FMP CAN OF PAINT E2
FMP: Can of Paint – videos
Team – Avi, April, Diana, Miki
PROOF OF CONCEPT
ANIMATIC by April
Animation test by Avi
First Proof of Concept animatic by Avi
OLD SCRAPED SCRIPT
CURRENT SCRIPT
YEAR 3_2023/2024
DPS 2022/2023
Collaborative project OUTSIDE w/Leo Cui
(20th August-26th October)
I started my DPS year with a collaborative project. I was approached by Leo, a sound student who offered me an opportunity to collaborate on a project.
Leo Cui is a first-year sound student from Sydney Conservatorium of Music, who for is the end of year project wanted to collaborate with an animator to produce a score and sound design.
He proposed a brief of creating a 4-5min length animated short with his sound design and score made by him with a deadline of 12 weeks. From the start, I knew that is an outrageous deadline to fully complete a short film by myself and have it ready for any competitions. But I wanted to at least create a visually coloured animatic visual for Leo’s score. I agreed to challenge myself and push to produce a project with this short deadline, and to work with a sound designer 50/50 on a project.
The visual and animation part of the collab was up to me. I wasn’t working on anything at the time, so his suggestion of extending my 2nd-year film OUTSIDE was an optimal suggestion I agreed to.
Throughout the project, we would call each other weekly to update about current at the time production stage.
The project heavily leaned on visuals and sound collaboration and fit together, so my nature as a visual storyteller and Leo’s as an auditory one worked wonders together. Where I fell short on my original rendition of OUTSIDE, mainly narrative and time limit, this time I had a chance to extend and rework it with the input of another creative voice.
I’ve spent much time in pre-production, trying to settle on the colour palette, character, and world in general. Even if we talked with Leo about re-using old footage if needed, I wanted to change the visual aspect of the whole film thoroughly if that was possible with the time we had.
The project itself was finished and submitted on time, although it is still more for the animation guide, not finished, and really rough for now.
Even if we reached the deadline, we both agreed to push the whole film as far as possible with our respective parts. I will be working on it to improve it and hopefully reach a level of finesse to put it up for festivals and competitions.
BlinkIndustries Logo Intro (Live Brief)
(13th October – 9th November)
For this project, we were briefed by Benjamin Lole, the head of the animation of BlinkIndustries. He proposed a project for us to create a BlinkIndustries Logo Intro animation sequence. The parameters of the project were 10-15sec animation fully rendered in 6 weeks.
While doing the research on BlinkIndustries brand, what stuck with me was their work on Don’t Hug Me I’m Scared and Love, Death & Robots.
I settled on working in Blender and using a mixed 2D/3D approach. I am working on sci, tech, and matrix-like ambience.
When we had our animatic review, Ben really liked my concept and green-lit it for further production. The only comment to consider he had was in regard to sound design, but I defended my choice and he agreed with me.
I made a set the mountain of old retro tv screens, that light up with static and distorted clips from different BlinkIndustries produced shows.
One of the main difficulties and time-consuming things was renders. My 16sec video had to be left to render for more than 18 hours in total.
I wasn’t present at the presentation event, but I am satisfied with my results, I learned new features of Blender, how to compose and edit the footage and how to improve it with 2D elements that I can use further in my follow-up projects.
MeinArt Internship
(7th November – 7th February)
I flew to Lithuania a couple days before the start of my Internship, to settle in and familiarise myself with Vilnius and my future workplace.
First weeks
The week started with me meeting the Studio director Meinardas, and him showing me around the studio. I met most of the people there. The studio itself is not big, it houses up to 18 people. Funnily enough, on my first day, there was also a celebration of one of the artist’s 10 years of him working at the studio. So I got to meet almost all the studio people on my first day.
When I arrived on my first day, I was shown my workspace that they freed for me. I was supplied with an Adobe package and a digital tablet to do my work. I got onto familiarising myself with my new workspace.
MeinArt studio works using Adobe production pipeline. Backgrounds are done in Photoshop, Character layouts – in Illustrator, and animation is fully done in After Effects.
MeinArt is mostly a commercial animation studio. But at the time when I came to do my internship, they got a huge commission to produce cartoon series with the famous Lithuanian children’s book character Kake Make (known as Nelly Jelly abroad). Kake Make is a really popular brand in Lithuania, ranging from books to plushes, teas, cereal and toothbrushes. The production was focused on producing six 11-minute-length episodes and connecting them into a full-length film for the premiere in spring.
