This thesis is a reflective report and a critical analysis of the exploration and redefinition of moving image production as an independent, fine art filmmaker. Examining key elements of filmic construction within the scope of research through practice, this study has been a re-evaluation of my own audio-visual productivity. The study has led to fresh, new pathways of creativity.
The ensuing work draws on traditional analogue film, including archival film footage as well as high-definition digital video. The report discusses each of the twenty-five films produced during that period, their chronological progression and the prime elements that shaped those films. At its core are seven specific films that were chosen for the final showcase. Beginning the Doctorate with a deconstruction of my former working methods, the report illustrates how, by combining the disciplines of research and practice, I produced and streamlined not only a new body of work, but also a fresh creative and pedagogical direction.
Continuous academic research into the theories and texts of historic and contemporary writers and practitioners, including Lefbvre, Bachelard and Bourriaud in conjunction with the production of these films, informed the subsequent audio-visual narratives and progression.
The prime elements of focused analysis are space, abstraction and rhythm which are then broken down into analytical subcategories. By employing a restricted technological means of production and postproduction, the cross-pollinated information generated with each film’s combination of sonic and optical components has led to new channels of discourse.
With the application of archival found footage, I have continued to explore the reanimation of uninhabited space as well as the manipulation, reprojection and abstraction of the moving image, including new pathways in compositing imagery. Investigating the mathematical properties of rhythm has led to explorations into editing and the flow and tempo of audio-visual information, including the possibilities of remixing and regenerating existing material.
This thesis is a springboard into a fresh, dynamic filmmaking practice. It maps new creative pathways open to the independent fine art filmmaker.