred media and distribution channels of communication: videos, films, stories, theater, music
Subscribe to:
Posts (Atom)