Below is some notes I took in a lecture relating to a summery of what fields and frames is, and giving examples of artists and possible techniques we can use in our piece.
The single frame
Time lapse The single frame
Duration
Pixilation
The frame
Perspectives
- 16mm loops, scratch, perforate, paint
- Projectors share the same space as audience
- Audience encouraged to participate in making of film
- Body as resource - mimic/build a tripod or a rig
- Holding tools and technologies
- Physical positions and viewing perspectives 'upside down'
Reflexivity - making the audience aware of what is going behind the camera,
Go! Go! Go!, Marie Menken (1962) uses her hand replicate the shutter on the camera, using her body.
Can acknowledge the presence of person behind the camera within experimental film.
Can acknowledge the presence of person behind the camera within experimental film.
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| Scene at the end where Marie waves her hand in front of the camera to replicated the shutter. Can also see her reflection. |
Duration - Time in film in correlation with time in real life. Peter Gadal "Durational equivalents between shooting time and viewing time. "
All parts of making the film is significant
Materialism
1970 Video space
1971 TV Interruptions
1974 Entering Second House
1990 Television Interventions
1991-1994 Animate!
Early material cinema
'tactile or 'haptic' cinema is a method employed by film makers who for various cultural reasons, wish to 'protect' the image' - Laura Marks 2000
Girl from Moush 1993
Laura Marks - the haptic
Materiality of film stripe
Digital Materiality
All of which above can be experimented with and explored in this unit.
Tutorial with Vicky
Psychoanalytic
Another important aspect of research is looking into what is being said about art works and how this influences/creates the pieces.
I mentioned my interest with Pipolotti Rist, and her installations which include big projections, and projections onto different surfaces.
Neighbours - Norman McLauren - pixilation
Pixilation is an interesting technique which 'misses' frames to give the appearance of gliding or flying. In the example above it really adds to the comedic values, and allows actions that couldn't be achieved in real life to be acted out in this sort film (without the need of special effects, which was not available at this period of time).
Pixilation is an interesting technique which 'misses' frames to give the appearance of gliding or flying. In the example above it really adds to the comedic values, and allows actions that couldn't be achieved in real life to be acted out in this sort film (without the need of special effects, which was not available at this period of time).
- Physical, material, surfaces and layers
- Material properties are pronounced and reflexively addressed analogue film capacity to deteriorate.
- Entering the frame as interventions.
- Composite and layered palimpsests.
All parts of making the film is significant
Materialism
1970 Video space
1971 TV Interruptions
1974 Entering Second House
1990 Television Interventions
1991-1994 Animate!
Early material cinema
- Roh film (1968) - film should not be used for non filmic references
- Negative image
- Manipulate the running speed of the film by passing it through with their hands.
'tactile or 'haptic' cinema is a method employed by film makers who for various cultural reasons, wish to 'protect' the image' - Laura Marks 2000
Girl from Moush 1993
- Layers
- Film itself
- Texture
- Colour manipulation
- Change in speed on each layer
- Clash but compliments
- Each layer was differentiated not only by image and colour but also by speed. Sense of texture.
- Why give the audience a clear picture?
- Haptic image
Laura Marks - the haptic
- Possibilities for cinema to represent embodied experience.
- Optical techniques force the viewer to feel with the eye eliciting a haptic encounter.
- Soft focus and multiple impositions, surface density
- Intercultural cinema - lack of archive representation greater reliance on memory as it appears to all senses.
- Tactile image can be used by artists to stake a deeper investment in their subject.
- Protecting image by disorienting the viewer.
- Tactility by proximity and contact with the screen
Materiality of film stripe
- Celluloid
- Sprockets
- Frames
- Optical sound
- Chemical on top of film
Digital Materiality
- Static
- Pixels
- Codec
All of which above can be experimented with and explored in this unit.
Tutorial with Vicky
Psychoanalytic
Another important aspect of research is looking into what is being said about art works and how this influences/creates the pieces.
I mentioned my interest with Pipolotti Rist, and her installations which include big projections, and projections onto different surfaces.
In coming up with an idea vicky suggested that I scope it out, what do i have in common with other female bodies in digital screen art. Start with yourself.
A photographer that was considered to look into was Cindy Sherman, as her photography was very much about her role playing and dressing up in different outfits, playing with the idea of identity.
Who am i? what is my specificity of being a young women in 2000s. Compared to before?
What is made by feminists? Why they want to steer away and create expanded cinema pieces because single screen was a male dominated market.
Another important part of research is using quotes to show that i understand what i am reading and to show Im engaged in a place of enquiry, when I have found a subject I am interested in.
In terms of the things Vicky suggested I think I am really interested in the body, however Im not sure whether I have the knowledge and a strong enough opinion to create a piece that is feminist orientated. However I am very interested in the techniques Pipilotti Rist uses to create an immersive, and eye opening experience for the audience. The audience is something I will have to think about when making my work also.
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