The contextual framework for the first two stories is a documentation of personal reflection. The writers seem to have a desire to express their feelings about the thoughts that consume them most. In Jackson’s “MY BODY”, she describes a range of concerns that reveal an idiosyncratic thought process tilting towards the side of fiction in order to shed light on the all too familiar lack of adolescent self esteem. The fantasy aspect to the story is in her writing style itself. I think that she is really reliving these thoughts and they are just so extreme that they come across as fiction. The interesting part of this writing is the imaginative mind of a youth.
“Six Sex Scenes” is laid out in similar manner to Jackson but involves more of a “journal for her therapist” context. The writing does cross the line into fantasy especially at the section with her and her dad in the changing room. The way she wrote that was not so much implying that her dad “touched” her as a child but more the psychoactive tendencies of a wondering mind.
These artists are using creative exaggeration in order to develop their latent personalities into a fictionalized alter ego. I think people do this a lot in order to feel a situation out without actually having to change. Once a thought or idea is put into words or on paper then that person can develop that manifestation further. Eisen actually uses that method openly when talking about something that Adam would say. She immediately followed a comment on how that was not true, and she just said it to see what it sounded like.
In the case of little red riding hood, I think she used the story to aid with her concept. The wolf in the fairy tale is this deceptive being that is going to consume her if given the chance. This sounds like the way some people perceive their significant other, i.e. succubus. The story, in the eyes of Leischman, is a bit different due to the contemporary context. The wolf is still the deceptive creature he has always been, but this time he is not the consumer. This plot has a feel of revenge for the hurt that she has endured throughout her relationships.
In Tina Laporta’s “Distance”, the character she plays is voyeuristic, looking in on the lives of net-com participants. Using her own thoughts in the text, she seduces the viewer into the enigmatic environment of the online community. This was extremely new at the time and not many people knew what to think of the ability to communicate at such a distance. “We become artifacts in motion”. That comment resonates within me because now, more so than in “99, are we becoming pixels on a screen
“DAKOTA”
“The ultimate textual experience”
Short film is taken to an exciting new level with Young-Hae Chang’s “DAKOTA”. The imagery is completely comprised of high-speed text changing so fast that if you stop to think about what you just read, you’re already lost. This revolutionary verbal video has all the story of a full-length drama in a fraction of the time. Intense ritualistic drumming accompanies the text driven treat creating an unforgettable multiple sensory experience. .
