Thesis Outline Second Draft

what stance do I want to take on the brevity discourse exactly? My body of work will influence what I want to communicate. For example setting up a film in a gallery would be a different take on brevity than showing the same film in a cinema. An installation in a gallery space will not guarantee that the viewer will watch the work from start to end (not even to mention that they very likely would start watching in the middle of the film instead of watching it from the very beginning). But these decisions are actually very interesting since they connect to the historic brevity discourse to keep the audience interested throughout the speech of the narrator. How does setting up Tarkovskys film in a three-panel installation change the temporality and narration of his work?

Inspiration – Metahaven

https://prostory.net.ua/en/9-publikatsii/krytyka/300-imaginary-motherland-some-notes-on-the-sprawl-propaganda-about-propaganda-and-a-google-doc-conversation-with-metahaven released 2018 by prostory.net.ua

Lesia Prokopenko interviewing Methaven LP: ‘Technology, that is, the internet, has been changing our relations with language and information similar to how the invention of printing changed them, and, later, the invention of photography — and this inevitably implies transformations in the perception of time. Film, as a medium, is one of the ways to explore and manipulate time, which is, at the moment, a more appealing idea than ever. How do you treat temporality in your work?’

MH: ‘(...) In our films, including Information Skies, but also in our new essay, Digital Tarkovsky—which is to be out soon with Strelka Press—we address duration or temporality. Andrei Tarkovsky and Aleksandr Sokurov are heroes of ours who used, and use, time as their primary instrument. But we want to look at this through the lens of platforms, and in the digital age (sorry for the term), where duration is associated with Facebook, Instagram addiction, and Netflix binge-watching. We are convinced that there is a cinematic core to our time spent on the smartphone—if only because it is banned from most movie theatres.’