Week 5 Lecture





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Week 4 Montage - Battleship Potempkin - Odessa Steps scene (Einsenstein 1925)

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This here is a successful use of a montage sequence with the scene cutting from the boys reaction to two different people. In the first scene we see the women twirling her umbrella and smiling, and from this we see the reaction of the boy look concerned. At this moment we are unaware why his face is like this as there is nothing signifying to the audience that we should be concerned. But with the use of editing, we cut to the image of the limbless man waving, which gives some explanation to the viewer to possibly why he feels uncomfortable to wave. Later on we see the boy is somewhat forced to wave and this begins to create some questions for the viewer.  The most important thing to understand form this is with the use of a montage you have the possibility to lose geographical location and because of this the viewer has to question what the individual is looking at. This is a good tool to use in your work, as it allows for each viewer to have a different view of the scene. It is no...
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Week 3 - Barbara Bolt's essay 'The Magic is in Handling'

 This reading was predominantly about 'practice-led research' and the benefits of learning as you go, rather than having a dedicated time to prepare before you start your practice. Practice-led research is a process where the 'theory emerges from the reflexive practice at the same time that the practice is informed by theory.', in some sense it is a mutually beneficial process for both areas of the practice as they grow together.  Within the reading there is an argument from Martin Heidegger 'In being and Time' where he states 'we do not come to 'know' the world theoretically through contemplative knowledge in the first instance. Rather, we come to know the world theoretically only after we have come to understand it through handling'. This is seen extremely often, even at University. In our course it's all good learning about the different theories, but you only truly learn and understand them, when you finally put them into practice yoursel...
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Week 2 Question - How might it be possible to hide or even negate the "self" through the acts of self-portraiture or self-representation?

Within self-portraiture there is of course a representation of the individual who made the piece, however this does not mean that in these pieces of work the work doesn't negate from the individuals actual 'self'. A prime example of this is looking at Cindy Sherman's work, where she photographs herself, but in a form that is of course not her true 'self'. Within her work she presents herself in a grotesque manner that defers form the norm of how women are presented in the media. This is an example of a Masquerade, as she is hiding herself with something else. In this case, she is hiding herself with an excess of make up and props. This is one example of how you can hide your 'self' through self portraiture or self representation.
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