Kourtney's blog: 2014

This report will explore non-narrative films, establishing the meaning, exploring examples and contextualizing them, gaining understanding of the history and cultural setting behind them.

Non-narrative films in contrast to narrative films, do not consist of events or action occurring in a chronological order. It does not fold a storyline from start to finish to convey meaning. Although non narrative films tend to not have a narrative, they may have a fractured narrative or a circular narrative, where it is constructed in a non-linear structure, for example, flashbacks, flashforwards and using the ending as the start of the film.

There are various types of genres in regards to non-narrative films;

·Abstract Film

·Experimental Film

·Video installations – The combination of video technology and installation art. Video installations are usually projected onto screens or walls, or shown in spaces that contribute to the message of the video, in which it would be considered as site-specific. For example, Ron Arad showed his video installation “Curtain Call” at the Roundhouse specifically for the spherical effect.

· Fractured narrative

· Absolute Film

· Dream sequences – A dream sequence can take form as visions, daydreams, flashbacks, fantasies, illusions and flash-forwards. They are usually to inform the audience of a characters subconscious mind; their desires, fears, past or future, hence why most dream sequences are quite abstract. Dream sequences, most of the time can be easy to separate from the rest of the film, due to the different properties established. A dream sequence may use a blurry or rippling effect, along with cool colours such as yellow, blue and purple. There is also use of distorted sounds and echos.

The Avant-Grade were a group of people who were responsible for many different movements, as they believed in straying away from the typical conventions of a film. Avant-Grant were involved in a lot of experimentation hence the movements Surrealism, Fauvism and Expressionism.

Experimental cinema began in 1920’s, started by the Avant-Grant. This type of cinema was a crucial discovery to film as it introduced the defiance and challenging of the standard characteristics of filmmaking. This includes non-linear and fractured narratives, or even the absence of a narrative. Experimental Film pushes the limits, establishes new techniques and features for film, allowing film makers to manipulate colour, shapes, meaning, movement, size, pace and how they wish to communicate with audience.

Abstract Film, which is a subgenre of Experimental film, emerged some time in the early 1920’s, but the early works were referred to as Absolute Film. Abstract Film is presented in an unsystematic manner, usually not representing anything related to reality, but uses colour, shape and movement as a form of expression and to portray a concept or emotion.

Walter Ruttmann produced Lichtspiel Opus 1 1921 (http://www.youtube.com/watch?v=aHZdDmYFZN0in). This is an example of Absolute film. Ruttmann demonstrated the experimentation of colour, movement and shapes. Another example of early Absolute film is Hans Ritcher’s Rhythmus 21 also in 1921(http://www.youtube.com/watch?v=FYPb8uIQENs).

Another subgenre of Experimental Film was Surrealism, also a movement of Avant-Grant. Surrealism emerged between 1920s to the 1930s. It is said the Surrealism was the first artistic movement to be heavily incorporated into cinema. Surrealist cinema demonstrates illogical imagery, having a tendency to display absurd images as it explores the subconscious mind almost as a dream.

The Seashell and the Clergyman (http://www.youtube.com/watch?v=-NqrwaxzP_U) was the first surrealist film to be premiered in 1928, directed by Germaine Dulac.

Anamnesis (http://www.youtube.com/watch?v=o6ZpTI-3-dE) is a short surreal film written and directed by Alex Calleros in 2012. In this film, Adam wakes up in the backyard of a house he grew up in. He is confused and assumes he is dreaming. His girlfriend Hannah hurriedly takes him to different childhood memories, telling him they “don’t have much time”. His identity is questioned by his girlfriend and his mother, as he is told he is not Adam. In efforts to understand what is going on, Adam walks in on an armed robbery where two people are shot. By the end, Adam realizes it is him that had been shot. He is dying and experiencing the trajectory of his life before he dies.

I think the film is trying to illustrate the idea that your life flashes before your eyes when you are about to die, using surreal cinema settings to contribute to the illusion that whether Adam is dreaming or having some sort of vision, this is not reality.

At one point, Hannah uses a blue crayon to draw a door on the floor which transforms into a three-dimensional door which leads the two characters to a mountain site.

The film was inspired by viewers who submitted suggestions for the films criteria such as “One character must use refrigerator poetry magnets to leave a note/message for another character”, “At least three characters must be related” and “ and “The dialogue from one scene must be exactly the same in one scene as it is in another, yet the tone of both scenes must be different”. The film may also be inspired by Walking Life (2001), which was about a young man who would lucid dream constantly, realizing that he can not wake up because he is dead.

