Deconstruction was a running theme of my work throughout this project, and it was also a theme that ran through Brick. Brick mashed up two completely different genres (detective thriller and high school drama) to create one product. This took a lot of deconstruction and analysis of each genre to find out what was important and what would make sense to translate into the other. Trying to find just the right mix of “Scooby Doo” and Monroe, MI was one of my main objectives while composing this project, and I used Brick as an example.

[Check out this clip from Top Chef for a personal relay about deconstruction]

The way that I tried to integrate dialogue and make it (hopefully) flow seamless and not hinder the telling of the story was also found in the e-lit work Inanimate Alice. The dialogue her mother and her shared painted the scene for what their relationship was like, their background story, the atmosphere, and the mood of the episode. My use of dialogue was used in a similar way, but I also used it to convey the values of Monroe. In one instance this “double-dipping” can be seen when I showcase the value of the First Downers in upbringing and discipline of the young males of the town. In another, I used dialogue to teach how important Aunt Bette was a community figure and how important she was in how the kids of the town were raised.

In Dreamaphage I liked that each “autopsy report” added to the story. Each was uniform, but added pieces to the story as well. I incorporated this into my project through using the clues. Each clue was a simple object, but each had their own meanings and importance to building the story. The clues are very important as well because they had to fit with the story of “Scooby Doo” and solving the mystery of the missing statue, but they also had to be about Monroe. The were the connector to the two parallels of this project. I chose them wisely and I think they really work well.

Pulp Fiction taught me to not make any sacrifices when it comes to creating a story. Any detail can be important, it you use the right techniques to showcase them. When I moved away from Monroe there are certain things that I look back and laugh at. I put these in my project by making the citizens of the story discuss them with the Mystery Team. My favorite example: taco pie and mostaccioli. They were everywhere in Monroe! At every potluck, fundraiser, graduation party, heck, they were probably served at the local McDonald’s.  I appreciate the significance of insignificant details in Pulp Fiction, and I also appreciate that I could add some quirks of Monroe into my project as well.


One Response to “Poetics Page For Project 2”

  1. Gary Hink Says:

    looking back & ahead (as we’ll do for Monday):

    reflection upon verbosity connects with my proposition in class about duration (not to be confused with your ambition for projects): to be effective in Electracy means different qualitative/quantitative properties of work, in our case the “hybrid expression” output — given we’re not affected (as writers, readers, or sender-receiver role) by 30-page argument treatise or by 3-hour film or by :30 advertisement.
    The WideSite (hypertext Emblem) will be a “test-run” of new logic & poetics, discerning what best facilitates expression and capacities (media+experience)…

    in reviewing my feedback of the Project, I realize I left out key compliment from the “Structural Portrait” critique: your affect of experience is markedly conveyed (inferred by me) by the site, despite overly abstract/implicit Cultural Role (Shaggy?); this is accomplished via genre (mystery narrative = exhilarating search/quest) & via material sensory details (experience of hometown, highly particular instance of eating pizza at Tiffany’s after sports/school events). So, well done to this end.
    From this, next challenge: how to perform affective discourse with Disciplinary topic when school forces us to leave out subjective conditions in favor of working with objective/abstract categories in Literacy…
    (how to make “experienced concept”??)

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