This is an extract from:
Shields, David. Reality Hunger: A Manifesto. New York: Vintage, 2011. Print. (Extract, PDF.)
Shields is a creative nonfiction writer, and this is a fantastic book. Why are we reading this? Because it is all about what in film is called editing, and in Korsakow might be thought of as linking via keywords. What Shields thinks of as collage. Could have been written for this subject.
In that glow of refreshed vigour that is post chocolate-holiday-mid-semester-break-easter-pagan-festivals-of-renewal I thought it would be good to remind us all of where we are up to with readings. The readings are listed in simple numerical order, and we are now entering week 8 (of 12, so the semester is 75% done) and so there are 7 readings to date. Why 7? Because there was no reading set for week 1. All the readings are listed under the readings category (clever, eh?) and so by now you should have finished the Matt Soar and be ready for Bettina this week Frankham’s recent thesis. The next reading will be available later today, which is for next week.
UPDATE: These assessment sessions with Adrian (you attend all of the session) will be held in 9.2.09, that is the glass walled meeting room in the student area of level 2 in building 9.
These are the assessment times and people’s for the sketch film assessment for Adrian Miles’ students (tuesday 2:30).
Monday April 28
Ai Vee Goh
Wednesday April 30
Weng Yan Yap
Friday May 2
Bryan Loh Tze Yan
Carry over questions:
Rascaroli, Laura. “The Essay Film: Problems, Definitions, Textual Commitments.”
- How would you distinguish between an essay and documentary film when both can have exploratory and creative elements?
- How can you say a film essay is not a genre when it is categorised by the author as something else?
- Films are about interpretation and personal knowledge – does this type of interpretation and personal knowledge transfer readily onto a k-film when making it into a type of essay?
- With the emphasis placed on the viewer’s interpretation and the role it plays in defining meaning – is it possible for a piece of work based on classification being free from interpretation, opinion and speculation?
1. Soar argues that makers should choose keywords based on meaning rather than visual appearance. Does this contradict the way we’ve been using Korsakow (things that are round, things that are light, things that are fast)?
2. Why would we choose Korsakow as a filmmaking system if it can only be viewed via limited technology?
3. What is the point of having a technology that might soon become obsolete? Is there any way that authors of Korsakow films can preserve their work without fear they may not function (if, for example, Adobe ceases to exist)?
4. Will Luers states that in K-Films “the narration of the database is through the interface; its design, entry points, absences, spatial complexity and simultaneity”. Is technology leading us towards a purely graphical/symbol based method of storytelling that is independent from language?
5. Is Korsakow purely a place for artistic expression, or is there any potential for it to be used commercially?
6. Is it a possibility that Korsakow will allow an ’embed’ function that links to other media? What might this mean for K-Films?
Semester break, I was wrong, with Anzac Day happening next Friday for this year we ARE having classes this Thursday and all of next week is off.
The Monday April 14 2:30 class with Seth is cancelled as he’s sick.
This is an extract from a PhD that was completed in 2013 at the University of Technology Sydney (UTS), basically it’s RMIT’s sister university. The PhD is by Bettina Frankham, and is about poetic approaches to documentary. Seth and I heard Bettina present at the Visible Evidence conference (its one of the major international conferences dedicated to documentary) in December 2012 in Canberra where she gave a great talk about lists and interactive documentary.
The citation is:
Frankham, Bettina Louise. “Complexity, Flux and Webs of Connection.” A Poetic Approach to Documentary : Discomfort of Form, Rhetorical Strategies and Aesthetic Experience. (2013): PhD Dissertation, University of Technology Sydney. (Extract, PDF.)
You can also get the whole PhD.
Jake discusses the Rascaroli, though perhaps confuses more traditional and possibly didactic documentary with the essay film. Rather than the PBS movie channel try this sequence from the end of Chris Marker’s Sans Soleil. Also remember the reading from network media on the essay, as not the form we have been trained to write but the thing that is an engagement with thinking itself.
Natalie has detailed notes and questions from the Soar reading. Bec has thumbnail points.
Mardy on nonfiction, documentary, and Korsakow pattern making.
Zoe on Matt Soar’s chapter, and software as a service. Shannen on how the small and everyday can now be examined, and that not only documentary but all the services we have (twitter, instagram, and so on) make this possible. I agree. We are on the cusp of an extraordinary age of media making and sharing.
Sam on narrative, language, seduction, flow. Zoe on bots writing news stories, gaps, media specific criticism.
Zoe on the Rascaroli and worrying about the necessity of definitions. I think I sort of agree (which isn’t surprising given what I said a few weeks ago about taxonomies). Sam responds to Natalie on classifying essay films. Where lies truth in documentary then?
When you export your Korsakow film and then view it on your computer in a browser the URL will begin with file://. This tells you you’re viewing the work on your computer, not via the internet. If you’re using Chrome there’s a know problem (which might be Flash, it might be Korsakow, I’m not sure and don’t really care) where if there is a space anywhere in the path to the file then it won’t work. A space, when rendered for HTML becomes %20% Continue reading