Evaluation

For my experimental video, I produced a piece involving two children’s toys fighting. Being a mainly craft oriented video, it’s concept is open to various interpretations. It is completely different from what I had first planned to produce, as my first plan revolved around the theme of nature and the environment, relying on bright weather for the filming process. Unfortunately when it came to filming, the weather was in decline. My new plan involved two completely contrasting children’s toys; a football player figurine and a toy bear. The idea was to have the two toys fight. I chose this idea because it is very unique and an unusual type of film to watch. Also the contrasting toys make this film a very experimental piece.

The reading of my experimental video by the audience was as expected, the opinion of the audience being mainly positive. The film doesn’t have a strong concept, however, although the audience didn’t see a solid concept, they could appreciate the craft used, rating the video an average 8/10.

I think that next time I would plan out my video a bit more, adding in some more scenes to make the video longer. I would also use the time in which I was given more wisely. I have learnt that post production takes a lot longer than expected, and would consider revising my filming/editing time ratio.

The use of technology and techniques and styles

Looking at and comparing a past and present experimental video, we can see how the technology used in experimental videos has developed. A good example in which we can see this is Girl Chewing Gum (John Smith). This video was made in 1976, and the technological device used was a "voice over". The audience is led to believe that the voice they here is a director behind the camera. Nearer to the end of the video the director starts to direct things like birds and clocks. The audience is confused as to how he coould possibly be directing a herd of birds. Later on in the video he reveals that he is in a completely diferent location, and not behind the camera directing.
This is a very simple technology. If we look at a newer experimental video such as Doll Face (Andy Huang), we can see that it is heavily animated on a computer. Little to no camera work is needed. Not all experimental videos nowadays use new technology, however. MUTO: A Wall Painted Animation (Blu), for example uses stop frame animation. This is nothing new, and although it takes a very long time to do, is a very simple technique.

Past and Current Artists and Works

For this chapter I will be looking at Girl Chewing Gum (John Smith), Doll Face (Andy Huang) and MUTO: A Wall Painted Animation (Blu). All are obviously experimental videos, but the concept, craft and place in time that the videos were created set them apart from eachother completely.
MUTO is a stop frame animated piece. In each frame, Blu (the graffitti artist) changes his graffitti by, for example, moving the creature he has created forward a little. He then put the frames together in sequence to create the effect of the graffitti having a mind of it's own, and moving. MUTO is more of an "underground" piece, compared to Doll Face. This is because it's theme is something which is, coincidentally, underground - grafitti. Doll Face however, is heavily animated and futuristic in it's theme.
Looking at the concept of each piece, only one of the videos express a heavy concept - Doll Face. Girl Chewing Gum and MUTO are more craft oriented.

Narrative and Non-narrative Structures

Traditionaly, films are structured - they have a narrative. Not all films however, follow this. Narratively structured films have a clear beggining, middle and end. Despite what people may think, experimental films do not always follow a non-narrative structure. "Doll Face" by Andy Huang for example, has a clear narrative. There is a beggining (robot extending from box), a middle (the robot manipulating it's physical appearance) and an end (the robot breaking). Non-narratively structured films do not have a clear structure, and are generally more complex. An example of this type of structure is seen below, in the video "Gothic Surrealism" by stop motion animation artist Jamie Dean.

Stop Frame Animation

Stop frame animation is an animation technique. The object in the frame is manipulated a little in each photograph. The photograph's are then put together in sequence to give the appearance of motion. The animation to the left is an example of stop frame animation. A two pence (sterling) is moved strategically across the table.

It is best to use a tripod for stop frame animation. This makes the resulting sequence look much more smooth and natural. Notice how the angle of view is a bit shaky in the above example. This is because a tripod was not utilized.

Using stop frame animation, I created the below example. The subject is seen buying a beverage from a vending machine. The subject then drinks the beverage. To save time, the subject was only photographed until he took a sip from the can. This was then reversed and repeated to give the effect of multiple sips from the can, without actually having the subject do so.

Audience and Audience Interpretation

The way in which an audience interprets a work of art can completely change it's meaning. For example, a box of tissues could bring about many different interpretations if viewed as a piece of art. One viewer could associate cleanliness with the tissues, whereas another could associate crying. This completely changes the way we look at and think about the image. This is the meaning of art. Once the art piece has left the artist, it's up to the viewer to interperet the art how they wish. Good conceptual art should connect with the viewer somehow, meaning not everyone will be drawn to it like other people who will make a real connection with the art.

The Use of Exhibition Space to Create Meaning

The way is which the space around an exhibition is composed can greatly effect the meaning of it. For example, the "Rocky" exhibition at the Tate Modern is in it's own room. You cannot see inside the room from a distance, as you have to turn a sharp corner upon entering. The room is dark, and several images are placed around the disturbing video being played (pictured below). The darkness makes the viewer entering the room go quiet, as darkness is associated with silence (like if you were to go into a cinema for example). This helps the viewer to be able to concentrate solely on the exhibition, rather than on background interference. If this exhibition were to be placed out of context, in a busy city perhaps, it would not have the same effect on the viewer. The exhibition may not even get a quick glance.

Sounds, lighting, temperature and imaging can all contribute to the effect of the exhibition. Though not needed, utilizing the space around the exhibition can greatly change the desired effect on the viewer.

Koyaanisqatsi

Koyaanisqatsi is a 1982 experimental film by director Godfrey Reggio. Koyaanisqatsi is a Hopi indian term "life out of balance".

The film is 86 minutes long and focuses on a collection of scenes from places and environments around the world. The scenes are time lapsed; slowed down and sped up to create certain effects such as calmness and busyness. There is no specific plot to the movie, but the way in which the scenes are edited together along with the soundtrack (Phillip Glass), there is a clear middle beggining and end.

There is little to no diegetic sound in Koyaanisqatsi, however the tempo of the non diegetic soundtrack is changed frequently to create a sense of contrast, awkwardness or tranquility. For example, the soundtrack does not always match the images in the frame, e.g. slow, peaceful music when a catastrophic event is happening on screen.

The main occuring concept of the film is change, and how people effect the world. Although the theme of natural flow is apparent throughout the film, we can see how, as time goes on, Koyaanisqatsi occurs. In other words, the flow still goes on, however it becomes more corrupted and chaos burden everytime the cycle happens.

Doll Face (Andy Huang)

Concept
The main concept of Andy Huang's "Doll Face" is the idea that people are heavily influenced by the media.
We first see the robot extend from within the box toward the television. Once the robot can see the television, it is bombarded by random flashing images, and cuts to a woman wearing make-up. The robot sees this woman and imitates her by also applying make up.
This could be compared to how people see celebrities on television and try to be like them. Another interesting interpretation could be how the robot is trying to be human; a lot of people try to be something they're not. That goal, however, is unattainable.
After the robot has copied the woman from the television, the television retracts further away from the robot. Again, it displays random flashing images and cuts to the same woman as before. This time, her skin is clearly toned and she is wearing more make-up. As before, the robot imitates. The television retracts again, but this time the robot cannot reach. The robot pushes all boundaries to get to where it wants to be. It fails, and breaks.

Craft
Doll face is a heavily animated piece. It is mainly, with the exception of the robot's "face" and the television images, computer generated. You can see that the person who's face is on the robot would have had to interact with non existent objects, such as the mechanical arm that inserts the robot's eyes. You can clearly see that this work would have taken a very long time to execute and get exactly right, especially the face in synchronization with the animation.

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