#film202
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Negotiated project
Dry-brushed set, ready to add the soil
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Negotiated project
Adding in the ‘trees’
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Neogiated project
Making the base of the set, adding in the foundation for the ‘hills’.
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Experimentation
Some experimentation using dolls house furniture to create a mini bathroom
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The Gaze - notes
Is media a window or a mirror?
Hollywood becomes the gatekeeper of who can tell their story and who gets represented.
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Negotiated Project - Research: Animation, Sound Design & Studio Ghibli
After realising that sound design will likely play a big role in my final film and helping bring an authenticity to the animation, I was reminded of the sound in Studio Ghibli films. I was particularly reminded of the lack of music and instead the utilising of natural sounds like wind or running water. After some research into this, I found a very interesting video essay by the Youtuber KaptainKristian.
youtube
The video details exactly how the sound design in Studio Ghibli films, lead by Hayao Myazaki, creates an intense variety of atmospheres. I am really looking forward to implementing some of these techniques into my film.
Music will play a key part in the film, due to its frequent mention in my dad’s journal and its role in setting the scene of 1977. I have already began compliling a list and spotify playlist of songs that topped the charts in 1977 or 1976.
However, in the vein of Studio Ghibli, I want to make sure any music heard, is in the world of the film, being played over a radio or from a passing car etc. This, I believe, will help for a more immersive experience and will also allow for natural sounds to play a larger role as I mentioned earlier.
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Photo Manipulation
FILM202 - Online Sketchbook
I’ve always been interested in making photos more physical and how to use physical manipulation in place of digitally transforming an image. My first glance at this type of technique was in Ashkan Honarvar’s work, which can be quite unsettling as it uses images of the body in more presumptuous ways and images of wounded soldiers.
Here is one of his pieces that I always feel quite strongly about (this is quite a visceral image, be aware)
Found at http://www.berlinartlink.com/2013/07/29/blink-ashkan-honarvar-paper-prosthetics/
After having delved into this type of photo manipulation I also came across Ernesto Artillo who uses a bit more of a clean-cut quality of collage. Although he portrays himself as more a fashion photographer and artist.
ÁRBOL - Ernesto Artillo (found at: https://www.kidsofdada.com/products/arbol)
I love this both seamless and endless amalgamation of the human form and how it can be perceived as something both living and dissected. My own photographic studies brought this same style but in a more narrative driven sense, I wanted to be able to show a growth or a sense of change through my manipulations, that and I wanted the palpable sense of disgust in such images.
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Making a Pinhole Lens
FILM202 - Online Sketchbook
In order to create the pinhole-esque images without the need for expensive light-sensitive paper, a pinhole camera and lots of bright weather. I chose to make a lens that reintegrates the structure of a pinhole lens but can be attached to a digital camera. This process is super simple and works very effectively if all aspects are thought about properly and with an idea of how to correctly create a pinhole lens. The steps that I use are as follows, however some other pinhole lenses can be made that are more technological.
1. Find a tube that fits around the cameras lens mount.
2. Make sure the tube is as dark as possible on the inside to prevent light from reflecting inside the tube.
3. Create a plate to put on one end of the tube and place hole in the direct centre of it with a needle.
4. Attach the plate to the tube and amend the camera settings to work without a digital lens attached.
Here is the lens that I made and used for this project, it’s very rough but it does the job:
Some technological issues with a pinhole lens is that light needs to be very accessible otherwise the camera sensor cannot pick up any light. Therefore you usually have have the shutter speed at around 1 second or more (more than you are comfortable with), which leads to blurrier images, this is all part of the aesthetic of pinhole cameras. It’s also worth noting that only DSLR camera’s can use this type of lens as the digital lenses are dismountable and leaves the sensor open for the pinhole to do it’s work. It’s also not possible for a DSLR to function is a digital lens is not attatched, but my Nikon D5200 can do so.
Although the fun of having a whole pinhole camera is leeched when using a digital camera, the final images can be astounding in their textures, tones and the ability to have colour, alongside such a strangely dreamlike nature.
Here is just one of the examples of my photos that show how the style of pinhole photography can be very effective, portraying a sense of the ethereal.
