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moving image: theory | context: lecture 4

moving image: theory | context: lecture 4

The gap in which there’s a thought. And a character who thinks it. And to the character belongs a world. Without the character no world. And no structure. We learnt in the first lecture that structure follows from the terms that actualise it. So, in a way, we are

moving image: theory | context: lecture 3

moving image: theory | context: lecture 3

The motoric aspect of film is not so apparent in its digital form, but is there more than ever in its contents. Movement is everywhere, even when it is not motorised. So by motoric we mean the usually electric motors that used to turn the spools of film. In the

moving image: theory | context: lecture 2

moving image: theory | context: lecture 2

Last week we covered how moving images think. A moving image sequence is either a simple or a complex thought. A bone turns into a spaceship is either a simple or a complex thought, because this is what the cut does, it is a movement cut that leads us to

moving image: theory | context: lecture 1

moving image: theory | context: lecture 1

Welcome to Theory and Context. This first lecture we will be discussing theory. And context. ... Like the label says: we will be discussing theory and context, in respect of their relevance, or irrelevance, to the different formal expressions of film, animation and game. The concept here, theory deals with concepts,

The Tilting Point – screenplay for a short film (2008)

The Tilting Point – screenplay for a short film (2008)

the first of an intended series EXT. SCENIC DRIVE — MID AFTERNOON A late-model four-door Landrover (e.g. a Discovery) heads from Karekare North-West along Scenic Drive. INT. LANDROVER — CONTINUOUS A woman in her early to mid forties drives, GENEVIEVE MARTEL. She is dressed casually, pants, a top and low-heeled sandals.

a piece of identity – monologue with slideshow (2008)

a piece of identity – monologue with slideshow (2008)

C stands in front of a black and white video still – the face of a woman in close up. C One must first divest oneself of the notion of the unknowable, of the Unknown: silk is over the photo, silk of the process. A procedural coating, like albumen – silver nitrate

a short history of original thought in New Zealand – screenplay (short)

a short history of original thought in New Zealand – screenplay (short)

the cemetery of principle, part 2 (link to part 1) EXT. FEDERAL ST. ENVIRONS — MORNING Our man, BERNARDO, hurries across Federal Square, radio mic in place!, in front of us: he is aware of the cumbersome nature of our apparatus but keen to show us something. BERNARDO There’s something