NOTES after supervision and some reading..
Maybe something on
How could we or have we used arts to represent resistance? (Is represent the wrong word? Mobilse, develop, interrogate)
Look at work in the past 6 months:
Student
March 26th
June 30th
NSSN
or
In what ways does arts raise class conciousness?
Maybe focusign on class, consumption of arts or use of art ?
See Peierr Boduire..
Maybe look at work of one artists?
Suz Muna
Dennis Rudd
Read art as a weapon
http://libcom.org/history/art-weapon-frans-seiwert-cologne-progressives-martyn-everett
Surrealist manefesto..
The art of interruption - john roberts
Photography turned experience of working class into authenticity rather than expressions of class conciousness.
Showing posts with label MA. Show all posts
Showing posts with label MA. Show all posts
Tuesday, 12 July 2011
Monday, 11 July 2011
Report handed in June - work in progress
Something I have been up to..
This was the report I handed in with a work in progress of the 47 and audio recording of a presentation to cultural memory students.
INTRODUCTION
In producing and developing my production element of the MA I have continued to tackle issues of form, content, context and audience. The project aims to explore and expose the relevance of the Liverpool 47 surcharged councillors (1983-1987) on today, though other areas of conflict, investigation and interrogation do surface and layered within this. The video is a collaborative effort with Lisa Lonsdale who I met in Liverpool in 1987, a student, activist and then ongoing theatre collaborator. We both work better with at least one other person; it gives ongoing guidance, skills sharing, reflection and energy. Lisa was 8 & half months pregnant when we shot the majority of the interviews.
This report accompanies a 46-minute video work in progress, the first 21 minutes includes some visual work apart from the interviewees, there is much more to do. There is also a full audio recording of a presentation and discussion within the Digital Gallery with Cultural memory students & a 26 second shot of students watching the work. The latter process is part of my desire to engage in discussion and consider feedback around the work. It also pushes me to expose myself, as that is also a personal challenge. I was aware this huge piece of controversial working class history, was going to be an enormous project, and not one that could be completed for this MA. However this MA has given me the opportunity to begin this with an ongoing experimentation of forms, whilst also considering the ideological debates around objectivity, purpose of art, relationships between artefacts, content, context and audiences.
OBJECTIVITY
In a book written at the time ‘Liverpool a city that dared to fight’, Mulhern & Taaffe (1987:Preface) reflect on how and why they have created a book that intended not to narrate the period but bring to the surface the process that were rarely expressed. It does not intend to be what is often referred to as an objective work, which denies editorial construction & commercial context.
In the same spirit, but with different mediums, I too acknowledge there is no attempt to play at balancing arguments. However there are responses to the period and to the mediation of the struggle clearly within the work, if it were not for that mainstream mediation and ban from office for the 47, the subject is unlikely to have been chose and needed to be re-aired in such a way. Several interviewees reflect on the media representations. I have chosen to produce an audio visual work as I better engage and express ideas in those medium as well as playing with written words into sound, images, process.
PURPOSE
In Orwell’s ‘Why I write’ (1984 p21), he argues that he wrote, not to “produce some kind of work of art but, “because there is some lie that I want to expose, some fact to which I want to draw attention … but I could not do the work. If it were not an aesthetic experience” (Orwell: 1984:8). He uses ‘Homage to Catalonia’, as an example ‘it contains a long chapter, full of newspaper quotations. Defending trotskyists who were accused of plotting with Franco.” (Orwell: 1984:8) Challenged for this chapter his response was, “I happened to know, what very few people in England know, what very few people were allowed to know…If I had not been angry about that I should have never written the book’. (Orwell:1984:8)
The need to draw attention to a past or lie, also expresses itself within the exhibition, ‘News International Wapping – 25 Years on: The workers story’. It is also within the same period of Liverpool 47 and relates to job cuts and trade union rights but also the concentration of media by one person and the potential impact on public memory and opinion. (APPENDIX 1)
FORM
The form of the project chosen, documentary, was one potential medium that could be more accessible to a wider audience than a nonfiction book or an installation. Though the space, experience of movement, opportunity to converse in the installation environment that I had created was important element of ‘liveness’ and interactivity.
This ‘documentary’ follows some conventions of a traditional documentary, with head and shoulder shots. However they are always on screen, those who narrate are never hidden, showing the constructive nature of the work. There is also the opportunity to look at each of them, their visual expressions and see a little of whom they are. Allowing the viewers time to see them, like the time given on screen to begin to represent and explore their part in the dispute with the Tory government, and later the Leadership of the labour party and others. It has become a repeated motif within the film, boxed, screened, somewhat contained because of the medium, the history, the ongoing challenge of providing an audience with so much information and maintain interest.
The expectations of how a documentary is constructed and delivered is steeped within the development of documentary form which has unhealthy links to observing ‘subjects’ as victims and some voyeurism, despite attempts to develop the form and sub categories within it. If I called this an artist documentary, would the piece then become acceptable as it stands? Why so? What does calling something an’ Artist’ work allow for and why?
Looking through some of the identified categories of documentary, which Nicholas B discusses (2001 pg 121), there are elements of the work and process that could be considered as ‘participative’ with an ongoing engagement in space, interviewees, access & contents. With the use of a formal interview process, to create different accounts of one story & aim to explore ‘our’ history not ‘a’ history. There is a strong intention of ‘expository’ documentary that aims to access memory and representations that are not in the mass media or archives. It also contains a huge amount of the ‘reflexive’ style, drawing ‘our attention to our assumptions and expectations about what documentary form itself…(&) world around us’. (Nichols: 2001:121)
REPRESENTATIONS & IDENTITY
Those taking part are mainly female; this was another key aim to create a project that better reflected those involved. Making the invisible, visible. The characters are mainly working class backgrounds, with none of usual business, academic, paid experts to the subject brought in to comment. I have chosen ‘experts’ as those who took part in the struggle. The intention was to expose how many working class people took control of their lives and began to create a world which could better provide for them and the wider society, one based on need.
Woodward K (1997 pg14) suggests that, ‘Representations produce meanings through which we can make sense of our experiences…and create possibilities of what we are and what we become”. Though I agree with the first part, I could not say that this work, or several cultural products alone could be the sole influencing factor on believing a set of ideas or a media product. It could be how their pensions are being cut or the proposed NHS cuts. Often material conditions or changes have the biggest influence, though not solely.
Woodward further suggests ‘representation’ as a key area of study and consideration, came to the fore after ‘ideologies’ were moved away from in the late 1970’s; a question arises, is that due the Tories winning the election under Thatcher at the same time the collapse of Communism (Stalinism) in East Germany and the move rightwards of the Labour Party? Did academics, along with huge swathes of the population and particularly politicians feel that socialism was not a solution? Or that economic determinism, which was often preached without a dialectical relationship to complex ideas and experiences by some Marxists, was thus an insufficient theoretical tools to analyse and make use of in these circumstances? Perhaps.
COLLABERATION
To add further visual layers, we requested photographs from Dave Sinclair who was one of the few photographers of the time who had access to most of the events and people. Dave is a paid photographer but has given us access to a huge archive of photographs and his personal memories around them, for no cost. It would have cost around £80 per shot for 5-second usage (£1000 approximately for us). I have offered to do work in lieu for him but he has declined, for him and his beliefs this collection need to be shared more widely. His online collection assisted in us accessing his work and making choices as well as displaying this in the installations. (http://www.flickr.com/photos/dave_sinclair_liverpool_photos/sets/72157603820320816/)
The texture, layers and composition of his work add hugely to the piece both in terms of aesthetics but also integrity of someone there. They are black and white and that feature very much encourages the audience into looking back. They also begin to show who else was involved at the time, which was a much wider grouping of people than those interviewed, or those who were councillors and that is hugely important as it is also about the representation of the participation and democratisation of the city & wider movement in that period.