(This is an unedited image)
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Photobook Update
FILM202 - Online Sketchbook
Quick warning, these images may not be all too enticing for some. There is some blood, some skin and images that are made to look either NSFW or gross in general. So be warned.
This is the first ‘draft’ or at least version of the photobook that I ave attempted, it took me a long time to design the front cover yet ended up choosing a simple cover with washed out tones. I used this to contrast the darker images that are shown in the book. The font type is Sylfaen which is installed on almost every PC from my memory, it is a simplistic, strong yet kind of mesmerising to look at, this paired with the intentional non-capital casing really hits it home that this is an unconventional photobook, with the intention to be shocking.
(Note: this is a very dodgy mockup, but it shows the general layout and shows the cover and chapter pages in full detail.) See further:
Now I can tell that the last chapter so far has less of a complete feel to it, there are a few images of the mouth, then one of the arms, it just doesn’t feel balanced. But I shall work on that in future amendments.I like to believe that thus far the whole book does feel professional and different, but yes I will work on the pieces that are less fitting.
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Photobook Follow-Up
FILM202 - Online Sketchbook
Following my last few posts, I have decided upon creating a pdf. document in the same format of a regular photobook, I will create chapters for each theme that coincides in some of the images. I hope to write small introductions for each chapter and perhaps note of the artists that gave me the ideas for those images. I’d also like to stress the importance of how photos can be viewed within a book, as I would’ve liked to have 2-page prints and suchlike, however that isn’t technically possible when looking at a standard pdf document.
I want to be able to create certain moods with each chapter, to be able to distinctly change and misrepresent how the body can be presumed or thought to act. Upon first thought, I believe it would be a better idea to not involve drawing or digital art into this piece, as the photography needs to stand quite strongly and potently by itself.
There’s many photobooks and general books about photography that I brought myself to look into and to exercise some of the things they bring up. Especially in Jackie Higgins’ ‘ Why It Does Not Have to be In Focus: Modern Photography Explained’ which outlines many artists and their careers to a concise and consistent point. I love every artist that is mentioned and this book allowed for me to look at photography in a different light even from my early career in photography.
This is what I have so far in terms of planning for the book:
It’s all still a little up in the air but I’m sure once I start actually working on the book I’ll have a little bit more of an idea for the general aesthetic and tone of the book and it’s images.
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Possible Book Layouts and Formats
FILM202 - Online Sketchbook
Due to the nature of the current environment I must of course consider the lack of access to printing facilities and suchlike, so I was noted that perhaps a pdf. format would be able to aptly exhibit my work whilst also being universal enough for anyone who is sent the file can view it. I would prefer to have all the images laid out on paper, as the feeling and textile quality of paper is what sometimes makes the image and image. I looked at the style of exhibition that one of my favourite photographers uses, Masao Yamamoto, he choose to print his images quite tiny in comparison to others work, he then creates space with his images in such a way that you can consider their positions art in themselves.
I also enjoy some of the more ‘out-there’ types of exhibitions, some photographers provide physical copies of their images for visitors of the exhibition to touch and handle, the physicality of an image in this sense add more character and texture to the photographers work which I would’ve liked to emulate if and when given the opportunity.
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Negotiated Project - One-to-One Feedback
FILM202 - Online Sketchbook
After having my session with my lecturer, I am much more stable in my ideas that I will pursue for this project. I have decided that I will create a book of sorts to contain photography that I have and will take. All of which will be wrapped in the ideology and ideas surrounding surrealism’s representation of the human form. Similarly to my GCOP200 essay, the themes will focus quite solely on how the human form and body is shown and made example of in surrealist work. However I wish to explore this theme in a photographical context, I’ve always loved photography and wished to continue my work in this sense. Therefore I will start by planning what kind of photo book I will produce, how to exhibit it and how I will present the book itself.
I’d ultimately like to have a piece that I am proud of having completed and to have successfully explored the areas of surrealism that I so dearly wish to delve into.
I’d also like to spell negotiated properly for once.
