what to write

Constellation of reading/watching. The process of drawing. 400 words

Where am I with the film?

Synopsis of:

salt
migritude
the white book

Conversation with Carol

outline from proposal

1.3 Critical Reflection

I make observations on the process of image-making in text and film and make an attempt to clarify the relationship between image and meaning. My main inquiries are: How does an image move someone? Perhaps by a different measure, how does an image embody meaning? When does an image evoke empathy?

These inquiries are informed by my own practice as well as readings of feminist film theory. A longitudinal reading of Laura Mulvey’s essays published from 1975 till 2015 has affirmed my position to maintain a subjective, almost radically personal, approach — by observing how my own memory, narrative/narrativity and aesthetics (appearances, as John Berger calls it) interconnect. I will limit my engagement with, and therefore criticism of discourses that hinge on psychoanalytic, Marxist or Perician/Lacanian frameworks.

My practice in filmmaking has made me more aware of how I use words to construct images. As such, I will investigate two kinds of scenes. First, those I have created in my films: for example, the activity of coffee-making in my graduation project and the hands in my short film Seek (2019). Second, those that have resided in me over the years and that I rewrite for the memoir, including: a cabin I have never visited, lemons and the sky from my childhood. These lead to more specific questions: Am I translating the voice of a writer to that of a filmmaker? How do I convey meaning: with language or with image? How does each procedure of filmmaking (composing an image, blocking a shot, editing) express, interpret or change a feeling?

I will refer to close readings of films and theories that have helped me further these lines of thought. (I have included the list of references in my project proposal, section 3.3.) As I write out this part of the thesis, I hope to define my personal grammar within the poetics of film.

Note: I would like to discuss with Natasha how much abstraction I can — or rather, should — reach within the given word limit with integrity. I have noted the following discourses as relevant, but have not read much of them: life writing, autotheory, phenomenology, new materialism (Deleuzian), haptic visuality (Laura Marks).