In addition to the photographs from Dave Sinclair, I approached Suzanne Muna, a housing trade unionist & socialist, who was also suspended by Unison nationally for a cartoon leaflet she created for a conference which was challenging the leadership for not allowing some resolutions onto the agenda for conference to hear and debate. Suzanne is also an artist, though decided many years ago not to be paid for any of her work, as she told me that would compromise her. Her work was chosen after seeing it for many years and getting to know some of what she and 3 others went through in that particular union. Photographs of her collection are online which are moving and human collection. Being online made it easier for us to choose the work in advance and discuss how it could fit in as all three of us had competing priorities.
(http://www.squashdonkey.co.uk/artworksalist.htm)
The union theme developed after meeting with her to see the originals and also discuss elements of the installation that some had seen and many had not. One item I had left in the room was a union mug, which had a moulding dirty teabag, obviously important at a point but had now become something that was decaying and not allowing the mug to be used as it could or should be, a critique of several trade unions at the present time most of which have strong financial and affiliations to the Labour Party.
Her work is multimedia, created with low cost materials and includes newspaper quotes, an ongoing critique of the mass media. It is deeply critical of the current capitalist system and the way that operates, whilst also suggesting alternatives. Suzanne's work add a dual purpose and role, aesthetically but also in her as human spirit and fighting actions.
With the aim to provide a more uplifting experience for the subjects and audiences, the final question I asked of interviews, what did you get from being involved? This was in order to end the interviews positively and with some reflection on personal and collective gains to create a layer or possibility of what happens when someone gets involved in a dispute or movement. Most interviewees reflected on the process as uplifting and enjoyable. I did want not want to ‘take from them’, without facilitating some positive reflections to end with.
On a recent visit to the TATE Modern (May 15th 2011) I looked at one photographic exhibition called ‘BURKE & NORFOLK’ in Afghanistan. My initial reaction was distaste at the ‘prettiness’ of the images, the brightness, luscious colours, lack of visual ideas that reflected what was and has gone on. This led me to watch a video accompanying the exhibition where he argued that beauty was a tactic, ‘people are tricked into engaging”. (TATE: May 2011) The conscious tactic he used chills me, not only as something disingenuous and frankly limiting his expectations of an audience. Was I, were we, trying to make pretty something that had within it the huge forces of the state and internal collusion with personalised memories?
REFLEXIVITY & Circle of evaluation & feedback
One part of the ongoing evaluation of the process and production was to work within the AHS Digital gallery, perfectly positioned at the main entrance of one of the largest university buildings. I purposefully stayed in space 4-7 hours a day to explore space, experiment with additional work, continue project, meet collaborators, invite people in and chat. This is an important part of process to be there, observe, engage, discuss, expose self and work. In addition a presentation to cultural memory students supported this process. (APPENDIX 2)
The presentation & discussion process assisted bringing to air the ideas around public and private memory and what that might mean to an individual or society. Silverstone (1999 pg48) argues, ‘with the decline of oral culture we no longer need, ourselves, collectively to remember.” And that, ‘the media have the power to define the past’. (Silverstone: 1999:48).
This could hold some truth of how the written word is valued, its solidity, fixed, exchangeable, and sellable. The oral process less fixed and but clearly the tradition does continue. Just in terms of political and trade union activity I am involved in weekly meets between once to five times a week. These are important to women, though I regularly observe they are more at ease in a conversation or in the action of doing than the saying, so many men continue to dominate the spaces. I now purposefully try to contribute but in my own style, and with observations and experiences and possible suggestions, to show that it also ok without huge vocabulary or the ability to recall related historical events. I have, though, also continued to use a blog, as an archive and a small memory for me, as I have a very poor working memory, which impacts on an ability to recall information short term and requires multiple approaches to learning and engagement for ideas and facts to imprint themselves. Hand in hand, I attempt to develop a memory but also work without one.
TECHNOLOGY
The opportunity to film, edit and research this project has much been made easier, with the use of lower cost technology. It does not, however, determine the content of the work, or the ability to use the technology that requires critical consideration, technical learning, reflection and practice. The issue of distribution is still commercially restrictive though some models of distributing campaign documentaries have developed such as Mclibel that used a campaign model that could suit this work.
Without us needing or demanding for something, we might not have the technologies or know what to do with them. As Marx is quoted in Lister et Al, ‘They are organs of the brain, created by the human hand’. Lister et Al (2003 pg 191)
Only one piece of quirky, music has been chosen, so far, (royalty free) to have some lighter, warmer, lift for the audience. With the overall intention to express some processes and open up the possibility of ways of participating or leading struggles for democratic and fairer way of living and acting within this world, whilst not leaving them paralysed by the burden of the past.
I’ll be honest and say I am not completely happy with what I have done so far, it’s fighting within forms but it is a work in progress. And on reflection, I rarely like anything I create, though I love the work of those I collaborate with, I just know I need to do it!
So What Next? (In summary)
1. Review structure and missing content with collaborator and also subjects. Share feedback made so far and discuss suggestion. From that decide on cutaways list and shot list to add more moving images to the work and several visual motifs.
2. Look at more music for soundtrack and discuss with others to look for a composer for all. (Mainstream work would generally cost?)
3. Create a distribution strategy and timeline.
4. Review the budget and look at a fundraising model and strategy to resource the project.
BIBLIOGRAPHY
Lewis, H (1990) Dada turns Red, Edinborough, Edinborough Press
Benjamin, W (1977) Author as Producer
Nichols, B (2001) “What types of documentaries are there? in An Introduction to Documentary. Boomington Ind, Indiana University Press
Orwell, G. (1984) Why I write, London, Penguin.
Pryluck, C (2005) “Ultimately we are all outsiders: The ethics of documentary filmmaking” in Rosenthal, A & J Corner (eds). New Challenges for Documentary (2nd Edition), Manchester: Manchester University Press.
Rabinger, M (1997) Directing techniques and aesthetics Massachusetts Focal press
Silverstone R (1999) Why study the media? London, Sage
Taaffee, P & Mulhern T. (1988) Liverpool a city that dared to fight, London, Fortress.
Woodward (1997) ‘Concepts of Identity & Difference’, in K Woodward (ed.) Identity & Difference. London Sage
Martin Lister. Jon Dovey, Seth Giddings, Iain Grant & Kieran Kelly (2003) New Media: A Critical Introduction. London. Rutledge
Williams, G (2010) Shafted: The Media, The Miners Strike & the aftermath London, Campaign for Press and Broadcasting Freedom
Films
Vogel, K (2011) Burke and Norfolk, video loop. Tate Modern, London
Exhibition
Tate Modern – Burke & Norfolk: Photographs from the war in Afghanistan May 2011
Websites
Luxonline.org.uk/themes/documentary.html (19.5.2011)
http://www.flickr.com/photos/dave_sinclair_liverpool_photos/sets/72157603820320816/(Last accessed 23.5.2011)
http://www.squashdonkey.co.uk/artworksalist.htm (last accessed 23.5.2011)
ORAL?
In additional I have attended meetings of trade unionists, anti cuts campaigners, socialists 2-6 times a week that are part of the huge and ongoing oral process of exchanging ideas and develop process. I could not begin to name and note which ones have influenced this work but the combination of them all and the ongoing need for collective discussions and actions to make change.
APPENDIX 1: WAPPING
In 1986 Murdoch, the owner of several main stream newspapers planned to secretly change the location of the press to Wapping, over 5,000 jobs were to be lost in this change but it also changed and continued to determinate the potential for a democratic press and important trade union branch … It was London based dispute with a strong trade union membership, though some trade union leaders and unions choose to hold back the dispute with the EEPTU members took the jobs in the new plant. Eric Hammond the then leader of the EEPTU is said to have “boasted in his autobiography of his extensive liaison and collaboration’ (Exhibition programme: 2011:18)
The dispute and the need of those who were involved, several who were at the exhibition on the day I attended, wanted more people to know about what happened, and lots of discussions took place. The venue itself was full to bursting with banners, papers, write-ups, posters and some older merchandise for sale.
APPENDIX 2:
A selection of the feedback given:
Unsure it was past till part way through
Good to have visuals, helped memory
Good not just to have mainstream archives, ‘This is more powerful, people involved’
Against representation of mad left
Is there something about Liverpool? Community?
