User:Emily/20160310: Difference between revisions
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We can basically get the image of the symbolically charged object as a placeholder which reflect on its context. As long as it works in its time, it doesn’t matter it is a diamond or the uranium for Hitchcock; and also it doesn’t matter it is WMD or other government conspiracies for Zizek. <br> | We can basically get the image of the symbolically charged object as a placeholder which reflect on its context. As long as it works in its time, it doesn’t matter it is a diamond or the uranium for Hitchcock; and also it doesn’t matter it is WMD or other government conspiracies for Zizek. <br> | ||
The variation of viewing experience becomes quite important in my works. In a series of my studio practices, I worked closely with cinematic content but generated | The variation of viewing experience becomes quite important in my works. In a series of my studio practices, I worked closely with cinematic content but generated outcomes in quite different forms. | ||
I provided visual materials in different forms in these works, in order to free audiences to some degree for gaining their own viewing experience by connecting different components. No matter if they had known the cinematic material before or not, it is quite different as watching a linear film. I was also quite enjoyed to present the changing face of similar content..<br> | One of them is The Tenant | tnaneT ehT, a split-screen video work which was showed in the film festival, Jornadas de Reapropiacion, 2015. In this work, the duplicated footages are derived from the most dramatic part of Roman Polanski's film, The Tenant. It consists of the original visual-audio sequences at the left side of the split-screen and reversed each single shots at the right side of the split-screen. In another words, the beginning and the end of each shots are viewed at the same time and then go on playing to the end and beginning. It may sound tautological with two identical content, but it is actually the very moment that spectators find quite hard to position themselves along the watching as the time flows continuously both forwards and backwards. There is a very long shot, nearly 70s, from early beginning of the video. The camera dollies in from indoor scene, go through an open window, reach the places of other tenants who reacts to the camera in a sequences. The camera goes on tilting up and down, panning to every conner of the outdoor scene. Like viewing a stage, we choose to focus on different areas, however the reactions from performers seem to put whoever in front of the screen as an actor. They are laughing, pointing, applauding, waiting for a drama. Remember this is a dual-vision work, all what what have seen are doubled, the dolly movement meets with pan, tilting up with tilting down, the dramatic feeling becomes heavier but also seems reversible. The rework with this cinematic content follows my viewing experience of Polanski's film, The Tenant crafts a creepily bizarre scenario of a group of neighbors appearing to be preying on a new tenant's life and conspire against him for that purpose. The film goes into a loop as if the protagonist is repeating what have happened to the previous tenant. However, the end of the movie is enigmatic as if he was the previous and the only one tenant and everything happened the way as we have seen is because of his own psychonauts. The reversed approach to each shots comes from inherent nature of my subject. | ||
The interpretation is so inviting that I kept working on the same cinematic content in another work of mine. It is in a form of photo-book, the images and texts(subtitles) are extracted at moments when characters in The Tenant speak the word "know", and then the frames and sentences are reassembled into a form of a book. I see the word, “know”, in this film carries quite subtle understanding. Each character in the film, holds his or her own opinions towards the circumstance they share. The repetition of the single word “know” and the difference of their following opinions serves a lot of emotional and empirical details, which for me is quite rich. Not every sentences are placed with still images, this leaves a space for readers to reinterpretate the content. This was my very fresh experience with the book format, along from digital editing to physical making. Considered the specificity of the medium, I designed the book to be read vertically, which suit better with cinematic content. The image stills from the film are fully placed in whole pages, whereas the text are placing at the bottom of the pages. And I carefully designed to have some of the pages to be shorter than the others. In this way, it provides the opportunity for the reader to read across pages, and at different intervals. The cover images takes from the end scene, which happened twice in the film. Trelkovsky, the main protagonist is bandaged up in the same fashion as the previous tenant, Simone, in the same hospital bed, but we see his own and his friend, Stella's visit to Simone. It is the very moment in the film, revealing to audience all what happened the two tenants is maybe just one. So the same but different still taking from the two moments are placed as front and the end of the book, looping all the content in between. | |||
The third one is a browser-based, interactive piece working on the same content. By scrolling the page top and down, viewers can experience a row of videos forwards and backwards. Both sound and moving images are affected by scrolling up and down, as if we scrolling the timeline. At the same time, texts from the script will also be shown and hide while scrolling, which add another level meaning to the image sequences. Text, image and audio together affect the transfer of information. | |||
I provided visual materials in different forms in these works, in order to free audiences to some degree for gaining their own viewing experience by connecting different components. No matter if they had known the cinematic material before or not, it is quite different as watching a linear film. I was also quite enjoyed to present the changing face of similar content. Repetition, recycling and later reinvention become quite important artistic strategy.<br> | |||