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=Thesis proposal: Writing the Image=
=Thesis proposal: Writing the Image=


My thesis is a memoir in which I reflect on my practice and how increasingly inseparable it is from life. It weaves together the personal — from childhood memories to identity struggles — and the intellectual — namely, my study of film as a medium of expression, union and empathy. I have been writing towards this essay since the beginning of the academic year, taking inspiration from my text on practice from the last term. ([[jujube/text-on-practice-2019]]) In the generative phase, my writings resemble journal entries ([[jujube/memoir2]]). A month into the process, I have noticed recurring questions and the emergence of themes which, in return, guide my writing. I will start to produce focused writing (via re-writing) and substantiate my observations with the text I read ([[jujube/synopsis]] and [[jujube/abstracts-text]]), the non-text I reviewed ([[jujube/abstracts-non-text]]), as well as realizations from my making ([[jujube/scenes]]). The questions are:
latest: https://docs.google.com/document/d/17f8B3_IX4SmDIgM4GAb3n6-JAGGVsB6zSEMUwA72DLw/edit#


; How have words and images influenced my practice?
My thesis is a memoir in which I reflect on my practice as a writer and filmmaker. It weaves together the personal and the intellectual — namely, my study of film as a medium of expression, union and empathy. I have been jotting down paragraphs since September 2019. There is no particular structure at this moment, but I have noticed recurring questions and the emergence of themes, which are:
: I seem to have wanted to evoke feelings all these years. What feelings are these?
: What is my relationship with words? Why do I write?
: What is my relationship with images? How do I (learn to) express with images?
; Why am I making films?
: How did I come to this choice?
: How has the research of the medium informed me?
: How do I deal with the difficulties?


I have identified certain keywords for my thesis:
: What are the images that I have held onto over the years?
: How do I use words to express these images?
: What are the meanings and the feelings these images carry?
: Why do I write?
: How do I (learn to) express with filmmaking?
 
The free-writing can be seen on this page: [[jujube/memoir2]].
 
I will start to produce via editing and re-writing and substantiate my observations with the text I read and the films/plays/lectures I reviewed as well as realizations from my making. Some key words I have identified are:


: narrative, emotions, emotional intelligence, self-knowledge
: narrative, emotions, emotional intelligence, self-knowledge
: definition of medium, understanding the image, making without knowing all, craft, confidence as an artist, artisthood
: definition of medium, understanding the image, making without knowing all, craft
: solitude, loneliness, spiritual diaspora, trancendance
: solitude, loneliness, spiritual diaspora, trancendance


I refrain from an academic tone. My mode of address is that of an essayist who speaks with "I". I will demonstrate the academic integrity with the content and bibliography.
= References =


END OF PROPOSAL
Things I have read and notated:


For Marloes:  
* Campany, D. (2007) The cinematic. London: Whitechapel (Documents of contemporary art, 2007: 5).
* Chee, A. (2018) How to write an autobiographical novel : essays. Boston: Houghton Mifflin Harcourt.
* Kern, S. (2004) A cultural history of causality : science, murder novels, and systems of thought. Princeton: Princeton University Press.
* Farr, I. (2012) Memory. London: Whitechapel Gallery (Documents of contemporary art).
* Mamet, D. (1992) On directing film. New York: Penguin Books.
* Merewether, C. (2006) The archive. London etc: Whitechapel etc (Documents of contemporary art).
* Miall, D. (2011) Emotions and the Structuring of Narrative Responses. Poetics Today 1 June 2011; 32 (2): 323–348. doi: https://doi.org/10.1215/03335372-1162704
* Nussbaum, M. (1988) Narrative Emotions. Ethics, Vol. 98, No. 2., pp. 225-254.
* Shouse, E. (2005) Feeling, Emotion, Affect. M/C Journal 8.6. <http://journal.media-culture.org.au/0512/03-shouse.php>
* Stallabrass, J. (2013) Documentary. London: Whitechapel (Documents of contemporary art).
* Voìgt, Ellen Bryant. Image. New England Review, Vol. 13, No. 3/4, 1991, pp. 254–268. JSTOR, www.jstor.org/stable/40243421.


