I have arranged for a weeks extension on all of the option modules. I signed the extension forms on Thursday 19th of April. You need to go to reception at Ellen Terry in order for you to sign the extension form. Do this as soon as possible.
The reason for the extension is participating in the weeks filming on Skye which has taken a week of work away from all Media Production students on their option modules. We have also given an extra week to prepare the 3 rough cuts for your 3min movies post the trip to Skye. These to be presented on Thursday 10th May in ICE at 12.
In the context of the developments around performance in conceptual art in the 1960s, there were developments specific to film-making where artists were exploring the medium of film directly. Certain artists crossed over from live or sculptural practice to film-making, such as Anthony McCall and David Hall, both sculptors. Hall has gone on to investigate television as a sculptural medium, and McCall’s works in film projection, his ‘solid light sculptures’ now exist as gallery pieces. A number of aspects of performance relating to the medium of film can be seen in the work of film-makers William Raban and others working in the 1970s at the London Film-makers’ Co-op. These aspects derive from the development of structural film-making and Expanded Cinema, and a concern with investigating the properties of film as a technological and an image-making medium and with the projection space and its effects upon the audience.
Early Video Art
TV Interruptions (7 TV Pieces)
UK 1971 Dir David Hall
“Conceived and made specifically for broadcast, these were transmitted by Scottish TV during the Edinburgh Festival. The idea of inserting them as interruptions to regular programmes was crucial and a major influence on their content. That they appeared unannounced, with no titles, was essential.. These transmissions were a surprise, a mystery. No explanations, no excuses. Reactions were various. I viewed one piece in an old gents’ club. The TV was permanently on but the occupants were oblivious to it, reading newspapers or dozing. When the TV began to fill with water newspapers dropped, the dozing stopped. When the piece finished normal activity was resumed. When announcing to shop assistants and engineers in a local TV shop that another was about to appear they welcomed me in. When it finished I was obliged to leave by the back door. I took these as positive reactions…” – D.H.
1) Interruption piece 2.20 mins
2) Window piece 2.25 mins
3) Tap piece 3.31 mins
4) Time Lapse piece 3.28 mins
5) Pans piece 2.34 mins
6) Street piece 2.44 mins
7) Two Figures piece 3.12 mins
Archive source: LUX
I have e-mailed Stefan so that all Media Production students have a weeks extension on their essays for the various modules you have opted for.
Stefan is trying to organise this as a blanket extension for all Media Production students for the reason that you have had a week away filming in Skye so haven’t been able to work on your other modules.
I will keep you posted on the progress of this request.
The trip to Skye I felt was very productive and I enjoyed it.
Just to make clear what the expectations are as a result of the trip. Both Ken and I want you to really use the experience of Skye and editing the material subsequently as a way of thinking about your approach to your final project.
We don’t want to stop people from pushing their own ideas but really want you to think about the style you want to achieve and how this can begin to be the development of your own look and visual language.
For the artifacts produced from the audio and visuals shot in Skye we want you to produce at three, very carefully crafted 3 minute pieces. These will comprise:
- One Three Minute Audio only Piece. Mixing and cutting sounds recorded in the landscape and also at the college on Skye
- One three minute visual only piece, without audio.
- One three minute audio and visual piece. The sounds used in this piece cannot be from sounds captured at the same time as the visuals
Ken will be showing you examples of approaches next Thursday 25th April at 12 in ICE.
You then have until the 10th of May when, from 12 in ICE on the 10th of May you will show us the three rough cuts you have made. This extra week will give you more time after getting your other work complete. It is important that you are all there on the 9th of May.
Growing up in Albania, Sala studied the violin for seven years before abandoning music for the visual arts. Since graduating from the National Academy of Arts in Tirana and giving up painting for video, he has managed to unite his two interests, though. Music now plays a crucial role in his work; so does architecture, or rather, the interaction between sound and its environment.
He gave a lecture at the AA, see the link below:
Apparently he showed his work recently at the Serpentine.
It is important that you all read this carefully and think about how this might influence your approach while on Skye.
One of the projects we would like you all to undertake in Skye is to each produce a film using Structuralism as your guiding principle. This is a very important essay written by filmmaker and theorist Peter Gidal that outlines the meaning of Structuralism in film. It is worth reading the article to get a sense of the objective of this project.
This project is experimental in nature and will require you to look at elements in the landscape, seascape or skyscape and to make a short film (or series of films) that are non-representational. In other words the objective of the film is not for you to offer a representation of what you see but to use film techniques to present your ‘thoughts on screen’ using sounds and images.
Here are some phrases that we will be discussing once we are in Skye on Friday evening:
Dominant modes and conventions
We will be asking you to engage in a philosophical debate on these phrases and what they mean to you and then put this into practice over the weekend in Skye by turning your thoughts into responses on screen as you engage in the island and make your films.
Here are a few filmmakers worth looking at so that you understand the historical practice and can place yourselves within it and extend it to include your own interests and concerns:
Peter Gidal – Clouds
Michael Snow – Central Region
Chris Welsby – Windmill II