Chair: Dr Ciara Chambers (University College Cork)
Room: Seminar Room, G27, O’Rahilly Building (ORB), UCC
Steen Ledet Christiansen (Aalborg University Copenhagen)
ABSTRACT: Hardcore Henry and the Post-Cinematic Camera Eye
New technological affordances offer new aesthetic experiences and help usher in new regimes of vision. Nowhere is this more evident than in Hardcore Henry (Ilya Naishuller 2015), an entirely first-person POV action film. 45 GoPro shots were morphed together to produce a continuous POV shot. Hardcore Henry is part of a shift away from a scopic regime of vision to what has variously been termed an affective regime (Shaviro 2003), a haptic regime (Marks 2000), or a tactile regime (Barker 2009). With the GoPro camera strapped directly to stunt performers’ bodies, the image takes on a far more corporeal value.
This paper will show how contemporary post-cinema employs a new form of camera eye in its use of an expanded field of camera technologies. This haptic visuality fosters a sense of immediacy, yet at the same time depends on a hypermediated convergence of a range of technologies: GoPro cameras rigs, digital morphing to make editing seamless, long takes that disrupt the temporal realism of Bazin’s sequence shots because of their shakiness and chaotic post-continuity (Shaviro 2010). This new post-cinematic camera eye is distributed across new technologies that reinvigorate cinematic forms and produce new intensities of the image. I analyze Hardcore Henry in relation to these distributed technologies, while arguing for a shift in cinematic ontology to one based in movement and animation, rather than reproduction.
Stuart Moore and Kayla Parker (Plymouth)
ABSTRACT: Framing the Landscape
Developing an Eco-sensitive Cinema
This paper explores the potential for an ethical film-making practice in the Anthropocene through critical reflection on the material specificities of moving image and the affect of landscape cinema using two recent moving image artworks, Reach and Maelstrom: The Return (2014), as case studies.
As artist film-makers, we follow an aesthetic practice that addresses social and political issues, working with the world and the materials and materiality of film-making, whilst being aware that we are “living in a damaged world” (Tsing, 2014). In their New Materialism manifesto, published in 2012, Andrew Simms and Ruth Potts of the counterculture think-tank New Economics Foundation argue for a re-thinking of our relationship to the world and our use of its materials and resources.
Reach is an ‘environmental’ direct animation that enables a symbiotic conversation between artist and place through ‘celluloid’ film’s agency as a sensitive and sensible recording medium. The imagery is created by burying upcycled 16mm filmstrips in the alluvial mud of the banks of the Tamar, allowing the river to ‘make the film’ through the flow of its tidal waters and the action of biota. Our theme of recycling and repurposing ‘unwanted’ material continued with Maelstrom, in which mysterious upwellings and whirlpools flood with cinematic memories of long-forgotten arrivals and departures at the mouth of the River Tamar, effected through the ‘projection’ of archival home movie footage upon the substrate of un-still waters and the ‘sea of moving image’.
In foregrounding the materials and materiality of film-making, linked to an awareness of limited resources, our methodology offers a deeper and more lasting relationship to the world and the non-human beings and things in it, aligned to new materialism’s imperative of “understanding materials through working with them … understanding and working with the material, not dominating it” (Simms and Potts, 2012, 13).