In this workshop, we discuss the relevant contexts for screen installation works including: expanded cinema, video art, and video installations. We focus on how space is used to stage events delivered through the screen medium, and how techniques and formats of installation are employed. We investigate screen-based installation by re-creating existing works.
In week 6’s workshop, we will explore the construction of an image through making remoscopes (sometimes called, Lumiere films). We explore the conceptual, aesthetic, and technical characteristics of the digital video medium. How do aspects in the moving image such as framing, composition, and the tension between movement and stillness contribute to the meaning of the image as pictorial representation. We will also consider the rule-based practice as an approach that engenders enabling constraints in creative works.
[Apichatpong Weerasethakul, Vapour (film still), 2015 ]
In week 5, you will present your Cameraless film project to class for critique. We will also look at the requirement for Research Essay and begin exploring the Major Project.
Practical: ‘Cameraless film’ project presentation and critique
Present your work to class with a brief introduction (or conclusion). Address the Cameraless film project assessment criteria as follows:
- Depth and breadth of research
- What have you looked at?
- What other works inspired you?
- Are there any contemporary applications of this kind of technique you found useful?
- Exploration and experimentation of medium
- What techniques have you explored/ experimented with?
- What worked well for you?
- Why did you pursue the techniques you used?
- Execution of concept
- What are the main concepts/ themes you explored?
- How have these techniques (including editing) have convey your themes/ concepts?
Invite the class to critique to your work: what is the most successful part of the work? what may need further development?
Document comments in a blog post.
Have a thorough read of the two remaining assessment in the subject:
What are the objectives? What are the requirements?
Tasks (outside of class):
- Have a look at other students’ works and comment on their websites.
- Re-read the outlines of the remainging assessments thoroughly
- Work on Research essay. Read this Blog!!
[ay Chow and Lev Manovich, Every shot from Dziga Vertov’s film Man with a Movie Camera (1929), 2012.]
This week we continue to focus on the processes of editing and compiling your footage for your Cameraless 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.
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. Continue reading
[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]
- Discuss how these films use different film materials to denote different qualities.
- What are these qualities? And how do they convey meanings?:
- How do the techniques used related to concept?
- 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?
[Stan Brakhage, Garden of Earthly Delights, 1981]
Welcome and introduction:
⁃ Subject Coordinator: Jo Law
⁃ Lecturer: Peter Humble
⁃ Tutor: Peter Humble (9.30 – 12.30, 14.30 – 16.30 workshops)
⁃ Tutor: Boni Cairncross (14.30 – 17.30 workshop)
⁃ Class structure: 1 weekly lecture, 3 hour weekly workshop on Tuesdays