Jujube/project-proposal-drafts - Revision history

Jujube: Jujube moved page Jujube/project-proposal to Jujube/project-proposal-drafts

2019-11-15T15:19:44Z

Jujube moved page Jujube/project-proposal to Jujube/project-proposal-drafts

← Older revision	Revision as of 17:19, 15 November 2019
(No difference)

Jujube at 13:43, 31 October 2019

2019-10-31T13:43:30Z

← Older revision		Revision as of 15:43, 31 October 2019
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	=If the apple tree did not die (working title)=		=If the apple tree did not die (working title)=

	~~=current draft=~~

	formatted and proofread with links: https://docs.google.com/document/d/1FECR1d8xgqxGvbFKHZrmI6hAxT241__mFNBsbZEihjY/edit		most recent draft formatted and proofread with links: https://docs.google.com/document/d/1FECR1d8xgqxGvbFKHZrmI6hAxT241__mFNBsbZEihjY/edit

			=most recent draft=

	I am making a documentary film. It is about the making of, exile from, search for: home; it is, eventually, the discovery of home in oneself. The project reflects my continuing research on the creation of meaning and evocation of feelings through image-making. I have themed the storylines as ''homemaking'', ''homecoming'' and ''home-carrying''. In a similar fashion to the short films I made last year [link to 3 vimeo clips - lara, mia, renate], I identify stories within people. The current character list, subject to change as the project develops, consists of:		I am making a documentary film. It is about the making of, exile from, search for: home; it is, eventually, the discovery of home in oneself. The project reflects my continuing research on the creation of meaning and evocation of feelings through image-making. I have themed the storylines as ''homemaking'', ''homecoming'' and ''home-carrying''. In a similar fashion to the short films I made last year [link to 3 vimeo clips - lara, mia, renate], I identify stories within people. The current character list, subject to change as the project develops, consists of:

Jujube at 13:43, 31 October 2019

2019-10-31T13:43:05Z

← Older revision		Revision as of 15:43, 31 October 2019
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	=current draft=		=current draft=

			formatted and proofread with links: https://docs.google.com/document/d/1FECR1d8xgqxGvbFKHZrmI6hAxT241__mFNBsbZEihjY/edit

	I am making a documentary film. It is about the making of, exile from, search for: home; it is, eventually, the discovery of home in oneself. The project reflects my continuing research on the creation of meaning and evocation of feelings through image-making. I have themed the storylines as ''homemaking'', ''homecoming'' and ''home-carrying''. In a similar fashion to the short films I made last year [link to 3 vimeo clips - lara, mia, renate], I identify stories within people. The current character list, subject to change as the project develops, consists of:		I am making a documentary film. It is about the making of, exile from, search for: home; it is, eventually, the discovery of home in oneself. The project reflects my continuing research on the creation of meaning and evocation of feelings through image-making. I have themed the storylines as ''homemaking'', ''homecoming'' and ''home-carrying''. In a similar fashion to the short films I made last year [link to 3 vimeo clips - lara, mia, renate], I identify stories within people. The current character list, subject to change as the project develops, consists of:

Jujube at 17:57, 30 October 2019

2019-10-30T17:57:43Z

← Older revision		Revision as of 19:57, 30 October 2019
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	= ~~Current draft:~~ If the apple tree did not die (working title) =		=If the apple tree did not die (working title)=

	I am making a documentary film. It is about the making of, exile from, search for: home; it is the discovery of home in oneself. The project reflects my continuing research on the creation of meaning and evocation of feelings through image-making. I have themed the storylines as ''homemaking'', ''homecoming'' and ''home-carrying''. In a similar fashion to the short films I made last year, I identify stories within people. The current character list, subject to change as the project develops, consists of:		=current draft=

			I am making a documentary film. It is about the making of, exile from, search for: home; it is, eventually, the discovery of home in oneself. The project reflects my continuing research on the creation of meaning and evocation of feelings through image-making. I have themed the storylines as ''homemaking'', ''homecoming'' and ''home-carrying''. In a similar fashion to the short films I made last year [link to 3 vimeo clips - lara, mia, renate], I identify stories within people. The current character list, subject to change as the project develops, consists of:

	*Marieke (peer from Piet Zwart)		*Marieke (peer from Piet Zwart)
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	*TBD		*TBD

	At the moment of writing, I have completed the shoots with Marieke and Tom, and have been creating footage for my own storyline. I am in the process of researching Sören~~/tentmaking~~ as well as planning for a new ~~character~~.		At the moment of writing, I have completed the shoots with Marieke and Tom, and have been creating footage for my own storyline. I am in the process of researching Sören's character as well as planning for a new one.

