This is a collection of experimental films that I have researched and been inspired by. Hopefully by looking at some of these films and artists, I can adapt and attempt some of the experimental techniques that are used, as well as try by own experimentation.
Each side showed a perspective of two opposite camera men where they were filming a woman walking and moving between them.
This is very similar to my plans, technical-wise, for having a projection on different sides of the same screen.
The film of the above-described scene was cut exactly in half and the two halves of sound and picture as super-imposed. This makes a simultaneity of actions that occurred ‘linearly’. Before and After become a Transparent Now Arrival and Departure are united. It’s truly ‘filmic’, one transparent film over another.
It’s a ‘painting’ about a painting. I was very concerned with the mobile color mixing that would eventually happen. Colors were carefully chosen as I tried to predict how they would mix and interact. I make ‘pictures’ and the experience of looking at them is more important than the ‘elsewhereness’ of a story, even in this, my most ‘story-telling’ film. In that respect, part of the perception or ‘reading’ of the film involves one’s choices of what went before and what came after in the actual pre-filmic event.
I really like the overlapping of the footage in this film. Not only did Snow overlap the footage of scenes of two different conversations, but he also extended that to the texts, overlapping ‘short’ and ‘story’ together to create SSHTOORRTY.
Infinity Kisses – The Movie completes Schneemann’s exploration of human and feline sensual communication. It incorporates extracts of the original 124 self-shot 35mm color slide photo sequence, Infinity Kisses, in which the expressive self-determination of the ardent cat was recorded over an eight-year period. Infinity Kisses – The Movie recomposes these images into a video, in which each dissolving frame is split between its full image and a hugely enlarged detail.
I actually don’t really like this film as much. However, I specifically like how the footage is cut down permanently on the same line to the right. It incorporates the film shots slide sequence, but i like how it gives a sense of separation between the two images.
There’s this scene in this film where a face of a man is drawn and erased and drawn over again and again with white pen on a black board (at around 3:55). Maybe I can use this as found footage in my work.
I like the heavily-edited colouring of the film. Has a lot of abstraction elements to it, including the incomprehensible scenes/shots of patterns, bright colours, fades, graphics. I also like the use of the fish-eye angle (180 degree lens) shooting the human body from above, which displays the body small.
Like in ‘Split Reality’, the personality conveyed by a medium in this performance tape appears to be schizophrenic. Two video cameras and a mixer make possible a closed-circuit action that demonstrates not only the differences in the way the viewers perceive a person who is physically present in the room and simultaneously electronically reproduced, but also how the image is manipulated by its electronic conveyance. The camera zooms in and out, subjecting the performer’s monitor likeness to permanent alteration. Specific synthetic sounds are linked to the picture: optically close = loud sound and rapid tone repetition, optically remote = quiet sound and slow tone repetition. The work is arranged in 6 parts: 1. space position, 2. split images, 3. space position composition, 4. split image composition, 5. body, 6. body composition.
I like the different experimentation that are carried out in this film. It works with different angles of the human body in a space.
Sarah K Obina 