International Journal of Film and Media Arts, Vol. 4, Nº. 2 (2019)

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http://hdl.handle.net/10437/10885

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Percorrer International Journal of Film and Media Arts, Vol. 4, Nº. 2 (2019) por assunto "CINEMA EXPERIMENTAL"

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    Cornish knitting pattern series
    (Lusofona University, 2019-12-31) Nightingale, Jennifer; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    The Cornish Knitting Pattern Series is a collection of 16mm animation landscape films that use a single frame production technique to translate Guernsey knitting patterns into film. In doing so, the films set up a structural relationship between that of a knitted stitch and a frame of film—drawing out analogies between both forms of production. The article considers methods and processes of the films’ production, including the role of the film charts and location-as-editing system. The film charts are explored as examples of an approach to systems-based editing and a single frame production in the context of experimental film. They are also discussed as visualizations of the knitting patterns; pragmatic preproduction material; notation documentation and retrospectively a significant aid to reflection on the work carried out. Key aspects of the film series such as how gesture, landscape and film are ‘knitted together’ in the film as a material object, are also highlighted. Further to this the article explores how these aspects reveal readings of the films’ relationship to Landscape, knitting practices and the historical and cultural aspects of the Cornish Guernsey patterns.
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    Process & temporality: chance & (al)chemical traces invigorating materiality & content in the films of Péter Forgács, Penny Siopis and Ben Rivers
    (Lusofona University, 2019) Gaal Holmes, Patti; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    This article discusses encounters occurring between the hand of the artist and filmmaking processes that may bypass the intellect, identifying themselves through intuitive modes of production to reveal integral relationships between film form, materiality and content. In this way the results of non-human agency, registered within film chemistry and processes of production – physical, intellectual, ‘spiritual’, (un)conscious – interact as the filmmaker takes an idea from conception to projection. Jane Bennett’s theorization of ‘vital materialism’ is important for investigations (2010), as is the role of chance discussed by William Kentridge (1993), whereby deliberations include the fortuitous manifestations occurring as encounters between hand, page and camera coalesce in the production of films. Additionally, approaches are informed by Vilém Flusser’s description of the photographer as a ‘Functionary: ‘a person who plays with apparatus and acts as a function of apparatus’ (Flusser 2007, p.83). This is, arguably, equally pertinent for the cinematographer/animator/artist who can ‘creep into the camera [and processing/editing equipment] in order to bring to light the tricks concealed within’ (Flusser, p.27).