1
2
Then
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What happens to documentary when we consider multi-linearity as a framework for practice?
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“provocations, as litanies of surprising contrasted curiosities” (Bogost 38)
“suggests infinity almost physically, because in fact it does not end” (Eco 17)
“permits a sense of cohesion at the same time as it increases the gap between project elements” (Frankham 138)
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practice
6
project
7
outcome
8
What happens to the essay film when we consider multi-linearity as a framework for practice?
9
practice
10
project
11
outcome
12
Now
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What relationship do my films have with the world, and how does multi-linearity engage with the world?
practice
14
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“prolonged and creative observation is the only way to be sure of selecting, emphasizing, and squeezing everything possible out of the rich reality in front of you.”(Ivens)
project
16
outcome
17
Next
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“if theatrical (in other words, linear) documentaries generally necessitate the corralling of footage into a singular narrative arc with a beginning, middle, and end, involv ing a compel l ing main character or characters, a problem to be solved or an adversity to be overcome, topped off with a memorable denouement, the filmmaker must inevitably leave a great deal on the cutting room floor (actual or digital)” (Soar 167)
21
then now next
making 3 projects 4th project
exegetical writing 20,000+ drafted words
writing for publication/presentations
3 Australian symposiums1 International conference1 International presentationforthcoming book chapter
2 journal articles1 international conference
reading 27 books94 articles
22
progress
mid-candidature Jul
2015 Oct
2015Dec
2015
makingI See You K-FilmGrey Skies/Blue Skies K-FilmReassembling Rain K-Film prototypes
Finish Reassembling RainBegin 4th major project
Complete 4th major project
exegetical writing 20,000+ drafted words Draft writing on 4th major interactive documentary
Draft writing on 4th major interactive documentary
writing for publication/presentations
Placing Non-Fiction SymposiumScreen Explosions ASPERA ConferenceInteractive Documentary SymposiumMedia Futures SeriesWorld Cinema and the Essay Film ConferenceDigital Cultures Research Centre Presentation
Submit paper for World Cinema and the Essay Film journal publication
Submit paper on Reassembling Rain for publication at appropriate journal
reading
Essay film + personal documentaryInteractive documentaryNon-narrative documentaryNew mediaNew materialism
Messiness of the world - Latour, Bogost, etc.
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Mar 2016
completion seminar Jul
2016
maximum submission
making Edit project outcomes
exegetical writing Edit exegetical writing
writing for publication/presentations
Paper on major project outcome #4 to be presented at i-Docs, March 2016
reading
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25
Bogost, Ian. Alien Phenomenology. Or What It’s Like to Be a Thing. Minneapolis: University of Minnesota Press, 2012. Print. Brasier, Hannah. Grey Skies/Blue Skies. 2015. K-Film. ---. I See You. 2014. K-Film. ---. Reassembling Rain. 2015. K-Film. Chanan, Michael. “The Role of History in the Individual: Working Notes for a Film.” The Cinema of Me: The Self and Subjectivity in First Person Documentary. Ed. Alisa Lebow. New York: Columbia University Press, 2012. 15–32. Print. Corrigan, Timothy. The Essay Film: From Montaigne, After Marker. Oxford: Oxford University Press, 2011. Print. Eco, Umberto. The Infinity of Lists. New York: Rizzoli, 2009. Print. Frankham, Bettina Louise. “A Poetic Approach to Documentary: Discomfort of Form, Rhetorical Strategies and Aesthetic Experience.” Dissertation. University of Technology Sydney, 2013. Print. Ivens, Joris. The Camera and I. First Printing edition. New York: International Publishers, 1969. Print. Mason, John. Researching Your Own Practice: The Discipline of Noticing. London: RoutledgeFalmer, 2002. Print. Nichols, Bill. “Documentary Film and the Modernist Avant-Garde.” 27.4 (2001): 580–610. Print. Soar, Matt. “Making (with) the Korsakow System: Database Documentaries as Articulation and Assembly.” New Documentary Ecologies. London: Palgrave Macmillan, 2014. 154–173. Print.