Because I chose Animation for my internship (the studio was offering both animation and illustration internships), I was set up to work with After Effects, to animate a couple of test shots from their current cartoon episode.
It was my first time working with a full-on Adobe pipeline. I have used After Effects before, but more as compositing software, not character animation. The good thing was that I had the option to consult and ask for help from the other 4 in-house animators. After a couple of days of trying to figure out AE rigging and animation by trial and error, one of the animators, Rimantas, gave me an AE rigging course they used in-house to advance their skills. It was a truthfully useful 8-hour course going from the basics of DUIK (AE rigging and character animation plug-in). So by spending a couple of my internship days in the studio going through the course, taking notes and trying to apply the skills taught, I came back to my test shots with a new perspective and knowledge of how to fix existing motion problems.
My progress throughout the Internship
During my internship, I was tasked with the same as all the in-house animators: working on Kake Make cartoon. I didn’t get any ‘internship-specific’ tasks or personal projects. It provided me with consistency and a real glimpse into working in the animation studio on bigger, more time-consuming projects. See the real life and work that happens in the studio is the rawest type of experience you can get.
When I started working on my assigned shots at the start of my internship, I didn’t have any experience in AE rigging or project set-up or overall AE besides minimal compositing. But throughout the 3 months of consistent software usage with extra supervision of the more experienced coworkers, I can finally regard myself as at least intermediate in Character animation, and I know that the technical skills with be so useful to me working forwards. Before I was intimidated by using AE for my projects, but now, after the AE crash course that was my internship, I gained exposure, understanding and experience in such useful software.
My gained skill set ranges from Adobe Illustrator, and AE project set-up, to intermediate knowledge of motion graphics and character rigging and animation in After Effects. I’ve learned how to use motion more effectively and how to custom-rig needed characters, from animals to people.
Studio Community and life
As a smaller studio, Meinart houses around 4 in-house animators and 6 in-house illustrators/graphic designers. It is a studio of roughly around 20 people counting in all managing staff, directors and freelancers.
The studio has a really bright and welcoming atmosphere, and I noticed, that the studio culture is very well built on team bonding and celebrating each other. As I mentioned previously, My first day in the studio was a celebration of one of the staff’s 10-year anniversary. For the occasion, the director organised a pizza party for our lunch break.
The breakfast and lunch times were seen as communal ‘events’, to catch up with each other, share the news, share personal achievements or gym streaks. And every Friday there was a shared breakfast when one person would make breakfast for everyone.
Besides day-to-day studio life, throughout my time there, I got a chance to go to a Lithuanian movie festival and see films that people from the studio worked on. And also got a chance to go to the cinema with the whole studio team to watch Disney’s ”Strange World” and ”Puss in Boots 2 The Last Wish”.
I got a chance to take part in a couple of the office celebrations. A couple of them were the end of the autumn and the next Christmas/New Year party. It was really awesome to get to know people outside of the office spaces and hang out with them while playing pool and having drinks.
My overall experience
I left the studio with an actual positive experience The studio and staff gave me a chance to participate in animation production and studio day-to-day life and be a part of the team for 3 months.
After the internship, I realised that I like working in the studio, and I wouldn’t mind getting a 9 to 5 studio job after graduation. In a welcoming space, that kind of work helps you grow and learn from more experienced people around you.
I would love to come back to the studio after graduation if they would have me, and they already let me know that they would love for me to pay a visit to the studio anytime I am back in Lithuania.
Museum of Brands Social Media Post Animation (Live Brief)
(6th February – 7th April)
I was offered to take part in another Live brief organised by the uni in collaboration with the Museum of Brands, led by Nicky Francis. We were briefed on our task: Create a 5-10 sec animation with chosen holiday as a motive. We were assigned a photo of the museum facade as well to make an animation in which the first and last frames would be the provided photo: produced looping animation.
My main two choices from the start were either earth day or Pride Month. I think in general brands are trying to ‘go green and that would play into the Earth Day theme very well. And brands changing their designs and releasing their limited edition pride stock would fit Pride Month as well.
When I was brainstorming about the holiday to choose, I wanted it to be significantly connected to the theme ‘Brands’, something that has a significant impact on the brand and its product looks.
