Establishing our concept of memory and embodiment, our group decided upon creating an exhibit that contains two works that have the ability to be seen individually or collaboratively. With the first work being interview segments from four subjects, the second work aims to be visual representations of their memories in an attempt to provide audiences an immersive experience into the mind of another. Prior to pitching our objective to the panel and peers, the logistics of the production were still underway in terms of how this could be achieved through physical placement of screens, as well as technically (shot sizes, camera techniques and editing). However after pitching our concept, we received feedback that allowed further perspectives into how we could reach our aims, more so relating to our interviews.
Reflecting on our feedback from the panel, the pivotal attribute that we need to direct our focus on is the questions asked of each subject. With our original questions being; What is your most joyous memory? and, What was your embodied response during your experience?, we were advised that although we may be close to receiving the ideal responses they were not up to standard, with potential of impacting the overall tonality of the work. Although the questions were still in the drafting stage of our production, the panels advice of keeping it simple, testing out the questions prior to shooting and providing context to interviewee’s beforehand will allow us to gage the best way to preempt the responses we are looking for.
Another component of our feedback related to the way of which our interviews are conducted in terms of our shot sizes and camera angles. Drawing influence from Spike Lee’s, Do the Right Thing, our ideal technique is creating the experience of a conversation through the media to further immerse audiences into the subjects narrative. While we received positive feedback of this employment, we were advised that doing some testing prior to the shoot will allow us to decipher the appropriate proportions to convey the emotional response of the subject, whilst also engaging our audiences from a realistic standpoint.
Taking this feedback into consideration, two strategies have been deciphered in order to develop our concept further that includes research and experimentation. Firstly touching on the research, it dawned on us that in order to create the ideal response from our subjects, gaining further insight into our themes from an academic and philosophical perspective will allow us to better understand how one recalls memory, and what we can do with our questions to generate a response that entails their embodied experiences. In terms of experimentation, this more so relates to our camera technique’s, shot sizes and editing. As we plan to create a conversational feel with our interviews, and ‘the past’ with our visual representations, conducting test shoots, as well as educating ourselves on colour-grading and effects, will hopefully allow us to pin point the best way to produce Memories of Movement.
Although we may be clear on what we need to do before we begin shooting, the most important aspect of this project is working together as a collective. Based off the discussions that have occurred so far, it is apparent that maintaining communication, organisation, team-work and open mindedness will allow us to achieve the desired result. Therefore, we have implemented a time-line, to do list and created a chat room to meet deadlines and stay in contact outside of class. As with any production there is bound to be challenges, our group wishes to be transparent and honest throughout the completion of each task so we are able to assist each other where needed.