Jujube/abstracts-non-text - Revision history

Jujube at 11:36, 21 July 2020

2020-07-21T11:36:09Z

← Older revision		Revision as of 13:36, 21 July 2020
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	This session is an extension of the synopsis of text. As I "read" more films, I found they influence my making as much, if not more, as the texts do. I am not writing these as formal film/exhibition/performance reviews -- am simply picking points of interest to my own advantage. (Perhaps that's why I treat them as annotations rather than synopsis.)		This session is an extension of the synopsis of text. As I "read" more films, I found they influence my making as much, if not more, as the texts do. I am not writing these as formal film/exhibition/performance reviews -- am simply picking points of interest to my own advantage. (Perhaps that's why I treat them as annotations rather than synopsis.)

			= The Boat People =

			2020, single-channel video, 4k, Super 16mm transferred to digital, color, 5.1 surround sound

			https://www.vdrome.org/

			The last five humans on earth — five children, four boys and a girl — arrive at a deserted island and encounter sites of worship, war, memorial and refugee. They discover sculptures of deities in the woods and in the abandoned shrines. The girl encounters the head of a wooden goddess (budhisattva) on the beach. The girl, speaking Laosian, and the head, speaking English, have a conversation about humankind, god, ghosts, ancestors, freedom and death. At times, the head appears to be that of an Asian woman; at others, it remains a wooden object.

			== building up a web of references throughout the re-establishment of images ==

			== camera movement ==

			pan

			* across the Buddha statues in the woods as the children climb around them
			* medium close-ups of a catholic scene (a pope and two other icons); the children stay nestled in the scene, not moving

			close in

			* children in front of the statues in the woods
			* four boys in front of a memorial, cut to (repeat), cut to girl solo in front of the memorial

			follow

			* girl walking to the head





	= Art Amsterdam x IDFA 2019 (program at the EYE)=		= Art Amsterdam x IDFA 2019 (program at the EYE)=

Jujube: /* Solaris (3hr film in two parts), 1972 */

2019-12-03T10:25:05Z

Solaris (3hr film in two parts), 1972

← Older revision		Revision as of 12:25, 3 December 2019
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	# The film begins with water. Green hue. A pond. A leaf passes. The camera follows.		# The film begins with water. Green hue. A pond. A leaf passes. The camera follows.
	# ~~Cut to:~~ another type of underwater floral, camera moves to center on a man, close-up, who looks off to somewhere our of the frame, holding a metal box		# CUT TO another type of underwater floral, camera moves to center on a man, close-up, who looks off to somewhere our of the frame, holding a metal box.
	# ~~Cut to:~~ soft, belt-like grasses underwater, camera zooms in.		# CUT TO soft, belt-like grasses underwater, camera zooms in.
	# ~~Cut to:~~ plants, the camera moves to the man again, who walks out of the frame in search of something.		# CUT TO plants, the camera moves to the man again, who walks out of the frame in search of something.
	# ~~Cut to:~~ tree, camera moves to reveal the same man in a distance, again walking out of the screen.		# CUT TO tree, camera moves to reveal the same man in a distance, again walking out of the screen.
	# ~~Cut to:~~ man passes the pond, out of the screen, camera moves to reveal the house.		# CUT TO man passes the pond, out of the screen, camera moves to reveal the house.
	# ~~Cut to:~~ man walks into the frame to the pond		# CUT TO man walks into the frame to the pond.
	# ~~Cut to:~~ a horse gallops in the woods, camera follows it		# CUT TO a horse gallops in the woods, camera follows it.
	# ~~Cut to:~~ man walks along side the pond, puts down the metal box, washes his hands		# CUT TO man walks along side the pond, puts down the metal box, washes his hands.
	# ~~Cut to:~~ close up of the ripples of water, camera moves to reveal his hands in a medium shot and stops as the man look up		# CUT TO close-up of the ripples of water, camera moves to reveal his hands in a medium shot and stops as the man look up.

			The man is constantly walking in and out of the frame. He is searching something. He's always looking at something that we do not see (until the end of the sequence). The camera is searching him, its movement mirroring a kind of guessing: what is he looking for?... I find the cut to horse surprisingly fitting -- it conveys a life parallel to, independent from, larger than that of the man.

