User:Trashpuppy/Evidently, Chickentown!: Difference between revisions
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<span style="font-family | <span style="font-family; courier new, courier; monospace; color:rgb(184,0,0); font-size:100%;">EVIDENTLY, CHICKEN TOWN!<span style="font-family; courier, new courier; monospace; color: black; font-size:100%"> is a short film I'm working on. It is based on a poem I wrote <I>Dinner time</I>. Focus of the project is on the adaptation from language, poetry specifically, to moving image. Poetry by nature is a collage of imagery (analogies, metaphors and hyperboles). To get the same story across through a different medium you change the way it is "told" by virtue of a different vocabulary. What seems natural in written and spoken language becomes rather theatrical and camp in visual imagery. This element of conflation and contrast is something I wanted to retain as opposed to solve / avoid. Additionally, there's also something about materiality that feels political almost in an age of such invisible editing processes <br><br><br><br> | ||
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[[File:Screen Shot 2021-02-13 at 11.09.54.png|frameless|left]]<span style="font-family; courier new, courier; monospace; color:black; font-size:100%;"> As for the story, it is related to politics of gazes as well as food: what is eaten and by whom? Indirectly related to abjection. That which is consumed, conventionally, does not confuse the boundaries between Object and Abject. In that sense the project is related to previous projects: <I> Abjection on a Silver Platter </I> | |||
Latest revision as of 10:36, 26 March 2021
EVIDENTLY, CHICKEN TOWN! is a short film I'm working on. It is based on a poem I wrote Dinner time. Focus of the project is on the adaptation from language, poetry specifically, to moving image. Poetry by nature is a collage of imagery (analogies, metaphors and hyperboles). To get the same story across through a different medium you change the way it is "told" by virtue of a different vocabulary. What seems natural in written and spoken language becomes rather theatrical and camp in visual imagery. This element of conflation and contrast is something I wanted to retain as opposed to solve / avoid. Additionally, there's also something about materiality that feels political almost in an age of such invisible editing processes
