With this week’s sketch being poetic video, I felt quite familiar with the concept having previously studied the mode. In class we discussed Bettina Frankham’s text, Spaces of engagement. I found this text difficult to grasp however the class discussion significantly helped. Understanding that regardless of meaning intended the viewer will derive their own meaning from their viewing. With this in mind we discussed as media makers that we need to allow for this to happen by utilising specific techniques. Through utilising different techniques to present poetic videos (mosaic, categorical or associational) we create space through the fragments of our media for subliminal viewing. Also, by implementing different montage techniques, whether that be metric, rhythmic, tonal or intellectual it can affect the overall tone of the piece created.

Approaching my exploration this week, I definitely think I was too ambitious. I wanted to create something similar to a previous assignment, with that consisting of experimental elements. However due to time constraints I didn’t accomplish what I set out to and settled for more minimal effects.

I chose to centre my video around an associational approach. My idea was centred around a collection of circles. For my public space I chose High Street in Northcote and walked around filming shots of window, wheels and signs, anything I noticed having circles. I actually really enjoyed this filming process once I narrowed it down to what I was collating footage for. I incorporated techniques such as an interstice, glitches, and overlays into the video, which I believe created a sense of confusion for the viewer.

Incorporated peer feedback for the task, I made sure to utilise the scale and position function of Adobe Premiere Pro to zoom in on the circles. Another key piece of advice was to play around with the transitions, which I had hoped to have more time to do more of.

 

Frankham B (2022) ‘Spaces of engagement: critical aesthetic practice, audience experience and the documentary-like work’, Studies in documentary film, 16(1):1-17, doi:10.1080/17503280.2020.1854071.