Actions

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

From Londonhua WIKI

Line 58: Line 58:
 
events with minimal staging or intervention.
 
events with minimal staging or intervention.
 
====Poetic====
 
====Poetic====
Poetic documentary can be compared with the [[Modernist Avant-garde]]. This type of documentary sacrifices the conventions of continuity editing and the sense of a very specific location in time and place that follows from it to explore associations and patterns that involve temporal rhythms and spatial juxtapositions. Social actors seldom take on the full-blooded form of characters with psychological complexity and a fixed view of the world. People more typically function on a par with
+
Poetic documentary can be compared with the [[Modernist Avant-garde]]. This type of documentary sacrifices the conventions of continuity editing and the sense of a very specific location in time and place that follows from it to explore associations and patterns that involve temporal rhythms and spatial juxtapositions. Social actors seldom take on the full-blooded form of characters with psychological complexity and a fixed view of the world. People more typically function on a par with other objects as raw material that filmmakers select and arrange into associations and patterns of their choosing.
other objects as raw material that filmmakers select and arrange into associations and patterns of their choosing.
+
<br>
The poetic mode is particularly adept at opening up the possibility of alternative
+
The poetic mode is particularly adept at opening up the possibility of alternative forms of knowledge to the straightforward transfer of information, the prosecution of a particular argument or point of view, or the presentation of reasoned propositions about problems in need of solution.This mode stresses mood, tone, and affect much more than displays of knowledge or acts of persuasion. The rhetorical element remains underdeveloped.
forms of knowledge to the straightforward transfer of information,
+
Laszlo Moholy-Nagy’s Play of Light: Black, White, Grey (1930), for example, presents various views of one of his own kinetic sculptures to emphasize
the prosecution of a particular argument or point of view, or the presentation
+
the gradations of light passing across the film frame rather than to document the material shape of the sculpture itself. The effect of this play
of reasoned propositions about problems in need of solution.This mode
+
of light on the viewer takes on more importance than the object it refers to in the historical world. Similarly, Jean Mitry’s Pacific 231 (1944) is in part a
stresses mood, tone, and affect much more than displays of knowledge or
+
homage to Abel Gance’s La Roue and in part a poetic evocation of the power and speed of a steam locomotive as it gradually builds up speed and hurtles
acts of persuasion. The rhetorical element remains underdeveloped.
+
toward its (unspecified) destination.
Laszlo Moholy-Nagy’s Play of Light: Black, White, Grey (1930), for example,
+
<br>
presents various views of one of his own kinetic sculptures to emphasize
+
The editing stresses rhythm and form more than it details the actual workings of a locomotive. The documentary dimension to the poetic mode of representation stems largely from the degree to which modernist films rely on the historical world for their source material. Some avant-garde films such as Oscar Fischinger’s Composition in Blue (1935) use abstract patterns of form or color or animated figures and have minimal relation to a documentary tradition of representing the historical world rather than a world of the artist’s
the gradations of light passing across the film frame rather than to
+
imagining. Poetic documentaries, though, draw on the historical world for their raw material but transform this material in distinctive ways. Francis
document the material shape of the sculpture itself. The effect of this play
+
Thompson’s N.Y., N.Y. (1957), for example, uses shots of New York City that provide evidence of how New York looked in the mid-1950s but gives
of light on the viewer takes on more importance than the object it refers to
+
greater priority to how these shots can be selected and arranged to produce a poetic impression of the city as a mass of volume, color, and movement.Thompson’s
in the historical world. Similarly, Jean Mitry’s Pacific 231 (1944) is in part a
+
film continues the tradition of the city symphony film and affirms the poetic potential of documentary to see the historical world anew.
homage to Abel Gance’s La Roue and in part a poetic evocation of the power
+
<br>
and speed of a steam locomotive as it gradually builds up speed and hurtles
+
====Origin====
toward its (unspecified) destination. The editing stresses rhythm and
+
The poetic mode began in tandem with modernism as a way of representing reality in terms of a series of fragments, subjective impressions, incoherent
form more than it details the actual workings of a locomotive.
+
acts, and loose associations.These qualities were often attributed to the transformations of industrialization generally and the effects of World
The documentary dimension to the poetic mode of representation
+
War I in particular. The modernist event no longer seemed to make sense in traditional narrative, realist terms. Breaking up time and space into multiple
stems largely from the degree to which modernist films rely on the historical
+
perspectives, denying coherence to personalities vulnerable to eruptions from the unconscious, and refusing to provide solutions to insurmountable
world for their source material. Some avant-garde films such as Oscar
 