After my first tutorial with Nicky, when I showed my ideas for the Earth Day motif, I finally settled on it. My initial idea was the vines, emerging from Museum doors, piling out and covering both entrance wall sides, simultaneously changing the packaging mural into a mural full of nature: vines, coral, mushrooms and moss. It was my rough first draft. And after my consultation with Nicky and a couple of her insights, I made a list of changes. Nicky mentioned that the brand mural should still be visible, that is the point of the museum after all. So for my new animation draft, I chose to take a different direction. Instead of variety, I chose to use vines. I reimagined them as semi-sentient creatures, bursting out of the entrance of the museum, with one goal in mind – to cover and grow over the front of the building.
In my following tutorials, I got more insight on timing and camera transitions, As well as a couple of vine design ideas and an idea to include a possible nudge towards a sustainability message.
While the whole process was pretty straightforward, and my animatic was done a couple of days after the initial concept confirmation, going forward I experienced a bit of creative block on the project. I couldn’t focus on it or get the inspiration to continue. I knew that I liked the concept but the execution of it was lacking. But I knew that it was better to have something completed, so I finished the animation and added an extra bit of detail, composited in After Effects.
In conclusion, I was glad to work in collaboration with the Museum of Brands and show my work to MoB associates in the museum itself. It was a learning opportunity to work on tailoring a project for a specific client and trying to connect to the Brand and its values.
Freelance Graphic Design for Email Newsletters
(November 2022 – Ongoing)
In November 2022 I got an offer from Laisvidas Karvelis, the head of Growth of Tupperware Direct about possibly doing freelance work. It was a graphic designer role, focusing on consistently producing newsletter emails for upcoming product launches, sales and discounts. I was really interested in the opportunity so I took it.
The start was pretty slow. I wasn’t fully sure what kind of feel the emails should go towards, and that required a lot of revisions and experimentation.
It was on-and-off-job, around 15 – 20 emails a month. But moving forward, around December/January I had built a consistent design guide, colours and elements. Earlier it would have taken me up to 2 hours to finish the email’s first draft, now I can do it quicker, and it takes up to an hour.
It is still an ongoing gig, every month I get new email briefs to complete. I get paid on an email amount basis, so months that have big holidays are more work for me, such as Black Friday or Christmas.
Throughout my whole experience working, I understand the need to work more efficiently and use software to your advantage. For example, using colour and gradient palettes, saving their specific swatches for later use repeated elements from past designs to compile new ones.
The opportunity was a great way to trial my graphic design skills and understand a little bit more about newsletter construction and the ways to market products from a designer’s perspective. I find out that I don’t mind graphic design too much, and feel quite comfortable with possibly sticking with some other similar type freelance gigs if they come about.
EXPLORATORY PRACTICE
Start of the Project
We started our project briefing by setting our goals and ambitions for the unit. We were asked to make a presentation regarding in. We were asked to explore our aspirational and motivational projects, as well as set our possible technical benchmark for an upcoming project.
For my aspirational artist, I chose Sad-ist. She is a Filipino animator and shares her work on youtube. Her work’s aspiration points:
- composition
- energy flow
- transitions
- editing.
I chose her because she is skilled in what she does, and I am learning a lot from her approach. My skill level can reach that in my 2D animation pathway.
My motivational work is Arcane, a series produced by Fortiche studios. Phenomenal art direction and 3D animation wrapped with engaging characters and storytelling create one of the kind series to watch and learn from.
- Character design
- Composition
- Storytelling
- Colour
- 2D FX
TECHNICAL BENCHMARK
For my upcoming Personal Project, I looked into artists whose style and approach are more in line with my own vision. I found a couple that became my inspiration for the self-led project.
- Kiera Boyle – strong shape and colour language, bold colour choice.
- Ethan Becker – character design flow, expressions and innovative hair design.
- Dedouze – Blender artist, limited palette, colour limit sparks ingenuity while using lights and shadows.
SUBJECTS
For the project, I had a couple of ideas that I found myself intrigued to explore:
LOSS – Missing a person, place, or time left in the pat.
LOST – Not knowing where to go, feeling trapped, What are you searching for?
ENEMY – Who is the real evil? Instinct or knowledge
PHOBIA – What is scary? How is it perceived?