	{{youtube\|GgpATMbTlFM}}		{{youtube\|GgpATMbTlFM}}

Jujube: /* Art Amsterdam x IDFA 2019 (program at the EYE) */

2019-11-29T21:00:18Z

Art Amsterdam x IDFA 2019 (program at the EYE)

← Older revision		Revision as of 23:00, 29 November 2019
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	co-curated by EYE and IDFA, described as "the documentary genre with innovative forms"		co-curated by EYE and IDFA, described as "the documentary genre with innovative forms"

	These are not necessarily films to be seen in the cinema. They seem to represent a slice of what documentary can be~~, but each work~~ in themselves lack the rigor of film. They provoke thoughts as visual art (and in the category of video art) but the forms the artists have chosen, ~~when~~ judged as a self-standing film, are insufficient, obtuse and/or withholding.		These are not necessarily films to be seen in the cinema. They seem to represent a slice of what documentary can be. Most works in themselves lack the rigor of film. They provoke thoughts as visual art (and in the category of video art) but the forms the artists have chosen, if judged as a self-standing film, are insufficient, obtuse and/or withholding.

	Moderation for art films must be considerate. The moderator needs to trust the audience. Moderation on the first day (by ~~staff~~ at the EYE) was blatant -- spelling everything out for the audience dismisses the audience's own understanding. On the second day~~, the IDFA programmer~~ targeted questions ~~towards~~ the artists' working ~~method~~ and project ~~direction~~, rather than trying to explain the films themselves ~~-- a~~ better approach.		Moderation for art films must be considerate. The moderator needs to trust the audience. Moderation on the first day by curator at the EYE was blatant; spelling everything out for the audience dismisses the audience's own understanding. The IDFA programmer on the second day targeted questions to the artists' working methods and project directions, rather than trying to explain the films themselves. A better approach.

	Day 1		Day 1
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	'''She Breathes Water'''		'''She Breathes Water'''

	Short film collage from found footage and subtitles without voiceover, only atmospheric sound. Artist is a painter and sees film as painting. Film itself is an illustration of the poetry. Not sure if the images add to the words, or vice versa. ~~But would~~ definitely be different in a gallery setting, say, ~~with~~ the painting of the same name.		Short film collage from found footage and subtitles without voiceover, only atmospheric sound. Artist is a painter and sees film as painting. Film itself is an illustration of the poetry. Not sure if the images add to the words, or vice versa. Would definitely be different in a gallery setting, say, when the video talks to a painting of the same name.

	'''To Those That Will, Ways Are Not Wanting seek the freedom of'''		'''To Those That Will, Ways Are Not Wanting seek the freedom of'''
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	Short film of an elephant walking through an imperial garden. Surrealism.		Short film of an elephant walking through an imperial garden. Surrealism.

	Artist has circus background and regards the elephant as a special animal. Project will consist of seven chapters. This is chapter one. (Again, it seems to confirm that galleries are more suited for fragmental work. Fragments in loops.)		Artist has a circus background and regards the elephant as a special animal. Project will consist of seven chapters. This is chapter one. (Again, it seems to confirm that galleries are more suited for fragmental work. Fragments in loops.)

	'''Good Ended Happily'''		'''Good Ended Happily'''

	Short film re-creating the killing of Bin Laden. Images are shot with a steady cam -- the camera go through different alleys and rooms, shows death of civilians, rubble. Audio: fixer (or ~~the role of~~ PA and equivalent) shouts "CAMERA IS COMING. DIE! EVERYONE STAYS STILL. STAY DEAD" It reveals the construction of the set. The set itself is on location ~~with non~~-actors. It's the unveiling of the fabled documentary. I find ~~that~~ extremely interesting. I can read it as a critique of the media portrayal of significant events (photo-journalistic de/reconstructed as drama), as a questioning of the documentary genre, or as a polished re-enactment of public memory (but whose, the western eye?) This ~~is a~~ film ~~that~~ provokes ~~questions~~.		Short film re-creating the killing of Bin Laden. Images are shot with a steady cam — the camera goes through different alleys and rooms, shows death of civilians, rubble. Audio of fixer (or PA and equivalent) shouts "CAMERA IS COMING. DIE! EVERYONE STAYS STILL. STAY DEAD." It reveals the construction of the set. The set itself is not in studio, nor on location, either (not sure where it took place, Pakistan?) Non-actors.

