Double Vision is a fiction-based surrealist piece, inspired and in reflection to a past factual personal experience of Forth Nerve Palsy. The film is fixed around the conventions and understandings of perception, with eye sight playing as the key issue, allowing audiences to engage and increase the awareness of serious, everyday visual-recognition disabilities/distractions like hallucinations and alternate sight, where the mind’s justification of reality and imagination can be left unresolved. The film piece is targeted for audiences of all ages, with both comic and serious attitudes made accessible to a variety of ages. However, this is a morally-influenced story, where in which any who suffer from some sort of sight blemish can recognize the film’s nature, with the use of 1st person views and emotionally engaged acting playing as a pair of shoes for the unaware to step into. An aspect of campaigning lies here too, so presentable purposes such as adverts or documentaries could compliment the video, and vice versa.
The film’s predominant use of image and audio layering is in direct response to avant garde short Outer Space (Peter Tscherkassky, 1999), which includes the most aesthetically perfected use of handwork. With celluloid as the key subject material, well-tamed combinations of multiple film sheets convey the exploration of “theories of subjectivity, memory and perception, as well as the aesthetic limits of the cinematographic image. Tscherkassky sculpts with time and space, rhythms and arrhythmia in a way that feels like an entirely new film space, a new language altogether” (Rhys Graham – Senses of Cinema, 2001). The way in which the visual juxtapositions of various material/imagery cause a sense of complimentary collaboration between seemingly incompatible narratives and scenes, ultimately creating a rare sight surreal-realistic living. Visuals explode into multiple directions, often simultaneously from start to finish.
The character’s possessed nature is reflected in the sheer physicality of violent flashing and image shaking, accompanied by rather dated horror-styled, optical soundtrack, overlaying the segments of silent diegetics. This all together creates a story portraying the sinister and unsettling nature of an individual lost between the realms of the natural and supernatural, demonstrated through a combination of performance art and cinematography. Micro elements like lighting and camera angles from Outer Space will be incorporated, but with a fairytale twist aspect added also. This accompanied by a small cast will help create the personally difficult and isolated nature that has been conveyed through not only Outer Space’s character, but my upbringing of distorted vision, which I hope audiences will be able to acknowledge through my short film.
Ultimately, my intention with Double Vision is to recapture, almost mimic (just like what Peter Tscherkassky done, working from Sidney J. Furie’s The Entity [1981]) Tscherkassky’s creation, but adapt it to a more modern, socially-recognized fashion. Working with both the interior and exterior settings of my house, I will be creating a contextual equilibrium between the contrasting time settings of Outer Space and Double Vision.
_________________________________
Much else?
Breaking records, losing trust at the same time.
Quad Curls: 70kg, 30r
Bench Press: 90kg, 20r
Chin-ups: (And I way...) 72kg, 27r
Tri-dips: " " ", 30r
Proud. But honestly intrigued, almost scared. I've pretty much doubled everything I could do not two weeks ago
- Courtesy of BKFusions...!?!
Wednesday: ICA Intro special. A public crit with fellow art students from Welling ('A Specialist Arts College', pshhht!). Soon as I get the photos and video records from the institute, I'll show you all!
Yes
Term Over
Thank Youuu
Oh, and it is now proven that my fellow bloggers are pure Singstar sillies. Dea - ry - me.
No comments:
Post a Comment