SCPK GRS 2/3

Thesis outline update (16 okt.)

Introduction In my untitled thesis, I move away from usual lens based tools in exchange for a pen, to delve further, in words, about images. I will examine how I as an individual and independent maker with a western background and film-school toolset deals with making film that goes against the traditional form. Furthermore, the thesis will provide historical context on traditional documentary or narrative means, and and contrast this with those that are made in an opposition to traditional cinematic means: with collaboration, participation, sustainability, taking time and non-professionality at it's core. This will  will be bridged to my own practice- about moving away from my 'industrial' practice as cinematographer in search of something more freeing and justified in regards to making films about and with others. It will explore the role of the lens amongst differing people when making film, subverting it, and what sort of structures, methods and manners I used in developing my current work in progress Work(ing Together) in Process. 

Chapter 1 How have images been 'colonized' by professionality, rationality and profit driven motives? What does the 'normal' film look like? Where and how is it programmed, for the programming of the masses? What are some examples of restitances to this, in cinema and expanded cinema/fine art? This chapter will look at these things while also laying a basis of understanding around ethnographic/anthorpological documentary film and the potential issues around it. Also, what are the contrary or contrasting forms of making to this? ex. Jean Rouch, Third Cinema etc. 

Chapter 2 How did my practice break from professional? Looking at Zen and the Art of Street Cinema & Keep It in the Streets, trying to find a way to work within documentary to go beyond it. Mining the streets for stories, and how that also felt extractivist in some sense now in reflection. Then, in Rotterdam, slowly developing a new method of working. How do I use my immediate surroundings as a small, accessible, cheap and mostly rich soil to make films? Dear Moritz, prioritizing the unexpected (making a film out of what wsant planned to be a film) and prioritizing conversations with many differing voices to understand the images we have/make.

Chapter 3 Meeting Marty, my once stranger turned neighbour turned friend turned collaborator and co-director. The process of our work. How did we start? How did we understand and trust each other enough to bring a camera between us and pointed at us. How did the initial 'fascination' i had of a 'character' turn into a project far from that, one that explores a reconciliation of difference through long term relationship building and letting loose of expectations and control in making. How often do we meet, talk, shoot, edit, or disconnect from the making process. What are our differing reflections on this? 

Bibliography

Poetics of Relation - Edouard Glissant - A seminal work which explores the notion of the 'other', and the how relations are built upon this. This relates to my thesis and practice because my film is a constant effort to reconcile this notion, to subvert the traditional use of lens, and to recognize difference and use it to collectively empower and share (new) narratives.

Selfless Cinema?: Ethics and French Documentary - This book provides a good case study into the work of several french directors that inspired my initial interest in cinema for aesthetic reasons (nouvelle vague) and my re-born interest in a new form of making throuhg Jean Rouch' ehtnographic film work. Rouch was not trained as a filmmaker and worked from a very different angle in making films that understood French society and people but also attempted to understand Africa and it's relation to France. This will be useful for historical context.

In Defense of the Poor Image - a parallel to the idea of non-professional cinema. Making something out of what is usually not looked at, the neighbours, friends, differences surrounding us. Also a useful reference in terms of writing style. Maybe I could use this mode of address to discuss a new form I am striving towards of collectivity, much like the manifesto of Third Cinema (following reference)

For An Imperfect Cinema - Julio Garcia Espinosa

Displacements—Beyond the Coloniality of Images

Fractal Levels Of Awareness: Authoring Our Own Story

Thesis outline quick sketch (5 okt.)

I want to write a thesis that explores two sides. One being a broader context and understanding of the (moving) image, it’s history and current state. The other side will reflects on my current position and practices, of attempting to find fragments, structures, designs, methods, to work with the image in a collaborative, participatory form of authorship. This will connect to the current project I am working on with Marty, a film that is (maybe) not a film. And how the process of that, is very much a ‘film’ as we are trained to know, without needing a heroes journey or script or typical plot. Our lives are filled with films, in the sense of moments, interactions, encounters, peculiarities, paradoxes and more. What does it mean to delve into this, to use the images around us instead of adding to the endless sea and speed of images. The thesis would also reflect on the philosophy of image making and distribution for capitalistic reasons and attempt to build bridges by linking back to the small scale process as a form of fighting back and decentralizing the purpose of images/films and questioning altogether what this is.

In short, the 3 key issues I am currently thinking of exploring within the thesis are:

What do we know as images, what are their types and implied connotations? (genre, categorization, dominance- Professional, amateur, documentary, fiction, commercial etc)

representation, authorship, coloniality of images?

How have and can images been used and explored contrary to this? What/where are the outliers? What do they mean? How is it negotiated

collectively authored works, participatory practices, challenging ethnographic film

How do we make a film about someone, with someone?

Reflections on the process of making a film that is a process of reflection on making a film

the attempts, negotiations, structures used in my practice.

Notes from Arabella, Ada and Marloes

• Collaboration as an act of rebellion against the use of images / active resistance
• Using this process as a case study
• XPub approach to lens based
  • Explore something in a collaborative way that is not usually in done in such a way
• Details of methods? Would I?
  • Ultimate act of resistance is the detail
• Approach the thesis in the same way of my project
  • Use the thesis as the decision making process,
  • Using writing to become an element of this process, to think through problems
• There is improv - types of art form. Think about that
• Technique - what are the tools and techniques
• Using the diary or journal and expanding out