			It's the unveiling of the fabled documentary, which I find extremely interesting. I can read it as a critique of the media portrayal of significant events (photo-journalistic de/reconstructed as drama), as a questioning of the documentary genre, or as a polished re-enactment of public memory (but whose, the western eye?) This film provokes.

	'''Viva Matanzas'''		'''Viva Matanzas'''

	50-min hybrid film. Choreographed re-enactment of the war of Matanzas, between the Dutch and Spanish fleet. Film is ~~majorly~~ divided into Melodrama of the Dutch aristocrat (shot in a studio) and on-location outdoor puppetry theater. Bombastic, as the artist calls it. ~~It was playful~~, funny, surprising ~~-- the~~ filmmaker seems to have a good time collaborating with the ~~local~~ (where he has a studio). It ~~has a community theater type of~~ down-to-~~earthness~~. The mockery of the aristocrats seem genuine. (Especially regarding the last scene, in limbo, dead mistress comments on the stupidity of men and war, ~~etc~~. Feeling of a greek tragi-comedy?)		50-min hybrid film. Choreographed re-enactment of the war of Matanzas between the Dutch and Spanish fleet in the 16th century. Film is divided into Melodrama of the Dutch aristocrat (shot in a studio) and on-location outdoor puppetry theater. Bombastic, as the artist calls it. Playful, funny, surprising. The filmmaker seems to have a good time collaborating with the locals (where he has a studio). It is down-to-earth like in a community theater. The mockery of the aristocrats seem genuine. (Especially regarding the last scene, in limbo, dead mistress comments on the stupidity of men and war, plays the harp. Feeling of a greek tragi-comedy?)

	= IDFA 2019 =		= IDFA 2019 =

Jujube: /* Multi-panel installation for single films */

2019-11-29T16:37:20Z

Multi-panel installation for single films

← Older revision		Revision as of 18:37, 29 November 2019
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	In a multi-panel installation, each panel becomes a demonstration of a "grammatical" element of the film language. This deconstruction of the film makes semantics visible and externalizes the "subjective logic" of the image, pertaining to the notion of memory.		In a multi-panel installation, each panel becomes a demonstration of a "grammatical" element of the film language. This deconstruction of the film makes semantics visible and externalizes the "subjective logic" of the image, pertaining to the notion of memory.

			[[File:Screen Shot 2019-11-29 at 17.36.18.png]]

	=== Curator's words (and my own) ===		=== Curator's words (and my own) ===

Jujube: /* Exhibition at the EYE */

2019-11-29T16:20:44Z

Exhibition at the EYE

@@ Line 371: / Line 371: @@
 Because of the associative nature of his images, the multiplication of images break the linear and seem to be a more fitting way of presenting his work. As a retrospective, the multi-panels treats dialogues and other elements that support the narrative as a less important layer. With this format, not only are the filmic elements separate from the story, they become works on them own. The matching visual rhythm and style creates new understanding towards these images.
 === Curator's words (and my own) ===
@@ Line 383: / Line 386: @@
 "One doesn't need to explain in film, but rather to directly affect the feelings of the audience. It is this awakened emotion that drives the thoughts forward," writes Tarchovsky. I agree with this intention, but not the materialized film in its totality.
-"I'm seeking a principle of montage that will allow me to expose the subjective logic — the thought, the dream, the memory — instead of the logic of the subject," writes Tarchovsky. Here is how I see his films according to this principle. He has succeeded in transferring this logic of his own (though/dream/memory) in highly aesthetical images. It's clear that he understands the different between memory and story. He chose to focus on the former and bury the latter. Some suffered from opaqueness, but perhaps some were elated by the depth of "not understanding".
+"I'm seeking a principle of montage that will allow me to expose the subjective logic — the thought, the dream, the memory — instead of the logic of the subject," writes Tarchovsky. Here is how I see his films according to this principle. He has succeeded in transferring this logic of his own (though/dream/memory) in highly aesthetical images. It's clear that he understands the different between memory and story. He chose to focus on the former and bury the latter. Some suffered from opaqueness, but perhaps some were elated by the depth of "not understanding."
 '''Ivan's Childhood'''
@@ Line 390: / Line 394: @@
 *4 dream sequences reflect 4 states of consciousness
 *dreams (clear, clean, full of sounds and beauty) contrast with reality (dirty, dark, disrupted/silent, scorched, dead landscape) both visually and aurally
 = Tigers Are Not Afraid (feature fiction film) =

Jujube: /* IDFA 2019 */

2019-11-29T15:47:23Z

IDFA 2019

← Older revision		Revision as of 17:47, 29 November 2019
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	- How do you work with music? They seem organic.		- How do you work with music? They seem organic.

