Robinson in Space

Reality as it evolves sweeps me with it. I’m struck by everything and though not everything strikes me in the same way I’m always struck by the same basic contradiction. Although I could always see how beautiful everything could be if only I could change it, in practically every case there’s nothing I can really do. Everything is changed into something else in my imagination. Then the dead weight of things changes it back to what it was in the first place! A bridge between imagination and reality must be built.


In beginning to construct a visual narrative of the scenario, I found myself using the storyboard as a means to edit out anything outside of the visual in regards to telling the actors story [1.].

Stage One.jpg

[1.] Streamlined Visual Story [Kind Of], Excluding the Processes Behind Its Composition. 


All of the significant moves, the purposeful decisions, articulations and compositions of each little window that I had made to become symbolic or representative of an emotion/overarching theme of the narrative [scenario] had been cast out from the limited space of the frame[s] [2.].

Originally in producing these thumbnail size outlines of each scene, as to determine how the environment and these actors could/would be captured as a moving image, I found myself considering how I could manipulate the environment in front of the camera as to cinematographically inform the audience of underlying and sub-textual emotions.


[2.] A Rough Example of the Decisions Made Outside of Each Frame.


However, all of these conscious decisions that had been made were instead eliminated from the final images, creating a cleaner and more streamlined viewing of the events constructed by a manipulation of the physical environment [1.]. I cannot tell for sure if this is a good or a bad thing in terms of telling the story, although I want to experiment with how these elements, the thoughts of the actor and my own in reconstructing the sites environment, can be integrated into the film and its process of portraying the scenario [3.]. Although it does leave enough room for interpretation in the reading of the events.

Sequence of Process.jpg

[3.] The Gradual Editing Process of Thoughts and Ideas from the ‘Final’ Frames

Perhaps the two dimensionality of working in this way offered itself to eliminating the messier elements from the thought process, providing only enough room for what is absolutely necessary; but I am most interested in how the leftovers can be utilised and how they can inform the scenario further. I feel that these aren’t being limited by filmmaking as a medium or design tool, just my [kind of] utilisation of it, or perhaps not, so far in constructing this scenario.

As a result of this, I aim to begin actually filming some elements of the site as to experiment with the physical site conditions with moving image as oppose to static two dimensional flat frames; following a similar process started here but with hopefully a little more depth in the medium. Alongside this, I aim also to explore a three dimensional representation of this narrative that can be continuous and simultaneous to this process, as to clarify the kind of moves that the scenario will take within the site, both spatially and narratively in regards to the actions and thoughts of the actors. Whether this be a form of model making as assemblage with the filming of the site, is yet to be seen, as I’m not entirely clear on it myself!



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