CONCEPT DEVELOPMENT
My project started as a way to visually and technically explore a chosen concept. It is fear and its perception. I chose agoraphobia and social anxiety as my area of focus, I thought it was quite suitable as a projection of the world as it is, living in a technologically advanced society in post-pandemic times. Technology the whole world connected, but it also leaves us open for anyone to observe and judge as well. Contrary, pandemics kept people forcefully separated, and the need for contact was prevalent enough.
In my personal project that I called OUTSIDE, I decided to focus not establish specific world events, but focus on telling a story about the state of the character while experiencing the state of overbearing fear-induced panic.
I set my goals for this project to explore visuals of fear and while doing so, build a project that I could work with in the different mediums.
MOODBOARD
I compiled a moldboard for my projects by the strong shape and colour play – two things I wanted to put the main focus on. Strong silhouetted designs help characters appear more visually interesting and distinct.
CHARACTER
For my main character Fio, I did character exploration and development exercises. I knew that I wanted him to appear more reserved, anxious, and maybe inconspicuous trying to not get approached.
For character hair, I gave him fringe and made it to cover one of his eyes. It is partially for the subconscious need to hide oneself and not attract attention. As for eyes, I wanted to give him more down-turn wing eyes, to appear more worried and uncertain.
I gave him a hoodie for an extra layer of support, baggy clothes sometimes feel more comforting in uncomfortable environments. I made a creative choice to give him a bright pink hoodie, because I am planning on using mainly a cyan/pink colour palette for my project, and consciously using the main accent colour will establish Fio as the main character.
STORYBOARD WITH AUDIO TEST
We had a couple of sound editing workshops, where we could work on our speculative sound design and assemble some sort of audio library that we are going for.
STORYBOARD PROGRESS
My first shown storyboard. It got improved and ore developed every time I worked on it.
I had a lot of hustle trying to come up with a somewhat satisfying narrative end. Although I stayed quite consistent regarding the first part of the storyboard. I think I had a fully-developed idea in my mind about how I wanted to start the animation but wasn’t sure what end would be the best in telling my story.
SCRIPTS
VERSION 1
the boy is on the train. he is pushed and drops his phone, and it breaks. phone releases insecurities (Lil monsters)
the boy tries to put them all in his pockets and keep them there.
the boy is out of the train. the monsters squirm in his pockets. few of them get out and start disfiguring outside (boy falls into the abstract, disfigured plane).
he tries to claw his way out of it. struggling. tries to do breathing exercises (4 in 4 out). little by little he started to calm down.
he gets out of the pit and recognises his home.
when he passes the entrance, the monsters morph into non-threatening ones, change colour and find their places.
VERSION 2
the boy is on the train. he is pushed and drops his phone, it breaks. phone releases lightning/glitch
buy picks the phone, looks around the carriage to check if anyone saw it. Passengers’ faces start to glitch (subtle glitches)
Close up to one of the passenger’s faces glitching into a morphed state.
the boy is out of the train. surroundings/ people glitching (still subtly)
The boy is almost knocked by a bike/scooter passing by.
Scare makes the surroundings glitch, even more, boy is overwhelmed. (boy falls in the abstract, disfigured plane).
he tries to claw his way out of it. struggling. Runs in the darkness, trying to reach the light.
he gets out of the pit and recognises his home.
when he passes the entrance, the glitches stay outside.
VERSION 3
the boy is on the train. he is pushed and drops his phone, it breaks. phone releases lightning/glitch
buy picks the phone, looks around the carriage to check if anyone saw it. Passengers’ faces start to glitch (subtle glitches)
Close up to one of the passenger’s faces glitching into a morphed state.
the boy is out of the train. surroundings/ people glitching (still subtly)
The boy is almost knocked by a bike/scooter passing by.
Scare makes the surroundings glitch, even more, boy is overwhelmed. (boy falls in the abstract, disfigured plane).
he tries to claw his way out of it. struggling. Runs in the darkness, trying to reach the light.
He wakes up on the pavement. He is still on the same road, but now he can recognise the place for what it is.
But even when he calms down and stands up to go back, from the corner of his eye he still can see the distortions from the corner of his eye.
In the end, I went with script version 3. I decided that the message of ‘fears are still there even if you overcome them’ is the best portrayed in that version.
COLOUR
My animation is created with a cyan/pink complementary colour palette in mind. I set my goal to use limited colours and explore work tonally and contrast-wise.
From the start, I had a few ideas about colour and did some exploration regarding the mood of the piece ut later on I settled on the cyan/pink combination.
Cyan – cold, unfamiliar, detached.
