Please use this identifier to cite or link to this item: http://hdl.handle.net/1893/31192
Appears in Collections:Communications, Media and Culture eTheses
Title: Experiencing the filmpoem. A practice-based approach to the film-phenomenological potential of the production and exhibition of the filmpoem
Author(s): Ramsay, Susannah
Supervisor(s): Neely, Sarah
Birrell, Ross
Keywords: Film-philosophy
Film-phenomenology
Experimental Cinema
Artists' moving image
Filmpoetry
Practice-based
Issue Date: 17-Sep-2019
Publisher: University of Stirling
Citation: https://doi.org/10.37186/swrks/10.1/7  
Abstract: This thesis explores the production and exhibition of the filmpoem using practice-based and film-phenomenological methodologies. The filmpoem is a synthesised art form combining poetry and experimental cinematic techniques to create a non-narrative experience. This sub-genre of experimental cinema is a personal form of filmmaking that aims to evoke intimacy with the subject matter. The structure of the thesis is divided into two, to reflect the dual methods and to bring focus to the intersubjective nature of the project. The first section analyses the production of the filmpoem and makes use of Laura U. Marks’ (2000) distinction of haptic visuality and Jennifer Barker’s (2009) perspective concerning cinematic tactility. A case study approach examines key films from Leighton Peirce and Margaret Tait to understand how these film-phenomenological elements function within their work. Drawing from this analysis, my film practice attempts to transpose my (inter)subjective perspective, a position already inscribed in the real world, through film form, i.e., slow-motion, lens manipulation, editing, and camera movement, to evoke embodied, multi-sensorial experiences for the viewer. A critical reflection of my work considers these perspectives. Building on the production elements of filmpoetry, the exhibition of the filmpoem is explored through an analysis of Chrissie Iles’ (2000 and 2001) and Maeve Connolly’s (2009) work concerning the incorporation of single and multi-channel moving image installations into art galleries and museum spaces. Included in this examination is an interpretation of Maurice Merleau-Ponty’s (1964) concept of the reflexive body, which forms the basis of my analysis regarding the attentive spectator, supported by Volker Pantenburg’s (2012) and Giuliana Bruno’s (2007) debates. Again, a robust critical reflection is incorporated, which, in turn, highlights the intersubjective relationship between myself, as a reflexive practitioner, the gallery-goer and my work in situ at RSPB Loch Lomond and An Lanntair Arts Centre.
Type: Thesis or Dissertation
URI: http://hdl.handle.net/1893/31192

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