For next week’s Thursday class, I’d like to hear from everyone for 2-3 minutes on how their projects are progressing. What have you filmed? What’s been planned? Has anything failed? Has anything unexpected turned up that’s absolute gold? This, plus if you’ve got anything filmed or edited that you’d like to show, I’m more than happy to give early feedback and hear from the rest of the class.
This will be really valuable in terms of updating not only me, but the class, on how things have moved on since your proposal/presentation in Week 7.
For those who’ve been missing this week, we’ve made a start on the Presentation/Exhibition element of the studio, which accounts for 20% of your final grade. In order to quantify some of the work for this, I’ve asked everyone to put together a 500-1000 word blog post that answers the following questions:
What is the studio investigating/exploring? How is it doing this?
What did you discover in terms of your current/future professional practice?
What about this studio would you recommend to potential future students?
Next week, we’ll pool some of these ideas and settle on how we’ll do our 8-minute presentation in Week 14. We’ll also have a chat about how to set up our section of the exhibition.
Due to the IMAX being closed after Sunday’s final screening of the 70mm print of Interstellar, I’ve had to rethink the screening for this week. We will still absolutely be discussing large-format film, 3D, and the Wasson reading. The screening, however, will focus on the tensions inherent in mobile cinema, particularly when converting and distributing for exhibition.
To this end, in Tuesday’s session we’ll still be watching Park Chan-wook and Park Chan-kyong’s Night Fishing, but I’ll also be screening Jafar Panahi’s incredible sort-of documentary/sort-of narrative feature This Is Not A Film. We’ll talk about the capacity of the frame to create affect and evoke haptic responses, and we’ll also talk about where cinema may or may not be headed.
In addition to the Frampton reading, some of which you worked through in the first session of Week 5 (we’ll continue with the Frampton/Deren exercise in the second session), I’d like you to check out this piece by Zach Zamboni, who’s a TV and documentary cinematographer. He’s known primarily for working with chef-turned-travel-guide Anthony Bourdain.
Maya Deren was one of the most influential experimental filmmakers of the 1930s and 1940s. As we think about movement, subjectivity, and how the frame might be used as a thought-machine, have a look at one of her most renowned short pieces, Meshes of the Afternoon.
If you’re interested in how Deren ‘thinks’ film, this amazing piece gives an insight into how she conceives of the act of cinematography.