Fields and Frames #01

My Notes

part1

part 2
Reflexivity

“We rise against the collusion between the ‘director-enchanter’ and the public which is submitted to the enchantment.”

“The conscious alone can fight against magical suggestions of every kind.”

“We need a conscious people, not an unconscious mass ready to yield to any suggestion.”

Abstract Film and beyond – Malcon Le Grice

“Firstly, there is the self-referential aspect of showing rather than concealing the processes of production so that the works reveals the evidentiary traces of the artistic interventions having been made. Secondly, the audience is engaged not as mere passive spectators but as active participants in the production of meaning. At the same time within the terms of anthropology, ‘reflexivity’ acknowledges the subjectivity of the researcher as a valuable if not essential part of the process.”

Expanded Cinema : Art performance Film – ed by A.L .Rees.

Cause and Effect

Creation of film itself

Go!Go!Go ! by Marie M

DURATION

-Set period of time

-Measure of continuance

-Berlin Horse – Malcom Le Grice

-Relationship between time + real time

-Can be manipulated

-Is not the same between reality and the film

-Duration is a means for films to conform to the 3 act structure of a narrative/story, for an experimental film you aren’t bound by the confinement of story

-Warhol: Sleep

PERSPECTIVE

-Have a viewer interprets what they see

-Visual perception

-Aerial/linear perspectives

-Tony Hill – perspective filmmaker – www.tonyhillsfilms.com/films

FRAME

-Film and Video Art – book

-hand catching lead – Richard Serra

Rebus – film heather Phillips.

The Project

Last semester, during the development of my Maps & Journeys' project, I realised that once again I was about to change completely from one idea to another. I mean, once again! 

I'm not sure of how many times I've changed idea about what to do as a project, since I started Uni. But, I've got the feeling that it's been happening all the time. 

Normally, units such as this one have the same structure: firstly the briefing is given; after that, it's time for a series of lectures/screening/workshops; in the meantime, myself as the student should be researching and generating ideas for my project. 

It is only after towards the middle of the project that realise that I should or want to change idea. 

Why is that?

Honestly, I'm not sure. But, maybe I've haven't been thinking about the things that I truly believe as an artist, and instead have been using other people's work as comparison to mine. Therefore, I decided to have a look on some of my previous work and analyse them. A exercise suggested in the last lecture by Vicky Smith. 

That and what I've been researching on, will be discussed in my next Fields & Frames's post.