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RECIPES FOR DISASTER: BOMB DEFUSING (UNSUCCESSFUL) GIF

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YOUTUBE “BLOCKED” EMAIL

This was the point in the process at which I began to receive emails from Youtube blocking many of my videos (my initial preferred platform, as the clips I use have been sourced from it; I wanted the content I had produced from this to feed back in to the same platform). Five have been blocked so far, including my final video (which I will detail later). I have switched to Vimeo.

 The laws around copyright and film are some of the strictest throughout media; I will write more comprehensively about this later.

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SPLICED MUSIC

This video is an attempt at splicing together scenes containing diegetic music (music controlled and heard by the characters in the film), in order to create a sort of character-compiled playlist. However due to the lack of universal process here, I don’t think it works nearly as well as some of the more common actions found across film.

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SPLICED SMOKING: VERSION 2

While I previously structured my smoking splice to move through the process of smoking a cigarette, this one manages it more comprehensively, and, I feel, is edited more successfully.

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SPLICING DOORS: VERSION 2

In this version of the splicing process, the instances of doors slamming have been sequenced from left to right- the door slams move slowly across the scene throughout the piece, creating a very simple meta-narrative.

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The emails I have received regarding copyright infringement so far.

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FILMPUNK

After having uploaded most of my previous videos to Vimeo, it became clear that there would not be enough upload space (uploads are limited to 500mb per week). I have now created a youtube channel instead; as well as solving the practical issues involved, this also seems a more suitable platform on which to post videos which challenge and hijack perceptions of film, due to the DIY and often copyright-infringing attitudes of those who post on Youtube (for instance, Youtube is where I have sourced all of the clips used in my films to begin with; it seems appropriate to feed them back into the same platform).

 I have already incurred a few emails from Youtube regarding infringement of laws; meaning that my videos will be unwatchable in some countries (I have yet to discover whether the UK is one of them...)

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ON WIELDING THE SUBVERSIVE SCALPEL (Isaac Cronin, Ken Knabb)

“The scalpel of subversion slices through the surface/veil of appearances to make an opening, nothing more — an open space just large enough for revolution to pass through.” 

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FILMPUNK: A CLOCKWORK ORANGE

this is a work-in-progress concept, using the location and the actions of the characters in the “flat block marina” scene of “a clockwork orange” to split the scene in to two parts. a large part of the inspiration behind this has come from the punk and dadaist concepts of borrowing and re-appropriating material in order to critique or upstage it.

  I now have qualms about using “a clockwork orange” for this purpose, as its own ethos as a piece of film is of re-appropriation, and punk aesthetics; meaning this (along with all other fictional pieces of film) is very complex to deconstruct in this way.

 due to this, my next step is going to be an attempt to deconstruct a transparent film (such as an advertisement or political promotion video) which has a much simpler and more obvious agenda.

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DEGENERATION:

using modelling, filming, photography and other methods, I will create an environment for the “degeneration” of London; the antidote to regeneration and the upward spiral of buildings, prices and exclusion.

 in order to do this I will focus on the lost and disused spaces within the city, using them to create a stage set for this “degeneration” to play out, and creating an alternate future in which, inspired by Laura Oldfield Ford’s “Savage Messiah”, it is the suburbs and not the financial district that is the centre of the city.

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DECONSTRUCTING ARCHITECTURES

i’m investigating the stories that can be told by deconstructing specific aspects of architecture and re-inventing them. in this derelict building between nx and deptford there is evidence of both victorian and roman stylings... when seperated, each element could exist in a context of its own; with its own constructed history. i am making film-able models to represent each facet of the building’s ‘personality’.

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place as an actor (ramble)

visually, brutalism is a blank slate

ideologically, derelict spaces are blank slates

the politics and stories (or at least intentions) of brutalist spaces are clear

what are the politics and stories of derelict spaces?

once nobody cares about a space, it is forgotten; the architect is anonymous, the original purpose of the building irrelevant.

how can a space be used to tell a story, by itself?

reversing the role of place in film; location dictates story rather than vice versa. locations are chosen for sense of pathetic fallacy/ relevance to plot

film is the medium not the focus. place is the focus. you are looking at place through the lens of film.

explore every aspect of a location: photograph it, model it, film it, iterate the space over and over and explore the characters it can play.

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film hauntology... vanishing the droogs from “a clockwork orange” in order to leave only the place to appreciate

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lost corners, left to rot in the memory of those who’ve already been forced out

how to save these places in collective memory before they are lost forever?

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hauntology of a lost future:

listen to the buildings and they will tell you their story

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a form of protection

the effect of sonogeography is that it makes apparent the way in which modern times have reversed the role of place; the constant privatisation process, ravaging and rearranging the structure of the city to suit those in positions of power. architecture and space is no longer the permanent-seeming infrastructure it was. constant regeneration creates a sense of desperation, of needing to cling on to what is there while it lasts. sonogeography allows this through the fabrication of memory; in synching a memory of a location through use of existing media such as film, using noise as a link to popular culture and familiarity, you can remember a place as it was. change is happening all the time, to the most archaic and permanent-seeming locations. property developers have become experts at springing surprise bundles of cash upon those who own what they think should be theirs.... in preparation for this, store memories of the places that may soon be gone or changed forever.

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components of a sonogeographic kit

- map of location (film location or location of repurposed or defunct object)

- (film location only) aural recording of scene shot there, to be listened to through headphones while re-filming

- (film location only) mapping/ instructions of where to shoot, how long for, panning etc

currently I’ve only formulated this with film locations in mind, although I plan to soon move on to including defunct objects such as the sound mirrors I originally focussed on, and decide what components their “kit” would require...