- Who is reading the thesis proposal?
Things I have in the process of reading/notating:


- Since I am constant reorganizing and synthesizing my content, the hierarchy and focus of the questions might shift. I hope I have made the process clear, but if not, please add editor's notes.


- I started reading about autotheory, which I find fitting in contextualizing this mode of address. I will include that soon in my synopsis.
*Bird Cloud, Anne Proulx
 
*Limbo, Dan Fox
= References =
*The Argonauts, Maggie Nelson


== Form & concept ==
== Form & concept ==
Line 41: Line 51:


Christian Boltanski: Reconstitution [https://www.vincentborrelli.com/pages/books/107291/christian-boltanski/christian-boltanski-reconstitution]. "Heavy brown cardboard box with title printed in black on label pasted to lid, containing 18 items."
Christian Boltanski: Reconstitution [https://www.vincentborrelli.com/pages/books/107291/christian-boltanski/christian-boltanski-reconstitution]. "Heavy brown cardboard box with title printed in black on label pasted to lid, containing 18 items."
== From the handbook ==
The thesis should show:
* evidence of a clearly structured analysis and argument
* use of relevant source material and references
* clarity of writing
* attention to alternate arguments and sources
* ability to research texts and practices and reflect upon them analytically
* ability to manage ‘interdisciplinary’ material
* clear referencing according to the Harvard system
* ability to position ones own views within a broader context


== A return to some early thoughts ==
== A return to some early thoughts ==
Line 134: Line 131:


Narrative, in the dramatic sense, follows dramaturgy.
Narrative, in the dramatic sense, follows dramaturgy.
=== other ===
In writing the thesis I am also finding its epistemological position and discursivity. Rather than creating new knowledge, I emphasize the understanding and revisiting of existing knowledge. In a way, can films heal? If so, how so?


=Feedback=
=Feedback=


03.10 https://pad.xpub.nl/p/jueartemisrita
03.10 https://pad.xpub.nl/p/jueartemisrita

Latest revision as of 16:08, 15 November 2019

Thesis proposal: Writing the Image

latest: https://docs.google.com/document/d/17f8B3_IX4SmDIgM4GAb3n6-JAGGVsB6zSEMUwA72DLw/edit#

My thesis is a memoir in which I reflect on my practice as a writer and filmmaker. It weaves together the personal and the intellectual — namely, my study of film as a medium of expression, union and empathy. I have been jotting down paragraphs since September 2019. There is no particular structure at this moment, but I have noticed recurring questions and the emergence of themes, which are:

What are the images that I have held onto over the years?
How do I use words to express these images?
What are the meanings and the feelings these images carry?
Why do I write?
How do I (learn to) express with filmmaking?

The free-writing can be seen on this page: jujube/memoir2.

I will start to produce via editing and re-writing and substantiate my observations with the text I read and the films/plays/lectures I reviewed as well as realizations from my making. Some key words I have identified are:

narrative, emotions, emotional intelligence, self-knowledge
definition of medium, understanding the image, making without knowing all, craft
solitude, loneliness, spiritual diaspora, trancendance

References

Things I have read and notated:

