I'd say that a non-narrative film does not necessarily imply a work
of art (consider many pop promos). It could be an "experimental
film", which although I would argue is art, some would argue is not
specifically contemporary art (mainly because of the "anti-craft"
attitude that currently dominates the art world, mistakenly in my
opinion). Inversely, it could be Media Art, which is often seen as
part of contemporary art, but not part of film making. Or it could be
avant garde film, although for many people this is a historical form
that had ended by WWII. (Incidentally, a disharmony between image and
soundtrack was something promoted by Adorno and Eisler during the
1930s, to "shatter the established standards of middle-class art".
Needles to say it didn't succeed, and probably contributed to the
current confusion).
I do hope this helps,
Richard
From: Mark Hancock <[email protected]>
Date: 9 July 2011 14:50:09 BDT
To: NetBehaviour for networked distributed creativity
<[email protected]>
Subject: [NetBehaviour] Aftung Derisive
Reply-To: NetBehaviour for networked distributed creativity
<[email protected]>
Hi All,
I've finished editing a short video piece that I've been working on
and off with for a few months. It doesn't have a narrative so I
guess it's an art movie or something?
The soundtrack is an exploration of glitchy ticks and beats that
constantly tries to work in time with the edits but ends up
opposing it. Too often we're lead into the rhythm of a film by the
music. I often wonder if this is a coping mechanism for 'bad'
editing rhythms? Anyway, this doesn't try to marry the two so I
guess creates a disharmony of sorts.
Enjoy, or as Warhol said to one of his brothers, when he threatened
to come watch one his his movies (i'm wildly paraphrasing here):
Instead of watching this, save your money and bang your head on a
wall for five minutes.
http://youtu.be/ik4YdCOt-HM
"Filmed during the winter of 2009 at Hillfields Farm Coventry. It
felt, walking out into the snow, as though everything had been
reduced to a homogenous mass, inverted shadows laid across the
landscape. The editing style explores the idea of cutting up the
frames and replaying/rearranging the sequences and finding a rhythm
at odds with the soundtrack. This dislocation of temporality and
the quick cut frames reflect the eye's random tracking movements,
searching for anything to land on within the mass of white.
The title, Aftung Derisive, menas nothing at all. I just liked to
sound of it and I'd been listening to a lot of German electronica
when I created the soundtrack."
http://youtu.be/ik4YdCOt-HM
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