Practice-based Critical Reflection

This video is useful for thinking about the critical reflection in regards to writing and structuring the report parts of Project 4 and the Portfolio project. Key quote from the video:

“New interpretations of experience to inform practice…”

Notes from the video that can be used to structure a response to the prmpt:

Context – local and global (the parts of the prompt ‘social media’, interactive documentary’, theory and practice examples)
Rationale framing the reflection on practice/the report (this refers to the prompt in some way).

How was the evidence collected? – through a process of engaging in practice and documenting the processes – the event and protoytpe aspects of the project (details of what? and how?)
Journey – timeline/narrative

Critical reflection
Analysis of main features of what took place
Strengths, successes, limitations
Outcomes – probable/possible

“Draw out implications for practice – how is it significant for you and others…?” i.e in this case media practice.
“reflect on the reflection…” “do the implications for practice arrived at make sense?”

Still provide evidence for your claims like a formal essay – i.e references
Do not speculate wildly without some evidence to back up your claims

Form in Film

This pdf on ‘The concept of form in film’ – taken from the old 1993 edition of the book Film Art: An Introduction is useful in relation to how we are exploring form in the OVE studio.

Bordwell, David; Thompson, Kristin. (1993). Film Art: An Introduction. (4th Edition). University of Wisconsin. McGraw-Hill is useful.

The updated version of this discussion in the 2010 edition would be more useful if using this as a source in discussions in PROJECT FOUR (as provided in the readings).

Bordwell, David, and Kristin Thompson. Film Art : An Introduction. 9th ed. New York: McGraw-Hill, 2010. Print.

This is a useful quote from this reading in relation to the experiments in this studio:

…A highly innovative work can at first seem odd because it refuses to conform to the norms we expect. Cubist painting, twelve-tone music, and the French “New Novel” of the 1950s seemed difficult initially because of their refusal to adhere to conventions. But a closer look may show that unusual artwork has its own rules, creating an unorthodox formal system, which we can learn to recognize and respond to. Eventually, the new systems offered by such unusual works may themselves furnish conventions and thus create new expectations.

(1993, p.47)

Narrative and Nonnarrative

[Bordwell and Thompson’s] define ‘narrative’ and ‘nonnarrative’ in regards to the form of a documentary and how relations are organised between shots…

Bordwell and Thompson (2010) contextualise definitions of ‘narrative’ and ‘nonnarrative’ by outlining the concept of ‘form’ in film. Form works in unison with content as part of a system that is integrated into an organisational whole (Bordwell & Thompson 2010). They state:

…a film is not simply a random bunch of elements. Like all artworks, a film has form. By film form in its broadest sense we mean the overall system of relations that we can perceive among the elements in the whole film. (2010, p.57)

Bordwell and Thompson describe most documentaries as ‘being organised as narratives, just as fiction films are’ (2010, p.353). However, the authors claim that some documentary forms can be described as ‘nonnarrative’ (2010).

In an evaluation of what constitutes a ‘narrative’ Bordwell and Thompson state:

Typically, a narrative begins with one situation; a series of changes occur according to a pattern of cause and effect; finally, a new situation arises that brings about the end of the narrative. (2010, p.79)

Bordwell and Thompson (2010) propose that cause and effect, along with time, are integral elements that help the audience connect events together into a narrative. They suggest that in most cases in fiction characters, through their actions, play a pivotal role in producing cause and effect in a narrative. Bordwell and Thompson explain that ‘characters create causes and register effects’ (2010, p.82). In regards to the notion of time in Bordwell and Thompson’s analysis, cause and effect occur within temporal constraints. Even when events are presented in an order that is not chronological the audience uses a temporal framework to place events into chronological order…

Other motivations are utilised to connect events together into a whole in a nonnarrative (Bordwell & Thompson 2010). The authors identify different types of nonnarrative: ‘categorical’, ‘rhetorical’, ‘abstract’ and ‘associational‘ (Bordwell & Thompson 2010, pp.353–81). In their analysis the ‘categorical form’ is determined by arranging material into a taxonomy that is formulated around a structured process of classification. The ‘rhetorical form’ is motivated by the aim to communicate an argument and is used to direct an audience towards a particular point of view. The ‘abstract’ and ‘associational’ forms are categorised as types of ‘experimental film’ (2010, p.368). In the ‘abstract form’ the documentary maker focuses on using visual attributes to convey a perspective on a topic. Bordwell and Thompson state that the ‘abstract form’ is created around ‘colours, shapes, sizes and movements in the images’ (2010, p.368). The final ‘associational form’, in contrast with the categorical form, connects material together by looking for illogical relationships. A key aspect of this associational form is the juxtapositions that are created through unrelated associations (Bordwell & Thompson 2010).

taken from:

Keen, Seth. “Netvideo Nonvideo Newvideo Designing a Multilinear Nonnarrative Form for Interactive Documentary.” Doctorate. RMIT University Print.

Bordwell, David, and Kristin Thompson. Film Art : An Introduction. 9th ed. New York: McGraw-Hill, 2010. Print.