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Difference between revisions of "Modern Galleries in London: a Documentary"

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filmmakers, in other voices, set out to represent aspects of the historical
 
filmmakers, in other voices, set out to represent aspects of the historical
 
world from their own distinct perspectives.<ref>/Nichols, B. (2017). Introduction to documentary. Bloomington, IN: Indiana University Press.<ref>
 
world from their own distinct perspectives.<ref>/Nichols, B. (2017). Introduction to documentary. Bloomington, IN: Indiana University Press.<ref>
 +
<br>
 +
To some extent, each mode of documentary representation arises in
 +
part through a growing sense of dissatisfaction among filmmakers with a
 +
previous mode. In this sense the modes do convey some sense of a documentary
 +
history.The observational mode of representation arose, in part,
 +
from the availability of mobile 16mm cameras and magnetic tape recorders
 +
in the 1960s. Poetic documentary suddenly seemed too abstract and expository
 +
documentary too didactic when it now proved possible to film everyday
 +
events with minimal staging or intervention.
 
====Poetic====
 
====Poetic====
 
Origin <br>
 
Origin <br>

Revision as of 09:58, 31 May 2017

Galleries in London

by Sofia Reyes and Jacob Dupuis

Title of this Milestone
Milestone Image
Documentary



Abstract



Introduction


I suggest you save this section for last. Describe the essence of this project. Cover what the project is and who cares in the first two sentences. Then cover what others have done like it, how your project is different. Discuss the extent to which your strategy for completing this project was new to you, or an extension of previous HUA experiences.

Section 1: Background


Modern Art Galleries in London

Documenting Art

Since the mid-1900s, artists have explored of documentary reference and the material trace in the gallery with increasing frequency. Strategies behind how to capture art

Types of Documentary

Every documentary has its own distinct voice. Like every speaking voice, every cinematic voice has a style or “grain” all its own that acts like a signature or fingerprint. It attests to the individuality of the filmmaker or director or, sometimes, to the determining power of a sponsor or controlling organization. Individual voices lend themselves to an auteur theory of cinema, while shared voices lend themselves to a genre theory of cinema. Genre study considers the qualities that characterize various groupings of filmmakers and films. In documentary film and video, we can identify six modes of representation that function something like sub-genres of the documentary film genre itself: poetic, expository, participatory, observational, reflexive, performative. These six modes establish a loose framework of affiliation within which individuals may work; they set up conventions that a given film may adopt; and they provide specific expectations viewers anticipate having fulfilled. Each mode possesses examples that we can identify as prototypes or mod- 99 Nichols, Intro to Documentary 8/9/01 10:19 AM Page 99 els: they seem to give exemplary expression to the most distinctive qualities of that mode.They cannot be copied, but they can be emulated as other filmmakers, in other voices, set out to represent aspects of the historical world from their own distinct perspectives.<ref>/Nichols, B. (2017). Introduction to documentary. Bloomington, IN: Indiana University Press.<ref>
To some extent, each mode of documentary representation arises in part through a growing sense of dissatisfaction among filmmakers with a previous mode. In this sense the modes do convey some sense of a documentary history.The observational mode of representation arose, in part, from the availability of mobile 16mm cameras and magnetic tape recorders in the 1960s. Poetic documentary suddenly seemed too abstract and expository documentary too didactic when it now proved possible to film everyday events with minimal staging or intervention.

Poetic

Origin
Example:

Expository

Describing a scenario / ‘voice of god’
Origin

goes back to the 1920s but remains highly influential

today Ken Burns, Nature Movies

Participatory

Filmmaker is included, and guides through the story.
Origin
Examples

Observational (Cinéma vérité)

Origin
Examples

Reflexive

Filmmaker does not use outside subjects, only explains how the film was created as it unfolds.

Writing a documentary

Brainstorming a concept
Creating a story

Planning a documentary

Production
Developing a concept into a film


Section 2: Deliverable


Selecting Galleries


In this section, provide your contribution, creative element, assessment, or observation with regard to your background research. This could be a new derivative work based on previous research, or some parallel to other events. In this section, describe the relationship between your background review and your deliverable; make the connection between the two clear.

Filming Process


...use as many subsections or main sections as you need to support the claims for why what you did related to your Background section...

Final Video Outline

Introduction

Serpentine Gallery & Pavilion


Location -
History -
Purpose -
Current Displays -
Pavilion -
Transition


Unit London


Location -
History -
Mission -
Current Exhibits -
Notable Exhibits -
Transition


White Cube

Locations -
History -
Purpose -
Current Displays -
Other Locations -
Transition -

Conclusion



Gallery



Conclusion


In this section, provide a summary or recap of your work, as well as potential areas of further inquiry (for yourself, future students, or other researchers).

References

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Attribution of Work

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External Links

If appropriate, add an external links section

Image Gallery

If appropriate, add an image gallery