GRAND JURY AWARDS

GRAND JURY AWARD
Team: Cat Rat Dog
Film: Goodnight Mr. Lee
Members: Peter Chin and John C. Kim




1ST RUNNER UP
Team: Melt Papaya
Film: Pandamania
Members: Jessica Chung and Chris Tsou




2ND RUNNER UP
Team: Kerjen
Film: Stinky T
Members: Peter Wang, Heland Lee, and Jackson Loo

THE TOP 15

INDIVIDUAL AWARDS

A Note About Techniques Used in Film Music
Music is often used in films to involve an audience emotionally. Members of the audience can follow the story line as the visuals unfold, and can understand the emotions of the characters. However, as Brown (1994) says, it is the combination of the visuals with music that makes the viewers feel those emotions. For example, when watching Psycho we not only attribute fear to the unfortunate heroine when we watch her murder; we also feel fear, a sensation heightened by the visual impact of the camera work and the shocking musical accompaniment. Indeed, Brown (1994) writes that a critic for Time magazine objected violently to this scene because he considered it gruesome and far too explicit. On closer examination of the film, though, the portrayal of the murder does not actually show the knife entering the victim’s body. What causes the horror is the combination of Herrman’s score and Hitchcock’s macabre genius in editing the camera shots.

Music is used in two modes within films: diagetic and non-diagetic. Diagetic music is music which occurs within the narrative of the film. It is attributable to some source seen in the film, such as a radio, a record player, a musical instrument, a juke box or an orchestra in a concert hall. The characters of the film can hear this music. Non-diagetic music is music which is not part of the narrative, not attributable to a source in the film, and is unheard by characters in the film. This type of music is usually used to add affective colour to the film, and play on the emotions of the audience. It can be used to cue the audiences to feel uneasy; to build up tension; to flag an approaching disaster or to signal a love affair. Some composers, such as Korngold (composer of the music for the 1940 film ``Sea Hawk’’) associated particular characters with a non-diagetic musical theme, in the leitmotivic style (see below) most commonly attributed to Wagnerian Opera. This type of music is, for the most part, used to cue events in the narrative, although non-diagetic music playing at a counterpoint to the narrative can achieve interesting results.

http://www.cogsci.ed.ac.uk/~judyr/ghostwriter/music/paper/node7.html

One of our sponsors, The Orchard, is providing participants of this year’s 72Hr Film Shootout access to its extensive catalog of independent music. Participants can license music for use in the competition for a discounted sync fee of $50 per song. The Orchard administers sync rights for more than 800,000 diverse tracks from independent labels all over the world, spanning 73 countries and every music genre, and licenses its catalog for a wide variety of uses, including film/TV, ads, video games and interactive.

Contact Annie at oms@theorchard.com or 646-732-6339 for inquiries. 
http://www.theorchard.com/

Your Film:

1. Provide two copies of finished product on miniDV

2. Finished film must begin with:

10 seconds of bar and tone

Team name, date, title, running time

10 seconds of black

3. Films must include the following credit:

“This film was made possible in part by the support of the 3rd Annual 72 Hour Film Shootout, presented by the Asian American Film Lab, MTV World, and Asian CineVision.”

Required AAFilmLab documents:

1. Final roster for your team including the names of each person that participated during the 72 hours (including last minute participants)

2. Participants Agreement for all participating team members

3. Parent/Guardian Release (required for minors)

4. Affirmation of Team Leader

If we do not have these documents, we will not accept, judge, or screen a team’s work, even if only one member fails to sign.

Submitting Your Work:

The participating group must complete its film/video work and have it postmarked by 8:00 p.m. on Monday, June 12, 2006.  All teams must send their submissions via mail carrier (USPS, FedEX, DHL, Airborne delivered packages are the only ones that will be accepted) to arrive at the Entry Address, Asian Cinevision (ACV) at 72 Hour Film Shootout c/o ACV and AAFL, 133 West 19th Street, Suite 300, New York, NY 10011 by 10:30 a.m. EDT on Tuesday, June 13, 2006.  It is HIGHLY recommended teams use OVERNIGHT carrier.  Filmmakers may opt to use non-overnight delivery services to save money, however at their own risk.  NO DROP-OFFS (including messenger service) WILL BE ACCEPTED.  Only works that are received by the above deadline via official mail carrier will be admitted into the Competition.

MAILING ADDRESS:
Asian CineVision
133 West 19th Street, Suite 300 (b/w 6th and 7th Ave.)
New York, NY 10011
tel 212.989.1422

Jerry Broome
New York NY
Jerry Broome headshot
Jerry Broome resume
email:

Toy
New York NY
Toy headshot
Toy resume
email:

Maryse Karunaratne
New York NY
Maryse Karunaratne resume
email:

Hettienne Park
New York NY
Hettienne Park headshot

Jessica Daley
New York NY
Jessica Daley headshot

Puja Lalmalani
Los Angeles CA
Puja Lalmalani headshot
Puja Lalmalani resume
email:

Kevin Lee
New York NY
Kevin Lee headshot
email: