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Violet Bent Backwards Over the Grass

Lana Del Rey

This book was something I looked at much earlier in the process of creating the publication when I was aiming to create a more bespoke one of a kind book. The use of different materials is something I really liked and experimented with by scanning polaroid in of front of different papers.

The inclusion of imperfection's like cup rings and spilt tea is and addition I really liked with some hand written sections where mistakes and changes have been scribbled out is really nice and creates a really nice feeling for the book. The inclusion of text in this book is really nice making it a hybrid of a poetry book and a photobook and is what inspired me to include the text from my video into the publication as I knew I wanted to include text in my publication to break up the flow for the reader but I needed the right text for this to be effective.

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Another film by Andrei Tarkovsky the Mirror explores similar themes as The Sacrifice but what I am interested in here is the sound design again. The way Andrei set up an ambient and methodical sequence for his films then later disrupts it with the sound design is brilliant. For example this disruption can be seen during the footage of the children evacuating from war and at one moment amongst the chase a very loud train toot can be heard disrupting the entire scene and brings our attention to the girl of screen as she stairs into the camera.

This way of disrupting a film with audio is something I am attempting to achieve in my own film  with unsettling sounds like a dog crying and creaking rope. I also intend to overwhelm the audience with a brief loud clap of thunder to unsettle the audience at the end of the film.

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The audio in Andrei Tarkovsky’s The Sacrifice has been a very important piece of research for me during the editing of my film. When the dialog is stripped away, and one focuses on the soundscape Tarkovsky has created for the film I found a lot of the film is actually very quiet and sombre in its sound design using a lot of natural ambient sounds throughout the piece. While this is often to help set the scene and to keep the audience aware of where we are in the world, I find It also relaxes the audience, lures then into a false sense of security before Andrei completely disrupts this ambiences.

Andrei disrupts the sound scape of the film by including overwhelmingly loud screaming jets, this completely changes the feel of the film and makes the audience unsettled. This is something I am attempting to do with my own film by having thunder overwhelm the audience for a brief second towards the end of the film. I’m going to spend most of the film setting up a sombre and melancholic atmosphere and at the end take this away by using a sound of loud thunder to completely disrupt the film to reflect how home has been disrupted for me.

The sound of the fire is something that is also unnerving but just not in the same way as the jets, this is something I have replicated in my own work with the sound of the rope swing creaking as it unconsciously get the audience to make connections with suicide.

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Punched ODETTE ENGLAND

Unique original snapshots, punched by hand and layered Chromogenic prints, gelatin silver prints, Polaroids, archival tape Each is unique in size

I really like this work by Odette England It’s an interesting way of layering, merging and distorting archival and self published images. Distorting my own archival images and present day images by physically distorting them is something I’d like to try. 

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This series is comprised of over 300 Impossible Project circular polaroids taken of roadtrip travel destinations and derelict or unused establishments in America beginning in 2015 - 2018. The polaroid, traditionally an old snapshot medium, gives these signs and abandoned businesses a small one of a kind unique memorial, a new life as a photograph, using a one of a kind (edition 1/1) analog process – the instant photography (polaroid) method that also stems from the time these establishments were still open as a vernacular record of family roadtrips, creates a unique image – 1/1.

Rebecca Hackemann is using polaroid’s here as a way to intensify the idea of Nostalgia in her work. As the polaroid itself is a naturally nostalgic medium of photography using them means the images created from the camera immediately have a feeling of nostalgia to them. This is the technique I have adopted for my own work.

Even when taking away the context of the textured frame of the polaroid the colours and imperfections generated on the film are intrinsically nostalgic, making this medium of photography perfect for my own project.  

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nder the Yuzu Tree

FEIYI WEN

Under the Yuzu Tree is an on-going project, I am working with mixed media, such as our family archive, photographs, paper ephemerals, texts, letters and video installation. I am seeking traces of uncertain identity of my own family history. The investigation takes place through the fuzzy memories of family members oral stories. Through investigating family photographs, letter and other material, I am trying to put the fragmental pieces together into some kind of entity. By mixing up different material, I am testing the blurry distinction between documentation and fiction. I am in particular looking into how the narrative is altered from memory through images and how the ambiguous nature contained within the everyday. Within the liminal space between time, space and history, I am interested in the interplay between autobiography and imagination.

I love this project by Feiyi Wen the way she is using archival material is great and how she is using it to explore memories and how those memories can later our own narratives and to a certain extent our emotional experiences. This is similar to how I am exploring how my relationship with home has been effected by my own nostalgia and emotions generated by my own memories which I know find to be unreliable sources.  