			On a personal level, making this documentary has enabled me to articulate loss, transcendence and new beginnings. I have been in search of form, just like I have been in search of home. Through reading, making and writing in the first year, I have started to own my practice with conviction. What was once topical and typological have given way to the existential and spiritual, a realization that came as I wrote my text on practice. [http://pzwiki.wdka.nl/mediadesign/Jujube/text-on-practice-2019]

			In this film I hope to evoke the tenderness of grief, the resilience of hope and the very solidarity of being human.

			== The individual stories ==

			'''Marieke''': Home is safe, non-judgemental; home is where we share

			Story: I offered Marieke a haircut in my living room. We shared memories of a book that had been traveled with me and one of Marieke's childhood experiences.

			What I want to achieve with this story is a demonstration of vulnerability, which notates home as a space of safety and non-judgement. I scripted our acts but left conversations to be improvized. I have used the shots from this story to develop a grammar of my filmmaking — a style that I feel confident in conveying my intentions.

	On a ~~personal level, making this documentary has enabled me to articulate loss, transcendence~~ and ~~new beginnings. I have been in search of form~~, ~~just like~~ I ~~have been in search of home~~. ~~Through reading, making and writing~~ in ~~the first year,~~ I ~~have started to own my practice with conviction and overcome~~ the ~~insecurity~~ of ~~not doing enough. I have shifted~~ the ~~way I frame what I make~~ and ~~how I make~~ them~~: what was once topical and typological have given way~~ to the ~~existential and spiritual~~. [~~http://pzwiki.wdka.nl/mediadesign/Jujube/text-on-practice-2019~~] ~~I hope to evoke the tenderness of grief, the resilience of hope and the very solidarity of being human.~~		After showing a rough cut in a group critique and asking what people see, I received feedback about the scripted-ness. I plan to do a second edit in which I will take a closer look at the role of the dialogues and use them more sparingly. Here is a link to the current rough cut. [link to current cut]

	~~== The individual stories (done, doing,~~ to ~~be developed)==~~		'''Tom''': Is it painful to lose something you cared about dearly?

	'~~''Marieke''': home is safe~~		Story: Tom's bonsais died because of the heat in his apartment. He had been caring for the trees for a few years, one of those was an apple tree that he grew from seed.

	~~In this~~ story, I ~~offer her a haircut~~ in ~~my living room. We share memories of a book~~ that ~~has traveled with me and one of Marieke~~'s ~~childhood experiences. What I want~~ to ~~achieve with this story is~~ a ~~demonstration~~ of ~~vulnerability, which notates~~ home ~~as a space of safety and non-judgement~~. I ~~have used~~ the ~~shots from this~~ story to ~~develop a grammar of my film, aka~~. ~~a style that I feel confident in conveying my intentions~~. ~~After showing a rough cut in~~ a ~~group critique~~ and ~~asking what people see~~, I ~~plan to do~~ a ~~second edit~~ in ~~which I will use the dialogues more sparingly~~. ~~[link to current cut]~~		The original story I had in mind was one that told Tom's dedication to his plants as a way of making home in an unfamiliar city. But when I was on site, I knew the story would change. Through our chats I sensed an aloof uncertainty he had about his home/self, which lay beneath his obsession with productivity and side projects. Also, due to Tom's sickness we did not follow the our plans discussed before (i.e. purchasing new plants at a shop and potting them). Instead, I interviewed him and recorded a lot of still shots in his apartment.

	~~'''Tom''': TBD/home is like being~~		I will make a rough edit with new (and somewhat limited) materials and . (I have a slight feeling this story does not fit the overall arch, but will be able to infer further when I have the edit.)