Was intention to rep history another way?
Why H&S shots of interviews? Why are you not there?
Consider Neil Kinnock for interview?
Who owns the work and uses it?
Could see a version like Dagenham Girls, mainstreamed
How this has come about – process of production cheaper, social media for marketing?
Begin with mass mediated story,
Liked music – massive attack 1980’s
Is it an installation or film?
It reminds me of that time, I was there..
If not completed soon, it will be out of time, relevance?
I see it as your process, the past and then this wall
Introduction confusing
Like the water in the intro
Emotion elements more engaging – possible hook to start
This was the report I handed in with a work in progress of the 47 and audio recording of a presentation to cultural memory students.
INTRODUCTION
In producing and developing my production element of the MA I have continued to tackle issues of form, content, context and audience. The project aims to explore and expose the relevance of the Liverpool 47 surcharged councillors (1983-1987) on today, though other areas of conflict, investigation and interrogation do surface and layered within this. The video is a collaborative effort with Lisa Lonsdale who I met in Liverpool in 1987, a student, activist and then ongoing theatre collaborator. We both work better with at least one other person; it gives ongoing guidance, skills sharing, reflection and energy. Lisa was 8 & half months pregnant when we shot the majority of the interviews.
This report accompanies a 46-minute video work in progress, the first 21 minutes includes some visual work apart from the interviewees, there is much more to do. There is also a full audio recording of a presentation and discussion within the Digital Gallery with Cultural memory students & a 26 second shot of students watching the work. The latter process is part of my desire to engage in discussion and consider feedback around the work. It also pushes me to expose myself, as that is also a personal challenge. I was aware this huge piece of controversial working class history, was going to be an enormous project, and not one that could be completed for this MA. However this MA has given me the opportunity to begin this with an ongoing experimentation of forms, whilst also considering the ideological debates around objectivity, purpose of art, relationships between artefacts, content, context and audiences.
OBJECTIVITY
In a book written at the time ‘Liverpool a city that dared to fight’, Mulhern & Taaffe (1987:Preface) reflect on how and why they have created a book that intended not to narrate the period but bring to the surface the process that were rarely expressed. It does not intend to be what is often referred to as an objective work, which denies editorial construction & commercial context.
In the same spirit, but with different mediums, I too acknowledge there is no attempt to play at balancing arguments. However there are responses to the period and to the mediation of the struggle clearly within the work, if it were not for that mainstream mediation and ban from office for the 47, the subject is unlikely to have been chose and needed to be re-aired in such a way. Several interviewees reflect on the media representations. I have chosen to produce an audio visual work as I better engage and express ideas in those medium as well as playing with written words into sound, images, process.
PURPOSE
In Orwell’s ‘Why I write’ (1984 p21), he argues that he wrote, not to “produce some kind of work of art but, “because there is some lie that I want to expose, some fact to which I want to draw attention … but I could not do the work. If it were not an aesthetic experience” (Orwell: 1984:8). He uses ‘Homage to Catalonia’, as an example ‘it contains a long chapter, full of newspaper quotations. Defending trotskyists who were accused of plotting with Franco.” (Orwell: 1984:8) Challenged for this chapter his response was, “I happened to know, what very few people in England know, what very few people were allowed to know…If I had not been angry about that I should have never written the book’. (Orwell:1984:8)
The need to draw attention to a past or lie, also expresses itself within the exhibition, ‘News International Wapping – 25 Years on: The workers story’. It is also within the same period of Liverpool 47 and relates to job cuts and trade union rights but also the concentration of media by one person and the potential impact on public memory and opinion. (APPENDIX 1)
FORM
The form of the project chosen, documentary, was one potential medium that could be more accessible to a wider audience than a nonfiction book or an installation. Though the space, experience of movement, opportunity to converse in the installation environment that I had created was important element of ‘liveness’ and interactivity.
This ‘documentary’ follows some conventions of a traditional documentary, with head and shoulder shots. However they are always on screen, those who narrate are never hidden, showing the constructive nature of the work. There is also the opportunity to look at each of them, their visual expressions and see a little of whom they are. Allowing the viewers time to see them, like the time given on screen to begin to represent and explore their part in the dispute with the Tory government, and later the Leadership of the labour party and others. It has become a repeated motif within the film, boxed, screened, somewhat contained because of the medium, the history, the ongoing challenge of providing an audience with so much information and maintain interest.
The expectations of how a documentary is constructed and delivered is steeped within the development of documentary form which has unhealthy links to observing ‘subjects’ as victims and some voyeurism, despite attempts to develop the form and sub categories within it. If I called this an artist documentary, would the piece then become acceptable as it stands? Why so? What does calling something an’ Artist’ work allow for and why?
Looking through some of the identified categories of documentary, which Nicholas B discusses (2001 pg 121), there are elements of the work and process that could be considered as ‘participative’ with an ongoing engagement in space, interviewees, access & contents. With the use of a formal interview process, to create different accounts of one story & aim to explore ‘our’ history not ‘a’ history. There is a strong intention of ‘expository’ documentary that aims to access memory and representations that are not in the mass media or archives. It also contains a huge amount of the ‘reflexive’ style, drawing ‘our attention to our assumptions and expectations about what documentary form itself…(&) world around us’. (Nichols: 2001:121)
REPRESENTATIONS & IDENTITY
Those taking part are mainly female; this was another key aim to create a project that better reflected those involved. Making the invisible, visible. The characters are mainly working class backgrounds, with none of usual business, academic, paid experts to the subject brought in to comment. I have chosen ‘experts’ as those who took part in the struggle. The intention was to expose how many working class people took control of their lives and began to create a world which could better provide for them and the wider society, one based on need.
Woodward K (1997 pg14) suggests that, ‘Representations produce meanings through which we can make sense of our experiences…and create possibilities of what we are and what we become”. Though I agree with the first part, I could not say that this work, or several cultural products alone could be the sole influencing factor on believing a set of ideas or a media product. It could be how their pensions are being cut or the proposed NHS cuts. Often material conditions or changes have the biggest influence, though not solely.
Woodward further suggests ‘representation’ as a key area of study and consideration, came to the fore after ‘ideologies’ were moved away from in the late 1970’s; a question arises, is that due the Tories winning the election under Thatcher at the same time the collapse of Communism (Stalinism) in East Germany and the move rightwards of the Labour Party? Did academics, along with huge swathes of the population and particularly politicians feel that socialism was not a solution? Or that economic determinism, which was often preached without a dialectical relationship to complex ideas and experiences by some Marxists, was thus an insufficient theoretical tools to analyse and make use of in these circumstances? Perhaps.
COLLABERATION
To add further visual layers, we requested photographs from Dave Sinclair who was one of the few photographers of the time who had access to most of the events and people. Dave is a paid photographer but has given us access to a huge archive of photographs and his personal memories around them, for no cost. It would have cost around £80 per shot for 5-second usage (£1000 approximately for us). I have offered to do work in lieu for him but he has declined, for him and his beliefs this collection need to be shared more widely. His online collection assisted in us accessing his work and making choices as well as displaying this in the installations. (http://www.flickr.com/photos/dave_sinclair_liverpool_photos/sets/72157603820320816/)
The texture, layers and composition of his work add hugely to the piece both in terms of aesthetics but also integrity of someone there. They are black and white and that feature very much encourages the audience into looking back. They also begin to show who else was involved at the time, which was a much wider grouping of people than those interviewed, or those who were councillors and that is hugely important as it is also about the representation of the participation and democratisation of the city & wider movement in that period.
In addition to the photographs from Dave Sinclair, I approached Suzanne Muna, a housing trade unionist & socialist, who was also suspended by Unison nationally for a cartoon leaflet she created for a conference which was challenging the leadership for not allowing some resolutions onto the agenda for conference to hear and debate. Suzanne is also an artist, though decided many years ago not to be paid for any of her work, as she told me that would compromise her. Her work was chosen after seeing it for many years and getting to know some of what she and 3 others went through in that particular union. Photographs of her collection are online which are moving and human collection. Being online made it easier for us to choose the work in advance and discuss how it could fit in as all three of us had competing priorities.
