Affordances and Constraints in analogue and digital moving image production.
What are the experimental limitations caused by the relative immateriality of digital image making? What are the creative affordances of film stock? Is there an ideal meeting point between these two technologies, that optimises innovation in production and presentation?
By looking at the history of artesanal filmmaking and the impact of the digital revolution on this non-commercial artistic activity, I intend to interrogate both mediums and produce a series of films that illustrate the affordances and constraints of each that manifest themselves in the filmmaking process.
Moving image artefacts will be made in both mediums, and a comparative commentary will be written that describes processes and critiques results. Reference will be made to current theories of medium specificity and the cinema apparatus.
A compromise will be sought between the extremes of structural materialist forms and experimental narrative. Alternative forms of presentation will be embraced to highlight the importance of scale and location on audience reception.
To what extent does a particular technology dictate how it is used, and what is produced by it? What can be learnt by examining the historic uses of an obsolete technology? Can this inform the uses of a current technology?
What are the parallels to be found outside of the cinematic realm? Look at the history of cars/typewriters/paper and writing/weapons? What are the arguments about technological determinism?
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