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In the archival multiverse, the blubber decays but the fever increases. : A contribution to VIOLENCE: the fourth biennial PARSE Research Conference at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg, Sweden. Under the "Archives and Witnessing" section of the conference. Moderated by Åsa Sonjasdotter
- 2021
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Konstnärligt arbete (film/video) (refereegranskat)abstract
- The presented work is composed by Marc Johnson — a memory worker — who is currently a Ph.D. candidate in performative and media-based practices at the Stockholm University of the Arts. The shared perspectives are engaging issues of violence from the center of an artistic practice-based research focused on archival practices and concerned with how a documentary heritage circulates, is formed, debated, shared, and re-interpreted.The lecture-performance starts by considering the “Rights of Nature” — from recent environmental litigations in Aotearoa (New Zealand), Bolivia, and Ecuador — which focus on the idea of legal standing. What does it take to enforce the legal personhood of a river or other natural entities?Marc Johnson investigates and reflects on some ways to deal with representations of murdered bodies — human and more-than-human (cellular life forms) — without replicating historical patterns of abuse? Under what conditions shall these documents, artifacts, or, images be seen?Marc Johnson collaborates with Hitomi Ohki 大木瞳 — Soprano singer — to expose how polyphony[1] and counterpoint[2] applied to cinema can be used practically to navigate the uncertain archive(s) of violence studies.Marc Johnson addresses the dynamics of archival silences[3] and archival amnesty[4] as an important reminder of the ways in which violence — despite its presence in the everyday life of most people mainly through paper-based, and online news media (including social networks) — can also be deeply buried and invisible through institutional and corporate powers and other means; nonetheless impacting the lives of ordinary people (as opposed to powerful people, military, political and business leaders).The proposal does not intend to resolve; but rather to expose and to put oneself in the presence of using the means of montage.Skepsis is the deployed strategy throughout the duration of the time-based work as defined by Jacques Derrida as a “vigilance, and attention of the gaze during an examination. […] One is on the lookout, one reflects upon what one sees, reflects what one sees by delaying the moment of conclusion.”[5] [1] A process of combining two or more voices so that they harmonize with each other but maintain their individuality.[2] A process of adding one or more melodies as an accompaniment to a given melody according to certain fixed rules; a composition in which melodies are thus combined.[3] Rodney G. S. Carter, “Of Things Said and Unsaid: Power, Archival Silences, and Power in Silence,” Archivaria, September 25, 2006, 215–33.[4] Tonia Sutherland, “Archival Amnesty: In Search of Black American Transitional and Restorative Justice,” ed. Michelle Caswell, Ricardo Punzalan, and T-Kay Sangwand, Journal of Critical Library and Information Studies, Critical Archival Studies, 1, no. 2 (2017): 1–23, https://doi.org/10.24242/jclis.v1i2.42.[5] Jacques Derrida, Memoirs of the Blind: The Self-Portrait and Other Ruins, trans. Pascale-Anne Brault and Michael Naas (Chicago: University of Chicago Press, 1993).
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| 2. |
- Alexander, Skantze
(författare)
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Trädgårdsmästare & arkitekter : att skriva från början eller skriva från slutet: prospektiva kontra retrospektiva filmmanuspraktiker
- 2020
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Bok (refereegranskat)abstract
- Det finns olika sätt att skapa ett filmmanus – skriva fritt från en spontan idé, eller mer planerat med ett bestämt slut i åtanke. Jag och tre andra manusförfattare skriver varsitt kortfilmsmanus med respektive metod. Jag intervjuar dem efteråt och för egen processdagbok, och jämför de olika manusen: vad har de olika metoderna för olika förlopp, och hur kan dessa skillnader förklaras?Utifrån en kritisk diskussion av olika manusmanualer, undersöker jag dessa prospektiva kontra retrospektiva skrivpraktiker med fokus dels på process och dels på resultat. Resultaten som kan användas både i manusförfattande samt i skrivundervisning.
