Friday 24th January
Dance Video with Rosie
Dance Video with Rosie
Saturday, January 25, 2014
Class Notes 02 (23/01/14)
Thursday 23rd January
Fields & Frames with Vicky
Notes:
"Never over complicate"
Let the audience decipher the story on their own
The intent of the film?
Reflexive = examines itself.
Create rules for project for maximum effectiveness
Let the audience decipher the story on their own
The intent of the film?
Reflexive = examines itself.
Create rules for project for maximum effectiveness
Important how the camera works with the space and subject.
Think how your body can emulate a rig or a machine to create certain effects. Use the body as a resource (The most effective ways is to create a set of rules)
Think about how to us the camera differently
Think how your body can emulate a rig or a machine to create certain effects. Use the body as a resource (The most effective ways is to create a set of rules)
Think about how to us the camera differently
Refer to my previous work, and how to relate theory, how can I fix my mistakes, and develop theory more. And think through how it can inform practice.
To Explore:
John Goddard (counter cultural) uses cinema to make the audience engage - keep movies more "open"
Michael snow - wavelength (structuralist)
Wood and Harrison - board 1993
- it was able to create lots of movents while using restrictions. It was also effective in the sense that it humoured in a way. Such as the character when he was sliding .
Wood and Harrison - Headstand 1995
- a simple action can do so much. By again creating constraints you get more of a lively action
Anchiana and deleux 1927 (use of intertitles)
Hand catching lead - Richard serra 1968
Very high key, repetitive, still camera, hands get more figity at the end.
Reflexive, artist portraying himself. Artist might not be looking, Richard
Dwela oikwe your so close to something but it slips away. Makes us feel for the artist, and hope he catches a it. Very repetitive like machine.
Tony Hill - The history of the wheel
Om - John smih 1986
One of the most effective pieces so far, "never judge a book by its cover".
"Not everything is what it seems" V
Michael snow - wavelength (structuralist)
Wood and Harrison - board 1993
- it was able to create lots of movents while using restrictions. It was also effective in the sense that it humoured in a way. Such as the character when he was sliding .
Wood and Harrison - Headstand 1995
- a simple action can do so much. By again creating constraints you get more of a lively action
Anchiana and deleux 1927 (use of intertitles)
Hand catching lead - Richard serra 1968
Very high key, repetitive, still camera, hands get more figity at the end.
Reflexive, artist portraying himself. Artist might not be looking, Richard
Dwela oikwe your so close to something but it slips away. Makes us feel for the artist, and hope he catches a it. Very repetitive like machine.
Tony Hill - The history of the wheel
Om - John smih 1986
One of the most effective pieces so far, "never judge a book by its cover".
"Not everything is what it seems" V
Saturday, January 18, 2014
Working With Performers Notes
When Working With Dancers:
- Not more than 2 hours of work without a break. 10-15 mins
- Proper floor and space for dancers ( no hard floor)
- Good footwear
- Room temperature no less than 18.3 degrees. (keep it at average of 24)
- Give reversal time
- Have water equipped. And tea and coffee.
Monday, January 13, 2014
Saturday, January 11, 2014
Class Notes 01 (10/01/14)
Friday 10th January
Dance video with Rosie
Dance video with Rosie
Notes:
It's important to show the fluidity and motion of the body. And the path it takes.
Try to explore the relation between bodies together.
Music doesn't have to be synchronised.
Not the whole body has to be the subject. But even body parts (e.g. Hands. Look at references)
Look for repetition. Characters intersecting with what? What influences movement? What's the feeling? Is the subject aware of the camera? Maybe the character can be exploring the surrounding.
It's important to show the fluidity and motion of the body. And the path it takes.
Try to explore the relation between bodies together.
Music doesn't have to be synchronised.
Not the whole body has to be the subject. But even body parts (e.g. Hands. Look at references)
Look for repetition. Characters intersecting with what? What influences movement? What's the feeling? Is the subject aware of the camera? Maybe the character can be exploring the surrounding.
Is our every day a routine?
"Dance is the body moving the space" R
To Explore:
- Opposition/Mirroring/repetition
- Male and female differences
- Multiscreen Dancing
- Hands
- Sign language
- Shooting from high angles and low angles.
References:
Husk - 1997 - Eiko and Kona
GhostCatching - 1999 - Paul kaiser
Boy - 1995 - Peter Anderson
Touched - 1994 - Wendy Huston and David hinton
Enter herculeas - 1996 - Lloyd newson
Hands - 1995 - John Burroughs
L'petit bal -1994 - Phillippe decoufle
Lodera -1996 - José navas. Che long
Le dortoir
Victoria marks 1994 mothers and daughter.
Cost of living
Husk - 1997 - Eiko and Kona
GhostCatching - 1999 - Paul kaiser
Boy - 1995 - Peter Anderson
Touched - 1994 - Wendy Huston and David hinton
Enter herculeas - 1996 - Lloyd newson
Hands - 1995 - John Burroughs
L'petit bal -1994 - Phillippe decoufle
Lodera -1996 - José navas. Che long
Le dortoir
Victoria marks 1994 mothers and daughter.
Cost of living
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