	~~When I visited Tom, I realized the original story I had in mind — man caring for plants as a way of making~~ home and ~~overcoming loneliness — had to change. Through our chats I sensed an aloof uncertainty he had about~~ home~~/self~~, ~~which lay beneath his obsession with productivity and side projects. Also~~, ~~due to Tom's sickness we did not follow the situations discussed before (i.e. purchasing new plants at~~ a ~~shop and potting them). Instead, I interviewed him and recorded a lot~~ of ~~still shots in his apartment. I will make a rough edit with new (and limited) materials~~ and ~~infer further learnings from there.~~		'''Myself''': home is lost and found; home is routine, ease, quietness; home is a collection of small yet necessary activities and objects

	'''~~Myself''': home is lost and found~~		Story: I am creating a series of imageries that allude to the dream and return to home by organizing domestic activities into narrative events. I brought daily objects I use at home — including a coffee maker, a toothbrush holder and an aromatic stone — and filmed myself conducting quotidien activities with them in other people's apartments (well-lived Airbnb's and a friend's place).

	For my own storyline, I am creating a series of imageries that allude to the dream and return to home – by organizing seemingly dispersed and domestic activities into narrative events. I brought daily objects I use at home, including a coffee maker, a toothbrush holder and an aromatic stone, and filmed myself conducting quotidien activities (e.g. making coffee, reading, tidying and watering plants) in well-lived Airbnb's and a friend's apartment. By showing some rough cuts at the group critique, I learned that the images spoke comfort and ritual. The silence was well-received.		By showing some rough cuts at the group critique, I learned that the images spoke comfort and ritual. The silence was well-received. I will produce a couple of new edits from the most recent shoot in SF.

	'''Sören''': ~~TBD~~		'''Sören''': (still researching)

	I met Sören and his wife during a hike in Iceland this past summer. During our encounter I learned that he knows everything about tent construction and makes his own (without any help of a tutorial). He also makes other gears such as backpacks and stuff sacks. He used to be a pastor and works at the equivalent of Salvation Army in Sweden. After all, Saint Paul was a tentmaker.		I met Sören and his wife during a hike in Iceland this past summer. During our encounter I learned that he knows everything about tent construction and makes his own (without any help of a tutorial). He also makes other gears such as backpacks and stuff sacks. He used to be a pastor and works at the equivalent of Salvation Army in Sweden. After all, Saint Paul was a tentmaker.
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	== Methods ==		== Methods ==

	Two methods have emerged in the process. First, the method of making: before each shoot, I devise situations with/for each character. As a conceptual aid, I alternate my roles as a metaphorical host or guest. ~~Liberally speaking, each~~ situation becomes a self-contained story, which I plan to weave together in the editing phase. As part of the pre-production, I turn the situations into scripts, storyboards and shot lists. During the shoot, I leave space for improvisation and make adjustment based on circumstantial changes. I try to cultivate trust and define boundaries with individuals through clear, open and ongoing conversations.		Two methods have emerged in the process. First, the method of making: before each shoot, I devise situations with/for each character. As a conceptual aid, I alternate my roles as a metaphorical host or guest. Each situation becomes a self-contained story, which I plan to weave together in the editing phase. As part of the pre-production, I turn the situations into scripts, storyboards and shot lists. During the shoot, I leave space for improvisation and make adjustment based on circumstantial changes. I try to cultivate trust and define boundaries with individuals through clear, open and ongoing conversations.

	Second, the method of reflecting: after each shoot I re-evaluate the story, find its nuances and reassess its link to the bigger story I want to tell. I examine the images and, by showing them in tutorials and group critiques, ask whether they carry the weight I intend. If the answer is not positive, I try to phrase a part of the feedback into a question, which I attempt to answer in the next shooting. For example, during the shoot at the Airbnb in the Hague, my question was "how does an object imbue meaning?" and, to find the solution, I tested my visuals with varying shot lengths, camera movements and focus change. Each occasion becomes a building block that inform the next shoot/round of communication with the character.		Second, the method of reflecting: after each shoot I re-evaluate the story, find its nuances and reassess its link to the bigger story I want to tell. I examine the images and, by showing them in tutorials and group critiques, ask whether they carry the weight I intend. If the answer is not positive, I try to phrase a part of the feedback into a question, which I attempt to answer in the next shooting. For example, during the shoot at the Airbnb in the Hague, my question was "how does an object imbue meaning?" and, to find the solution, I tested my visuals with varying shot lengths, camera movements and focus change. Each occasion becomes a building block that inform the next shoot/round of communication with the character.
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	== Collaborations ==		== Collaborations ==

