Love for Bozeman

I enjoyed everyone's short a/v projects tremendously. I think I really connected with Savannah's piece. The music, the imagery and the fact that it followed a storyline I think were the key elements that drew me into it. I think this video did a couple things really well:

1. It told a story of what I think was a homecoming of sorts, as the video fast-forwards over I-90. As I often do after being away from Bozeman for a while, she cruised down Main Street, visited her coffee shop and watched a classic Montana sunset.

2. I liked the theme of transportation running throughout. This video had the feeling of going somewhere...never being stagnant or boring. It took the time to focus on a few things, but generally was true to a 1.5 minute video - it was punchy and moved quickly, varying the imagery. The use of the (Chaco'd) feet was a great way to pull her into the video and adds to the feel of movement, almost giving the viewer that feeling of being along for the ride.

3. It focused on what I assume Savannah feels is important in life, which gives us a glimpse into the author's life. I'm one of those consumers of rhetoric who loves to speculate: is this the author speaking directly to me about what his/her life is like, or is this a creation of some sort of fiction, or a blending of both. She obviously went out with a video camera and a purpose - to make a video about Bozeman - but how much of this is true to her life and how much is "made for tv?"

4. Intentionally or not, she also brought into the video some of the elements we have been studying lately. Like I said above, we can only speculate on what part of this video was her and what was created for the camera, but I like how it tied in with the idea that McCloud put forward - that you will receive the message only if you don't know too much about the messenger (37). Indeed, there are several "actresses" in the film, but we're never sure which one is Savannah. Does she cartoonize her experience in Bozeman? I'm not sure I would go that far, but it certainly is interesting to think about it in that way.

She also integrated much of the icon/signage elements discussed in McCloud. Icons such as the Ellen, Music Villa and even the Coop building "represent a person, place, thing or idea" (27). Indeed, I believe in this film, they represented all four concepts. Notice she didn't put Costco or REI in the film. She used the icons that portray Bozeman as a local, funky, independent bastion of individualism. In fact, they seem to reflect this spirit in how Savannah sees herself, or how she would like to be seen. Again, we don't truly know.

That leads me to my last point, which is that this film is more than just a snapshot of Bozeman. It is Bozeman, seen through the lens of Savannah. And this is an important distinction. I would go so far as to say that this is about Savannah: about what she thinks is important in life. It is her identity, reflected back to us in the form of an icon that she holds dear. McCloud says "our identities and awareness are invented in many inanimate objects every day" (38). They are important to us in ways we often don't consciously think about. Our clothes, our hair, our choice of music, the places we live, the Chaco's on our feet, or the choice to forgo footwear entirely all add up to our identity, or some version of it.

The camera, prose and music all allow us to extend beyond mere words into self-expression. That's what multimodal writing is beginning to morph into for me. It is extending the concept of rhetoric beyond the keyboard. Indeed, it can be a powerful tool, as when the music swells in Savannah's piece and I get hit with a bit of nostalgia for my current hometown. The sun sets on another beautiful day and we're grateful for every second of it!