  • Campany, D. (2007) The cinematic. London: Whitechapel (Documents of contemporary art, 2007: 5).
  • Chee, A. (2018) How to write an autobiographical novel : essays. Boston: Houghton Mifflin Harcourt.
  • Kern, S. (2004) A cultural history of causality : science, murder novels, and systems of thought. Princeton: Princeton University Press.
  • Farr, I. (2012) Memory. London: Whitechapel Gallery (Documents of contemporary art).
  • Mamet, D. (1992) On directing film. New York: Penguin Books.
  • Merewether, C. (2006) The archive. London etc: Whitechapel etc (Documents of contemporary art).
  • Miall, D. (2011) Emotions and the Structuring of Narrative Responses. Poetics Today 1 June 2011; 32 (2): 323–348. doi: https://doi.org/10.1215/03335372-1162704
  • Nussbaum, M. (1988) Narrative Emotions. Ethics, Vol. 98, No. 2., pp. 225-254.
  • Shouse, E. (2005) Feeling, Emotion, Affect. M/C Journal 8.6. <http://journal.media-culture.org.au/0512/03-shouse.php>
  • Stallabrass, J. (2013) Documentary. London: Whitechapel (Documents of contemporary art).
  • Voìgt, Ellen Bryant. Image. New England Review, Vol. 13, No. 3/4, 1991, pp. 254–268. JSTOR, www.jstor.org/stable/40243421.

Things I have in the process of reading/notating:


  • Bird Cloud, Anne Proulx
  • Limbo, Dan Fox
  • The Argonauts, Maggie Nelson

Form & concept

Ss1.jpg Ss2.jpg

Selected Statuses. A zine I made during the first year consisting of 50 selected status updates that I posted on Facebook from 2013-2018.

107291.jpg 107291 10.jpg

Christian Boltanski: Reconstitution [1]. "Heavy brown cardboard box with title printed in black on label pasted to lid, containing 18 items."

A return to some early thoughts

Jujube/memoir

Photos

do they serve as illustration, prompts?

a plastic bag with Chinese label
sketching a room: a series
still from Scene 1

TBC

Annotated Bibliography

This is a synthesis of some materials I have read so far. The annotations are colloquial at the moment. As the synthesis continues I plan to become more precise with the literature and succinct in my annotations.

feelings

I want to evoke feelings. I believe it is shared human nature and thus a way to foster empathy. Empathy comes from compassion (understanding and love) for the self.

I can now say this, with certainty and humility, that I want to surround myself with understanding and thus create a world where people understand each other. If you see me in you, and if I see you in me, perhaps the world will suffer less.

A few people whose judgement I trust have told me, "nobody can ever understand you in totality," which I have come to agree. In trying to be understood, I finally become able to understand myself. And that's where I connect self-compassion and empathy.

memories

Memories are images strung together. Words construct images — words come to me via memories.

A few people told me that my writing touches or bring to mind images.

That's how poetry works, I suppose.

I want others to understand, through these images, something about me, something about themselves.

the making of images without language

"A film is a story or a proposition... that is shaped, angled, finite, intended, whether it is a documentary, an art installation, a bit of gritty realism, or a full-blown fantasy... A film-maker is a person who makes such things."

I encountered the camera not through intention, but chance.

If you ask, "why the camera," I would say:

I took a chance. I connected the dots from my past. I was curious.

And I have been privileged to stay with it, hold it, test it. I have become decisive and considerate with its help — I am an ally, and more importantly, a student.

"And why film?"

I discovered time through film. I unearthed my intention about image-making. In writing and in making films I am drawing a very, very large circle, some sort of infinity that help me understand my being in this world.

I ask more concrete questions through the things I make:

Do narrative and personal memory ever come together? Is that the form of the Memoir? Or Must one become fictionalized?

How to evoke the sense from memory? (Is this a how question?)

Or, if I want to evoke feeling, should I construct a story around it?

causality, narrative, dramatic logic

Causality is important in determining narrative. Different time periods (cultures) tend to favor different causality. (Perpetuations of the unhealty, unresolved kind seem irresponsible.)

Narrative, in the dramatic sense, follows dramaturgy.

other

In writing the thesis I am also finding its epistemological position and discursivity. Rather than creating new knowledge, I emphasize the understanding and revisiting of existing knowledge. In a way, can films heal? If so, how so?

Feedback

03.10 https://pad.xpub.nl/p/jueartemisrita