	~~Collaborations are cucial to me.~~ I recognize the importance of a team in filmmaking and would like to ~~build ongoing~~ relationships and learn ways of delegating as a director and writer. I have asked Cem to be my director of photography and cinematographer (whenever we are on location together) based on our past collaboration and rapport. As a result I am putting more emphasis on pre-production and Cem has brought his patience and insight to help shape the project. In our meetings we walk through the shot list, sketch alternative shots and discuss the equipments and setup, all of which help me make decisions when I am shooting by myself. I also have talked to my housemate, a musician from the Fine Art program, about potentially composing for the film.		I recognize the importance of a team in filmmaking and would like to keep building relationships and learn ways of delegating as a director and writer. I have asked Cem to be my director of photography and cinematographer (whenever we are on location together) based on our past collaboration and rapport. As a result I am putting more emphasis on pre-production and Cem has brought his patience and insight to help shape the project. In our meetings we walk through the shot list, sketch alternative shots and discuss the equipments and setup, all of which help me make decisions when I am shooting by myself. I also have talked to my housemate, a musician from the Fine Art program, about potentially composing for the film.

	== Next steps ==		== Next steps ==

Jujube: /* Current draft: If the apple tree did not die (working title) */

2019-10-29T22:46:50Z

Current draft: If the apple tree did not die (working title)

← Older revision		Revision as of 00:46, 30 October 2019
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	At the moment of writing, I have completed the shoots with Marieke and Tom, and have been creating footage for my own storyline. I am in the process of researching Sören/tentmaking as well as planning for a new character.		At the moment of writing, I have completed the shoots with Marieke and Tom, and have been creating footage for my own storyline. I am in the process of researching Sören/tentmaking as well as planning for a new character.

	== ~~Individual~~ stories (done, doing, to be developed)==		On a personal level, making this documentary has enabled me to articulate loss, transcendence and new beginnings. I have been in search of form, just like I have been in search of home. Through reading, making and writing in the first year, I have started to own my practice with conviction and overcome the insecurity of not doing enough. I have shifted the way I frame what I make and how I make them: what was once topical and typological have given way to the existential and spiritual. [http://pzwiki.wdka.nl/mediadesign/Jujube/text-on-practice-2019] I hope to evoke the tenderness of grief, the resilience of hope and the very solidarity of being human.

			== The individual stories (done, doing, to be developed)==

	'''Marieke''': home is safe		'''Marieke''': home is safe
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	Second, the method of reflecting: after each shoot I re-evaluate the story, find its nuances and reassess its link to the bigger story I want to tell. I examine the images and, by showing them in tutorials and group critiques, ask whether they carry the weight I intend. If the answer is not positive, I try to phrase a part of the feedback into a question, which I attempt to answer in the next shooting. For example, during the shoot at the Airbnb in the Hague, my question was "how does an object imbue meaning?" and, to find the solution, I tested my visuals with varying shot lengths, camera movements and focus change. Each occasion becomes a building block that inform the next shoot/round of communication with the character.		Second, the method of reflecting: after each shoot I re-evaluate the story, find its nuances and reassess its link to the bigger story I want to tell. I examine the images and, by showing them in tutorials and group critiques, ask whether they carry the weight I intend. If the answer is not positive, I try to phrase a part of the feedback into a question, which I attempt to answer in the next shooting. For example, during the shoot at the Airbnb in the Hague, my question was "how does an object imbue meaning?" and, to find the solution, I tested my visuals with varying shot lengths, camera movements and focus change. Each occasion becomes a building block that inform the next shoot/round of communication with the character.

	== ~~Collaboration~~ ==		== Collaborations ==

	I have asked Cem to be my director of photography and cinematographer (whenever we are on location together) based on our past collaboration and rapport. As a result I am putting more emphasis on pre-production and Cem has brought his patience and insight to help shape the project. In our meetings we walk through the shot list, sketch alternative shots and discuss the equipments and setup, all of which help me make decisions when I am shooting by myself.