Fischinger’s Composition in Blue (1935) use abstract patterns of form or
 
color or animated figures and have minimal relation to a documentary tradition
 
of representing the historical world rather than a world of the artist’s
 
imagining. Poetic documentaries, though, draw on the historical world for
 
their raw material but transform this material in distinctive ways. Francis
 
Thompson’s N.Y., N.Y. (1957), for example, uses shots of New York City
 
that provide evidence of how New York looked in the mid-1950s but gives
 
greater priority to how these shots can be selected and arranged to produce
 
a poetic impression of the city as a mass of volume, color, and movement.Thompson’s
 
film continues the tradition of the city symphony film and
 
affirms the poetic potential of documentary to see the historical world anew.
 
The poetic mode began in tandem with modernism as a way of representing
 
reality in terms of a series of fragments, subjective impressions, incoherent
 
acts, and loose associations.These qualities were often attributed
 
to the transformations of industrialization generally and the effects of World
 
War I in particular. The modernist event no longer seemed to make sense
 
in traditional narrative, realist terms. Breaking up time and space into multiple
 
perspectives, denying coherence to personalities vulnerable to eruptions
 
from the unconscious, and refusing to provide solutions to insurmountable
 
 
problems had the sense of an honesty about it even as it created works of art that were puzzling or ambiguous in their effect. Although some
 
problems had the sense of an honesty about it even as it created works of art that were puzzling or ambiguous in their effect. Although some
films explored more classical conceptions of the poetic as a source of order,
+
films explored more classical conceptions of the poetic as a source of order, wholeness, and unity, this stress on fragmentation and ambiguity remains
wholeness, and unity, this stress on fragmentation and ambiguity remains
 
 
a prominent feature in many poetic documentaries.
 
a prominent feature in many poetic documentaries.
Un Chien Andalou (Luis Buñuel and Salvador Dali, 1928) and L’Age d’or
+
The historical footage, freeze frames, slow motion, tinted images, selective moments of color, occasional titles to
(Luis Buñuel, 1930), for example, gave the impression of a documentary
+
identify time and place, voices that recite diary entries, and haunting music build a tone and mood far more than they explain the war or describe
reality but then populated that reality with characters caught up in uncontrollable
 
urges, abrupt shifts of time and place, and more puzzles than answers.Filmmakers
 
like Kenneth Anger continued aspects of this poetic mode
 
in films like Scorpio Rising (1963), a representation of ritual acts performed
 
by members of a motorcycle gang, as did Chris Marker in San Soleil (1982),
 
a complex meditation on filmmaking, memory, and post-colonialism. (At the
 
time of their release, works like Anger’s seemed firmly rooted in an experimental
 
film tradition, but in retrospect we can see how they combine experimental
 
and documentary elements. How we place them depends heavily
 
on the assumptions we adopt about categories and genres.)
 
The historical footage, freeze frames,
 
slow motion, tinted images, selective moments of color, occasional titles to
 
identify time and place, voices that recite diary entries, and haunting music
 
build a tone and mood far more than they explain the war or describe
 
 
its course of action.  
 
its course of action.  
 
<br><br>
 
<br><br>
====Origin===== <br>
+
 
====Example====: <br>
+
====Examples====<br>
 +
*Un Chien Andalou (Luis Buñuel and Salvador Dali, 1928)
 +
*L’Age d’or(Luis Buñuel, 1930)
 +
*Scorpio Rising (Kenneth Anger, 1963)
 +
*San Soleil (Chris Marker,1982)
 +
 
 
We get to know none of the social actors in Joris Ivens’s Rain (1929), for example, but we do come to appreciate the lyric impression Ivens creates of a summer shower passing over Amsterdam.
 
