ZB'S Thesis outline

INDEX

0: Introduction
I

Part one: Previous and present works
I1.1| 
Chapter one: My previous films [draft of chapter one finished]
I1.2| Chapter two: My present film [Steve: work on this now and get a good draft by winter break]

I| 

Part two: Relation to a larger context
I2.1| 
Chapter three: : Chantel Akerman and the story from home [January]

I2.2| 
Chapter four: : Structural film and the formalist experimentation [February]

III Part three: Evaluation of my works [How 1.2 relates to 2.1 and 2.2 (you will know more about this as you progress with your film]
[February and March] IV Bibliography

April deadline.

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Themes outline
Format: Project report

Introduction

In the first year of Piet Zwart Institute, I have been working on filmmaking mostly, focusing on camera using, editing skill, effect design and narrative approaches, I made different types of film which show my understanding and exploration on different 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 would like to talk about my works by three questions: what steps have I taken over the past 2 years to make a more personal filmmaking practice? What kind of films influenced my work? Why do I focus on 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 are 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 an reflection on my works and an evaluation of my research during the graduation year.

Body
Part one: Previous and present works
Chapter one : My previous films
To have a 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 works? Why do I focus more on personal experience in the later filmmaking practice?

What choice did I make between projects

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 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
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

Bibliography
Akerman, Chantal; David, Catherine; Michael, Tarantino (1995). Bordering On Fiction: Chantal Akerman's D'Est. Minneapolis, Walker Art Center: New York: Distribured Art Publishers
Sitney, P. Adams. Visionary Film: The American Avant-Garde 1943-1978. Second Edition, Oxford University Press 1979