FMP
FMP
Proposal:
Section 1: A review of progress and achievement through parts 1 and 2 of the course
| Section one of the course allowed me to demonstrate a number of critical methods alongside the exploration and adaptation of new practical skills and it was useful to sample each pathway before making an informed decision. However, after experiencing the Film and Animation Pathway, I was excited by the opportunities filmic media could provide for appropriating, adapting, and adopting other creative disciplines, such as art, history, and literature and this seemed like the pathway for me. During part two of the course I was able to develop the craftsmanship of my story telling, as well as building on my interests in the visual arts and associated disciplines which was extremely useful as I want to study film at university. Before foundation, I would mull over a single concept or idea and it would take some time before I started to create anything but during section two, we were encouraged to pursue a number ideas, however vague, in the hope that the process of experimentation would breed new and interesting lines of enquiry. In some instances this enabled a fruitful synthesis between different ideas which was really interesting. Moreover, I was especially interested in experimental film making and this taught me to be disciplined and well organised as well as developing my practical problem solving abilities. |
Section 2: Project concept
| I’m interested in our perception of time and in the concept of capturing images across time, as opposed to suspending single moments. I don’t want to mirror reality but instead study the flux of time and subvert our perception of it. Accordingly, I want to warp and metamorphosise objects and people and suggest a new view of our surroundings. There are a number of ways to achieve this abstraction with the still image which I want to experiment with but ultimately I am more interested in producing a moving image for the final outcome. Rendering objects in this way was indicative of a distinct cubist vision, as well as influencing Futurism and Photo Dynamism and I want to explore and extrapolate these concepts for my own outcome. As I say, I am fairly sure that this project will take the form of a moving image, and so a soundscape to accompany the footage would be really interesting, which presents another avenue for contextual research. Moreover, I would like to shoot with a high frame rate to experiment with slow motion but if this is not possible then I can borrow a Canon60D or SonyZ7E from the equipment hire store and use a plugin like twixtor with After Effects or Final Cut Pro. |
Section 3: Evaluation
| I want to experiment with different techniques in order to capture images across time and yield amorphous shapes and forms, and if I can achieve this I think the piece and the process will be successful. The subject of time is so broad and thus will be great for contextual research and I hope to explore and learn from a number of artists and techniques. I want to experiment both with everyday scenarios and studio environments and using a range of camera or lens modifications to make a study of time so I will have to seek the advice of the staff and thoroughly critique my work along the way. I want to explore different compositional techniques and hopefully not only achieve an interesting concept but visually interesting images. Finally, ideally I want to make a moving image but I first want to experiment with ways of moulding time photographically and, if successful continue learning how to develop film effectively and explore the modifications that can be made in the dark room. |
Evaluation:
APPENDIX 2: Project action plan and timetable
APPENDIX 1: Bibliography (Harvard Format):