	~~I have talked to my housemate, a musician from the Fine Art program, about potentially composing for the film.~~		Collaborations are cucial to me. I recognize the importance of a team in filmmaking and would like to build ongoing relationships and learn ways of delegating as a director and writer. I have asked Cem to be my director of photography and cinematographer (whenever we are on location together) based on our past collaboration and rapport. As a result I am putting more emphasis on pre-production and Cem has brought his patience and insight to help shape the project. In our meetings we walk through the shot list, sketch alternative shots and discuss the equipments and setup, all of which help me make decisions when I am shooting by myself. I also have talked to my housemate, a musician from the Fine Art program, about potentially composing for the film.

	~~Collaboration is crucial~~ to me. I recognize the importance of a team in filmmaking and would like to build ongoing relationships and learn ways of delegating as a director and writer.

	~~== My impetus ==~~

	~~On a personal level, making this documentary has enabled me~~ to ~~articulate loss, transcendence~~ and ~~new beginnings~~. I ~~have been in search of form, just like I have been in search of home~~. ~~Through reading~~, ~~making~~ and ~~writing in~~ the ~~first year~~, ~~I have started to own my practice with conviction and overcome the insecurity~~ of ~~not doing enough. I have shifted the way I frame what I~~ make ~~and how~~ I ~~make them: what was once topical and typological have given way to the existential and spiritual~~. ~~[http://pzwiki.wdka.nl/mediadesign/Jujube/text-on-practice-2019]~~ I ~~hope~~ to ~~evoke~~ the ~~tenderness of grief~~, the ~~resilience of hope and the very solidarity of being human~~.

	== Next steps ==		== Next steps ==
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	Side experiment:		Side experiment:
	# A recurring image of lemon.		# A recurring image of lemon. TBC.

	'''Support I need'''		'''Support I need'''

	I have had valuable feedback from the tutors~~. I~~ would like to continue having these conversations. I ~~can~~ also benefit from another group critique once I make more edits. For editing, I would like to get feedback from a professional editor for one or two consultations, so that I learn new perspectives and shape my story better.		I have had valuable feedback from the tutors and would like to continue having these conversations. I could also benefit from another group critique once I make more edits. For editing, I would like to get feedback from a professional editor for one or two consultations, so that I learn new perspectives and shape my story better.

	= initial drafts =		= initial drafts =

Jujube: /* Collaboration */

2019-10-29T22:44:22Z

Collaboration

← Older revision		Revision as of 00:44, 30 October 2019
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	I have asked Cem to be my director of photography and cinematographer (whenever we are on location together) based on our past collaboration and rapport. As a result I am putting more emphasis on pre-production and Cem has brought his patience and insight to help shape the project. In our meetings we walk through the shot list, sketch alternative shots and discuss the equipments and setup, all of which help me make decisions when I am shooting by myself.		I have asked Cem to be my director of photography and cinematographer (whenever we are on location together) based on our past collaboration and rapport. As a result I am putting more emphasis on pre-production and Cem has brought his patience and insight to help shape the project. In our meetings we walk through the shot list, sketch alternative shots and discuss the equipments and setup, all of which help me make decisions when I am shooting by myself.

			I have talked to my housemate, a musician from the Fine Art program, about potentially composing for the film.

			Collaboration is crucial to me. I recognize the importance of a team in filmmaking and would like to build ongoing relationships and learn ways of delegating as a director and writer.

	== My impetus ==		== My impetus ==

Jujube: /* Next steps */

2019-10-29T22:42:14Z

Next steps

← Older revision		Revision as of 00:42, 30 October 2019
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	# I will make three edits: a first rough cut of Tom's story, a new cut of the Marieke's story, and cuts of new activities I shot in SF. The first two should inform me further about detachment of audio and visual image and how one element can enhance another.		# I will make three edits: a first rough cut of Tom's story, a new cut of the Marieke's story, and cuts of new activities I shot in SF. The first two should inform me further about detachment of audio and visual image and how one element can enhance another.
	# I am going to look into potential sponsorship and funding for a trip to Sweden. (I have an inkling about shooting in the middle of the winter, ~~where they will be~~ lots of snow and very little light. So the trip might take place in Jan/Feb 2021.)		# I am going to look into potential sponsorship and funding for a trip to Sweden. (I have an inkling about shooting in the middle of the winter, with lots of snow and very little light. So the trip might take place in Jan/Feb 2021.)
	# I will start investigating the next character, Youqing (peer at Piet Zwart) on the migration of one's mother tongue.		# I will start investigating the next character, Youqing (peer at Piet Zwart) on the migration of one's mother tongue.

