The definition of SMOKING GUN constructs the very foundation of this cinema as we observe the incriminating evidence of perpetrators carrying out acts of domestic abuse. The project aims to reveal layers of verbal and physical misconduct inside a relationship, challenging the audience’s understanding of domestic abuse, as it rummages to more profound areas: financial abuse, physical abuse, psychological abuse and sexual abuse.
We brought our devotion to multi-screen installations into SMOKING GUN. But we’ve also mixed old and new cinematic elements to produce further disarray from what is already deduced from the arguments, with the intention to truly inculcate hostility and discomfort within the viewer (as is evident in an abusive relationship). Despite the manipulation of chaotic screen timing, we hand the audience a tool to focus on one story through walking closer to a specific screen and focusing on the subtitles to render themselves deaf to the noise of the other screens. The addition of palpable objects from the stories on the screen, expedited further intimacy to the film.
The strengths that I brought into SMOKING GUN included the marriage of my practices in scriptwriting, filming and editing alongside an eye for aestheticism in presentation and performance. The project pushed my boundaries of what I originally do with my video projects and strengthens my bond with my camera.
For CAU, my group of 5 and I had collaborated to create our own episode of the famous TV show, Friends. We all invested differently with each other’s special strengths (writing, acting, filming, editing). As my group noticed my ability to write a script, use a camera and film, and edit the final aftermath, they labelled me their leader.
I planned our script so that we were paired up to work on an act each, and create a coherent episode with 2 different stories coexisting. As the Act 2 was the biggest act, for it was the one with the 2 different stories in the same act, we summoned up an extra hand to help write the script.
For how the script’s pairing, we used a name generator and I placed to do the last Act. Rémi and I both looked up jokes to spice up our Act, but still I do admit that it could have been better. One of the jokes that I found was “When is beef not quite beef?” “When it’s two vegans arguing.” which was ridiculously corny, and actually not a global joke so the Koreans didn’t quite understand the humour in our final creation.
After countless tiring nights of staring at the screen in the dark, trying not to wake up my roommate, I finished the editing of the video to my best ability (which was hard since we filmed so last minute and deadline was soon).
I was very fascinated about the fact that the cast all had various accents and the video is a union of different cultures.
(watch videos correctly by waiting 5 seconds before playing the next clip, to time them up!)
ULTIMA VERBA is ‘last words’ in Latin tongue and this multi-screen installation, – unlike Manifesto’s writings and musings of various different artists, – is based off their suicide letters. With this film, I sought to manipulate something private to be public and heard as it presents on large scale screens and is spoken out loud. Multi-screening ULTIMA VERBA with different framing despite constant eye contact allowed for a smooth transition. The film also atmospheres the darkness of humanity, exploring the inevitable and questions death within a range of very different people.
Julian Rosefeldt’s Manifesto was the sore influence of this creation; the deadness, darkness and eeriness of Manifesto painted the tense characters in ULTIMA VERBA. I built rapport with different people to adopt personas, create stories, evoke emotions and showcase unnaturality and materialism. Each individual acted in response to the way their minds read and how they felt when with presented the quote, and they speak as if they were saying the last words to someone they trust most.
Sellingmyshock is a treasure made from someone else’s ‘trash.’
I sought my creation to be distinctive, shaping it to give viewers an experience. Upon the realisation that I’d be using World War films, I focused on reproducing the sensation of a soldier’s flashbacks of the war. The title is also a wordplay of PTSD specified for World War victims – shellshock.
I had cut the film into 24 frame combinations with the intention of reuniting them for a repetitive transition; from slightly steady but disoriented to a gradual chaos of colour, to flashes of pain until blackout. Originality exists in my choice of scraping, but admittedly, my research hugely influenced my work. Brakhage’s style of paint inspired the use of acrylic and oil paint on my film (Red for blood, green for sickness and purple for fear). Lye also influenced my use of cleaning products to alter the film. Arnold’s ‘Passageá l’acte’ further motivated me to use repititive frame editing. I manipulated it to start slow, until the film gets sped up, reversed, and rewinded.
I’m a part of other’s memories, Before the wings of time begin to soar.
This video is in the eyes of an ex lover who was obviously, a photographer photographing someone he love(s/d). The main character plays through my different aspects and personalities, and fortunately, the actress may be the one person who knows me better than I know myself.
The final video poem was created after consideration of feedback from the first two: “layer more sounds to make it more interesting;” “stick with similar situations, and create deeper connections between scenes.”
There are four distinctive pieces and to keep them different, I found contrasting sounds that would be special to only each scene alongside combining both diegetic and non-diegetic sounds to add extra layers. For example, in kitchen scene, since the window is open, I added bird sounds; foreign morning news; the kettle; her footsteps; background music.
I am highly fascinated by and have almost followed continuity editing, religiously. As soon as I knew this project was no longer still videos, I wanted to experiment with different combinations of angles for a singular scene. I contemplated a longer and more detailed video as I had done a ridiculously high number of angle shots but Etienne had said, “If your company or boss requests you make a video with a time limit of one minute, it’s best you do just that.” Also, I focused more on editing as it is evidently more important to correctly assemble shots as opposed to just taking good shots.
Filmography and audio, combined, were to give the audience a sense of understanding and empathy – an emotional reaction through the more symbollic scenes. The disparate 4 pieces is individually, a collection of prose and together, a short story. It is the integration of two ideologies: ‘behind the photographer’s eyes’ and ‘I’m part of other’s memories before the wings of time begin to soar.’
I’m from sea minerals and the sky full of words unsaid.
My narrative and response to ‘Where I’m from,’ (George Ella Lyon). follows the life of someone who feels happiness in the smallest details of life; in writing, travelling and nature.
My story begins with the rockpool tides of the beach to automatically give the viewer a sense of belonging and serenity – the kind of aura I want my presence to radiate. Accompanied by a friend to erase any eruptions of loneliness. A car-ride then directs the audience to the home in which I make coffee- sweet coffee (a quirky addiction of mine), the first step to releasing the poet in me. Additionally, the fact that I am currently struggling with writer’s block is symbolised by my writing being burned by natural flame from a candle. Eventually, ending with my mother’s smiling face as a candle dies, the stress dispenses.
I was inspired by NELL’s music video, “The Day Before.” and decided to centre my video poem around a feeling of beautiful melancholy – as people describe me as “chaotically wise.”