Jujube/voor-assessment: Difference between revisions
| Line 76: | Line 76: | ||
feminist film theory, my own position against (or within) it, my discomfort (but also disdain, rather haphazardly), an event of a collective in formation/meetings with people I want to make into moving image, footage of someone else, my own footage, bread. | feminist film theory, my own position against (or within) it, my discomfort (but also disdain, rather haphazardly), an event of a collective in formation/meetings with people I want to make into moving image, footage of someone else, my own footage, bread. | ||
I keep telling myself to keep calm and give myself the permission to pause. So far it seems to work — as long as I am not overworked — I feel okay. But perhaps I am turning one obsessiveness | I keep telling myself to keep calm and give myself the permission to pause. So far it seems to work — as long as I am not overworked — I feel okay. But perhaps I am turning one obsessiveness into another, which is now more obviously work, a durational performance that is too coded for others and not that transparent to myself. | ||
How do you answer that question now — what do you do? | How do you answer that question now — what do you do? | ||
Revision as of 21:30, 24 March 2019
TODO
- add photo to garage cafe performance
- files
- jullie clip, still
- seek clip, still
- floorplan still
- lara (edited with new shots) trailer
- mia trailer
- amy trailer
connections from projects & experiments
Crucial to this assessment is your capacity not just to show your successful projects, but your ability to reflect on points of improvement - in other words, the ability to talk about your failed experiments, and what you have learned from them, is just as important as speaking about what worked and why.
jullie -- seek -- home
autobiography -- documentary
05.02.19
Su,
I used to, perhaps still am, obsessed with the precision of words.
If someone misuses a word, I get annoyed. You can count that as a fact.
But then, when it comes to an idea, I am the opposite of precise.
I become very vague.
Is that how I seek refuge?
My distrust towards the world.
But how can I move the world if I cannot trust it?
This is my dilemma.
what I have been reading before feminist film theory...
experiments
the meetings I have
24.03.19
I am notating, writing, discussing, organizing, editing, shooting, baking:
feminist film theory, my own position against (or within) it, my discomfort (but also disdain, rather haphazardly), an event of a collective in formation/meetings with people I want to make into moving image, footage of someone else, my own footage, bread.
I keep telling myself to keep calm and give myself the permission to pause. So far it seems to work — as long as I am not overworked — I feel okay. But perhaps I am turning one obsessiveness into another, which is now more obviously work, a durational performance that is too coded for others and not that transparent to myself.
How do you answer that question now — what do you do?
garage cafe
applying -- communicating -- meeting -- performance -- meeting -- shooting
shooting on my own v. recruiting help and trusting
collective
instigating -- meeting -- writing -- communicating -- meeting
editing
taking chance -- meeting -- writing -- communicating -- meeting -- editing
developing criteria & evolving practice
Essential in each of the integrated assessments, however, are your own developing criteria, which are specific to your practice and essential to your abilities as an independent practitioner... Any integrated assessment will take the specificities of your own practice into account, and will also ask which criteria you have developed for your own work and how you have employed them in taking decisions in developing your practice.
- from seek
- understanding the medium: Jujube/cinematography, the Cinematic
- production of the image: Objectivity
- relationship with theories
- essay #2
- practice
- Jujube/practice