#bcttrickster

This is the final exhibition space for our trickster story. The space itself plays quite heavily into the story being told and in a way is the second part of the narrative started by the video.

As I am currently searching for my first full time position and showing my digital portfolio to employers I felt that showing my trickster work, which is very far removed from the kind of work I usually do, may be unwise. 

As a compromise I have completed the webpage and taken two screenshots which I have then stitched together.

Mainly due to job applications, I didn’t want to feature this on my live website. The gallery features various different angles of the exhibition and beneath that is a link to the video. It’s ordered in such a way that it almost recreates the experience in a digital way. You get the first impression of the space, watch the video and then finally go back to the space and see it in a different light.

We’re finally here. The video is done and rendered and so it’s time to start talking about our exhibition space. 

We really wanted this to feel like it was a personal space for our trickster. We incorporated elements from the video (the materials for some of the animations as well as the costume) and some more personal touches. The layout was partially inspired by the cliche idea of tea parties that some children have with their toys, but themed towards a movie screening.

A slightly more last minute touch was the idea of incorporating the police investigation into it. Cordoned off with bags of evidence alongside ‘reports’. This was to build on the uneasiness that we wanted to instill in our audience, provoking more thought. In conjunction with the video, it’s an addition onto the themes of single perspective and reflection. At first glace, everything is not what it seems.

For this trickster short film I have had to spend a good amount of time editing but as a result of the trickster being the one to “produce” the work I have had to spend time defining each edit as either “in-character” or “out-of-character”.

The in character edits include things that the trickster has put in the film personally and represent a standard of editing that is not my best. These will mainly be bombastic colour changes and other large noticeable effects, the kind of thing that the trickster would add to the video because they believe it improves it.

The out of character edits are things such as the green screen work, these are things the trickster would not have to do during their production but we have to fill in. These are done to the best of our ability and made as difficult to notice as possible.

Our Trickster plays a very large roll in our choices for production, being almost a director of sorts. This has meant we have needed to constantly think about how we are defining, thinking about and implementing choices pertaining to the trickster. In a few cases we have made changes to the trickster’s character followed by sweeping revisions of past editing choices or changes in choice of footage used. 

Nearing the end of our research stage we really nailed down what our trickster is, this included: goals. issues, strengths, perspectives and the things we were taking creative licence with. We have always wanted to have the trickster be a character whose physical actions were realistic but whose mental state/justifications are not sound. On top of this we decided that the manner in which the Trickster suffers from certain mental conditions will not be realistic in every case in order to improve the effectiveness of certain parts of the film and we made sure to research each condition to ensure this was a choice on our part.

Maggie has said she’s not a big fan of the posters. I’m not either to be quite honest. We want the work to sort of speak for itself, so we’re taking this opportunity to build up our character and world.

Like basically everything in this project, our poster is made by the trickster. It’s supposed to be an ad of sorts. Drawn with heart and again showing their view of the events. It doesn’t give away what it’s truly about and is again building up the twist and trickery.

It’s drawn with jumbo crayons as well.