Upon first thoughts into what kind of tone I’d like to have for the photobook, I created this document that outlines some of my initial thoughts and inspirations. From this it is quite evident that I enjoy the creepy or more grotesque types of art. I especially enjoy it in terms of surrealism though, the dreamlike essence and imagination behind such images really grab my attention and I like to imagine the artist’s thought process at the time of creating such images. Most of my life has been engrained in art as it is anyways so I love looking into those who bend and break the rules of what can or can’t be ‘art’.
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Negotiated Project Changes
FILM202 - Online Sketchbook
As the pandemic has caused most forms of filming and outdoors recreation to cease, so have the plans for our neogciated projects. However changes have been made to both my mindset and my ideas for this project. For one, I plan on focusing on a medium that strays from filmmaking as I’d like to go back to my roots in where I first found the still image and art to be captivating and by itself, more interesting. I am awaiting a one-to-one with my lecturer to go over some of the many ideas that I currently have and wish to disclose my issues with how to go about those ideas.
Since the module guide has also been updated here is a follow-up of what it to be expected from us in the latter time:
Online Sketchbook - A2 B4 B5 C4 D4
Your online sketchbook will evidence all the research, workshops, practical tests, and screenings feedback for this module. It could take the form of a blog, a sketchbook film or a written document. The online sketchbook might take the shape of a micro-documentary. You online sketchbook offers a chance to reflect on the guided tasks and how they may have influenced your final project. It is an ideal place to contemplate the challenges you’ve faced and the shape of your creative decision making.
Equivalent of a 3 - 5 minute film.
Practical Film project - B5 C1 C4 D4
In negotiation with your tutor, you will develop a project that you can complete with the resources available to you - the ultimate obstruction. The nature of these projects will be highly individual and diverse. The work should be equivalent of 3 - 8 minutes in length.
Critical self-evaluation (500 words) - A2 B4 C1
You will produce a document that details the following information:
● Overview/Synopsis of the project (50-100 words)
● Credits (Cast/Crew as appropriate)
● Technical Specifications
● Critical Evaluation (500 words) - You may wish to reflect on your proposed project before Covid-19 and after the outbreak. It will offer an evaluation of the final piece, and offer different potential readings of your work.
● Working Blog Link
To be submitted as a google document to the appropriate section on google classroom.
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Negotiated Project Introduction and Initial Ideas
By the end of this module, we will have created a 3-8 minute film piece. Alongside a blog and 3-5 minute sketchbook film that detail the workings and process of production of the film.
This is expected by the 11th of May.
There will also be a document outlining these aspects of the filmmaking:
Overview / Synopsis of the film (50-100w)
Credits (Cast & Crew)
Technical Specifications
Critical Evaluation (500w)
Blog Link
These will be expected to be complete by the 19th May 2020.
We are expected to create a film of our choosing, however, we should take input from the sessions taught on certain elements of film that are more theoretical and based on art and experimental film. This and the entire project will be backwheeled by our tutor, so that they understand our journey through the module.
The outcome of this project is ideally to be used within an art exhibit. Titled 'Film Art'.
Through this, we can take the understanding that 'film' and 'art' must be or in some way are mutually exclusive. We can find, that narrative films, if based on something true and distinctive, will feel less like 'art' and more like a classic example of film for escapism and voyeurism.
Each session must have a related blog post, add theoretical and research based knowledge via the theme of the session. Detail the important nuances of the project and session in these blogs.
What do you want at the heart of this project:
- To portray the body as something both gross and beautiful, without the need for sexualising or objectifying the model.
Initial Ideas
Theoretical and Technical Focus:
A film that focuses almost entirely on the sound and voice acting. The image is just a script or a version of the story of the film in a text medium. It would be visible on screen and following the events of the reading of the story. Similar to a radioplay, however the script would also be affected by parts of the story that would understandably be affected.
Experimentalism and 'Art' Focus:
A film focusing on the 'alien' aspect of the 'human' how we as human beings are still strange, volatile and at the heart of us, we are not familiar to one another. Aside from societal concepts of bond and relationships. We have no difference to that of a regular animal. This would be through the use of macro lenses and certain colour choices or sounds that are human but feel wrong. Through this, without offence, there could be a section on those with physical deformities, the beauty and unfamiliarity of those deformities or disabilities that such people live with, happily or unhappily.
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