Pink – Approaching threat, danger.
I decided to use the colours for showing growing intensity in the animation. The brighter pink gets, the more environment it consumes, and the less stable the main character feel.
Finally, I reached the point where I was happy with my storyboard. It was still pretty rough, but clear enough to help guide me in creating further animatic for the piece.
3D DEVELOPMENT
My want to develop a 2D/3D project was partially inspired by the artist Dedouze, whose main body of work is Blender Grease Pencil moving illustrations.
Personal Project for the Exploratory Practise unit seemed like the right place to try and hone my skills in this specific area of interest.
I started my process by designing shots that would require an elaborate background set, such as a train carriage and city square. And by learning about toon shading, I prepared all the models with greyscale to, later on, recolour them with the appropriate colour scheme.
I went through a bit of colour alteration, but it was really easy and efficient to do so. As well as useful to check different colour combination moods and their compatibility with my narrative goal.
I can strongly say that this opportunity was eye-opening about the possibilities of 3D backgrounds and I will be sure to improve and use it more efficiently later on.
CRITICAL APPRAISAL
Throughout the Exploratory Practice unit, we were allowed to explore ourselves as creatives and animators through provided Personal Project brief. The unit was largely focused on leading and encouraging us to experiment. Try techniques or approaches we haven’t before. It was a unit full of opportunities to hone and try own new aptitudes and possible ways of production for future reference. I viewed this project as an opportunity to finally explore different techniques that could help me become more proficient, such as Blender and After Effects, and try to incorporate them into my work pipeline in the future.
From the beginning, the brief provided was lax in the form of the subject of choice. That was my first challenge. To come up with a narrative to tell in a minute and make it count. I quickly realised that most of my ideas would go over that time. To simplify and make it count, it was my first self-taught lesson to learn. I kept it in mind while developing my narrative. While working on it, I was not confident in the themes I wanted to cover. One of the best pieces of advice I’ve gotten regarding making a choice was to draw it from self-experience and improve on it. So, I decided to focus on visual analysis of a person’s well-being in a post-pandemic world. It let me explore the connectivity of people as well as the vulnerability and openness that comes with it. And it led me to the exploration of social anxiety and agoraphobia – fear of going outside, which is relevant regarding health endangerment for the past few years. The real experience, even if it didn’t feel like the project directly, gave me a clear frame of reference for how I wanted to proceed with it.
I used the time in the unit to explore my technical horizons. My biggest inspiration style is 2D/3D blended animation, I wanted to give myself time to re-familiarise myself with Blender, learn After Effects and Harmony, and start expanding my skill set in them. What helped me was the tool kits and workshops. The ability to learn from professionals that work in their respective software was hugely appreciated. I didn’t waste my time and got After Effects basics in character animation, motion graphics and multiplane, as well as further knowledge about Harmony rigging and nodes. But I think I am most proud that I pushed myself to remember Blender and use it in my own time to learn and hone my skills there. My focus was to create backgrounds with toon shading and have explored enough Grease Pencil tools to use it with ease for extra detail. And I can confidently say I successfully reached my set goal for this project regarding 3D elements.
Of course, it’s just the start of the learning curve for me, and I am ready to work on my knowledge and understanding further. Additionally, my understanding and usage of Harmony improved as well. I got used to it, for it to become my software of preference. It was a shame that I didn’t feel confident enough to use rigged animation, but I am planning on putting an effort to learn it. Overall, I gained a lot of new and renewed dexterities through the time of this unit, and it provided me with an overview of the skills I could build upon further.
This project showed me that I am capable to develop a cohesive narrative and take a project from its very start to its very end. I found myself paying more attention to the implied meaning in colours, design choices shot composition. That was another of my goals for the project: make argumentative choices, and create things with reason. I always loved the little trinkets and easter eggs in films and productions, that tell a bit more about the world. Maybe I didn’t add a lot of those in this project, but I was keeping conscientious regarding my decisions in visuals. I think overall I used this project to train my eye and mind to focus on the narrative and worldbuilding it requires.
As well as positives, I had my shortcomings as well. I caught myself not managing my time as efficiently as I could have. I was working with schedule, but sometimes undenounced circumstances can put progress in a tight spot. Secondary under-coming was noticed as my stubbornness in working solo. I found it hard to ask people for assistance regarding project progress. Although thanks to Patricia and Coco that helped me with colouring and character design respectfully. I found it difficult to convey the needed ideas and goals regarding my project. But I am staying conscientious regarding these bumps in my progress and will make sure to try and work through them in my upcoming projects.
