Workshop 13: Major Project Review


In the final workshop, we will review your major project. Please ensure you bring your work-in-progress to consult with your tutor. You can use the time for production and testing (equipment, set-up, and installation).

Spaces and equipment are in the final stages of being allocated. It is very important for all students who are doing installation works to check their allocated space and equipment. This is your last chance to confirm these details. If you were absent from last week, it is unlikely you would have been allocated space or equipment. Please ensure you contact your tutor immediately.

Final space and equipment allocations will be posted here shortly.

Major project submission details: Continue reading

Workshop 12: Project Progress

[Joana Moll, AZ: The Archive, 2011-4, installed view at ISEA 2016 Cultural R>evolution exhibition]
In this week’s workshop, we will aim to finalise all spatial requirements and allocate everyone a location for showing your works for assessment on Tuesday 14th June.

We will continue with the planning and testing we began in previous weeks: (production work flow, space allocation, equipment need, installation and final presentation). It’s also a chance to discuss with your tutor the progress of your work.

During this week’s workshop, do one or more of the following:

  • conduct testing relevant to your project (especially, projection works)
  • create content (e.g. editing, photography, animation)
  • go on a ‘reckkie’ (reconnaissance) to collect test shots etc.
  • research on relevant artworks that will help contextualise and inform your project

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Workshop 11: Project testing and development

In this week’s workshop, you will be discussing your work-in-progress with your tutor and testing aspects of your proposed major project. Take the opportunity to test ideas by gathering footage or materials, using the available equipment to trial different possibilities. Remember that many elements of a work cannot be planned but need to be tested first. Like the hands-on workshops from weeks 7 to 9, your material research (working with the gear) helps your ideas mature and form the work.

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Workshop 10: Major Project concept presentation

[MEDA201 Major Project assessment installation shot in 2014]

In workshop 10, you will present your concept for your major project to class. This will give you an opportunity to present your research and conceptual development. Use this forum to test out your ideas and solicit feedback. In particular, you will want to show the artwork/ practice that you are responding and your research materials. You may also want to bring other support material to show (sketches, diagrams etc) to talk through your ideas. Your presentation should be around 10 to 15 minutes including questions and feedback. Your presentation, while not assessable, will be taken into account in the final assessment of the major project.

Please read the project outline carefully to ensure what is required for the assignment.

[Ant Beard’s single-channel screenwork in 2011 responded to Len Lye’s cameraless films in their use of light animation, and music] Continue reading

Workshop 09: Screen and performance

[Anthony McCall, Line Describing a Cone, 1973 (re-staged 2011)]

In weeks 9s workshops, 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?

A list of works to be re-enacted/ re-staged is as below. You will be assigned a group and a work. The necessary equipment is supplied to create the image content (if applicable) and to perform the work. Continue reading

Workshop 05: Project presentation

[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.

Remaining assessments

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!!


Workshop 04: Project Progress

[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.

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Workshop 02: 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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Workshop 01: Projects Introduction/ Working with Analogue Film

Film strips from Stan Brakhage's Mothlight, 1963
[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
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