(http://www.squashdonkey.co.uk/artworksalist.htm)
The union theme developed after meeting with her to see the originals and also discuss elements of the installation that some had seen and many had not. One item I had left in the room was a union mug, which had a moulding dirty teabag, obviously important at a point but had now become something that was decaying and not allowing the mug to be used as it could or should be, a critique of several trade unions at the present time most of which have strong financial and affiliations to the Labour Party.
Her work is multimedia, created with low cost materials and includes newspaper quotes, an ongoing critique of the mass media. It is deeply critical of the current capitalist system and the way that operates, whilst also suggesting alternatives. Suzanne's work add a dual purpose and role, aesthetically but also in her as human spirit and fighting actions.
With the aim to provide a more uplifting experience for the subjects and audiences, the final question I asked of interviews, what did you get from being involved? This was in order to end the interviews positively and with some reflection on personal and collective gains to create a layer or possibility of what happens when someone gets involved in a dispute or movement. Most interviewees reflected on the process as uplifting and enjoyable. I did want not want to ‘take from them’, without facilitating some positive reflections to end with.
On a recent visit to the TATE Modern (May 15th 2011) I looked at one photographic exhibition called ‘BURKE & NORFOLK’ in Afghanistan. My initial reaction was distaste at the ‘prettiness’ of the images, the brightness, luscious colours, lack of visual ideas that reflected what was and has gone on. This led me to watch a video accompanying the exhibition where he argued that beauty was a tactic, ‘people are tricked into engaging”. (TATE: May 2011) The conscious tactic he used chills me, not only as something disingenuous and frankly limiting his expectations of an audience. Was I, were we, trying to make pretty something that had within it the huge forces of the state and internal collusion with personalised memories?
REFLEXIVITY & Circle of evaluation & feedback
One part of the ongoing evaluation of the process and production was to work within the AHS Digital gallery, perfectly positioned at the main entrance of one of the largest university buildings. I purposefully stayed in space 4-7 hours a day to explore space, experiment with additional work, continue project, meet collaborators, invite people in and chat. This is an important part of process to be there, observe, engage, discuss, expose self and work. In addition a presentation to cultural memory students supported this process. (APPENDIX 2)
The presentation & discussion process assisted bringing to air the ideas around public and private memory and what that might mean to an individual or society. Silverstone (1999 pg48) argues, ‘with the decline of oral culture we no longer need, ourselves, collectively to remember.” And that, ‘the media have the power to define the past’. (Silverstone: 1999:48).
This could hold some truth of how the written word is valued, its solidity, fixed, exchangeable, and sellable. The oral process less fixed and but clearly the tradition does continue. Just in terms of political and trade union activity I am involved in weekly meets between once to five times a week. These are important to women, though I regularly observe they are more at ease in a conversation or in the action of doing than the saying, so many men continue to dominate the spaces. I now purposefully try to contribute but in my own style, and with observations and experiences and possible suggestions, to show that it also ok without huge vocabulary or the ability to recall related historical events. I have, though, also continued to use a blog, as an archive and a small memory for me, as I have a very poor working memory, which impacts on an ability to recall information short term and requires multiple approaches to learning and engagement for ideas and facts to imprint themselves. Hand in hand, I attempt to develop a memory but also work without one.
TECHNOLOGY
The opportunity to film, edit and research this project has much been made easier, with the use of lower cost technology. It does not, however, determine the content of the work, or the ability to use the technology that requires critical consideration, technical learning, reflection and practice. The issue of distribution is still commercially restrictive though some models of distributing campaign documentaries have developed such as Mclibel that used a campaign model that could suit this work.
Without us needing or demanding for something, we might not have the technologies or know what to do with them. As Marx is quoted in Lister et Al, ‘They are organs of the brain, created by the human hand’. Lister et Al (2003 pg 191)
Only one piece of quirky, music has been chosen, so far, (royalty free) to have some lighter, warmer, lift for the audience. With the overall intention to express some processes and open up the possibility of ways of participating or leading struggles for democratic and fairer way of living and acting within this world, whilst not leaving them paralysed by the burden of the past.
I’ll be honest and say I am not completely happy with what I have done so far, it’s fighting within forms but it is a work in progress. And on reflection, I rarely like anything I create, though I love the work of those I collaborate with, I just know I need to do it!
So What Next? (In summary)
1. Review structure and missing content with collaborator and also subjects. Share feedback made so far and discuss suggestion. From that decide on cutaways list and shot list to add more moving images to the work and several visual motifs.
2. Look at more music for soundtrack and discuss with others to look for a composer for all. (Mainstream work would generally cost?)
3. Create a distribution strategy and timeline.
4. Review the budget and look at a fundraising model and strategy to resource the project.
BIBLIOGRAPHY
Lewis, H (1990) Dada turns Red, Edinborough, Edinborough Press
Benjamin, W (1977) Author as Producer
Nichols, B (2001) “What types of documentaries are there? in An Introduction to Documentary. Boomington Ind, Indiana University Press
Orwell, G. (1984) Why I write, London, Penguin.
Pryluck, C (2005) “Ultimately we are all outsiders: The ethics of documentary filmmaking” in Rosenthal, A & J Corner (eds). New Challenges for Documentary (2nd Edition), Manchester: Manchester University Press.
Rabinger, M (1997) Directing techniques and aesthetics Massachusetts Focal press
Silverstone R (1999) Why study the media? London, Sage
Taaffee, P & Mulhern T. (1988) Liverpool a city that dared to fight, London, Fortress.
Woodward (1997) ‘Concepts of Identity & Difference’, in K Woodward (ed.) Identity & Difference. London Sage
Martin Lister. Jon Dovey, Seth Giddings, Iain Grant & Kieran Kelly (2003) New Media: A Critical Introduction. London. Rutledge
Williams, G (2010) Shafted: The Media, The Miners Strike & the aftermath London, Campaign for Press and Broadcasting Freedom
Films
Vogel, K (2011) Burke and Norfolk, video loop. Tate Modern, London
Exhibition
Tate Modern – Burke & Norfolk: Photographs from the war in Afghanistan May 2011
Websites
Luxonline.org.uk/themes/documentary.html (19.5.2011)
http://www.flickr.com/photos/dave_sinclair_liverpool_photos/sets/72157603820320816/(Last accessed 23.5.2011)
http://www.squashdonkey.co.uk/artworksalist.htm (last accessed 23.5.2011)
ORAL?
In additional I have attended meetings of trade unionists, anti cuts campaigners, socialists 2-6 times a week that are part of the huge and ongoing oral process of exchanging ideas and develop process. I could not begin to name and note which ones have influenced this work but the combination of them all and the ongoing need for collective discussions and actions to make change.
APPENDIX 1: WAPPING
In 1986 Murdoch, the owner of several main stream newspapers planned to secretly change the location of the press to Wapping, over 5,000 jobs were to be lost in this change but it also changed and continued to determinate the potential for a democratic press and important trade union branch … It was London based dispute with a strong trade union membership, though some trade union leaders and unions choose to hold back the dispute with the EEPTU members took the jobs in the new plant. Eric Hammond the then leader of the EEPTU is said to have “boasted in his autobiography of his extensive liaison and collaboration’ (Exhibition programme: 2011:18)
The dispute and the need of those who were involved, several who were at the exhibition on the day I attended, wanted more people to know about what happened, and lots of discussions took place. The venue itself was full to bursting with banners, papers, write-ups, posters and some older merchandise for sale.
APPENDIX 2:
A selection of the feedback given:
Unsure it was past till part way through
Good to have visuals, helped memory
Good not just to have mainstream archives, ‘This is more powerful, people involved’
Against representation of mad left
Is there something about Liverpool? Community?
Was intention to rep history another way?
Why H&S shots of interviews? Why are you not there?
Consider Neil Kinnock for interview?
