Final Reflection
- What you have learnt about the representation of place, the role of memory, the construction of identity
The relationship between people and place are reliant on each other. To encapsulate people through the medium of screen, we must examine them closely amongst the neighbourhoods and environments that strongly define them. The way we represent these places helps us to establish a shared mindset, to vicariously place ourselves into the setting and gauge an intimate understanding. These places help stimulate memory and from which we are able to capture a visualised identity.
- What reading you did that helped shape your thinking
Reynolds, B. (n.d.). Visual representations of places, spaces and landscapes. [online] Powell-pressburger.org. Available at: http://www.powell-pressburger.org/Reviews/44_ACT/ACT-ImageEssay.html [Accessed 3 Aug. 2019].
This paper reflects the statement “Visual representations of places, spaces and landscapes [are not] taken as straightforward mirrors of reality … Instead, the meanings of an image are understood as constructed through a range of complex and thoroughly social processes and sites of signification”. This is a socially scientific approach on the choices as a filmmaker we make in terms of establishing places, spaces and landscapes. It argues that the very notion of film’s actuality cancels out the ideas as a reflection of reality, but is actually dependent on the inception between film and audience when making deeply complex constructed ideas about place and space. This text strongly supports our ability to associate certain things with visual imagery, be it landscapes, textures, colours, mood, ambience etc. Therefore in relation to my poetic film, it’s impossible to regard it as an actual reflection of this space but a subjective portrayal of that space, heavily influenced by both the filmmaker and the viewer.
- What you have learnt about non-fiction filmmaking, documentary storytelling and visual language
Establishment is very key.No shots should be wasted and all are part of your arsenal to tell the story with accuracy. The way we place our subjects upon the canvas of screen must communicate an understanding of who they are. Audiences must be able to establish their own perceptions of the people we’re showing. This means they must be placed in spaces that they can be attributed to, speaking on things close to their identity, doing things that are in relation to who they are and done so that the shot construction is both broad enough to be visually pleasing and not too specific so that we can understand the broader picture.
- An assessment of the studio experience
This has been an excellent exercise in developing my skills as a documentary maker. Being able to step out of our comfort zone and try new things that speak plentitudes about the human experience and have a role in communicating fascinating stories in amazing places has been incredibly useful. This studio also allowed me to create more meaningful relationships through screen to the places I have been lucky to call home. Learning to be expressive of my emotions and rather map my origins and how these memories intertwine across my life is a particularly useful expressive skill. More so, I have thoroughly enjoyed focusing on some remarkable individuals. I have been so lucky to work with individuals who have remarkable stories and heritage and to quantify these stories through the gravity of space is an enlightening prospect. One which I cannot forget for the remainder of my life.
- Any key insights that you will take away
My methodology towards approaching interview subjects and their stories have changed. This has been partially due to my work in groups allowing me to understand better on how to view subjects without any interference of direction. Documentary should remain at that, to document. To not interfere and leave them to remain true to their character and capture them in that way.
- Your own performance
Having a frequent chance to experiment with gear as well as working with bigger teams of collaborative work has been incredibly useful and I have now felt my own performance has grown because of that. This course has allowed me to consider the importance of place and space and their influences on people. Also allowing a focus to be directly on how I would communicate the feeling of a space is also refreshingly new and challenging.
In this particular work, my primary roles included working with talent mainly, as Jett was the closest with me and I have experience of working with him before. Thus, I made executive decisions regarding location, questioning and shot settings. This allowed me to be transient between roles, working in capturing extra shots, assisting with sound whilst walking with Jett, keeping him calm and natural so we can get the best of him out through his own words.
- The success of your film project in relation to the methods employed.
We were able to have a great deal of time spent collaboratively bettering our work over a number of weeks. We were eager to begin and were able to commence shooting at an early date. Meaning that for over 4 weeks we were able to work with refining our piece in post, this was one of the longest project times I have worked with and this was very much reflective of the methods of refining, re-working and producing multiple edits. Employing techniques on location which particularly relate to our methods of ‘fly on the wall’ shooting styles where we avoid interacting with our subject as much as possible.
As a finished product, our film capture Jett in a way we haven’t seen before. As a meditation, I personally believe this is the most intimate it can be to learn about Jett, his circumstances and his current mindset in this pivotal point in his life. It captures most importantly the essence of this studio. We understand Jett, his drive, his passions and most importantly the way these spaces and places help to nurture his development into the longevity of his career.