I Part one: My previous film projects
I1.1| Chapter one: Introduction of my previous films and decisions I made between each one
I1.2| Chapter two: Evaluation of my previous works
Part two: My present film projects
I2.1| Chapter three: : Prototyping of personal filmmaking practice[January]
Chapter four: : Evalution of my present works [February]
III Part three: Conclusion
[February and March] IV Bibliography
Format: Project report
In the first year of Piet Zwart Institute, I have been making films by learning photography, editing skill, effect design and narrative approaches etc, I made different types of film to understand the value of each aspect in filmmaking. In the second year, my plan is to strength those skills and develop a cinematic language of my own.
In this thesis, I will talk about my works through three questions: what steps have I taken over the past 2 years to make a more personal style film? What kind of films influenced my work? Why do I focus on the personal experience based topic in my works?
In the first part of my thesis, I will analyze my previous works from the narrative approach, style, motivations and the movie form, how they connected to each other and what guided me to make the present film. In the second part, I will talk about my interest in camera language, the metaphoric approach, the structural film, a selection of structural filmmakers, for example, Hollis Frampton, Michael Snow and how their works affect mine. The last part will be a reflection on my works and an evaluation of my research during the graduation year.
Part one: Previous and present works
Chapter one : My previous films
To have an overlook of my previous works, I will talk about the film style, narrative approaches, topics and motivations of my five previous films. What kind of decisions did I make between each work? Why do I focus more on personal experience in the later filmmaking practice?
Chapter two : My present films
I will talk about the idea of this film, as a new step from my previous experience, what the difference is, how I want to make it and why I want to make it.
Part two: Relation to a larger context
Chapter three : Chantel Akerman and the story from home
Akerman's filming style relies on capturing ordinary life. In her film News from home, she shows the image of New York in the late 1970s accompanied by a voice-over of Akerman herself, reading letters from her mother. It is such a simple concept with strong emotion.
What I found inspiring form Akerman’s film is that she makes the audience gets involved in the story by encouraging them to have a slower pace and be patient. she leaves a big space for the audience to imagine what the topic of the film is and everyone has their own answer for it. Her film shows how complex simplicity can be and how strong connections a private story can cause. My latest works: Practice my Dutch and Walk slowly are influenced by her style on narrative, image design and film philosophy.
Chapter four :Structural film and the formalist experimentation
The structural film was an experimental film movement prominent in America in the 1960s. it promotes that the shape of the film is more dominated than the content, the relationship between the image and viewers supposed to be mutual and reciprocal.
I want to shape my own cinematic approach by learning the philosophy of structural film, the topic of my current films are getting more personal and private, the initial desire of sharing them pushes me to find a better way to present.
Part three: Evaluation of my works
Akerman, Chantal; David, Catherine; Michael, Tarantino (1995). Bordering On Fiction: Chantal Akerman's D'Est. Minneapolis, Walker Art Center: New York: Distributed Art Publishers
Sitney, P. Adams. Visionary Film: The American Avant-Garde 1943-1978. Second Edition, Oxford University Press 1979