Sitting Still; a 16mm, 20 min, (col) film which brings the filmmaking process as performance and image into the fold of fragmented spoken narratives.

静坐；

• 批准号: AH/F001290/1
• 负责人: Sarah Pucill
• 金额: $ 2.09万
• 依托单位: University of Westminster
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2007
• 资助国家: 英国
• 起止时间: 2007 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FF001290%2F1
• 关键词: Sitting; Still; 16mm; 20; min

Summary The proposal is for a 16mm, 20min (col) film that will address the question of how contemporary postmodern theory of subjectivity can be applied in experimental film. The use of fixed camera, real time and a reflexive foregrounding of the filmmaking process will combine an exploration of fragmented subjectivity and narrative. The film frame as a threshold will be used as a metaphor for the perceptual process of 'taking in' information from the world.Sitting Still builds on my earlier work, e.g. Stages of Mourning (2004), and Taking My Skin (2006), insofar as it is concerned with the filmmaking process as it relates to the subject and subjectivity which expand on and depart from the modernist strategies of Structuralist film.Following (feminist) experimental filmmakers, whose work emerged out of the Structuralist film movement and who have explored in particular the use of voice-over with image such as Lis Rhodes, Alia Syed, Nina Danino, and Sue Friedrich, Sitting Still will explore the combination of fragmented narrative voice-over with modernist filmic devices. Primarily the film will draw influence from Rhodes and Danino in the way in which they use out-of-focus image with a voice-over that fragments through multiple points of view. Building on this work, Sitting Still will expand the potential in experimental film of the relationship between certainty and uncertainty of image and word, by the way in which modernist (exposing process) and postmodernist (constructing fragmented narratives) strategies can be brought together in film.The filmic strategy unique to Sitting Still brings the filmmaking process as performance and image into the fold of fragmented spoken narratives. The film will appear as one long take of a view out of a window (the window in frame). The performer who is also the filmmaker opens and closes the curtain, blind, camera lens and aperture and adjusts focus. This performance is narrated in first-person present tense. Interwoven with this narrative is a third-person past-past tense narrative about the experiences of bereavement and anorexia. The compounded voice-over of both, serves to address the question of perceptual and psychical processes where there is a limit of what can be 'taken in' from the outside world. As chief investigator, I will act as producer, writer, director, chief camera and editor while employing a camera and an editing assistant. Production will commence 15 July 2007 and the film will be completed by 15 March 2008.Sitting Still will be submitted to leading international festivals which have featured my work in the past (e.g. Oberhausen, Montreal Festival of New Cinema). The film will benefit from my existing distribution network of distributors which include the Lux, BFI, British Council, New York Filmmakers Co-op, Canyon Cinema (San Francisco). Discussions for exhibition are in place with Four Corners Film gallery in London, with a view to staging the film. I currently work with a consultant (funded by AHRC dissemination award) with whom I am developing positioning and dissemination strategies for the further distribution of my work to date. Among other things this has resulted in retrospective screenings in London and New York in the past year (see CV). In addition the film enters the critical context for contemporary debates on experimental film with an article in Vertigo in 2007 by Niamh McDonnell (Deleuzian philosopher, Goldsmiths University). In addition my work is to be featured in a book by David Curtis titled A History of Artists Film and Video in Britain, 1897-2004.The film will be accompanied by a critical essay. Both address an interdisciplinary audience that is drawn from experimental film, poetry, visual arts, psychoanalytic theory and philosophy.

总结该提案是针对16mm，20分钟（Col）的薄膜的提案，该薄膜将解决当代后现代的主观性理论可以应用于实验膜中的问题。固定相机的使用，实时和胶片制作过程的反射性偏置将结合对零散的主观性和叙事的探索。胶片框架作为阈值将被用作对来自世界“接收”信息的感知过程的隐喻。 Stages of Mourning (2004), and Taking My Skin (2006), insofar as it is concerned with the filmmaking process as it relates to the subject and subjectivity which expand on and depart from the modernist strategies of Structuralist film.Following (feminist) experimental filmmakers, whose work emerged out of the Structuralist film movement and who have explored in particular the use of voice-over with image such as Lis Rhodes, Alia Syed, Nina达尼诺（Danino）和苏·弗里德里希（Sue Friedrich）坐着仍然会探索零散的叙事配音与现代主义电影装置的结合。这部电影主要将从罗德斯和达尼诺的影响下，以他们使用焦点外图像的方式，并通过多个观点片段散布着旁白。在这项工作的基础上，坐着仍然会扩大图像和单词的确定性与不确定性之间关系的潜力，通过在电影中可以将现代主义者（曝光过程）和后现代主义者（构建零散的叙述）策略（构建零碎的叙述）策略融合在一起的方式，可以在电影策略中汇集。这部电影将看起来像从窗户（框架中的窗户）中欣赏到一景。也是电影制片人的表演者打开并关闭了窗帘，盲目的镜头和光圈，并调整了聚焦。第一人称现在时态叙述了这种表演。与这种叙述交织在一起是关于丧亲和厌食症的经历的第三人称过去时态叙事。两者的复杂配音都可以解决感知和心理过程的问题，在这些问题中，可以从外部世界“拿走”的限制。作为首席调查员，我将在使用相机和编辑助理时担任制片人，作家，导演，首席相机和编辑。制作将于2007年7月15日开始，这部电影将在2008年3月15日之前完成。仍将提交领先的国际节日，这些节日过去曾在我过去的作品（例如Oberhausen，New New Cinema的Oberhausen，New New Cinema）。这部电影将从我现有的分销商分销网络中受益，其中包括Lux，BFI，英国议会，纽约电影制片人合作社，Canyon Cinema（旧金山）。展览的讨论与伦敦的四个角落电影画廊进行了适当的讨论，以观看这部电影。我目前与顾问（由AHRC传播奖资助）合作，我正在与该顾问一起制定定位和传播策略，以进一步分发我的工作。除其他外，这导致了过去一年在伦敦和纽约进行了回顾性放映（请参阅CV）。此外，这部电影还通过尼亚姆·麦克唐纳（Niamh McDonnell）（德勒兹哲学家，戈德史密斯大学）在Vertigo的一篇文章中进入了当代有关实验电影的关键背景。此外，我的作品还将在1897年至2004年在英国的戴维·柯蒂斯（David Curtis）的一本书中发表。两者都介绍了跨学科的观众，这些观众是从实验电影，诗歌，视觉艺术，精神分析理论和哲学中汲取的。