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?