Presentation and critique:
Each student will to present their Moving Image Project to class and speak about their project (1 min) addressing some of the assessment criteria:
Depth and breadth of research into both conventional and experimental audiovisual works
What works have you looked at (refer to notes you took in the lectures or works you analysed in the workshop exercises)?
Which ones have been the most influential in your approach? Describe how.
Conceptual exploration of the topic and theme
What are the main ideas you worked with in this project?
How have these ideas developed through the project?
What processes have you undertaken to explore these ideas?
Effective use of audio and visual media in conveying meaning
How do you approach the relationship between audio and visual media in your work? (e.g. Audio driven, non-diagetic sounds)
What has been your process of working with the materials?
Execution and presentation of ideas through the audiovisual form
What decisions do you have to make for this project?
What are the reasons for these decisions?
Students and Tutors to provide feedback and comments
Future Cinema: The Cinematic Imaginary After Film. – Under the direction of Jeffrey Shaw and Peter Weibel. – Karlsruhe : ZKM/Zentrum für Kunst und Medientechnologie Karlsruhe; Cambridge: MIT Press, 2003.
In our final lecture next week, we will conclude by looking at media art works that effectively engages with a range of technologies in order to call into questions many of our assumptions. We will also speculate what kind of future cultures media arts have the capacity to create as we project into our prospective courses offered in Spring.
This lecture provides an introduction to the experimental and avant-garde cinema beginning with the works of Marcel Duchamp, Man Ray, Fernand Leger, and Walter Ruttmann of the 1920s and 30s. It presents a brief overview of the trajectory of art cinema as a significant part in developing how the moving image has been and continues to be employed as a form of expressions. We look at the legacy of these experimentation in both conventional mainstream works as well as contemporary screen art.
This lecture provides an overview of film works, movements and experimentation that deliberately challenge Hollywood narrative cinema. This includes the French New Wave (Jean Luc Godard, Francios Truffaut, Chris Marker), New York underground (Andy Warhol, John Waters) and contemporary artist cinema (Matthew Barney, Shrin Neshat, Stan Douglas, Tacita Dean). This broad overview shows how cinematic practice is far from fixed, rather it is opened to new forms through continual experimentation. This lecture introduces the focus of a 200 level Media Arts subject MEDA201.
In this first of three lectures focusing on practices that deviate from conventional mainstream cinema, we begin by examining the concept of ‘discontinuity editing’. As the name suggests, this opposes continuity editing which we looked at in week 3. Soviet montage theory pioneered by Kuleshov, Sergei Eisenstein and Somebody amongst others is at the centre of discontinuity editing. We look at the writings and film works of Eisenstein most notably the Odessa Staircase sequence of his film Battleship Potempkin. We also analyse Dziga Vertov’s influential Man with the Movie Camera. We speculate on the legacy of Soviet montage theory in how discontinuity editing has entered mainstream cinema.
Film still from Barry Lyndon, directed by Stanley Kubrick (1975)
In week 8, we introduce the art of cinematography in narrative films. We look at the works of number of filmmakers and cinematographers including Luchino Visconti, Darius Khondji, Christopher Doyle, Clara Law, Gillian Armstrong, Andrei Tarkovsky and Stanley Kubrick. Our analysis focuses on how these images on screen create mood, convey meaning and construct a narrative space and time. We also explore the different practices used by cinematographers. The lecture argues that cinematography is an inventive endeavour where art and technology mutually transform through creative practice.
This workshop is devoted to the presentation and critique of your assessment 2 project.
Submission and presentation
Your final sound file needs to be uploaded to Sound Cloud, posted onto your blog with your project statement
The link to you submission post needs to be provided as a comment to the appropriate tutorial assessment entries BEFORE your tutorial class
The lecture looks at the development of camera movement in conventional motion picture films. It explores how different camera movement have been used to direct and manipulate the audience’s gaze as well as express film characters’ psychological states. We examine how the cinematic language has been pushed and expanded with the experimental and innovative use of camera movement in works such as The Blair Witch Project, Being John Malkovich, Gus van Sant’s death trilogy, Richard Linklater’s Slacker and the more recent Birdman. We ask questions how can the cinematic language be further challenged by new machine vision brought about by new technologies such as Drones.
Still from Jaws, directed by Steven Spielberg (1975)
This lecture explores the use of sound in conventional cinema. It focuses on the use of diegetic sound versus non-diegetic sounds in delivering narratives. We will examine some classic examples of mainstream cinema and trace the development of audiovisual relationship in the establishment of a cinematic language. We will also look at examples of innovation where this relationship was challenged.
In this second lecture focusing on the audio medium, we explore sound art as a discrete field of practice by identifying the common characteristics and motivation behind this label. We begin with an overview of sound art beginning from the early 20th century experiments of the Italian Futurist. The lecture takes the trajectory that examines sound art through the technologies that has enabled this practice. The rationale for doing this is to show how art and technology respond to each other in a mutually transformative relationship. The lecture’s exposition aims to relate sound art to media art in its exploration and extension of experience.
Katie Paterson’s Vatnajökull (the sound of) (2007-8). Listen: http://www.katiepaterson.org/vatnajokull/#
In week 4, we shift our focus from the creation of moving images to the role of sound in creative works. In this first lecture exploring the audio medium, we begin by asking the question: what is special about the auditory sense and by extension the audio medium. We focus on soundscape as a platform that captures experiences, specifically as conceptualised by Canadian composer R. Murray Schafer. We examine the significance of sound works by Annea Lockwood, Katie Paterson and Nigel Helyer.