We get to know none of the social actors in Joris Ivens’s Rain (1929), for example, but we do come to appreciate the lyric impression Ivens creates of a summer shower passing over Amsterdam.
  

Revision as of 10:19, 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

Poetic documentary can be compared with the Modernist Avant-garde. This type of documentary sacrifices the conventions of continuity editing and the sense of a very specific location in time and place that follows from it to explore associations and patterns that involve temporal rhythms and spatial juxtapositions. Social actors seldom take on the full-blooded form of characters with psychological complexity and a fixed view of the world. People more typically function on a par with other objects as raw material that filmmakers select and arrange into associations and patterns of their choosing.
The poetic mode is particularly adept at opening up the possibility of alternative forms of knowledge to the straightforward transfer of information, the prosecution of a particular argument or point of view, or the presentation of reasoned propositions about problems in need of solution.This mode stresses mood, tone, and affect much more than displays of knowledge or acts of persuasion. The rhetorical element remains underdeveloped. Laszlo Moholy-Nagy’s Play of Light: Black, White, Grey (1930), for example, presents various views of one of his own kinetic sculptures to emphasize the gradations of light passing across the film frame rather than to document the material shape of the sculpture itself. The effect of this play of light on the viewer takes on more importance than the object it refers to in the historical world. Similarly, Jean Mitry’s Pacific 231 (1944) is in part a homage to Abel Gance’s La Roue and in part a poetic evocation of the power and speed of a steam locomotive as it gradually builds up speed and hurtles toward its (unspecified) destination.
The editing stresses rhythm and form more than it details the actual workings of a locomotive. The documentary dimension to the poetic mode of representation stems largely from the degree to which modernist films rely on the historical world for their source material. Some avant-garde films such as Oscar Fischinger’s Composition in Blue (1935) use abstract patterns of form or color or animated figures and have minimal relation to a documentary tradition of representing the historical world rather than a world of the artist’s imagining. Poetic documentaries, though, draw on the historical world for their raw material but transform this material in distinctive ways. Francis Thompson’s N.Y., N.Y. (1957), for example, uses shots of New York City that provide evidence of how New York looked in the mid-1950s but gives greater priority to how these shots can be selected and arranged to produce a poetic impression of the city as a mass of volume, color, and movement.Thompson’s film continues the tradition of the city symphony film and affirms the poetic potential of documentary to see the historical world anew.

Origin

The poetic mode began in tandem with modernism as a way of representing reality in terms of a series of fragments, subjective impressions, incoherent acts, and loose associations.These qualities were often attributed to the transformations of industrialization generally and the effects of World War I in particular. The modernist event no longer seemed to make sense in traditional narrative, realist terms. Breaking up time and space into multiple perspectives, denying coherence to personalities vulnerable to eruptions from the unconscious, and refusing to provide solutions to insurmountable problems had the sense of an honesty about it even as it created works of art that were puzzling or ambiguous in their effect. Although some films explored more classical conceptions of the poetic as a source of order, wholeness, and unity, this stress on fragmentation and ambiguity remains a prominent feature in many poetic documentaries. The historical footage, freeze frames, slow motion, tinted images, selective moments of color, occasional titles to identify time and place, voices that recite diary entries, and haunting music build a tone and mood far more than they explain the war or describe its course of action.

====Examples====

  • Un Chien Andalou (Luis Buñuel and Salvador Dali, 1928)
  • L’Age d’or(Luis Buñuel, 1930)
  • Scorpio Rising (Kenneth Anger, 1963)
  • San Soleil (Chris Marker,1982)

We get to know none of the social actors in Joris Ivens’s Rain (1929), for example, but we do come to appreciate the lyric impression Ivens creates of a summer shower passing over Amsterdam.

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

Add a references section; consult the Help page for details about inserting citations in this page.

Attribution of Work

For milestones completed collaboratively, add a section here detailing the division of labor and work completed as part of this milestone. All collaborators may link to this single milestone article instead of creating duplicate pages. This section is not necessary for milestones completed by a single individual.

External Links

If appropriate, add an external links section

Image Gallery

If appropriate, add an image gallery