Black Lung & Lobster - VS. - Case Study: Nonverbal Communication

For “Black Lung & Lobster” and “Case Study: Nonverbal Communication,” each approach focused mainly on one of two different visual aspects to reinforce the weakness of the protagonist, and the “strength,” or dominance of the antagonist.

Our joke, as seen in the videos, depicts a charity representative approaching a wealthy individual in hopes of receiving a donation for their fund. This particular wealthy individual shows little interest in putting forth any such donation.

In the first video, “Case Study: Nonverbal Communication,” we manipulated line in different ways in order to achieve an accurate depiction of the contrast between the roles of the two characters. During the interaction between our two characters, we see the horizon line (actual line) with the wealthy individual move from being actually stepped on, to arriving right around his waist; not very belittling. In contrast to the horizon line with our charity boy, which appears right around his shoulders, and even above his head, you get the idea that this guy is timid, weak, and maybe even terrified of the task before him. Virtual lines also appear as the wealthy man stops to glare at timid charity boy, shooting downward at him, while the boy sheepishly peers upwards. This puts our protagonist on a stage lower than our antagonist.

For video number two, “Black Lung & Lobster,” we utilized visual rhythm to establish our characters’ roles. During the initial interaction between our antagonist, Tom, and his colleague Rich, we maintain a point of interest around the center of the frame as we cut between the two, establishing an affinity in stature between them. Once we move to our antagonist Roger Fritchland, we manipulate space a bit in showing the size of his office, in contrast with the tight quarters of Tom and Rich, showing Roger’s higher stature with his abundance of space. Roger then scoots right up to the camera filling over half the frame. With Roger and Tom, we keep Tom small and centralized, and Roger, massive and located to the right. This creates another contrast, regarding the their size (and stature). In regards to the characters’ frame location, we bounce back and forth between the two creating a visual rhythm, as our eyes bounce center to right, from tiny Tom to giant Roger we get a sense of tension between the two. We are provided release as Roger admits his lies, leaving Tom stunned and humiliated.”