Third outline: Difference between revisions
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<big><big>Thesis outline</big> | '''<big><big>Thesis outline</big> | ||
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<big>Introduction:</big> | '''<big>Introduction:</big>''' | ||
<br> | <br> | ||
How simple can it be? | How simple can it be? | ||
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Read and analyze some related art works that contains very basic structure. General introduction and questions about films in a simple format. | Read and analyze some related art works that contains very basic structure. General introduction and questions about films in a simple format. | ||
<big>Structural & minimalistic:</big> | '''<big>Structural & minimalistic:</big>''' | ||
<br> | <br> | ||
-This chapter will describe structural film and its attributes, i.e. : fixed camera position, flicker effect, looping printing, repetition, etc. Furthermore, to analyze different film in this format such as: Hollis Frampton’s <Lemon> and Warhol’s <Sleep>, and the impacts to my personal project. | -This chapter will describe structural film and its attributes, i.e. : fixed camera position, flicker effect, looping printing, repetition, etc. Furthermore, to analyze different film in this format such as: Hollis Frampton’s <Lemon> and Warhol’s <Sleep>, and the impacts to my personal project. | ||
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Small changes make big or small differences. | Small changes make big or small differences. | ||
<big>As a viewer:</big> | '''<big>As a viewer:</big>''' | ||
<br> | <br> | ||
Meditation, illusion through simple formats. What are the mental influences from watching those artworks? Is it important to build this obvious or subtle connection between the artwork and viewers? | Meditation, illusion through simple formats. What are the mental influences from watching those artworks? Is it important to build this obvious or subtle connection between the artwork and viewers? | ||
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The fact that an illusion is created by a representation becomes the subject of the film. This meditative process cannot be achieved if there is a story or many different forms that viewer has to make connections with; there has to be a simple form. | The fact that an illusion is created by a representation becomes the subject of the film. This meditative process cannot be achieved if there is a story or many different forms that viewer has to make connections with; there has to be a simple form. | ||
<big>Structural digital video:</big> | '''<big>Structural digital video:</big>''' | ||
<br> | <br> | ||
How do artists nowadays utilize and develop simple formats in their own works in a digital format. | How do artists nowadays utilize and develop simple formats in their own works in a digital format. | ||
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Analog and digital, media exchanges. | Analog and digital, media exchanges. | ||
<big>Final project:</big> | '''<big>Final project:</big>''' | ||
<br> | <br> | ||
This chapter will focus on analyzing my final project. How do I choose the content, scenes, objects and the reasons/ stories behind. | This chapter will focus on analyzing my final project. How do I choose the content, scenes, objects and the reasons/ stories behind. | ||
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Moreover, to analyze the difference and relationship between my work and other structural works such as: Hollis Frampton’s <Lemon> and Warhol’s <Sleep>. | Moreover, to analyze the difference and relationship between my work and other structural works such as: Hollis Frampton’s <Lemon> and Warhol’s <Sleep>. | ||
<big>Bibliography:</big> | '''<big>Bibliography:</big>''' | ||
<br> | <br> | ||
The MIT Press & Whitechapel Gallery, [2017], <Boredom, Documents of Contemporary Art>. | The MIT Press & Whitechapel Gallery, [2017], <Boredom, Documents of Contemporary Art>. | ||
Revision as of 18:00, 10 November 2017
Thesis outline (3rdversion):
Introduction:
How simple can it be?
Read and analyze some related art works that contains very basic structure. General introduction and questions about films in a simple format.
Structural & minimalistic:
-This chapter will describe structural film and its attributes, i.e. : fixed camera position, flicker effect, looping printing, repetition, etc. Furthermore, to analyze different film in this format such as: Hollis Frampton’s <Lemon> and Warhol’s <Sleep>, and the impacts to my personal project.
Moreover, the relationship between structural film and minimalistic art.
-Feeling bored? Is it supposed to be boring?
This part will analyze the subtle or obvious relationship between boredom and non boredom, how those structural filmmakers deal with the relationship in their works and how they deal with the challenge of durations.
-Time matters.
Time plays a quite crucial role in time based artworks, especially in structural films. Thus, how do structural film artists deal with time in their works? How do they materialize time through moving images? What time tricks can they play, furthermore the impacts?
This chapter will mainly discuss about these.
Small changes make big or small differences.
As a viewer:
Meditation, illusion through simple formats. What are the mental influences from watching those artworks? Is it important to build this obvious or subtle connection between the artwork and viewers?
The fact that an illusion is created by a representation becomes the subject of the film. This meditative process cannot be achieved if there is a story or many different forms that viewer has to make connections with; there has to be a simple form.
Structural digital video:
How do artists nowadays utilize and develop simple formats in their own works in a digital format.
Analog and digital, media exchanges.
Final project:
This chapter will focus on analyzing my final project. How do I choose the content, scenes, objects and the reasons/ stories behind.
Creating & accepting: Additionally, to compare and analyze the difference and similarities between camera shooting and computer graphics. Computer generated moving image / graphics and camera shooting moving images.
Moreover, to analyze the difference and relationship between my work and other structural works such as: Hollis Frampton’s <Lemon> and Warhol’s <Sleep>.
Bibliography:
The MIT Press & Whitechapel Gallery, [2017], <Boredom, Documents of Contemporary Art>.
Hollis Frampton’s Lemon Analysis—The Nature of Film and Vision
Ways of Seeing, Structural Films: Meditation through Simple Forms
Peter Gidal, Structural Film Anthology, Theory and Definition of Structural/ Materialist Film
“Structural Film,” as Technique of History, Jonathan TD Neil
Who’s afraid of structural film, Jonathan TD Neil
Film as film: formal experiment in film 1910-1975, Birgit Hein, chapter “The Structural Film”
Structural Digital Video, Clint Enns