May 5, 2010

The experimental module has now been completed, and it’s certainly benefitted me. At first I had a problem of narrative structure. I was subconsciously applying the rules of narrative to my work.

However, I went beyond this and decided the way to break narrative was to concentrate on natural elements.

Sometimes when you’re in a set pattern of working, you need to come out of your comfort zone and go beyond it. As my research progressed I managed to learn more about experimentation, and how it can help me to change audience’s perceptions.

Whilst writing the concept in my freelance work, I managed to make a good impression. This was only due to completing this module, that I was able to apply the experimental elements.

Overall the module has been very enjoyable, and it’s been a rewarding experience to further my practice in media.

The Making of my experimental video

May 5, 2010

Remodernist Film-movement

May 5, 2010

During the Christmas break when I first began researching about experimentation. I was contacted by an American film-maker, called Jesse Richards.

[MA Media Production] Comment: “TARKOVSKY”‏

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New comment on your post #148 “TARKOVSKY”

Author : Jesse Richards (IP: ,

E-mail :


Whois :


You might be interested in this- a film philosophy/movement (called Remodernist film) that is concerned with exactly the kinds of things your talking about- we are trying to encourage a return to personal, authentic filmmaking.

Here are five pages about us in Mungbeing Magazine:

Jesse also has a YouTube page where he constantly uploads experimental films, in line with the Re-modernist Film movement.


May 5, 2010

As many of you may know, I work as a freelance Copywriter. Very recently I was approached to write a concept for West Midlands Fire Service.

The brief involved me write a concept for a music video, which was for a rap song about fire safety. In the song there were different lyrics about the different situations in which, people have managed to have a fire in their homes.

For legal reasons, I’m not allowed to post the current song on my blog. But I let my colleague Garry listen to it, before handing it back to my client. However, I can post you an older version of the song. This would have been used in a similar campaign a while ago, however they were not looking for a repeat of the video that appears in this video.

This was a massive opportunity for me, as the video was going to be aired on national television. All the news channels, and even some music channels would have played the song. If my work was really good, it would have been spotted, hence giving me more work.

I wanted to make a major impression. Due to my research in this module, I found that some of my favorite film directors, like Michel Gondry and Spike Jonze had worked in advertising and music videos. So I thought of how they would have approached the subject.


The concept I came up with followed a three story narrative. However, I wanted to begin each narrative with the after-math of the fire. Showing a burnt homes. Then unfolding the narrative in reverse.

For example, the first narrative was of an old man, who leaves the oven unattended. The oven then catches fire, and causing a fire when coming into contact with flammable material. However, the trick was to show this, as well as all of the narratives in reverse.

My concept was appreciated by my client, however the West Midlands Fire Service opted for a cheaper production.

Here are some of my inspirations when writing this concept were as follows:

As my client was going to provided with a budget, and a set to burn. I was given the freedom of being as creative as I’d liked. It was during my research of Experimental artists that I came across Cornelia Parker.


May 5, 2010

Experimental elements have been seen a lot more recently in feature films, and advertisements as I’ve researched. Jonathan Shaw and Nick Middleton both stated how advertisers use experimental features, and are often influenced by experimental film-makers like Muybridge etc. However I disagree with both of them to some extent. I think that a lot of film-makers begin their careers in advertising, and then in turn get into film-making.


(Time freeze segment appears on 1:15)

This link is taken from a recently popular show called HEROES. The television series focuses on a group of individuals who have supernatural powers. One of the individuals, a Japanese man called Hiro Nakumura, has the ability to freeze time & space.

Film-making has advanced now, and there’s no limits to a writer’s creativity. Technological advancements can allow us to visualize our creativity, and now the recent example of AVATAR is testament to this.

CAMERA LUCIDA by Roland Barthes: Reflections on Photography

April 17, 2010

“Technically, photography is at the intersection of two quite distinct procedures; one of the chemical order; the action of light on certain substances; the other of a physical order the formation of the image through an optical device”

I have recently been reading this book, just to see things from a different perspective. Roland Barthes has been such a prominent figure in Critical Theory, and being able to see things from a different perspective (something we as film-makers should do) Although the book relates to photography, it’s still useful to see what principles we could use for video.

I felt that I should read this book to see what exactly he could lend to my experimental project. The first sort of anecdote that caught my attention was how Barthes explains:

‘Photography evades us. The various distributions we impose upon it are in fact either Empirical – (professionals, amateurs)

Rhetorical- (landscapes/objects/portraits/nudes)

Aesthetic – (realism / pictoralism)

In any case external to the object, without relation to its essence, which can only be (if it exists at all) the New of which it has been advent..

Henry Bergson has no doubt influenced him, when he explains that there is an apparent redundancy in photography. It’s true that we live in a continuous flow, and life can’t be captured in slots. The moment you capture something and say this is it, you lose the essence of it.

This is may sound like a contradiction to the theories explained above, but I like Jonathan Shaw’s experimental photography. This because in my opinion the experimental qualities he implements in his photography, capture a slight moment where you’re able to see more than a still image. In fact I feel its taken photography in a new direction.

Barthes manages to dissect photography in such an insightful way.

OPERATOR – is the photographer

SPECTATOR – is ourselves, of us who glance through collections of photography – in magazines, newspapers, books, albums, archives etc.

SPECTRUM – the thing or person photographed

Jonathan Shaw who states how ‘Great paintings are static objects. But they pretend not to be’

I found this a worthy observation; we see photos, which show a man playing golf. Once we see this we immediately recognise that static that it’s a man playing golf. But somewhere the image and the language we’re using to describe what we’re seeing don’t correlate to one another.

I have been photographed and knew it. Now, once I feel myself being observed by the lens, everything changes. I constitute myself in the process of ‘posing’, I instantaneously make another body for myself, I transform myself in advance into an image



Experimenting with Snow

March 23, 2010

A couple of weeks ago, I was assisting on a production of a music show, when the snow started to come down.

I managed to borrow one of the cameras, and capture some of the snow as I remembered Nick saying to break out narrative, try and focus on a natural phenomenon like rain, water…

Whilst capturing it, I just felt that there was something about the snowflakes. I’ve just used this as an exercise to try and break me out of narrative. Also to try and play with the camera’s shutter speed. I felt once I shot the footage, it would give me an opportunity to play with the motion of the snowflakes.

I found that adjusting the camera to a low shutter speed gives a jittery slow kind of effect, as you can see at the beginning.

High shutter speed allows you to kind of see the movement of the snow a lot better. As you can see the snowflakes are more visible in the higher shutter speed.

It’s quite long at the moment, and therefore I’ve included some footsteps of walking in snow.