In conclusion, the project overall was great for remembering and using the animation pipeline and skills that we developed throughout our artist journey so far and building on top of it. The unit gave me greater self-awareness and understanding of my own goals, and steps to move forward both technically and in professionally. The whole experience is really rewarding when the final animation is viewed fully and the knowledge of how much effort was put in is what makes it worth a while.
PROFESSIONAL PRACTICES
SPEAK UP videos
SPEAK UP. FINAL OUTCOMES
SPEAK UP. ANIMATIC
SPEAK UP. SCENE_1. PROOF OF CONCEPT
SPEAK UP. SCENE_4. TEST
SPEAK UP. ANIMATIC and FINAL ANIMATION comparison
INFORMED PRACTISE 2
1_Theory and Practise in Context
“Most of t he ideas advanced (in film studies) have been suggested by people without any knowledge og how is actually put together… aftr seeing one or two projections of the films considered”
– Barry Salt, 1974
“The split btween theory and practice in the study of cinema reults in a ludicrous situation: students in cinema studies lack the practical experience (needed to understand) the specificities of the medium, and students in film production are deprived of the theoretical/historical background which is crucial to their development.”
– Vlada Petric, 1976
REALISM – the assumption that cinema is able to render a realistic representation of the world “life as it happens” – a new level of objectively viewing the world.
FORMALISM – assumption you unable to record reality as it is, such a limitation defines the artistic practice, constructivist approach – new way of subjectively expressing the human experience.
FILM THEORY
https://routledgetextbooks.com/textbooks/9781138824300/default.php
CINEMA AS … https://vimeo.com/user32085195
Animation enables me to give magical powers to things. In my films, I move objects, real objects. Suddenly everyday contact with things which people are used to acquires a new dimension and in this way casts doubt over reality. In other words, I use animation as a means of subversion. – Jan Svanlmajer, 1992
CREATE YOUR OWN THEORY OF ANIMATION
Additional research topics:
- Glene Keane “Acting for Animatiors” how animators give shape to emotion
- “The street of crocodiles”
- “Waking life” 2001
- “Waltz with Bashir” 2008
2_Rotoscoping and the Animated Documentary
- Animated documentary – does such a thing exist?
- Why is the merragee of animation and documentary such an odd union?
- Why do questions of realism in animation appear to be a provocation?
- Wha can animation ‘do better’ than conventional documentary/live-action ways of telling and showing?
DOCUMENTARY – ‘dependant on the specificity of its image for authenticity’ – Blurred Boundaries, Bill Nichols, 1994
ANIMATION is not the art of drawings that move but the art of movements that are drawn; What happens between each frame is much more important than what exists on each frame; Animation is therefore the art of manipulating the invisible interstices that lie between the frames.
ANIMATED DOCUMENTARY:
- has been recorded or created frame-by-frame
- is about the world rather than a world wholly imagined by the creator
- has been presented as a documentary by its producers and/or recieved as a documentary by audiences, festivals or critics.
Rotoscoping Technique
Invented by the Fleischer Brothers in 1917.
An animation technique in which animators trace over footage, frame by frame, capturing fluid and lifelike motion.
Originally, recorded live-action film images were projected onto a frosted glass panel and re-drawn by an animator. This projection equipment is called a rotoscope.
Rotoscoping has largely been replaced by computers especially in the form of motion capture.
GUEST SPEAKERS
Katerina Athanasopoulou
“Playing the Theory, Reading the Practice”
Website: https://www.kineticat.co.uk/
Projects
BRANCHES OF LIFE http://bodyofsongs.co.uk/
HER VOICE https://vimeo.com/337538618
APODEMY
Jacques Derrida “Ghost dance”
Ghost Dance is a 1983 British film directed by Ken McMullen. This independent film explores the beliefs and myths surrounding the existence of ghosts and the nature of cinema. The film focuses on philosopher Jacques Derrida who considers ghosts to be the memory of something which has never been present. This theory is explored in the film.
‘Practise as research – research method‘
‘Dont be precious with your images, be precious with your concept‘
Additional reseach topics:
- Maskirovka – russian military deception
- Poet Giom Apoliner’s works
- Hauntology
- Mark Fisher’s works
- Brutalism