	-		- The music comes with the film. I work with a lot of footage. I take things out and add things in constantly.

	'''La Cordillera de los sueños'''		'''La Cordillera de los sueños'''

Jujube: /* Art Amsterdam x IDFA 2019 (program at the EYE) */

2019-11-28T15:27:23Z

Art Amsterdam x IDFA 2019 (program at the EYE)

← Older revision		Revision as of 17:27, 28 November 2019
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	= Art Amsterdam x IDFA 2019 (program at the EYE)=		= Art Amsterdam x IDFA 2019 (program at the EYE)=

	co-curated by EYE and IDFA		co-curated by EYE and IDFA, described as "the documentary genre with innovative forms"

	These are not necessarily films to be seen in the cinema. They seem to represent a slice of what documentary can be, but each work in themselves lack the rigor of film. They provoke thoughts as visual art (and in the category of video art) but the forms the artists have chosen, when judged as a self-standing film, are insufficient, obtuse and/or withholding.		These are not necessarily films to be seen in the cinema. They seem to represent a slice of what documentary can be, but each work in themselves lack the rigor of film. They provoke thoughts as visual art (and in the category of video art) but the forms the artists have chosen, when judged as a self-standing film, are insufficient, obtuse and/or withholding.

	The films		Moderation for art films must be considerate. The moderator needs to trust the audience. Moderation on the first day (by staff at the EYE) was blatant -- spelling everything out for the audience dismisses the audience's own understanding. On the second day, the IDFA programmer targeted questions towards the artists' working method and project direction, rather than trying to explain the films themselves -- a better approach.

	~~"the documentary genre with innovative forms"~~		Day 1

	'''Worker's Ordinary Day'''		'''Worker's Ordinary Day'''
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	'''Forest on Location'''		'''Forest on Location'''

	I saw this one at FOAM as an installation. Seeing it on the big screen is intriguing. Again, curator tries to get the artists to explain "what it is," which takes away the most moving component of the piece.		I saw this one at FOAM as an installation. The film was about 10 minutes. Seeing it on the big screen is intriguing. Again, curator tries to get the artists to explain "what it is," which takes away the most moving component of the piece.

	'''She Breathes Water'''		'''She Breathes Water'''

	~~Collage~~ from found footage and subtitles without voiceover, only atmospheric sound. Artist is a painter and sees film as painting. Film itself is an illustration of the poetry. Not sure if the images add to the words, or vice versa. But would definitely be different in a gallery setting, say, with the painting of the same name.		Short film collage from found footage and subtitles without voiceover, only atmospheric sound. Artist is a painter and sees film as painting. Film itself is an illustration of the poetry. Not sure if the images add to the words, or vice versa. But would definitely be different in a gallery setting, say, with the painting of the same name.

	'''To Those That Will, Ways Are Not Wanting seek the freedom of'''		'''To Those That Will, Ways Are Not Wanting seek the freedom of'''

			20-min split screen film. Artist chose to be present in the shots, e.g. unedited audio of the wind indicates shooting with phone, conversation with subjects, intentional inclusion of breathing after chasing a shot). Visual coherence of two geographies: one of drought and the other of subarctic winter. The artists collected types of moments (on the left: barrier for motorbikes for the left; on the right: special public transport on ice). As the film continued I could see why it would be better in a gallery. In a gallery one could choose to come and go. One could "get it" without "committing to it" (which is not quite something a filmmaker wants. I think a filmmaker wants commitment because he/she is committed). I left early.

			Day 2

	'''Metodo dei Loci'''		'''Metodo dei Loci'''

			Short film of an elephant walking through an imperial garden. Surrealism.