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Lista, G (2001). Futurism and Photography. 4th ed. London: Merrell. p123. Loengard, J (2009). The Great LIFE Photographers . 5th ed. London: Thames and Hudson Ltd. Ken Johnson. (2011). Behold the Anonymous Downtrodden. Available: http://www.nytimes.com/2011/06/03/arts/design/boris-mikhailov-case-history-at-moma-review.html?pagewanted=all&_r=0. Last accessed 10th March 2014. Sontag, S (1977). On Photography. 9th ed. London: Penguin Books Ltd. pp85-115. Benjamin, W (2008). The Work of Art in the Age of Mechanical Reproduction. London: Penguin Books Ltd. pp26-32. McAlhone and Stuart (2011). A Smile in The Mind. 4th ed. London: Phaidon Press Ltd. pp35-56. Melancholia (2011) Lars von Trier. Dir. Denmark: Zentropa Entertainments. Koyaanisqatsi (1982) Godfrey Reggio. Dir. USA: IRE Productions. Thames and Hudson (2009). Magnum. 6th ed. London: Thames and Hudson. Service, T. (2012). A guide to György Ligeti’s music. Available: http://www.theguardian.com/music/tomserviceblog/2012/aug/27/gyorgy-ligeti-contemporary-music-guide. Last accessed 22nd March 2014 Gavin Bryars . Jesus Blood Never Failed Me Yet. Available: http://www.gavinbryars.com/Pages/jesus_blood_never_failed_m.html. Last accessed 14th February 2014. Thomas, D. (1972). “Goodbye to Berlin”: Refocusing Isherwood’s Camera. Contemporary Literature. 13 (1), pp44-52. Anderson, A. (2014). Martin Parr & Tony Ray-Jones: A photographic relationship. Available: http://www.creativetourist.com/articles/art/yorkshire/martin-parr-and-tony-ray-jones-a-photographic-relationship/. Last accessed 11th April 2014. Hughes, R (2013). The Shock of the New. 8th ed. London: Knopf Doubleday Publishing Group. 16. Miller, A. (2001). Space, Time, and the Beauty That Causes Havoc .Available: http://www.nytimes.com/books/first/m/miller-01einstein.html. Last accessed 6th March 2014. Middleton, T (2003). Modernism: Critical Concepts in Literary and Cultural Studies . 6th ed. London: Routledge . p2. Risch, C. (2012). DIY Camera: Adam Magyar’s Slit-Scan Camera.Available: http://www.pdnonline.com/features/DIY-Camera-Adam-Mag-4640.shtml. Last accessed 9th March 2014. (2012). Going to extremes: George Silk, photojournalist.Available: http://www.nga.gov.au/Silk/Gallery.cfm. Last accessed 10th March 2014. Tarkovsky, A (1996). Sculpting in Time: Reflections on the Cinema. 5th ed. London: University of Texas Press. p113. Bradshaw, P. (2012). Berberian Sound Studio. Available: http://www.theguardian.com/film/2012/aug/30/berberian-sound-studio-review. Last accessed 28th March 2014 Bradbury, K (2000). Essential Dali. 4th ed. Bath: Parragon. pp45-60. Duncan, P (2003). Stanley Kubrick: The Complete Films. 3rd ed. London: Taschen . pp144-186. Pepper and Warner (2013). Man Ray: Portraits. 4th ed. London: National Portrait Gallery Publications. pp10-16. Cousins, M (2011). The Story of Film. 4th ed. London: Pavilion Books. pp216-266. Malkiewicz, K (1992). Film Lighting . 3rd ed. New York: Prentice Hall press. pp51-52. Gombrich, E (1995). The Story of Art. 2nd ed. London: Phaidon Press Ltd. Read, H (1959). The Meaning of Art. 2nd ed. Australia: Penguin Books Ltd. pp144-160. The Stalker (1969) Andrei Tarkovsky. Dir. Soviet Union: Kinostudiya In the Mood for Love (2001) Wong Kar Wai. Dir. Hong Kong: Paradis Films Barry Lyndon (1975) Stanley Kubrick. Dir. UK/USA: Warner Bros. The Godfather (1972) Francis Ford Coppola. Dir. USA: Paramount Pictures. Carter, I. (2010). Caravaggio: how he influenced my art. Available: http://www.theguardian.com/artanddesign/2010/jul/25/caravaggio-scorsese-lachapelle-peter-doig. Last accessed 5th March 2014. Graham-Dixon, A (2008). Art: The Definitive Visual Guide. 3rd ed. London: Dorling Kindersley. Hanson, J. (1998). Kindred Spirits: The influence of painting on film.Available: http://www.gadflyonline.com/archive/March98/archive-kindredspirits.html. Last accessed 18th April 2014. Alley, R (1981). Catalogue of the Tate Gallery’s Collection of Modern Art other than Works by British Artists. 3rd ed. London: Tate Gallery and Sotheby Parke-Bernet. pp.712-3. Cooper, D (1971). The Cubist Epoch. 2nd ed. LOndon: Phaidon Press Ltd. Berghaus, G (2009). Futurism and the Technological Imagination. 3rd ed. London: Rodopi. pp101-125.
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FND Will Roberts 