Godfather analysis

This is the shot when Sollozzo and McCluskey pick Micheal up and they are on the way to the bar.

• Close up shot at Micheal's face, being in the middle of the frame. 
• We can barely see his entire face as well as Sollozzo's and McCluskey's
• Contrast in light appear strongly in this picture. Everything is very dark accept the light shine through the back window. It's probably from a car behind and the streetlight pole. 
• Sollozzo and McCluskey is pushed to the sides and barely shown by the streetlight. They remains in the dark almost the whole the scene. 
• Plus, the two are the only talking in the car.
• Micheal is very still, not much of movement. He barely turn his head. 
• As we can see, his eyes are almost looking at the same spot every time. 
• The difference in movement between Micheal and Sollozzo shows that Micheal is very different with the other two, which are very active and talkative, full with movement. 
• Micheal is looking still, he's calculating something. He's thinking what happen next (the gun, the murder)

• The closing scene of the "Godfather" 
• The scene is shot in deep focus, presenting Kay in the front and Micheal in the back. 
• Even though Kay in the bigger figure, standing real close to the camera, Micheal is the one in focus. 
• Added to this, the two are both in the frame, but the distance between them is far apart. Furthermore, the two are separate by the line in the middle of the frame, creating the audience a feeling of disconnection.  
• This shot then cut away to a medium shot of the room Micheal is in. 
• The purpose of this shot is suggesting the audience a view of who and what is happening in side the room as well as giving a perspective of Kay. 
• Micheal again is in the middle and surrounded around by the three other character
•  presenting Micheal is the central attention. 
• The eerie sad music from the beginning of the music is once again play in this scene. 
• Its suddenly get louder and louder when two second man kisses Micheal's hand - toward the climax as well as giving the audience a pity feeling of Kay when the camera cut away shot close up to Kay's face. 
• Then the volume gets lower as well as the pitch suggesting the scene is over - leaving the audience an uneasy feeling. 

Keith Carter - Artist In Residence

Keith's mop bucket

Keith Carter who is an artist in residence. He is currently working at Clay on Steele studio in Algoma and at the Barnsite Gallery in Kewaunee. We are honored to have him in our class. He shows and teaches us many thing outside of the box which we might not have chance to discover them on our own.

After showing us new and cool techniques working with clay, he assigned us the "Rustic Vessels" topic. Taking the idea of a vintage object, we have to recreate that object out of clay and then add on another found object which is not clay into the clay part with a purpose.

I am really excited with this topic because it's really different from what we get to do in class. Normally, we only get to make pots, cups but this time we get to incorporate a non-clay object into our clay piece. I think it's really fun to do.  And since we have to choose a vintage object, I choose to recreate a rotary phone which no so many people using it nowadays. People now have their "smartphones" with them almost 24hours per 7, forgetting the rotary phones or dial phones which played an important role back in the day. The found object I'm going to add on is a wire connecting the base to the hand set. I wrap the wire around a pencil to create its shape like a spring.

I used super glue to connect the parts together.

Keith is an inspiring artist. He gives us new ideas,  helps us in making the objects. He is funny and friendly. Not only he gives us great ideas but also makes some awesome pots, sculptures and vessels. They are all great. I really like them. And I would love to have him in our class again.