Hmmm...

I don't really have a lot to say about the three shot edit, at least the one I did. Maybe I would if I had spent more time on it. I looked at Rice's though, which was a very nice edit. You could make a whole feature film based on that 3 shot edit. Making continuity of time and space out of basically nothing. That and what I would call the relational edit. The edit that (...insert Russian guy here), just kidding, it's Kuleshov, don't think I spelled that right. This "relational edit" is something we make mental associations with. Like those lovely beakers we saw. It has no real relationship to the white people coming onto the land of the native peoples, but when we see them together we make the association of, "something here is disturbed," "some sort of friction that will eventually catch fire and spread." These ideas interest me a lot, and is really what found footage film is all about. However, I think we'll find out that this is just the base level. For instance, the film "Decasia" as a phenomenal film about the natural decay of film using an array of rotted, damaged, found footage. It's a really beautiful film, that we maybe should check out as a class. But, perhaps not. I think that the medium of this film is really the message, not so much the images there, but the images also speak well to eachother, using revolving or spinning as a motif throughout. I'm sure there's a good article that covers the film better than I can though. I think It's something we can think of if we plan to do a found footage film, which I may well be doing. I haven't been able to browse the recycled images locker, but I'm sure there's some films that are decayed, faded, etc. that you could apply some sort of message to the visual ascetic as well as the image content in the film. Anyway, that's all I have to say about that.