Although my work associated with my life, what I do not go free technical nature. I use the film to save the images and events, the carrier a strong personal meaning for me. I make films about things I see, and I think I see. I can not create these images. We have available there and I have to recognize them. Make movies with my desire to go on a transformation, and finally, I feel really very few things I could honestly go.
I use what I know about film language to express and explore images – all images leads. I do not use narrative in a conventional way, but I try to tell something. I believe that the film’s visual language can express things I can not use words.
Most of my work is made of 16mm film. I choose to work on this material because of the quality of the material – lightweight, density of black, subtlety of color and sound as well as image quality of movies being screened. I love the physical properties of the film and the exact mechanics of it. I love the sense of space in the video frames and it can directly convey to the viewer what I want them to see.
I make films until 1989 K, I always make films about other people. I started to show in the movie when I felt unable to suggest friends to do what I want anymore. The movies themselves turned to me out of seeing yourself doing something important like. (Now I make films primarily for others.)
Recording of performances or ritual body is central in all my films. I like the drama from what I’m recording, happening right in front of cameras. I do not believe I can make a more interesting picture of what funds are processed by it. Things are not always as we think. By returning to what actually took place, I hope to explore what lies below them.
The whole process of my work is an exploration. When recording, I do not know the movie is completed will be like, so I need to open all of his options. It means being able to turn lots of footage (footage) – it’s not how much to save for – I was always afraid of accidentally miss something. When I started editing, it is almost a re-start. The film gradually emerging and manifest meaning and its forms, through the editing process.
Editing is always really important to me. I like to touch the film material, the entire cutting process visual images in relation to sound, look at everything in every little detail, the scale of change in the air strike, the significance of renewable “real time”, moving between different locations as if they are in the same space, implying the dual action, making the connection between the images and events seem fault. I always edit my movie – I can not imagine letting someone else do it for me – how do they know what I want?
Music and audio is becoming increasingly important in my works. For me, the music itself expresses itself through a tangible way that it is played. I experience the strong similarities between the way music is created and how I try to express ideas through film. Music allows me to think about how to structure an abstract film and more conventional nature.
When I first heard the pianist Katharina Wolpe Stefan Wolpe’s music, her father, I think it is very rich in nature films. There is something I think I got out of Wolpe’s music, it’s close to the way I think about film. I want to make the film what Wolpe do in music.
Dramatic musical performances attracted my gaze. I was fascinated by the act of touching – and then lost – packed in-depth exploration of a musical note. In the film, I tried to make sense of touch becomes tangible. I was led into the world of music with expression and emotional body of musicians. Physical act of making music can really transform the look, physical and emotional. I was fascinated by the unconscious of the musicians when they performed, the concentration and the fragility of their vulnerable, often reflecting on his face, and just at the moment they stop performing as they return .
About the author: Female artist Jayne Parker (born in 1957 in Nottingham) to explore the world as a student film architecture Canterbury College of Art (1977-80). Her work, which was screened widely in the arts, on television and at international film festivals, often marked objects, performances and gestures combined with cameras, all 16mm film is weak, focused on the exploration of space, time and the experience of the body. She was a guest lecturer at the Goldsmisths (London) from 1984 to 1998 and taught at the Slade art school (London) from 1989. The work is widely known as Free Show (1979), RX Recipe (1980), Cat I (1980), K (1989) – in which she is film director, producer, editor and is the performances in the film. Notes about Jayne Parker’s films above suggests many thoughts about the relationship between real-world sophistication that the artists exposure and the metabolism of complex collisions which language arts.
Nhã Thuyên services. Experimental film and video sources, edited by Jackie Halfield, publisher John Libbey, 2006
Note: The images in film K. (1989)
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