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https://www.jennifermcclure.com/PORTFOLIOS/Laws-of-Silence/thumbs

reposting with a link that works 

Laws of Silence

JENNIFER MCCLURE

“When something is festering in your memory or your imagination, laws of silence don’t work. It’s like shutting a door and locking it on a house on fire in hope of forgetting that the house is burning. “

Tennessee Williams, Cat on a Hot Tin Roof

I’ve been afraid of letting go of the life I was programmed to live. I was taught that having a family and a home and a church and a regular job, all good Southern values, meant that I was successful. My own family life was difficult and displaced, not something I wished to reproduce. I am distrustful of both people and the idea of the American Dream. I’ve avoided any of the rites and rituals that signify “success” but failed to replace a broken mythology with any other.

I began searching for signs of meaningful relationships and missed opportunities, trying to piece together a map of how to be. I needed to look at the past, see it clearly, and then see beyond it. Symbols of a damaged childhood, when contained within a frame, no longer carry the unbounded force of memory. Signs of connection, when taken out of context, reveal themselves to be fallacies. I have been afraid that I will drown in other people. I couldn’t see how water can soothe and sustain as well as destroy.

Thomas Roma likens the making of photographs to Robert Frost’s idea of making a poem: “A poem begins with a lump in the throat; a homesickness, a lovesickness.” These pictures come from that emotional space of longing, of wishing for things that never were and might never be. I can only see a feeling clearly when I disarm and immobilize it, pin it to the wall and examine it with the others. I’m learning how to be alone without being lonely, how to be carried without being overwhelmed, and to walk away from what I want to leave behind.

This project by Jennifer McClure is an interesting one to me, it seems to take the ideas of Hiraeth but embrace it them as a good thing. Due to Jennifer’s past she wants to never return to particular feelings, places and times meaning she embraces Hiraeth and sees it as good thing. 

I find the way she talks about water also very interesting “I have been afraid that I will drown in other people. I couldn’t see how water can soothe and sustain as well as destroy.” using water as a bridge between my two homes is something I want to look into more as water in Cornwall is everywhere due to it being a coastal region, while here in Buckinghamshire bodies of water a sparse meaning my relationship to water is different here to when I’m in Cornwall.  

Accessed 16-08-2021

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“As a child I lived in several big cities abroad and I remember a feeling of estrangement when visiting my native Norway. Used to a life in an urban environment, the untouched nature felt both frightening and enticing, familiar but strange. Freud described this feeling with the term “das Unheimliche” – a feeling that something once known and safe, feels uncanny, strange and eerie. A feeling echoed by the prospects the world faces today.”

An interesting single images piece explores the idea of Unheimliche which is very similar to the concept of Hireth which I am exploring. While unheimlich is more closely related to feelings of uncanny Hireth is closer to a feeling of nostalgia and melancholy. 

The idea of the uncanny however is something I'd like to subtly implement into the film I am creating as this is something that would blend well with the idea of Hireth along with an eeriness that can be added through the use of the correct audio.  

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Photographer June Young Lee’s series Uncanny Landscape explore areas of transition between the natural and urban. This idea has been successfully done photographically while I aim to create a similar feeling to these images through video and on a smaller scale, blurring the lines of not online nature and the domestic but also memories and reality.

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‘Regardless of how personal the starting point of my work may be, in the end I hope my images touch the strings of a universal knowledge, something lodged in our bodies, our guts, an intuition that reminds us of where we came from ages ago. A memory of our core existence, our bedrock, unyielding certainty in a very precarious world’. - Awoiska van der Molen. 

While aesthetically very different from my own work and publication the themes that Awoiska explores are very similar to my own. often using the environment as a sort of canvas  to explore deeper more complex aspects of the human condition.  Using her own personal experience to create art work depicting the emotional and physical qualities of a landscape. 

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This beautiful short film by Makoto Shinkai is master class in audio visual story telling. The animation and audio creates a beautiful melancholic environment for the audience to experience. This film dives into aspects of the human condition and explore human relationships.

The way an environment is created by using audio is something I wish to explore and implement into my own work.

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Using different colour hues in the images is something I have been exploring using yellow and blue duo chrome polaroid’s in my project to explore different elements of the emotional concepts I am dealing with. 

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I really like the sense of loneliness Misrach is able to produce in his images. While the themes of his images are mainly about climate change the composition and feel of the images have an element of melancholy within them which are very subtle which is how I want these elements to come across in my images.

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These are some experiments I have done with the circle form of the polaroid.

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Pages for the publications.

The publication is going to be A5 and a mix of my own polaroid photographs and archive material from my family albums. I have made it so when printed the square format images are the same size of an actual polaroid in an attempt to keep some of the physicality of the polaroid which is something I really like.

I have added the archive images so they are the same size and style as the polaroid images. This is to make the viewer ignorant to which images are current events and which are memories long in the past. This has been done to keep the narrative that nostalgia can mislead expectations and leave someone feeling sad and longing for the past.