Who owns the work and uses it?
Could see a version like Dagenham Girls, mainstreamed
How this has come about – process of production cheaper, social media for marketing?
Begin with mass mediated story,
Liked music – massive attack 1980’s
Is it an installation or film?
It reminds me of that time, I was there..
If not completed soon, it will be out of time, relevance?
I see it as your process, the past and then this wall
Introduction confusing
Like the water in the intro
Emotion elements more engaging – possible hook to start
Friday, 17 June 2011
NO 44 Conference report & more
Results from the NUT, PCS and ATL ballots clearly show massive support for
strike action on the 30 June. ATL have never in the 100 odd years of being a
union taken strike action so their result is even more telling! It looks like a
sharpening mood against cuts and privatisation is developing. Under pressure
from his members, even Dave Prentis has stated that Unison will ballot for
strike action in the coming months!
As seven workers from Honda Swindon were leaving the National Shop Stewards
Network (NSSN) conference on Saturday 11 June, one car worker remarked: "I wish
we could have brought a coach-load!” This was a typical reaction amongst the
350 workers attending the best conference we’ve held so far, a regular event
that is rapidly becoming a feature in the calendar of the labour movement.
Alex Gordon, Rail, Maritime and Transport union (RMT) president, reminded
delegates about the biggest ever trade union demonstration that was held on 26
March, showing what the TUC can do when it lifts its little finger. He urged
that attendees don’t squander that energy. The correct conclusions about the
way forward needed be drawn out – primarily, a general strike is needed. The
£81 million of cuts so far are only year one of the Tory programme.
Conference gave a very warm reception to Les Woodward from GMB Remploy who
reported on disabled workers fighting cuts & he appealed to the
"temporarily-abled" for solidarity.
The ‘Right to Strike' theme of the afternoon session was recognition that
whilst we are preparing for mass action, the bosses are too. The
representatives of the rich and powerful are ready to introduce even more
draconian laws to restrict strikes.
Frank Morris described his blacklisting from the Olympics site. Tube drivers
Arwyn Thomas and Eamonn Lynch outlined how they were sacked for participating
in legal industrial action.
John Hancock from the Prison Officers Association (POA) national executive
explained that POA is banned from striking, but that pressure is building up to
break those restrictions, especially because of the drive for privatisation.
Keith Gibson, who spoke at the NSSN conference two years ago about the victory
of construction workers at Lindsay Oil Refinery against all odds, gave us, in
his bold inimitable style, a vivid account of a recent battle at Saltend, near
Hull, where 400 construction workers were locked out. Despite a willingness of
the workforce to fight, the battle was eventually lost, leaving many questions
being asked of some trade union officials.
This theme was taken up in the many contributions from the floor, including by
Unite convener Paddy Brennan, who appealed to NSSN for assistance with current
problems at Honda. Unison member Kathy Smith also spoke, she had stood for the
NEC seat of her union colleague who was suspended from office by the right wing
union leadership and won! FULL REPORT, Motions & great video:
http://www.shopstewards.net/news.94.htm
The conference also included a rousing and in depth speech by Apostolis
Kasimeris, one of the leaders of the OASA bus workers union in Athens. Workers
in Greece were taking part in their 8th General strike and with bus fare
boycotts that linked trade unionists with the community. He clearly connected
the situations across Europe and the role of the EU & IMF and how they were
still making money on the backs of the workers despite having caused the
economic crisis. Full speech: http://www.shopstewards.net/news.93.htm
The energy and commitment of those attending to take a lead in the strike
action against cuts on June 30th and develop a wider movement in the coming
months is moving across Europe was clear. We have always been in a class war
but now we begin to flex our collective strength!
Join us! Affiliate - ONLINE: http://www.stopcuts.net/affiliate.htm
STRIKES & DISPUTES
SOUTHAMPTON City Council Unison & Unite workers strike action is escalating
action over wage cuts with members. Cleaners at Southampton Hospital also took
strike action on the same days this week and joined with Council workers at the
March against cuts on the
13th.http://www.soton-unison-office.org.uk/newsletters.htm
http://southamptonanticuts.wordpress.com/
RMT- Despite strenuous efforts by RMT, LU have refused to reach an agreement
that would reinstate Arwyn Thomas despite his successful appeal for “interim
relief” for unfair dismissal at the Employment Tribunal on the grounds of his
trade union activities. Strike action begins this weekend: 9pm on Sunday 19th
June then again on 27th June 28th June, 29th June, and 1st July.
http://tinyurl.com/3sbr9e2
NUT Shorefields Liverpool will strike on the 21st over plans to become an
academy.
Unite Fujistu – Defend Alan Jenney Deputy Chair of Combine over unfair and
unnecessary redundancy. Ballot closes 23rd June. Messages of support
support@ourunion.org.uk http://www.shopstewards.net/news.92.htm
UCU COLEG MORGANNWG Management has initiated disciplinary action against Guy
Stoate, President of UCU Wales and NEC member. On the day the disciplinary
action was announced over members of UCU at the college held a spontaneous
rally in support of Guy. http://www.shopstewards.net/news.96.htm
Jacqui Thomspon campaigner in Save Panticelyn School was arrested for breaching
the peace as she filmed council meeting in Carmthen. http://tinyurl.com/6lctls9
http://carmarthenplanning.blogspot.com/
DATES FOR THE DIARY
Mon 20th Waltham Forest Trades Council & Antic Cuts group public meeting 7.30pm
Harmony Hall, Truro Road, E17
Tue 21st SERTUC public services Open Meeting report on supporting action on the
30th June - 1.00am-1.00pm in the Council Chamber, 5th Floor, TUC Congress
House, Great Russell Street, London WC1B
Wed 22nd March & Strike against the privatisation at London Met University.
Over 198 job cuts proposed. Assemble at 2:00pm at Highbury Fields t march to
London Met, Tower Building, and 166-220 Holloway Road. Organised by UNISON, UCU
& London Met NUS. Lobby of Board at 4pm.
THURS 30th JUNE – NATIONAL STRIKE Action against pension cuts!
http://tinyurl.com/6jc4neg
Birmingham at 12 Victoria Square.
Bradford 10 Valley Parad Ground
Brighton 10.30 The level
Bristol 11 College Green
Cambridge 12 Parkers pierce
Carlisle 12.30 Old Town Hall
Chatham Noon Command House
Chelmsford 11 High St
Colchester 12.30 Town Hall
Dover 12 St Mary’s Church
Exeter 11 Corn Exchange
Glasgow 12 George Sq
Gloucester 10.30 Gloucester Sq
Halifax 10 Arden Social Club
Hastings 10 White rock hotel
Liverpool 11.30 William Brown St
Leicester Victoria Park
Leeds 12 City Square
London 11 Lincoln Fields
Luton 12 Market Hill
Manchester 11 All Saints
Middleborough 4.30 Bottle sculpture
Newcastle 12 Life Centre
Norwich Noon Forum Amphitheatre
Nottingham Trent Square
Oxford 1 Bonn Square
Plymouth 1 Plymouth Town Hall
Portsmouth 12 Guildhall
Preston 12 Flag Market
Sheffield 12 Peace Gardens
Tauntan 11 Rugby club
Worthing 11 Steyne Gdns
Join – Affiliate – Get involved!
info@shopstewards.net
http://www.shopstewards.net/
strike action on the 30 June. ATL have never in the 100 odd years of being a
union taken strike action so their result is even more telling! It looks like a
sharpening mood against cuts and privatisation is developing. Under pressure
from his members, even Dave Prentis has stated that Unison will ballot for
strike action in the coming months!
As seven workers from Honda Swindon were leaving the National Shop Stewards
Network (NSSN) conference on Saturday 11 June, one car worker remarked: "I wish
we could have brought a coach-load!” This was a typical reaction amongst the
350 workers attending the best conference we’ve held so far, a regular event
that is rapidly becoming a feature in the calendar of the labour movement.
