How are you approaching moving image?
Moving image is a ‘sequence of consecutive photographic images projected onto a screen in such rapid succession as to give the illusion of movement.’ (Webster’s College Dictionary, 2010)
I want to create a moving image piece that goes against the grammar of cinema, the three-act structure. Where one moving image sets the story with a scene, rises to an action as pressure comes to a questioning point, crisis, falling towards the end of the film. Influenced heavily by Alec Soth’s response to Robert Adam’s monograph ‘Summer Nights’. Alec called his piece ‘Summer Nights at the Dollar Tree’, indicating the film is going to be not only his take on the nights in that area, but a film of true authenticity, left for the viewer to oversee the scenes and interpret them as they wish. It questions how technology, no matter how revolutionary new cameras and recording equipment may be, assimilate our surroundings. Soth uses daytime ordinary people within their places in America to reveal hidden beauty with no encouraging crisis to build up to. The scenes shown are wide landscapes (through a fast food restaurant to a junction) that follow the rules of a photographic composition but at 25 frames per second, not one.
Recording truly mundane landscapes, the piece will complement the imagery I tend to create. It will show a slow passage and pieces of time during the development of the project, but also at the same places as I take still imagery.
In terms of sound to accompany the moving images, I’m going to be using Diegetic sound. Within the scenes and atmospheres, I want the sound to be as authentic as possible, correctly portraying the scene I am going to be filming. Sounds will include, characters/pass-by-ers talking, nature, water, traffic, ambience.
‘Photographs may be more memorable than moving images, because they are a neat slice of time, not a flow. Each still photograph is a privileged moment turned into a slim object that one can keep and look at again.’ (Sontag, S. 1973) I agree with Sontag’s quote being able to recall an image we may have seen before. However moving image brings a new element that stills may not have. The ability to capture memories, a narrative fast pace visual, with sound, stimulates the brains memory to recall a time that has happened much stronger, bringing across personal stories in my work more personal and real.
‘We only have to look to the work of pioneer photographer-film- makers such as Paul Strand, Helen Levic, William Klein, Robert Frank, Hollis Frampton and most famously Chris Marker, to see how the dichotomy commonly set up between the stills’ and moving image is misleading. Through their work, the questions of how stills’ interact with (or become) the moving image have given rise to creation of profound intelligence and beauty. Their work reveals the potential of ‘cinema of stills’ to both arrest movement and be its springboard, creating a space for the viewer’s imagination’. (Purcell, K.W. (2010) Purcell notes the contrasts between still and moving image being misleading. In relation, the works will complement each other leaving it up to the viewer’s imagination to fill in the gaps where present.
- Random House Kernerman Webster’s College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
- Sontag, S. (1973) On photography. New York: Farrar Strauss And Giroux.
- Purcell, K.W. (2010) Adventures in mo.on pictures Eye Magazine Number 77 Accessed at hcp://www.eyemagazine.com/feature/ar”cle/kerry-william-purcell