Wednesday, 27 October 2010
Friday, 22 October 2010
Thursday, 21 October 2010
Wednesday, 20 October 2010
Production crews will use existing architecture as a framework to construct replicas of landscapes. In doing so they create new and altered environments which are surrounded by newly formed boundaries between what the camera sees, architectures of the narrative, and the adapted architectures of the real world and it's landscapes.
As individuals we digest representations of space that are contained within film. If we allow ourselves to become immersed and believe in the landscapes of filmic space, then at what point does this become how we perceive those spaces in the real world?
If we believe that film production holds the power to manipulate our own perceptions of space then why not begin to manipulate our own spaces in the same manner that the camera does? If we acquire this power we can begin to blur our own boundaries of how spaces and landscapes translate into the story lines and narratives of our own lives.
The key to this concept is that there are certain techniques and tricks in film production that are used to cheat the viewer into believing that spaces are of a certain scale, size and atmosphere. It is the constructs of these spaces that are the comparison to how we as individuals can construct our own lives.
This one is a outline design of the spaces that I wanted to include in the edit.
1. A puppet land/land of theatre - This was to simply give the idea that what followed was that of a theatre play sort of idea.
2. The abstract city - A portrayal of an abstracted city that would provide the framework on top of which you can build your own cities for your own storylines
3. Tunnel - Elements of the space that you are heading for. Materiality of the constructs of the destination space.
4. My room - This is a notion of there being a creator. This creator is who manufactures the film 'Camden'
5. Footage of 'Camden' - this replays the footage of the 1st film
6.Virtual production space - This sequence offers an insight into the fact that 'Camden' was not a real space and was simple replicated and manufactures landscapes that were produced for the purposes of the film making process.
7. Final shot - The over seeing position from the creators POV
This drawing is a development of the first and begins to look at how the spaces surrounding the fabricated spaces of 'Camden may begin to overlap with the spaces that they occupy within the film production space of the warehouse.
Monday, 18 October 2010
The edit begins to show how existing fabric can be manipulated by anyone who chooses to. Obviously I am manipulating the space in a virtual and notional manner however, the concepts and principles follow those of which may be demonstrated in film production in general.
On a narrative level the edit also starts to show how one person can begin to make various decisions as to how they see their world and what they may choose to believe what is real and what is fictional. The way in which we perceive built space is very much subjective. It is this subjectivity that leads to individuals integrating with space in different ways. As this edit stands at the moment, there are only a hints at how we may begin to manipulate space.
I will keep developing the narrative and the imagery with the intent of beginning to illustrate how space maybe formed with us as the creator's of our own non and fictional inhabitation of space.
I am yet to decide.
This clip is the establishing shot for the short. It has more of a light hearted feel to it as I wanted to experiment with more of an 2.5D animated space that resembles a traditional sort of puppet set. The idea behind this is to symbolise the ideas of a controlling body that may orchestrates the urban fabric. Or this idea can also be seen on a smaller scale of an individual and his/her control over their own life.
Thursday, 14 October 2010
From a more abstract point of view I'm looking to begin experimenting with the concepts of people inhabiting space on more of a film production level.
People's lives are always subject to change and it's at these points of change, that events and external forces can heavily influence the choices we make in life.
From this I ask the question of what or who is directing these changes?
So I want to get involved with the 'sets and stages' of our lives engrained in the spaces we inhabit and uses in everyday life. It's these spaces that form the fabric of our cities which present themselves for dissection and manipulation when used for the purposes of film making, as seen when shooting on location and in studios.
Once this, now semi-real world, enters the camera the spaces no longer hold true to their original functions and as the creator of those filmic spaces the new constructs no longer need to conform to the rules of the real world. As the filmic spaces become more and more fictitious the boundaries of the real world start to become more and more blurred along with people's experiences of spaces.
The space I chose to document for the first project was Camden Lock and Stables area
I chose this architecture for two reasons:
01 - is to do with the migration of people
02 - is the idea of urban spaces becoming a stage for individual's lives
On top of that, it was and still is close, and I also am fascinated by how houses various nationalities and types of people whom all operate within the same space. Then you have tourists to add to this equation and it's this mixture of people that creates a temporal and dynamic combination of experiences and spaces.
I value this space for it's ability to retain a sense of permanence and solidity whilst also hosting very temporary forms of additional architecture and activity. It's this ability to adapt that draws similarities to the way in which people especially migrants may change and adapt their lives to suit the scenarios that we find ourselves in.
The scenarios in the Stables leads to stall owners establishing territories in which they construct architectures that form the platform for the act of trade to be performed in.
So there's two levels of ongoing adaptation that occur simultaneously:
01 - Architectural Adaptation
02 - Behavioural Adaptation
If you translate these to a city scaled context it follows the same principles demonstrated in migration to, and colonisation of landscapes, in particular urban landscapes. People group together establish themselves and begin to grow, develop and influence the cityscapes creating their own identities, communities and urban fabric.
For example in London there are several areas of the city which are inhabited by certain communities of various nationalities. There are large populations of Jewish in Golders Green and the surrounding areas. The chinese have also managed to establish a practice of creating replica urban environments of their homelands, such as Chinatowns that we find in many of our major cities today.
Tuesday, 12 October 2010
Sunday, 10 October 2010
Wednesday, 6 October 2010
This idea is more of a concept that I aim to explore in my filmic techniques and methods and will hopefully add an extra dynamic to the narrative themes I have mentioned in my previous post.
This year I will begin with two main concepts and routes of investigation into the notion of 'Uncertainty'.
My main narrative idea is the concept of migration. Migration is an event that occurs continuously for many of the worlds inhabitants. For humans, migration from nation to nation has been a exercise practiced for centuries with driving factors such as exploitation, re-establishment, necessity and change at the base of these events. This interest in the migration of humans surfaces through my observations of an increasingly multicultural world that enables individuals and communities of various nationalities to reside hand in hand in unfamiliar and foreign territories. Throughout the UK we are exposed to constant barrage of languages and cultures on a daily basis, and it is this presence of multiculturalism that makes me ask the question, 'where do all these people come from?' On a more personal note I have recently become more aware of my origins and background. Being british born chinese, I too fall into this bracket of the relocated population. I am vaguely aware of the reasons why my family ended up in the UK and it is this path of events that deeply interests me in how people come to the decision of relocate their lives.
What are the real reasons for this migrations. It may stem from uncertainty of individuals, families and groups of people. What uncertainty resides in the human mind to warrant relocation? It may be financial, strategical, calculated or out of boredom or necessity These reasons are what I aim to investigate in relation to how cities are inhabited and how architecture is influenced and manipulated to suit those communities that begin to establish themselves there.