Alex Gordon, Rail, Maritime and Transport union (RMT) president, reminded
delegates about the biggest ever trade union demonstration that was held on 26
March, showing what the TUC can do when it lifts its little finger. He urged
that attendees don’t squander that energy. The correct conclusions about the
way forward needed be drawn out – primarily, a general strike is needed. The
£81 million of cuts so far are only year one of the Tory programme.
Conference gave a very warm reception to Les Woodward from GMB Remploy who
reported on disabled workers fighting cuts & he appealed to the
"temporarily-abled" for solidarity.
The ‘Right to Strike' theme of the afternoon session was recognition that
whilst we are preparing for mass action, the bosses are too. The
representatives of the rich and powerful are ready to introduce even more
draconian laws to restrict strikes.
Frank Morris described his blacklisting from the Olympics site. Tube drivers
Arwyn Thomas and Eamonn Lynch outlined how they were sacked for participating
in legal industrial action.
John Hancock from the Prison Officers Association (POA) national executive
explained that POA is banned from striking, but that pressure is building up to
break those restrictions, especially because of the drive for privatisation.
Keith Gibson, who spoke at the NSSN conference two years ago about the victory
of construction workers at Lindsay Oil Refinery against all odds, gave us, in
his bold inimitable style, a vivid account of a recent battle at Saltend, near
Hull, where 400 construction workers were locked out. Despite a willingness of
the workforce to fight, the battle was eventually lost, leaving many questions
being asked of some trade union officials.
This theme was taken up in the many contributions from the floor, including by
Unite convener Paddy Brennan, who appealed to NSSN for assistance with current
problems at Honda. Unison member Kathy Smith also spoke, she had stood for the
NEC seat of her union colleague who was suspended from office by the right wing
union leadership and won! FULL REPORT, Motions & great video:
http://www.shopstewards.net/news.94.htm
The conference also included a rousing and in depth speech by Apostolis
Kasimeris, one of the leaders of the OASA bus workers union in Athens. Workers
in Greece were taking part in their 8th General strike and with bus fare
boycotts that linked trade unionists with the community. He clearly connected
the situations across Europe and the role of the EU & IMF and how they were
still making money on the backs of the workers despite having caused the
economic crisis. Full speech: http://www.shopstewards.net/news.93.htm
The energy and commitment of those attending to take a lead in the strike
action against cuts on June 30th and develop a wider movement in the coming
months is moving across Europe was clear. We have always been in a class war
but now we begin to flex our collective strength!
Join us! Affiliate - ONLINE: http://www.stopcuts.net/affiliate.htm
STRIKES & DISPUTES
SOUTHAMPTON City Council Unison & Unite workers strike action is escalating
action over wage cuts with members. Cleaners at Southampton Hospital also took
strike action on the same days this week and joined with Council workers at the
March against cuts on the
13th.http://www.soton-unison-office.org.uk/newsletters.htm
http://southamptonanticuts.wordpress.com/
RMT- Despite strenuous efforts by RMT, LU have refused to reach an agreement
that would reinstate Arwyn Thomas despite his successful appeal for “interim
relief” for unfair dismissal at the Employment Tribunal on the grounds of his
trade union activities. Strike action begins this weekend: 9pm on Sunday 19th
June then again on 27th June 28th June, 29th June, and 1st July.
http://tinyurl.com/3sbr9e2
NUT Shorefields Liverpool will strike on the 21st over plans to become an
academy.
Unite Fujistu – Defend Alan Jenney Deputy Chair of Combine over unfair and
unnecessary redundancy. Ballot closes 23rd June. Messages of support
support@ourunion.org.uk http://www.shopstewards.net/news.92.htm
UCU COLEG MORGANNWG Management has initiated disciplinary action against Guy
Stoate, President of UCU Wales and NEC member. On the day the disciplinary
action was announced over members of UCU at the college held a spontaneous
rally in support of Guy. http://www.shopstewards.net/news.96.htm
Jacqui Thomspon campaigner in Save Panticelyn School was arrested for breaching
the peace as she filmed council meeting in Carmthen. http://tinyurl.com/6lctls9
http://carmarthenplanning.blogspot.com/
DATES FOR THE DIARY
Mon 20th Waltham Forest Trades Council & Antic Cuts group public meeting 7.30pm
Harmony Hall, Truro Road, E17
Tue 21st SERTUC public services Open Meeting report on supporting action on the
30th June - 1.00am-1.00pm in the Council Chamber, 5th Floor, TUC Congress
House, Great Russell Street, London WC1B
Wed 22nd March & Strike against the privatisation at London Met University.
Over 198 job cuts proposed. Assemble at 2:00pm at Highbury Fields t march to
London Met, Tower Building, and 166-220 Holloway Road. Organised by UNISON, UCU
& London Met NUS. Lobby of Board at 4pm.
THURS 30th JUNE – NATIONAL STRIKE Action against pension cuts!
http://tinyurl.com/6jc4neg
Birmingham at 12 Victoria Square.
Bradford 10 Valley Parad Ground
Brighton 10.30 The level
Bristol 11 College Green
Cambridge 12 Parkers pierce
Carlisle 12.30 Old Town Hall
Chatham Noon Command House
Chelmsford 11 High St
Colchester 12.30 Town Hall
Dover 12 St Mary’s Church
Exeter 11 Corn Exchange
Glasgow 12 George Sq
Gloucester 10.30 Gloucester Sq
Halifax 10 Arden Social Club
Hastings 10 White rock hotel
Liverpool 11.30 William Brown St
Leicester Victoria Park
Leeds 12 City Square
London 11 Lincoln Fields
Luton 12 Market Hill
Manchester 11 All Saints
Middleborough 4.30 Bottle sculpture
Newcastle 12 Life Centre
Norwich Noon Forum Amphitheatre
Nottingham Trent Square
Oxford 1 Bonn Square
Plymouth 1 Plymouth Town Hall
Portsmouth 12 Guildhall
Preston 12 Flag Market
Sheffield 12 Peace Gardens
Tauntan 11 Rugby club
Worthing 11 Steyne Gdns
Join – Affiliate – Get involved!
info@shopstewards.net
http://www.shopstewards.net/
Friday, 8 April 2011
What will they mark me on>>>? What do I mark myself on?
So then today I have to say what will I do for MA. Will that be ?
a) Twenty minute rough cut with Q & A relevance of the 47 and why through film? With rough cut shown at 3 locations relating to the local elections - what else? Process? Distribution?
b) Discussion of role of art in a crisis new manefesto Suz Muna and Tony Garnet and maybe Dave sinclair with his photos too? (the last one that was written mostly by trotsky and breton was whilst he was in Mexico)
c) The walk - a pilot using sound for ipod for a walk from locations with speaches and interviews of the 47 group... indespersed with other sound. Send people on a walk but have them feedback and come back together.
Wednesday, 19 January 2011
objectivity babble.. need to read and write this up again.
It came to mind about OBJECTIVITY (and today even is there such thing as free speach? BA workers sacked for making comment on the dispute etc) & the 47. Perhaps a montage of the context, of what was said about workers and community in Britian - Lazy, get on your bike, etc and today 'we're all in it together' Money montage - hours pay, reward and reward of bankers.
Who is and continues to benefit?
Consider for presentation why representing resistance, why political, why past in relation to now.
Started to use this again (this is actually morning pages but it was so much about MA project I have decided to place it here, anything in brackets might be additional thoughts/comments). I might and actually have left massive gaps of what has been going on. Perhaps some of it is in the morning pages perhaps not. Its within me, the experience of the past few months and years and the more I engage but also give myself time, like now, to reflect and also have some life.
I need air soon... & step into the sunshine which has warmed me and day. There you bright light falling down onto these words. Its lovely and I can feel the spring coming closer, I love it, raly love it! All the sun and discussions in head about disability against the cuts... ILF & DLA to go in the next 4 years - bastards. Which way will you vote liberals? fucking liberals. 47 past they played a role to cut city spend and now ... What do you really believe in? History of liberals, is history within Capitalism. Makes me think of (peoples names in unions) and I should touch base with them and Dave Sinclair photographer and possibly a trip to liverpool.
