Hi Richard, Thank you, that's a really interesting summation and brief analysis of non-narrative work, I'm not really familiar with a lot of pre-WWII avant-garde work and find myself still interested in a lot of structuralist works particularly Michael Snow, as I explored his work during my MA and related projects. I'm going to have to dive back into my reading!
My comment was really an ironic, slightly playful phrasing, as I'm not an artist and don't really think any of my work has much cultural/critical value. It was meant in a self-deprecating way to play with how mainstream cinema concepts of arthouse/gallery film etc is often differentiated as. My apologies if my tone didn't come across. Cheers though M On 10 July 2011 14:27, Richard Wright <[email protected]>wrote: > 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 > ** > * > * > > _______________________________________________ > NetBehaviour mailing list > [email protected] > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > _______________________________________________ > NetBehaviour mailing list > [email protected] > http://www.netbehaviour.org/mailman/listinfo/netbehaviour >
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