Week 8

Eija-Liisa Ahtila, Potentiality for Love, 2018 (Production still)

There is no scheduled classes in week 8 of Autumn 2018 for MEDA201. Instead, we encourage you to take this time to visit the 21st Biennale of Sydney to undertake research for your major project. This is a great opportunity to look at screen-based installations in situ and explores contemproary experimental screen art first hand.

Below are screen-based works that may be of interests:

Eija-Liisa Ahtila, Potentiality for Love, 2018 (installed view)


Samson Young, Muted Situation #22: Muted Tchaikovsky’s 5th, 2018 (production still). The work is a video and 12-channel sound installation.


Chen Shaoxiong, The Views, 2016


We will preview some of these works in week 7’s lectures. If you are planning a trip, you may also want to discuss your itineraries (works/ exhibitions you wish to see) with your tutor before the mid-session break.

A reminder that your assessment 2: Research Essay is also due this week. Please submit your essay electronic on Moodle via Turnitin.


Workshop 07: Screen and performance

In this week’s workshop, we continue with the practice of re-enactment focusing on performances that work with image and screen. These re-enactment projects require researching on concepts of the works, performative procedures, equipment set-ups, and audience experience. As in week 7’s exercise (re-creating video installations), you do not have to replicate the work exactly. You may want to re-interpret these works in their re-making/ re-staging in reference to the central concept of the work. Is the work interrogating an element of the cinematic experience? How is this achieved? Continue reading

Workshop 06: Video Installations

Isaac Julien, Stones Against Diamonds, 2015

In this workshop, we will examine the contexts for screen installation works: expanded cinema, video art, and video installations. We focus on how space is used to stage screen works, and how techniques and formats of installation are employed to expand the medium into space and time. Specifically, we will be investigating screen-based installations by re-creating existing works.

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Workshop 03: Editing techniques

[Renee Lear, Every shot from Dziga Vertov’s film Man with a Movie Camera (1929), 2015]

In this workshop, we explore different editing techniques and styles, specifically focusing on the mechanism of montage. We look at a number of examples that illustrate the historical development of editing as well as some contemporary works that play with this conventional language. The focus is on the processes of editing and compiling your footage for your Experimental Film Project. Discussing and applying what we looked at about editing as a cinematic language as well as experimental device to organise screen time and space.

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Workshop 02: Working with Different Media | media Transfer

[Harry Smith, No. 3 (Interwoven), 1949]

In week 2, we continue our exploration of 16mm film medium and experimentation of cameraless film techniques. We look at a range of examples that make use of different film media. We begin the process of transferring film footage to digital video.

Watch and discuss: narrative cameraless film works

[Paul Bush’s The Albatross, 1998]

[Caroline Leaf, The Two Sisters, 1991]

  1. Discuss how these films use different film materials to denote different qualities.
  2. What are these qualities? And how do they convey meanings?
  3. How do the techniques used related to concept?
  4. In your own research, what other films/ works use this technique of direct manipulation of film materials? Why do you think they chose to use this technique?

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