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| 3. |
- Johnson, Marc
(författare)
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Dear Beloved Reader : 30% seminar lecture
- 2022
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Annan publikation (refereegranskat)abstract
- My 30% seminar is divided in 7 chapters.1. Labour of access2. Restricted by law3. Genealogical imagination4. We are cyborgs5. Plur1verse of genres6. Disclosure7. Future plansI have been conducting a series of experiments that all relate to finding ways to re-enact and re-enable an experience of the past in the present and into the future; excavating methods to repeat fragments of history whose importance might not have been fully understood or acknowledged.The seminar goes along the politics of access to the archive(s), artistic research strategies used, and the proposed ongoing works.I will be discussing with Jyoti Mistry (Professor of Film, Photography and Literary Composition Unit at the HDK-Valand - Academy of Art and Design, Gothenburg).
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| 4. |
- Grunditz Brennan, Kersti, 1966-, et al.
(författare)
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THE BLOD METHOD : CASE STUDY OF AN ARTISTIC RESEARCH PROJECT IN FILM
- 2022
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Ingår i: International Journal of Film and Media Arts. - Lisboa : Film and Media Arts Department / Lusófona University Campo Grande. - 2183-9271. ; 7:1, s. 48-74
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Tidskriftsartikel (refereegranskat)abstract
- The BLOD project aims to create multivocal cinematic experiences through embodied practices. The research explores relation-building through a feminist methodology of creating gaps and friction – between audience, story, time, matter, and co-creators. The project asks, how to tell multifaceted, non-exploitive stories of womb-related states of life and death, rarely depicted in cinema? And how to disturb film industry hierarchies through a collaborative practice that maintains individual artistic integrity and promotes collective authorship? The BLOD method is articulated as a Manifesto, written to accommodate a multitude of contents, forms, and modes of collaboration, while demanding cross-disciplinarity, honesty and risk-taking. The method is non-linear, looping, and embedded in the manifestations of the research: films, performances, presentations, etc. Through this paper, different aspects of the BLOD method are tossed around in relation to BLOD research activities; making cinematic building blocks that allow and induce multiplicity, improvisation, and fluidity of form; sharing personal experiences through fictionalized documentary processes; dealing with ethics in interpersonal and ecological relations. The paper proposes that critical reflection and vulnerability are integral to film production and offers this case study as an example for method development in other research projects or films – especially ones that sprawl, tangle, and defy categorization by field or discipline
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| 5. |
- Zetterfalk, Per, 1968-
(författare)
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Inter esse : Det skapande subjektet, Norén och Reality
- 2008
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- At the centre of this dissertation is the artistic formation and, as an extension, the scientific formation. The purpose of the work is to reflect on the way from ambition to creation, to capture what about this process is unique. I have chosen two objects for my research. First, the Swedish playwright Lars Norén's (1944-) direction of a new work for the theatre, his own play Kyla (Chill). Second, Swedish Television (SVT) as they produce their largest-ever stake in the field of entertainment, the Reality-TV series Riket (The Kingdom).Concerning the creative process, I partly focus on beginning and end, and partly on the transformation from chaos to order. In this way I am able to focus on the way something unexpected occurs. The question of what constitutes creativity is often raised, but I set out to frame it in my own way: not only with the help of two processes, but also within myself. What is the difference between being a subject, doing something oneself, and observing? In this work I assume both positions. I am a registering and documenting researcher as well as a filmmaker.The work is structured by a principle of three: a documentation of the creative processes, a documentary film on Norén, Kall (Norén's drama), and a dissertation which unites everything into a synthesis.First, my work acts as a purveyor of insights into and understanding of two major and very different creative processes. Second, it is about two extremely established contemporary phenomena: Norén and the SVT together constitute somewhat of a counterpoint, which make it possible to compare a creative process within the art of theatre to one within TV/entertainment. Third, my work creates a field of tension between the creative process and the analysis via my own production: Norén's drama is both a tool of interpretation in the study of Norén and an intensifying of the overall research result. Fourth, my dissertation aims to bring together aspects, categories and literature in a new way.
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| 6. |
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Frankenstein re-mix fragment (after Whale)
- 2022
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Konstnärligt arbete (film/video)abstract
- A narrative film using a Generative Adversarial Network for Face Anonymization that reinforces the uncanny of a 1931 movie — where an obsessed scientist creates a living being from body parts, not realizing it has a madman's brain. Who is the madman here?
