Browsing by Subject "Moving image"

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  • Kantonen, Pekka (2017)
    The subject matter of this research is the method with which I have approached my video archives. I have developed it together with Lea Kantonen, and it is a method of filming, watching and commenting that we have named Generational Filming. We watch and comment our home videos with people from different age groups, different specialists, and other viewers with different cultural and ethnic backgrounds. These discussions are filmed, and then added to the next edition as a new generation of the video to be shown to other audiences. Viewers help us conceptualise both the interpretations and the theorisation of our footage. We have arranged more than fifty screenings in order to analyse the data in a collaborative way. Generational Filming takes reflexivity to exhaustion or to a kind of saturation point. The chain of watching and commenting changes the meaning of the first shot, of the first generation of the chain. The focus of watching gradually changes from the viewed to the viewer. While listening to the interpretations made by previous viewers the subsequent viewers start to make comparisons between different cultural positions, and self-reflexivity begins to govern the experience of watching. My study concentrates on epistemological issues connected to the documentary approach. My research interest could be distilled into the following questions: What happens when an event is recorded (on film, video, etc.) and the recording is subsequently viewed? What are the truths, meanings and interpretations that emerge in the process of filming, editing, viewing and discussing a video diary? How does the spectator’s experience of watching change when watching filmed comments of that which has just been shown? In every chapter I concentrate on a special phase of the Generational Filming process: the birth of the idea, filming, performing for camera, arranging and indexing the material, editing, screening, commenting, and making new versions of the case study. My research consists of eight case studies. I borrow the term case study from sociology as it corresponds well to the manner in which I have both delimited and approached the areas of study. These eight case studies present an overall view of Generational Filming. With the term case study I refer both to the video and to the writings on it, which have been assembled as chapters in this book. The videos and texts are also case studies in themselves. In five case studies the first generation of video is a home video clip filmed in our home. One case study is based on a filmed song sang by Seto songmothers. One is a dialogical art project made together with a third artist about her summer identity. The eight case study is a museum project with Mexican indigenous people, Wixaritari, in which the method is used for planning a community museum. I recount the results of each case study and attempt to understand the significance of the method and its position in different academic and artistic discussions. I have categorised these discussions under four headings: Generational Filming in the tradition of moving images, Generational Filming as ethnography, Generational Filming as socially engaged art, and Generational Filming as artistic research. Doctoral thesis in fine arts includes three exhibitions made with Lea Kantonen: Favourite Place (2004) in the project space of the Museum of Photography Helsinki, Most Important in Life (2005) in Helsinki City Art Museum Meilahti, and Ripples at Home (2011) at Helsinki Kunsthalle. My part in these exhibitions has mostly consisted of the video documentation. In this book I write only about the works presented in the Ripples at Home exhibition.
  • Francois Bucher, Chto Delat, Lee Ellickson, Irmgard Emmelhainz, Mike Hoolboom, Gareth James, Nimetöna Nolla, Constanze Ruhm, David Rych, Gabriële Schleijpen, Amie Siegel, Jason Simon, Maija Timonen, Kari Yli-Annala, Florian Zeyfang. (The Academy of Fine Arts at the University of the Arts Helsinki, 2020)
    This publication is the late outcome of a small symposium that took place in 2013 at the subject area time and space arts at the Academy of Fine Arts at Uniarts Helsinki. It presented research and analysis of conceptual traces in Godard’s oeuvre and its relation to contemporary art practices. Beyond the invited contributors from this symposium, the project expanded into a larger collection of writings by contemporary artists and curators on Godardian references, influences and (re-)discoveries, centering around a particular phenomenon – what we call the “Godard Boomerang” is a set conceptual strategies deeply rooted in 20th century art cinema, propelling towards the future practices in moving image art. Gareth James, one of the contributors, reminds us that contemporary art still lacks some crucial pedagogy in this regard. In his text he asks, “what capacities might contemporary art need to possess in order to be capable of registering the objective historical achievements of Jean-Luc Godard?”So, why still Godard? A question we heard many times in the course of editing this book.And further: “Wouldn’t this be an appropriate moment in history to pass the torch?”Most likely there is no more torch to pass. If there is a thing to pass (a merit, a philosophy, an attitude), the questions would still remain: Passing it on to whom? To an individual? A collective? An entire movement? The latter would fit so much better into a time that has begun to successfully diversify and cross-reference contemporary thought, refusing to follow isolated key thinkers by de-magnetizing their rocky islands of ideology. Needless to mention, contemporary efforts to contest gender and geopolitical dominances also complicate any attempt to simply “return” to Godard.The recent chain of power shifts, uprisings, in the Middle East and Eastern Europe, migration movements from war-torn North African nations and armed conflicts all over the world have brought forth new moving-image practices many of which have drawn from Godard’s militant filmmaking period. In recent years, the latter has been rediscovered and analyzed more thoroughly than ever before. Almost a third of the contributions in this book are resonating with these efforts.Most of the texts were written in the time right before Godard himself turned to the precise topics of the aforementioned research. His most recent works, Adieu Au Language and especially Le Livre d’Images return to precisely topics of his Militant Cinema period. A distinct divide between two opposing groups of Godard scholarship has therefore become more apparent – those who praised Godard’s narrative filmmaking and those who are solely interested in his documentaries and collage essay films. However, this collection of writing does not belong to either of them. The authors working from the perspective as artists that always relate the given topics to their own practice. This reflection through a separate faculty enables a triangulations, by entering in further dialogues with other Others, which, in this case are: Edward Said, Jorge Luis Borges, Guillermo Gomez-Peña, Hito Steyerl, Eija-Liisa Ahtila , FEMEN, Birgit Hein, Laura Mulvey, Peter Wollen, Kaja Silverman and Harun Farocki.