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	'''Support I need'''		'''Support I need'''

	# I have had valuable feedback from the tutors. I would like to continue having conversations ~~with Simon and Barend in particular, since they help me clarify my filmmaking endeavor~~. I can also benefit from another group critique once I make more edits.		I have had valuable feedback from the tutors. I would like to continue having these conversations. I can also benefit from another group critique once I make more edits. For editing, I would like to get feedback from a professional editor for one or two consultations, so that I learn new perspectives and shape my story better.
	# For production, I would like to continue working with Cem on cinematography. I plan to recruit another person for sound when necessary. I have talked to my housemate, a musician from the Fine Art program, about potentially composing for the film.
	# For editing, I would like to get feedback from a professional editor for one or two consultations, so that I learn new perspectives and shape my story better.

	= initial drafts =		= initial drafts =

Jujube: /* Individual stories (done, doing, to be developed) */

2019-10-29T22:36:41Z

Individual stories (done, doing, to be developed)

← Older revision		Revision as of 00:36, 30 October 2019
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	In this story, I offer her a haircut in my living room. We share memories of a book that has traveled with me and one of Marieke's childhood experiences. What I want to achieve with this story is a demonstration of vulnerability, which notates home as a space of safety and non-judgement. I have used the shots from this story to develop a grammar of my film, aka. a style that I feel confident in conveying my intentions. After showing a rough cut in a group critique and asking what people see, I plan to do a second edit in which I will use the dialogues more sparingly. [link to current cut]		In this story, I offer her a haircut in my living room. We share memories of a book that has traveled with me and one of Marieke's childhood experiences. What I want to achieve with this story is a demonstration of vulnerability, which notates home as a space of safety and non-judgement. I have used the shots from this story to develop a grammar of my film, aka. a style that I feel confident in conveying my intentions. After showing a rough cut in a group critique and asking what people see, I plan to do a second edit in which I will use the dialogues more sparingly. [link to current cut]

	'''Tom''': TBD		'''Tom''': TBD/home is like being

	When I visited Tom, I realized the original story I had in mind — man caring for plants as a way of making home and overcoming loneliness — had to change. Through our chats I ~~got a sense of~~ uncertainty about home/self, which lay beneath his obsession with productivity and side projects. Also, due to Tom's sickness we did not follow the situations discussed before (i.e. purchasing new plants at a shop and potting them). Instead, I interviewed him and recorded a lot of still shots in his apartment. I will make a rough edit with new (and limited) materials and infer further learnings from there.		When I visited Tom, I realized the original story I had in mind — man caring for plants as a way of making home and overcoming loneliness — had to change. Through our chats I sensed an aloof uncertainty he had about home/self, which lay beneath his obsession with productivity and side projects. Also, due to Tom's sickness we did not follow the situations discussed before (i.e. purchasing new plants at a shop and potting them). Instead, I interviewed him and recorded a lot of still shots in his apartment. I will make a rough edit with new (and limited) materials and infer further learnings from there.

	'''Myself''': home is lost and found		'''Myself''': home is lost and found

Jujube: /* draft 12/9 */

2019-10-29T22:30:35Z

draft 12/9

← Older revision		Revision as of 00:30, 30 October 2019
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	*for funding: information and planning for available travel/project funding (esp. for Sweden)		*for funding: information and planning for available travel/project funding (esp. for Sweden)

	=draft 12/9=		==draft 12/9==

	'''What do you want to make?'''		'''What do you want to make?'''

Jujube: /* draft 19/9 */

2019-10-29T22:30:25Z

draft 19/9

← Older revision		Revision as of 00:30, 30 October 2019
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	# For editing, I would like to get feedback from a professional editor for one or two consultations, so that I learn new perspectives and shape my story better.		# For editing, I would like to get feedback from a professional editor for one or two consultations, so that I learn new perspectives and shape my story better.

	=draft 19/9=		= initial drafts =
			==draft 19/9==

	NOTES:		NOTES: