Reel/Unreel

 Reel/Unreel is a very interesting film that I'm glad that I saw.  In the beginning I couldn't figure out what it meant, or what it was trying to depict but  the title had me going to Google and asking what reel means in unreeling which is very interesting because I've never really thought about it. The scene kind of start of very silent introducing us to environment so we get a bird's-eye view of Afghanistan because that's where he filmed it and then we get kids playing with like a wheel thing and it's in the same motion as The Reel. I loved the lack of words,  in the beginning because they let us as viewers narrate what we think is happening and I especially love when the kid was playing with his wheel and then it went down the hill into like a cemetery kind of place and he just looked at it.  I also noticed in the beginning they were playing with the reel, they stopped and looked up at the helicopter with this frightening kind of look on their faces and when it left. They went back to playing and then in the middle of the scene too when the kids were running after the reel; there was another helicopter two this time were flying by and they stopped and looked up in it was like they were waiting for something to happen.

 I enjoy the angles that the camera went through in the beginning it went from a very bird's eye view and then when we got to the land we got a tracking which was followed the kid in the black and neon stripe and another kid. The camera was tracking both of them and we can only look at their legs in the beginning so it brought a lot of movement in the film.  Now going back to the reel and unreel, one thing to notice is that the red reel had no destination.  It just always unreeled and unreeled in any location where they was dirty, clean, chaotic, busy or not it just did what it wanted and when you look at the way he filmed it we didn't see always see  the kid who was unreeling looking at the direction in which he was going and he was always focusing on the red reel like he was hypnotized by the movement and just kept going. The blue reel put everything back together, I noticed that while the red one was chaotic the blue one was trying to put everything back in order but had obstacles in his way like he had like animals stopping him, people blocking his path but it didn't stop him until the last scene when the red real just went off the cliff and he just decided to just stand there and smile. The red unreel just wants to be unreel it didn't want to be put back together and just off a cliff was an escape for it. And then we have the ending with another view of the entire land and it was very interesting. 



Comments

  1. Good to get a sense for your thoughts here, Ange. In future posts, just be sure to proofread for clarity before you publish. As I've said, we do not need to be expert writers in this studio art course, however we have to convey our opinions a clearly as we can, and a quick proofread, or out-loud read, would go a long way. One suggestion I have about analyzing film, video, or any moving image, is to occasionally step back from the specific or literal information that the filmmaker is providing and try to interpret the big picture. video art and film can sometimes be like slight-of-hand illusions in that the artist might lead you to interpret the information in one way, but as we search for the broader themes and contexts, we begin to appreciate the metaphors and alternate meanings behind the works that we view. This is true when interpreting any form of art—whether painting, sculpture or otherwise, art products may be broken down by their material choices, formal arrangements, and contextual meanings. While these children are playing their game, and the camera tracks their actions, they also, as a by-product, give us unique access to the city of Kabul, and its activity on a normal day-in-the-life.

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