Monday, 17 January 2011
Technology and technique - Dyslexia
Today with David, doing a job for interest not £. Future no DLA or ILF for those who need it. Not me but many, many others... funny he said of the 100 or so dyslexics he had met, they were not people who could work in a call centre. Need bigger picture.
For now, I get this. I am lucky. Inspiration - ideas and thoughts and then into word. Read and write read back for proofing or large articles?
- Google timeline - Do you usual search. Subject 'surrealism' and then press 'TImeline'gives all info 1910 to 2010 and peaks and troughs of info. Each one can then be clicked on for more info.
- Books which are now copyright free. Project Gutenberg
- Preview programme - To capture a screen shot - FILE - Take Screen Shot (Jpeg)
- Inspiration programmes - check templates for variety of thinking - goes into a presentation (no live links) - or word doc
- Word - Bibliography. Go to VIEW - Citations - on Insert = bibliography.
- Youtube - Consider using words 'lecture' or 'tutorial' for use to find discussions or how to.
- I player - 'In our time' All of Melvyn Brag interviews of 5 years? online all sorts of subjects with at least 2 others, often academics.
Add to facebook too!
Wednesday, 6 October 2010
Cinematography 2
Research in practice, being within a group, hearing and seeing.
To start the day I watched 10 minutes of The DIVING BELL & BUTTERFLY
Even ten minutes gave an flavour... Titles beautiful use of xrays, soft focus, with a nice gentle french vocal.
Opens with a POV shot from patient, waking in from a coma. Shots of fragments of faces, eyes, blurring in and out, with occasional blips of black. Nicely framed and close.
Then Read a little of Auden & Documentary and Masc - Steps right in and argues what is a workers film? As the 30's saw documentary subjects being focused that way but a lack of clarity of that meant. For a worker, by a worker, with a worker and what was a worker? Lack of class analysis suggested, yet also clear. Workers, or the working class are not uniform in thinking and being but are connected by their/our relationship to the means of production. Do we live without selling our labour? Can we? Older versions related directly to manufacturing but there is still a power, in a smaller group of workers in Britain concentrated and vilified for daring to taken any action, expect anything. RMT, RMT, RMT.
It did ask questions around gender noted the invisibility of a woman, cut out of the screen, the story the frame. That is important to note, the history of women documented is also limited, those who create, those that are portrayed, subjects, stories, and focus.
Then back to Cinematography -
Hitchcocks rule - Size of character related to size on screen
Overlap
Size change
Verticol - Above and below - Japanese
Horizontal - Eyes scan from L - R (West)
Linear perspective - 15C
Alberti - 1406 -77 Italy pre Renaisance
'Battle of xx' Converging lines
Visual depth
Foreshortening
Use of body - hand in front of shot, larger..
UCCELLO - 1432 'Caravaggio - 1601'
Supper - Low light and high contrast
Looked around for a minute, of a room of 13, two thirds men. 3 women write notes.
Haze filters out more longer wavelengths than shorter ones. - Depth
F STALKER - 15 years before Chernoboyl
CHIROSCURO
Lighting technique (Italian R)
Self Portrait - Rembrandt 1629
'Graduations of light & dark'
= low key lighting
F Barry Lyndon (Stanley Kubrick 1975)
Kubrick wanted to show how life would have been, no film stock could capture such low levels of light, until Nazi's began to develop a lens. Later Ziess developed it with an .7 Fstop allowing double the apperture of normal light.
Content of piece - the framing mirrored formality of society through the slow shot.
F 'In one'
No camera movement, long static
Individual Challenges Frame
Many filmmakers reacted to Hollywood mainstream by using long shots.
Abbas Kiorostami - 'filmmakers only make one film in life' its just broken into cinematic fragments. Does not want people to feel guilt but think and consider.
PLAN SCENE - Each film one shot
F TOUCH of Evil
Consider what tools we have to experiment and develop mood.
Tripod, Angles, Aperture, Focus
Also noticed how no-one wants to speak, the silence of doing. Don't want to be seen as leading but doing. Interesting, perhaps we have text and fb to engage so leave gaps in reality.
To start the day I watched 10 minutes of The DIVING BELL & BUTTERFLY
Even ten minutes gave an flavour... Titles beautiful use of xrays, soft focus, with a nice gentle french vocal.
Opens with a POV shot from patient, waking in from a coma. Shots of fragments of faces, eyes, blurring in and out, with occasional blips of black. Nicely framed and close.
Then Read a little of Auden & Documentary and Masc - Steps right in and argues what is a workers film? As the 30's saw documentary subjects being focused that way but a lack of clarity of that meant. For a worker, by a worker, with a worker and what was a worker? Lack of class analysis suggested, yet also clear. Workers, or the working class are not uniform in thinking and being but are connected by their/our relationship to the means of production. Do we live without selling our labour? Can we? Older versions related directly to manufacturing but there is still a power, in a smaller group of workers in Britain concentrated and vilified for daring to taken any action, expect anything. RMT, RMT, RMT.
It did ask questions around gender noted the invisibility of a woman, cut out of the screen, the story the frame. That is important to note, the history of women documented is also limited, those who create, those that are portrayed, subjects, stories, and focus.
Then back to Cinematography -
Hitchcocks rule - Size of character related to size on screen
Overlap
Size change
Verticol - Above and below - Japanese
Horizontal - Eyes scan from L - R (West)
Linear perspective - 15C
Alberti - 1406 -77 Italy pre Renaisance
'Battle of xx' Converging lines
Visual depth
Foreshortening
Use of body - hand in front of shot, larger..
UCCELLO - 1432 'Caravaggio - 1601'
Supper - Low light and high contrast
Looked around for a minute, of a room of 13, two thirds men. 3 women write notes.
Haze filters out more longer wavelengths than shorter ones. - Depth
F STALKER - 15 years before Chernoboyl
CHIROSCURO
Lighting technique (Italian R)
Self Portrait - Rembrandt 1629
'Graduations of light & dark'
= low key lighting
F Barry Lyndon (Stanley Kubrick 1975)
Kubrick wanted to show how life would have been, no film stock could capture such low levels of light, until Nazi's began to develop a lens. Later Ziess developed it with an .7 Fstop allowing double the apperture of normal light.
Content of piece - the framing mirrored formality of society through the slow shot.
F 'In one'
No camera movement, long static
Individual Challenges Frame
Many filmmakers reacted to Hollywood mainstream by using long shots.
Abbas Kiorostami - 'filmmakers only make one film in life' its just broken into cinematic fragments. Does not want people to feel guilt but think and consider.
PLAN SCENE - Each film one shot
F TOUCH of Evil
Consider what tools we have to experiment and develop mood.
Tripod, Angles, Aperture, Focus
Also noticed how no-one wants to speak, the silence of doing. Don't want to be seen as leading but doing. Interesting, perhaps we have text and fb to engage so leave gaps in reality.
Friday, 17 September 2010
Saturday, 7 August 2010
Am up...
Its half past seven in the morning and I'm up! Been awake and excitable and nervous for a few hours. 47. Some thoughts and questions I could ask and should ask. Images and possible use of time lapse as MF said he might be interested and watched his work - incredible...koyanascatsi...(SP?) comes to mind.
How do I work collectively but have people with clear roles? 47 Memory...collective and individual memory...mediated to become nothing, or more? Or just one view of history than denies others?
Limited and hunted media = chaos South London Press - What am I looking for?
So much could go on and now I'm talking and asking others for involvement and help...and I got 5 replies from texts and calls yesterday:
TC - Accommodation and space to interview in Sep
TA - Will ask about camera people
DS - Look at his photos on Monday
MF - What is project? Money? Accommodation
BN - No money, not possible but good luck
Reminds me I need and want to go back into looking at how Cinema Action worked.
So quickly it can all move and be still at the same time. I'm loving being at home too a sense of homeyness and I like it. (Maybe because I am also doing rather than procrastinating!) I like it when I get things done, which always helps me be a better woman!
