Thursday, 23 April 2009

Production Diary: Fuck Trust



I hope to have finished final post-production for the film Fuck Trust a piece of Performance Video Art by The One Who Does Not Exist by Saturday - or at least Friday night and it has been an interesting project. At this stage the development is getting it down from twenty minutes to at least ten. It is not easy translating something 'organic' as live Performance Art into a Performance Video Art piece without a live crowd. I guess it all becomes projected. All the other stuff aside like adding a little dynamic colour grade, a bit of audio mastering and a few tweaks here and there. The most important thing is being able to engage with this film as a document on Mental Illness.



It is also combining four Performance characters that have been developed by The One Who Does Not Exist as a way of explaining the concept of stigma and societal/media ignorance when it comes to Mental Health issues like Schizophrenia. The film however shows a solutional path of acceptance through performance and art, but also ceremony and harmony in relationships.

The Fuck Trust synopsis by The One Who Does Not Exist is an annotation, the rest has been ongoing and continues through painting and performance. It even extends back to what I knew as the Frank-a-phone, a strange bent and coiled Didjeridu, that he used to play in public spaces - one of many developed instruments of 'performance' to create cohesion via havoc on a reactionally inert cast perusing about the city in square uppers or blouse downers.

At the beginning I was working with underlying themes of Werewolves and Vampires to aid the visual canvass, the elements screwed in that would shape out the diegetic textures as a whole, and we had some compositing issues with some colour I was keying out in order to show these multiple 'bat like' beings of The One Who Does Not Exist hanging upside in Julian Wheetcroft's head. The cast of the same character however was too simplistic a dialog to have in the work, but it was interesting when the composite Green inspired Frank to ask me to leave it in as he said at the time the feelings he got were sickly. I decided to lose the Green as again, I didn't think the obvious connection would actually make its target, the audience would be looking for other internal signs in the work I felt.



So, yes, I am using split screens, and perhaps that too may cut into the 'organic' assemblage of performance, but at this point it is more a necessity to get to the triumph of the will rather than meander in the soul. There is no conceptual nodes when joining the dots or making the scenes in Performance Art of this kind, it would be like doing an Expository documentary on Salvador Dali, a purpose that is defeated by its execution. At the same time it isn't about capturing the Performance Art, not when it is being Performed for the camera, then the editing becomes more about rendering the process that has begun and knowing that whatever the outcome, the video will be grafted on to the persistency of the Performances to come and what has already been, and what is being right now at this present time.

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