			Artist has circus background and regards the elephant as a special animal. Project will consist of seven chapters. This is chapter one. (Again, it seems to confirm that galleries are more suited for fragmental work. Fragments in loops.)

	'''Good Ended Happily'''		'''Good Ended Happily'''

			Short film re-creating the killing of Bin Laden. Images are shot with a steady cam -- the camera go through different alleys and rooms, shows death of civilians, rubble. Audio: fixer (or the role of PA and equivalent) shouts "CAMERA IS COMING. DIE! EVERYONE STAYS STILL. STAY DEAD" It reveals the construction of the set. The set itself is on location with non-actors. It's the unveiling of the fabled documentary. I find that extremely interesting. I can read it as a critique of the media portrayal of significant events (photo-journalistic de/reconstructed as drama), as a questioning of the documentary genre, or as a polished re-enactment of public memory (but whose, the western eye?) This is a film that provokes questions.

	'''Viva Matanzas'''		'''Viva Matanzas'''

			50-min hybrid film. Choreographed re-enactment of the war of Matanzas, between the Dutch and Spanish fleet. Film is majorly divided into Melodrama of the Dutch aristocrat (shot in a studio) and on-location outdoor puppetry theater. Bombastic, as the artist calls it. It was playful, funny, surprising -- the filmmaker seems to have a good time collaborating with the local (where he has a studio). It has a community theater type of down-to-earthness. The mockery of the aristocrats seem genuine. (Especially regarding the last scene, in limbo, dead mistress comments on the stupidity of men and war, etc. Feeling of a greek tragi-comedy?)

	= IDFA 2019 =		= IDFA 2019 =

Jujube: /* Art Amsterdam x IDFA 2019 (program at the EYE) */

2019-11-28T11:58:40Z

Art Amsterdam x IDFA 2019 (program at the EYE)

@@ Line 3: / Line 3: @@
 = Art Amsterdam x IDFA 2019 (program at the EYE)=
-https://www.eyefilm.nl/film/idfa-amsterdam-art-weekend-at-idfa-passing-through
+co-curated by EYE and IDFA
-https://www.eyefilm.nl/film/idfa-amsterdam-art-weekend-at-idfa-tracking-traces?program_id=335250
+These are not necessarily films to be seen in the cinema. They seem to represent a slice of what documentary can be, but each work in themselves lack the rigor of film. They provoke thoughts as visual art (and in the category of video art) but the forms the artists have chosen, when judged as a self-standing film, are insufficient, obtuse and/or withholding.
 = IDFA 2019 =

Jujube: /* The Mirror (2.5hr film), 1975 */

2019-11-28T10:51:56Z

The Mirror (2.5hr film), 1975

← Older revision		Revision as of 12:51, 28 November 2019
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	I do like a few sequences. When I look at the images as they are, they become whole on them own. No narrative needed. Perhaps that's what the director wants me to do.		I do like a few sequences. When I look at the images as they are, they become whole on them own. No narrative needed. Perhaps that's what the director wants me to do.

	In these three long takes: {{youtube\|SIMo91QM2hc}}		In these three long takes

			{{youtube\|SIMo91QM2hc}}

	The camera seems like an ambivalent observer. The camera reveals things as are (but of course everything is staged and timed to be perfect to re-enact the moment). The camera gives a piece of what happens, lingers, does not linger, does not judge.		The camera seems like an ambivalent observer. The camera reveals things as are (but of course everything is staged and timed to be perfect to re-enact the moment). The camera gives a piece of what happens, lingers, does not linger, does not judge.

Jujube: /* Stalker (3hr film in two parts), 1979 */

2019-11-28T10:50:57Z

Stalker (3hr film in two parts), 1979

← Older revision		Revision as of 12:50, 28 November 2019
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	=== Real time becomes space for contemplation ===		=== Real time becomes space for contemplation ===

	Rain~~: {{youtube\|VPBuFheox7Q}}~~		Rain

	Train: {{youtube\|W_hWqsWHac8}}		{{youtube\|VPBuFheox7Q}}

			Train

			{{youtube\|W_hWqsWHac8}}

	== The Mirror (2.5hr film), 1975==		== The Mirror (2.5hr film), 1975==