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| 7. |
- Hedman Hvitfeldt, Maria
(författare)
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I väntans tider : om kvinnor, regiyrket och ett manus
- 2014
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- I väntans tiderom kvinnor, regiyrket och vägen till ett manus.Inom film- och tv-branschen har svaret på varför så få kvinnor regisserar film många gånger varit; ”Kvinnor vill inte leda”.Men stämmer det?I väntans tider är ett undersökande arbete om strukturer, som blev ett manus, och om hur kunskap om sammanhanget växer fram parallellt med ett konstnärligt arbete.Det började med följande mening;”Som en intressant kontrast (till siffran 28% kvinnliga sökande till filmregiutbildningarna i Göteborg och Stockholm)var andelen kvinnliga sökande till utbildningen i teaterregi vid Dramatiska Institutet 62% under samma period. På något sätt verkar det alltså inte vara regiyrket som är könskodat utan snarare valet av medium att vilja utöva detta yrke i(…)”1 Ur 00-talets regidebutanter och jämställdhet, En rapport från Svenska Filminstitutet, april 2010. Sid 9. För att få reda på vad det beror på formulerade jag detta; Upplever intervjupersonerna att det finns hinder i filmbranschen eller på filmutbildningen som är specifika för kvinnor? Hur ser de ut? Vad beror de på? Skiljer sig erfarenheterna från de förväntningar och föreställningar som intervjupersonerna hade innan de kom in i filmbranschen och/eller på utbildningen? Finns det vissa egenskaper i eller aspekter av regiyrkets arbetsledande funktion som ställer särskilt stora krav på kvinnor? Har intervjupersonerna erfarenhet av att det finns några könsspecifika skillnader vad avser benägenheten att ta konstnärliga risker i sitt arbete? Finns det några tydliga skillnader mellan filmutbildningen och teaterutbildningen, vad gäller villkoren för kvinnor att göra karriär, och erfarenheter av negativ särbehandling? Har film som konstform enligt intervjupersonerna högre eller lägre status och symboliskt värde än teater? Är det enligt intervjupersonernas erfarenhet lätt eller svårt att kombinera familjebildning och att arbeta med film (alt. vara regissör)? Svaren på dessa frågor, som ställdes till ett antal kvinnliga regissörer på väg in på väg ut från konstnärliga skolor, och några färdigutbildade, bildade underlag för ett undersökande arbete som resulterade i ett filmmanus.
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| 8. |
- Afdile, Mamdooh
(författare)
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Beyond Neurocinematics: Investigating Biased Social Perception through Collaboration between Neuroscience and Filmmaking
- 2022
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Ingår i: Leonardo. - : MIT Press - Journals. - 0024-094X .- 1530-9282. ; , s. 278-282
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Tidskriftsartikel (refereegranskat)abstract
- A growing number of neuroscientific studies use films as experimental stimuli, making filmmakers partners in investigations of the brain. The author provides his perspective as a filmmaker who has been conducting neuroscience experiments in collaboration with a team of neuroscientists at the Brain and Mind Laboratory of Aalto University, Finland, over the last five years. This collaboration led to the development of a novel method of investigating the subconscious brain using films as well as insights on how to create more empathy-evoking films. Finally, the author discusses the relationship between social bias and boundaries of collaboration between filmmaking and neuroscience.
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| 10. |
- Brennan, Kersti Grunditz, 1966-, et al.
(författare)
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Creating character in editing
- 2023
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Ingår i: Media Practice and Education. - London : Taylor & Francis Group. - 2574-1136 .- 2574-1144. ; , s. 1-18
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Tidskriftsartikel (refereegranskat)abstract
- This article focuses on methods by which editors shape character in editing. Given that editors’ choices of shot, take, and timing augment and vary actors’ performances and directors’ instructions, and that these choices shape the audience perception of film characters, we ask: what components of editors’ expertise are activated in shaping material to create characters that viewers can invest in emotionally? Editors’ expertise is generally referred to as ‘intuitive’, which is a shorthand for knowledge and experience that informs decision making at a pre-conscious level. This article argues that ‘intuitive’ is not incorrect, however, drawing on the authors’ extensive editing practice and building on existing editing theory as well as ideas from science and film studies, we seek more specific identification and articulation of editors’ expertise. This article offers an original editing taxonomy in relation to editing character. The taxonomy includes explicit articulations of kinaesthetic empathy and implicit knowledge such as: laws of physics, reflex reactions, and cultural conditioning. Awareness of these pervasive but often unrecognised forms of knowledge, we argue, can enhance editors’ ability to develop multifaceted characters through editing, clarify discussions between collaborators, and even enhance understanding of the art of editing more generally.
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