Watched Capitalism a love story MM, not that keen, mixture of camera, sweeping shots beautifully framed and then rushed unfocused others but the stories there and the quality makes sense in the story. Overly beautiful shots in this could take away...but 'up the yangetze' had amazing shots and that didn't take away the story...stunning sweeping shots.. but very grounded clearly focused documentary. Lucky to have watched it in Sheffield in 2008, bought it after too. And I will watch more over the coming weeks - drama, doc, installations feed into it, onto this.
Sherlock 3 part drama has been on, texts used in shots, maybe text and emails can more openly be used within a piece as opposed to outside of it. Need to re-look at John Akmofrahs MS at BFI southbank about memory.
Could or should I put you under the banner of rooftop collective? it would feel better and give life and focus to RC outside of just me or us. Do I need permission? Support of 47 officially? Need also to check that with LL. Also £ and process.
Oh la la this project is alive!
Friday, 6 August 2010
Without you
A little time at the LRC looking through emails yesterday till I got down to what I'd done before meeting Anna R. I went over the list I'd sent her and saying some of that out loud was good. Life brings layers together.
Looking at NSSN conference with the hint of cultural additions, Suzanne Muna added her work as there were more connections, more of a relationship and confidence from her about her work. It was already out there, on covers, on flyer's, she was an artist and had work ready for a mobile exhibition. She is also one of the Defend the 4 hounded by Unison out of her role for 2 years. The others I asked maybe felt less engaged with me or with the works or possibility. But I did it with little efforts and other peoples engagement and practical nature.
Memory keeps reoccurring as a underlying theme, area of discussion and investigation. Interesting, or more interesting to me right now as my working memory is of the lowest 10% for my age group. I have been looking at ways round it with others too, but I have memories. What is it I remember? What I feel? but not dates or statistics or detail. I rarely recall all of that but sometimes general ideas around it all - and it comes out in conversation, it gets deeper and better - and clearer. It can often be clearer and I don't know it till if comes out,, whats bubbling under there....what is there but needs space to breathe and mix up itself as we speak, as I speak, as you speak as we listen and see, and see.
So she's happy with the 47, as she feels I am and says work backwards. I like that, its what I tend to do. Set a gallery screening/event date here and maybe one in Liverpool (WOW?).
Its a lot of work and one shoot of 3 days won't be enough, cant be enough. Last 10 minute piece was shot over 5 days. Then 40 was shot in under 3 hours. So its possible but needs incredible planning. I need to know where I am and where we are in all this from to place, we need a clear schedule - separate some people, a little together, a little apart. especially for women away from men. (Wonder why DC said if it was about memories then KM? Are memories seen as less important? Less Objective? If that's what we remember then in some ways it doesn't matter what happened, its only what we have in our minds, consciousness? How do we see the past, feel the past, create a past? How do we articulate it to others? And which others?
I'm not excited, I'll be honest, but scared. Its such a big project, I cant share it all, but I could open the doors of the stories and see.
Without you 47? Maybe title? What would we do without you? What would we have without you? Parks, Homes, Jobs?
To Do by symposium and next tutorial:
- I page synopsis
- Schedule backwards & book gallery May 2011
- Blog - for assessment needs editing and focus on criteria
- Schedule for shoot and crew
- Funding plan & Crowd funding model
- Connect with Red
- Reading on memory
Monday, 19 July 2010
47 steps closer
Met with Lisa L today, she originally thought we could do a project about the Liverpool 47 councillor (1983-87). She is up for Producing a documentary and will be brilliant at this. She is also 6 months lumpy... so we will get one 3 day shoot done in early Sep. Several people agreed to be interviewed from my last visit so we can follow that up.
I need to draft the synopsis by the 13th August, why make the film now, what is its relevance, what are we focusing on, whats the story etc.
Am glad, think the history and how people participated and why is so hidden or distorted. Right now what choices have we got?
Sunday, 18 July 2010
Real time
Was good to meet James, wonder though why others were not interested or able to commit? Maybe we are older and used to working in real time, as opposed to just virtual contact? Not sure but it was good to set time aside. Sometimes so much can happen and move and sometimes its harder to see.
Was definitely a useful catch up and we have agreed to share blog links, reading each others twice a month and perhaps commenting. We will also add each other to Facebook for the development of audiences for each of us too.
I need to get collaborators to work with on the 3 projects I want to complete in the next 12 months, be they inside or outside or even alongside this MA. I like unfinished finishes, if that makes sense, but unfinished can also be a lack of commitment. Nothing really ends but something else can grow if I give it a clear space and possibility. My production skills are low, no, level but I want these tools to explore this world with and through that I talk with you all. Without words, without words.
Was definitely a useful catch up and we have agreed to share blog links, reading each others twice a month and perhaps commenting. We will also add each other to Facebook for the development of audiences for each of us too.
I need to get collaborators to work with on the 3 projects I want to complete in the next 12 months, be they inside or outside or even alongside this MA. I like unfinished finishes, if that makes sense, but unfinished can also be a lack of commitment. Nothing really ends but something else can grow if I give it a clear space and possibility. My production skills are low, no, level but I want these tools to explore this world with and through that I talk with you all. Without words, without words.
Wednesday, 16 June 2010
To do list by Sep
1.Reading
1. Dada turns Red - Finish last 40 pages. Write summary - identify someone/some method to discuss this with someone else.
2. Gramsci prison notebooks - Write summary - see if anyone else is reading this to discuss.
3. TU and Media - see if I can find, look at methods and learning elements. Glasgow Media
2. Create a blog as part of process to remember, document process and potentially engage. Images, links, words, reviews.
June - July - Created. Update past MA notebook info and weekly add current updates.
Aug - Dec - Update weekly
Considerations - Do I want this to go up solely for me? Or do I need to engage with others in MA so its a dialogue outside of me?
What does it become if used solely? Or if its shared?
3. Groups
1. Collectif - Meet July, with shared info on previous collectives.
2. Rooftop - meet july/Aug - First open meeting to discuss potential purpose?
3. MA Group - Meet x2 between now and Sep.
4. Discuss with CPBF future and previous work on Industrial resistance and how to work across unions. Example of BA dispute and forthcoming disputes.
4. Skills
1. Rough cut of Inside out - Sep shot over 3 hours as process to remember how to do basic editing.
2. Shoot interviews and footage for 2 pieces SEP - Practice sound, image framing and capturing to edit.
3. Dyslexia - Develop understanding and techniques on how to manage and learn. Share with others too.
4. Request modules - Video installation, Still image, Camera for Oct Term.
5. Watch/Look
1. Striking women - Theatre and write short review for blog and socialist
2. Man with movie camera - Film. Short notes on style and purpose.
3. Plus one more to ID.
6.Art & Politics
July- Sep Consider and respond to - what does this project have to do with creativity?
Perhaps creative responses...within blog? Surrealist manifesto?
7. Method
Look at methods and commit to 2-3 max - Multimedia, blog, event, film, etc.
Look at event dates and draft schedule from May 2011 to Sep 2010. What do I want to see by the end of this journey?
Friday, 11 June 2010
Creating a memory
Mainly going to use this for the MA I am doing. Though my MA is also about, and interwoven in, my life. Perhaps a place to REMEMBER? This is the first blog bit I am doing without writing down... I like the feel of paper and how I can write on it.
I found this that I have been sharing with others:
How do people remember
10% of what they read.
20% of what they hear.
30% of what they see.
50% of what they hear and see.
70% of what they say and write.
90% of what they say as they do something.
Previous posts are taken from the black notebook, images taken, odd review and some poems from this year.
So these two days were good, sometimes I wanted to walk away and sometimes I wanted to walk in more, but couldn't... Do I have to understand and engage in every single thing? Or can I sit back sometimes and float away, let the words dance around me... sometimes dance with me.
Tuesday, 8 June 2010
After Supervision
Met with Anna to go over feedback on Proposal. Too broad at has little to do with making creative work at present. Maybe I got lost trying to respond to the 4 dimensions of study?
Monday, 7 June 2010
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