“Sound & Picture, Moving Along in Time”


[1.] Davis, A. (Director). (1993). The Fugitive [Film]. United States: Warner Bros. Pictures


After falling pretty deep into film theory, exploring theoretical bridges between film and architecture and a real interesting example of films usage as an architectural educational tool, I began to lose touch [at least I felt I had been] with what I was actually interested in initially with in utilising film as a medium.

The idea was originally derived as a way of visually exploring the subtext behind people’s language and body language when referring to or occupying the site, in a casual and discursive context.

Since then, in implementing and playing about with my scenario and its actors within the site area, I started to get a bit lost and it all feels a bit messy! I had presupposed that the moving image, as a medium would be most suitable to translate the ideas/narrative driving my scenario , however, in exploring ideas in and around the topic for Praxis, it became less of a square peg and a round hole, and more of a train through the eye of needle; violently derailing and rolling into a tangled, twisted mess of ideas and intentions. It feels like the right time to step back from my current process, abandoning [or jumping from] the potential wreck into what I seem to have been avoiding up until now! [1.]

I aim to begin using film as a tool and in the first instance, within an investigative context in regards to the site and its physical environment. I feel that I’ll start to understand what it is that I am doing a bit more, and potentially learn and gain influence from new spaces and features of the site that I hadn’t considered or even encountered before! [As well as help refine my Praxis title a bit – it all sounds swell in theory].


In preparing for these little initial ‘tests’, I want to outline two potential outcomes or questions, as an initial benchmark in which to subconsciously maintain whilst I am there:

I – Can filming these spaces/objects on site in various or particular ways [in reference to camera moves and positioning] at different times, elicit a new approach to how I think of them within the environment?


[2.] I found it curious the way that this lamppost was shot in George A. Romero’s Dawn of the Dead [1978], leading to questions as to what it might represent as well as potentially translating a similar method to objects on site, enacting a re-contextualisation of the object or perhaps an investigative perspective of its role within the existing site conditions. Romero, G. A. (Director). (1979). Dawn of the Dead [Film]. United State: United Film Distribution Company.

And, can the attention given to the smaller objects, like a lamppost perhaps [2.] begin to alter how I consider them on site and their affect on particular spaces and on the peoples, albeit it residences, visitors or the actors in the scenario?

II – Can I begin to construct a narrative either whilst physically filming these objects or spaces, or whilst compiling them together and editing them as an arrangement or composition? Can this approach then, teach me new things about the site that I had not noticed prior, as well as addressing particular areas of interest in building my scenario further?

Rambling on here has helped a bit and I feel clearer in exploring this within the coming days!


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