‘Aesthetics of Intimacy’ Short Film Studies, 1.1 (2010) (original) (raw)
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From Intimacy to Infinity: exploring the role of interior in 3 short films.
This paper discusses interior as a concept used as a motivating principal in a collaborative work between three filmmakers and two interior designers. It will describe and critique the film based operations and processes used by the three writer/directors, two interior designers, sound team and cinematographer in the production of interiors within the recently shot triptych of short films titled Motel.
Short Film Experience: Introduction
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Performing Attachment: discussing the film 'Contact', 2016 (delivered 15/6/16)
Paper delivered at Performa Conference, University of Leeds 15/6/16 https://leedsperforma.wordpress.com. I discuss the outcomes of ‘Performing Attachment’, my recent Post-Doctoral Research Fellowship in the School of Fine Art, History of Art and Cultural Studies at the University of Leeds. Exploring the ‘performance of attachment’ as a politicised act, I show an excerpt of my new moving image artwork Contact which evidences conversations with professional female actors, and workshops between them, and BA Fine Art students. The ‘Performing Attachment’ project sought to document, in digital moving image, the kind of creative gestures and relationships witnessed between people within a context of close attachment, yet to achieve them between performers and students who are not ‘attached’. This deliberately opposed the more formulaic and limited gestures of attachment commonly depicted in the cinema and contemporary visual/social media. Based on this apparent absence of the most creative kinds of interaction between attached adults and children in visual media, Contact sought to occupy that space, to show what isn’t shown. However, as the actors are unattached, and are working with BA Fine Art students, different dynamics arise. For instance, as the participants foreground gesture and variable kinds of touch in their interactions, they explore gesture as a means of creating feeling. There are also approaches to gender, age, experience, knowledge and representation that make this a more complex work. Hope will discuss Contact with a view to discussing its implications developing from her recent thesis Politicising Agency through Affect, that explored viewers’ pursuit of attachment-based agencies via the people they watch in images; a relation underscored by inequality. For viewers of Contact what does it mean to watch intimacy in this way, images full of affection and bodies in contact? How can the creativity witnessed in this work, and between attached people in life, be drawn on in a rethinking of political agency?
A critical approach to intimacy in art
Masters Thesis, University of Auckland, Department of Art History, 2017
This thesis examines intimacy in art, historically and in today’s networked world. It looks at the personal and revealing nature of intimacy, using psychological theory to support the thesis’ contention. This is that the internet has both changed and extended the phenomenon of intimacy in art, transforming both images and artworks. Historically, the female body, especially the nude, was used as both a means and an end to create a feeling of intimacy. The contemporary artworks examined both reveal and disrupt these historical gendered connotations of intimacy in art. Two key works analysed, Amalia Ulman’s The Annals of Private History (2015) and Frances Stark’s My Best Thing (2011), are particularly revealing in this respect. Intimacy and what it means is explored using the psychodynamic theory of Gerald Cupchik and his staircase arrangement of emotions (2016). This theory shows how intimacy can manifest implicitly as an affect, as well as explicitly at the emotional- cognitive level. These explorations are supported by an analysis of several works by relevant artists, including Tracey Emin, Kate Newby and Amalia Ulman. The various ways intimacy has been depicted and evoked throughout art history, including the significance of domestic scenes and the issue of voyeurism, is also examined. Comparisons are made of the ‘intimist’ paintings of Pierre Bonnard, Edgar Degas and Mary Cassatt. Photography is then examined as a turning point in the evolution of intimacy: it made voyeurism and exhibitionism easy, and intimate images infinitely more reproducible. This development is exemplified in the works of Nan Goldin, which are reviewed. Adrian Piper and Cindy Sherman, whose works are then examined, went one step further, critically addressing the phenomenon of intimacy by turning the camera on themselves, so disrupting the ease with which intimate images, particularly those of the female body, are often consumed.
2017
From the perspective of 1920s film reception, this chapter proposes to look at Hollywood cinema's intimacy project – the objective of 'going into people's houses' (Irving Thalberg, 1927) by showing fictions of intimate everyday life. While cinema is consumed in the 1920s in a very theatrical context, it is also, and concurrently, projected as domestic, intimate commodity. The intimacy of the home as a potential site for the (private) life of film fictions is the object of a host of exhibition and marketing techniques remediated through the other contemporary media of print and radio. This remediation of cinema aims to domesticate fiction and to open the privacy of the home to its transmedia expansion – enticing us to posit intimacy as a key, alternative element in the "generation of a common sense about the place of moving images in everyday life" (Haidee Wasson, 2007).
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