The way of the bricoleuse: experiments in documentary filmmaking

Article


Daniels, J. 2022. The way of the bricoleuse: experiments in documentary filmmaking. Studies in Documentary Film. 16 (1). https://doi.org/10.1080/17503280.2022.2048232
AuthorsDaniels, J.
Abstract

In this article, I explore the way experimental documentary film practitioners may utilize the methodology of the bricoleuse in order to create films. I refer to my experiments in documentary film practice – mediations of memory, place and subjectivities – where I deploy hybrid filmic strategies of critical realism and fictional enactment. The bricoleuse may use footage obtained through pocket cameras, mobile devices, stills, archive or found footage – including their own past films, analogue and digital – using a digital database to store footage and to provide her with an endless storehouse of digital documents that can easily be accessed and reused in infinite ways to create new practice [Baron 2014. The Archive Effect. London: Routledge, 142]. I analyse in particular My Private Life II [Daniels, Jill. 2015. dir. My Private Life II. UK. https://vimeo.com/139077147] where I used the footage from an earlier film, My Private Life [Daniels, Jill. 2014. dir. My Private Life. UK. https://vimeo.com/104385249], to create a split screen view and my short documentary essay film, Breathing Still [Daniels, Jill. 2018. dir. Breathing Still. UK. https://vimeo.com/253291495] (shown at The Mobile Innovation Network and Association [MINA] in 2018), a short epistolary film addressed to Rosa Luxemburg and shot on a pocket camera (Canon G9X).

KeywordsDocumentary; bricoleuse; database narrative; mobile filmmaking; still and moving images; activist film; pocket camera
JournalStudies in Documentary Film
Journal citation16 (1)
ISSN1750-3280
Year2022
PublisherTaylor & Francis (Routledge)
Accepted author manuscript
License
File Access Level
Anyone
Digital Object Identifier (DOI)https://doi.org/10.1080/17503280.2022.2048232
Publication dates
Online11 Mar 2022
Publication process dates
Accepted01 Mar 2022
Deposited25 Mar 2022
Copyright holder© 2022 Jill Daniels
Additional information

This is an Accepted Manuscript of an article, accepted on 1 March 2022 and published by Taylor & Francis in Studies in Documentary Film on 11 Mar 2022, available online: http://www.tandfonline.com/10.1080/17503280.2022.2048232

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