The Science of Sleep (http://www.youtube.com/watch?v=oJ8VWoyMJoc) was directed by Michael Gondry. It was made in 2006 and is considered a scientific surrealistic comedy. The content of the film follows a creative and imaginative young man named Stéphane Miroux who gets a job as a typewriter which he at first imagines is an artistic excting job, but in reality it was a dull office job. He ries to win the heart of the girl who lives next door to him, however, he tends to have peculiar dreams which eventually begin to interfere with life as he can not distinguish his dreams from his reality, delaying and preventing his goals and intentions.

The film includes many surreal imagery such as Stéphane and his love interest riding on a life size stuffed horse, and a turtle and a cricket fighting on the moon. The dream sequences could be described as “weird” or “random”, as they were a window into Stéphane’s subconscious but very

imaginative mind, thus the absurdity.

I think the film was trying to explore Oneirology, incorporating everything related with our subconscious minds; fantasies, lucid dreams, visions, nightmares etc. In one sequence, Stéphane dreams he is on a cooking show, showing a live audience how dreams are made, he shares all the ingredients needed to make a dream such as “random thoughts” , “reminiscences of the day, mixed with some memories from the past, “love, friendships, relationships”.

I think that Gondry would have been inspired by the early surrealist cinema works such as Juliet of the spirits (1965), Vanilla Sky (2001) and Heavenly Creature (1994), as they all explore similar themes.

Gondry was also inspired by his own life; In one sequence, there is chaos in Stéphane’s office, he is attempting to pick up flying papers however he grows strangely large hands. This was enthused by a constant nightmare Gondry would have as a child.

The Science of Sleep may have influenced Christopher Nolan’s Inception, as some of the aspects used in the film can be spotted in Inception, for example, the question of the character not knowing whether they are dreaming or awake.

Tate Modern Findings

Two pieces I found interesting were in the Nam Paik June exhibition.

I feel as if space was used efficiently to make the audience feel as if they were involved in a science experiment as we can see that the egg is under thorough surveillance. I found this piece to be very creative and well structure. Due to the fact that it doesn’t have an established meaning, there are many ways to interpret the piece.

This piece uses space more efficiently. I believe this because the artist was trying to create a living room theme. The artist composed the piece in a way that makes each feature stand out and be acknowledged by the audience.

Artist vision

My memory is getting lost late at night coming from a friend’s birthday whilst my phone was slowly dying. I want to centre my video installation on the my thoughts and feelings I felt at the time. I will use space to contribute to the effect I am trying to create for my video installation. I’d like my space to be a round circular area with the audience in the middle, this way the audience is fully involved and will amplify the atmosphere, images and feelings I want to portray. I have selected this particular space because it places the audience in a microcosm of a moment I have created.

Audience Perception

The way I will structure my video will reflect on fear. In my memory, It was as if everything I had ever feared had made me paranoid and fearful; I felt like everything I was afraid of was going to happen (i.e rape, murder, kidnapping). At the time, it felt like I was in my own horror movie, therefore I thought that I could portray this. I will attempt to establish these feelings and themes into my video installation by using the space, audio and visuals efficiently. I will use fast jump cuts because I think that a fast pace keeps the audience on edge. I will use some codes and conventions from horror movies such as power cuts, inexplicable fall overs and the symbolic colours such as red, white and black.

Being in a circle will force them to constantly look around, symbolizing the feeling of not knowing where to look. In such a closed space, along with the sounds and visuals, I want the audience to feel trapped and scared, the space itself should make them feel as if they are in a ghost maze.

I will use alarming and disturbing sounds to create a chilling atmosphere, using musical techniques such as decrescendos, crescendos and sound effects such as heartbeats for suspense. This represents not knowing where or what would happen and who could appear at any time. I will include dialogue, as I want to create a soundscape of a thought track of my thoughts which will be illustrated. The sounds I use will overlay over each other at different speeds to add to the distressing ambiance, creating a heart-racing atmosphere. Dark lighting will be used to contribute to the theme of fears and fright.

Audience target and Effect
I want to aim my Video installation at a lower class audience who use public transport, as those of an upper class I would assume would be quite accustom to being in a car and also have a good knowledge of how to get around. Those who travel using public transport would be more likely to get lost and may not have strong directional skills.
I wish to create feelings, emotions and pictures that the audience can relate to, therefore making personal relationships an effect; If the audience have been lost before they would be able to fully understand some of the symbols and images I will use as they have had the same experience. I think that personal identity can be an effect because the audience can compare their experience with mine. For example, I will present the idea that in my memory, I felt as if I was in my own horror movie, an audience member could develop their own thoughts inspired by my video installation.