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physical cinema
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The Body, like the Image,
has the infrastructure to offer the most direct and articulated recording of life, in the most indirect and abstract way.
My process in film making is through a kinetic approach. The main intention in that is to include the physicality and the movement in general, in the use of all the narrative tools of a film. (Camera, Script, Performing, Editing etc.)
The script is full of words that can be also used to describe the movement as well as order it's creation. Words can be heavy and specific or light and abstract, qualities and tools that are applied to movement as well. The words and their Performance can "make" the space move or stay still. - Space is moving. Space is still. -
The camera is a body on it's own, it moves, stays still, travels and follows the narration in various ways. The camera can be the incarnation of the viewer's body. It captures and conquers the space as well as reintroduces the distance between the Observer and the Action.
The characters of a film can speak, embody, do both. Body and verbal language can be combined to say without speaking. A conscious combination of expression through the mouth/voice as well as the body and it's movement can unlock new ways of performing a character and their intentions.
The editing process is focusing, puzzling and traveling through all the material that will make at the end the film fall in it's place. It is playing and constructing the rhythm, selects the final space, the ankles, the time and the perspective. Direction, choreography as well as the editing process are all different parts in direct communication, linked in order to create the bigger picture.
My field of interest isn't related exclusively to dance films or to purely narrative films, it can be better described under the term of Physical Cinema, in which movement can be applied in various ways.
Creative Task Idea
-- Let's create a monologue for a character who is in a state of a nervous break down and speaks about their childhood.
-- Let's create the same "monologue" using only the body and the movement.
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Which are the elements and the structure of each "monologue" and what will happen if we combine them?
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When the silence of the speech is needed and when the speech of the body?
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How can we achieve a combination of those two, in a way they function effectively and not descriptively?
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How will the same scene be constructed if the camera is in a state of a nervous break down?
- "Drawing from movement's tools, I attempt to redefine the use and the tools of cinematic creation."