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- Bergenstråhle, Joachim, 1958-
(författare)
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A Phenomenological Alternative to Screenplay Development Methods
- 2023
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Ingår i: Linguistics and Literature Studies. - San José, USA : Horizon Research Publishing. - 2331-642X .- 2331-6438. ; 11:1, s. 11-23
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Tidskriftsartikel (refereegranskat)abstract
- As a lecturer and scholar in the field of screenwriting, one may grow frustrated with the hegemony of classical dramaturgy, which lays like a wet blanket over the creative writing and carries imbedded patriarchal values which inevitably rub off on the content. This article will show that the story structure method reduces film writing to a mere narrative process without regard or humility for the multimodal qualities and capabilities of cinema to create sensual experiences for a participating audience. It will point out the risks of this alignment for cinema, making the film stories predictable but at the same time estranged from everyday life. Hence, the article will propose an alternative method to the screenplay template: cinematic world-building, based on artistic processes in a hermeneutic framework and a phenomenological approach to the experience of the film world, which transforms the viewer - from voyeur to co-creator. The purpose of the method is to give the screenwriting students a greater understanding of the abilities of the audio-visual elements - as units and as cooperating constellations - to build moods, content, themes and to develop their stories from cinematic spaces with alternative narrative structures. The article will display a trial of the first step of the method performed in a BA scriptwriter course with a very good reception from the students. Their work and their reflections on their writings and on the method are presented. Some shortcomings are discovered, but above all, the method is perceived to have good potential for further development.
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- Bergenstråhle, Joachim, 1958-
(författare)
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The Audiovisual Production Seen as an Aesthetic Object
- 2021
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Ingår i: Abstracts – 6ª Conferência Narrativa, Média e Cognição. - Lissabon. ; , s. 72-73
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- ABSTRACT The invitation to this conference presents an impressive collection of narrative strategies for capturing the audio-visual expression of our time. The question is whether narrative analyses in themselves are sufficient for this task. Maybe we could, for a start, exclude the film’s narrative and look at it promptly as an audio-visual object. This will also possibly free us from the filmmaker's intensions with and design of the story and instead focus on an audience's experience and interpretation of the film’s audio-visuals.In my talk, I discuss the possibility of analysing cinematic works from the idea that each film in itself creates a world with its own aesthetics, topography, rules and values. This world could be more or less realistic, every-day or unique, but it is the frame of reference from which we understand the film.The term ”film world” is used by the commercially conditioned "transmedia storytelling" as well as by artistic orientations. The similarity between the two is that they both communicate with the audience through common ground - knowledge and experiences that we share. Movies are entities, worlds, that interact audio-visually with other worlds through referencing. Not only concrete elements such as scenography, props, lightning, but also symbols and signs, morals and value markings, point out the relationship. The film audience is looking – consciously or unconsciously - for similarities and differences between the audio-visual presentations and their own real world as well as other fictional or actual ones that they have experienced. A connotative interpretation that is difficult to capture in narrative analyses, it is of a different dimension. To reach an understanding we need to see the cinematic "world" as a cohesive artistic space, a place that is loaded with chosen elements into a rich, complex unit.Moving further one can say that filmmaking is in fact re-making. A filmmaker does not come up with a film from nothing. He or she uses existing building blocks, in a way that forms a personal and unique construction. These building blocks are "references": quoted, paraphrased, fragmented from an already existing film, work of art or authentic reality with their original context and now given a new context in the composition, the cinematic world. As analysts we would have to immerse into this world, to fully understand it.In conclusion, I would like to suggest that in addressing an audio-visual production, we regard it as an object, separate from its maker: a world with selected references that communicates with us through the film's complex multimodality. We can understand the references through recognition and pointers to other worlds and we can also analyse the interplay between thereferential worlds and the one build by the film itself. Then we can move to the narrative’s interaction with this world.
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- Bergenstråhle, Joachim, 1958-
(författare)
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The literary embodiment of a film as phenomenological world-building
- 2022
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Ingår i: Dalarna Audiovisual Academy's meeting for film, music, image, sound, art, education and research at Mediehuset, Falun 25th–26th November 2022.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This article is based on my work as a screenwriting teacher and my growing frustration with the hegemony of classical dramaturgy, which lays like a wet blanket over creative writing and, not least, reduces film writing to a narrative process without regard or humility for the multimodal qualities and capabilities of film to create sensual experiences for an entangled audience. This article wants to propose another, artistic, method that I call cinematic world-building. The purpose of the method is to give the students a greater understanding of the audiovisual elements’ ability - as units and as cooperating constellations - to build moods, content, and themes without support from narrative and to develop their stories from cinematic spaces. After a few years of research to make it consistent, I tried the screenwriting method’s first steps in a course with a very good reception from the students. Some shortcomings were discovered, but above all, the method was felt to have good potential for further development.
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Bingsjö360 – Experience Sweden's Bingsjö Folk Music Festival in 360 degrees
- 2019
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Konstnärligt arbete (film/video)abstract
- Every first Wednesday in July since 1969, Bingsjöstämman (Bingsjö Folk Music Festival) beckons leading folk musicians and folk music enthusiasts from all over Scandinavia to the picturesque village of Bingsjö in Sweden. Over the course of 24 hours, thousands of people gather in fields, barns, campgrounds and historic houses to enjoy scheduled concerts, impromptu musical performances and to participate in traditional dances.Captured at Bingsjöstämman in 2018, Bingsjö360 presents 18 separate video clips which combine 8K resolution VR360 video and ambisonic music recordings to represent the broad range of musical performances on display at the festival. Through this immersive music documentary experience, viewers around the world can experience the sounds, rhythms and unique visual beauty of the festival for themselves.Bingsjö360 presents new creative pathways for representing and sharing folk music tradition through cutting-edge artistic research, immersive audiovisual technology and new modes of audience interaction. By making Bingsjö360 easily accessible through an online video sharing platform, this project also aims to elevate knowledge and perception about immersive audiovisual experiences in wider society.This international artistic research project was instigated at Dalarna Audiovisual Academy at Dalarna University (Falun, Sweden) and produced in collaboration with Folkmusikens Hus, Faraway Productions (Australia), Honeypot Film Productions, Cutting Edge (Australia), Dalarnas Museum, Film i Dalarna and Benny Andersson’s record label Mono Music.
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- Borsgård, Gustav, 1984-
(författare)
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Blå självbiografi
- 2014
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Ingår i: Tydningen. - 2001-4570. ; :12/13, s. 60-62
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Publicerad i Tydningen (2001-4570), 2015, nr 12/13, s. 60-62
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