Predavanje u okviru Urban festivala - Cinema into the Real - Steven Eastwood

vrijeme: 08.07.2003. - 08.07.2003.19h
mjesto: klub net.kulture [mama], Preradovićeva 18, Zagreb
organizator: BLOK

Nakon 2 instalacije-akcije na Glavnom kolodvoru i u Dubravi, britanski umjetnik i predavač Steven Eastwood će u utorak, 8. srpnja u 19 sati u klubu net.kulture mama održati predavanje - ključna pitanja: - Filmski narativi i narativi društveno konstruiranih prostora - filmsko posredovanje i posredovanje proživljenim iskustvom - primjena / vračanje filmskih procesa u kontekstu svakodnevice - implikacije pogrešaka, isklizavanja unutar narativa s ekrana te kada i kako se ta isklizavanja pojavljuju u stvarnosti Eastwood će u svoje predavanje uključiti i iskustvo stečeno u Zagrebu.
Filmsko iskustvo Stevena Eastwooda obuhvaća dokumentarni i fikcionalni film te eksperimente s narativnim modelima gdje ispituje koncepte performativnog i onog što konstituira fikciju. U posljednje vrijeme Eastwood je proširio svoje filmsko djelovanje na rad sa živom komponentom i kontekstima izvan kino dvorane. Projekt Kino u stvarnost je pokušaj sjedinjavanja svega navedenog u nešto što autor naziva kontekstualnim filmom. Projekt se manifestira kao serija testova. U Zagrebu je S. Estwood u skopu Urban festivala postavio još jednu filmsku intervenciju, Test četiri, gdje su tramvajske stanice na nekoliko sati članove javnog prostora uključili u prostor fikcije. Ti su prostori postali razrađeni filmski setovi. Ovaj film je stvarnost. Njegova fikcijska povezanost i dramatski učinak će se u potpunosti sastojati od nepredvidljivih događaja koji se ostvaruju kroz reakciju prema kontekstu. Svaki film mijenja subjekta kojeg opisuje. ADDITIONAL INFORMATION: Cinema into the Real, Test One funded for the EATOMSK project by London Arts, 2001 - Realised December 2001 A film of the real which is not real because its reenacted and is not film because it is not recorded. In Toynbee Arts Cafe hidden video cameras were trained on one specific table for random 20min bursts over two days in early October. Selected subjects of that scrutiny (two or three people) were invited back to recreate from tape, word by word and movement by movement, what they did at that table. Once rehearsed this became a reperformance, occuring one week later in the cafe space. Everything which was said and done by those people was said and done again. This eperformance was then be performed again as a Ofilm shoot1, presented as a series of Otakes1 announced by a clapper board, and then as a film Oscreening1, on October 21st at 7pm, as a part of the OMSK EATOMSK event. However, no recording or creening devices were used. Cinema into the Real explores issues of social construction and of performance within the everyday, examining our understanding of the consensually real by playing with the Oactual1 and asking non performers to reperform what previously occurred as unwritten. The work is an initial inquiry into cinema as an aspect of language - an exploration of how we increasingly refer to screen events as reference points for actual events. It has to do with the reverie which surrounds the film set and the film theatre. In pulling cinema into a Oreal1 and ostensibly unmediated context, the project attempts to pull the Oreal1 into a space or situation where it is recognised as being an elaborate, covert theatre of multiple and continually revised fictions. In this sense it operates between our understanding of narrative fiction, of documentary and of unmediated, Oframeless1 social exchange. It doesn1t matter what the subjects say or how they say it - It is entirely appropriate if they spend the fifteen minutes reanacting their reaction to the fact that they are being filmed. This is not a project about surveillance, nor does it require performers. It is about the relationship between the fictional and the actual, between the filmed and the real. I am interested in the likely wkwardness and self-consciousness of the selected, non-trained performers, who cannot affect the text with acting training. This is a critique of so called socially real or method-acted works, and also a critique of Oreal1 dialogue in cinema. The subjects1 self consciousness can only extend the idea, foregrounding it further as an experiment in how fiction takes from real and real takes from fiction. There is no anthropology which does not influence its subject as it observes it. I am trying to explore the relationshop of the writer/filmmaker to a subject matter - a relationship which involves borrowing or stealing, and then cutting and pasting content. In this piece, the text is set - I have no ontrol over it and cannot direct it. The live score and the presence of lights and boom microphones does exert a cinematic persuasion over the reenactment, but I am saying that this reenactment is already film, and asking the viewer to treat their eyes and ears as lens, screen and speaker. www.omsk.org.uk Artists history I am a filmmaker whose practice spans experimental narrative, documentary and artists film/video. I also am a senior lecturer (0.5) in Time-Based Fine Art at Exeter Faculty of Arts, and director of an independent arts/documentary based film production company, Paradogs. I am the founder (now collective member) of OMSK, a live art/film/sound event based in London. In 2000 OMSK was funded by the Arts Council to create a touring event - ATOMSK (toured from London to Cambridge, and in May 2002 Oslo, Norway). In 2001 OMSK was funded by London Arts to produce the event EATOMSK at Toynbee Studios. Cinema into the Real, test one was one of the commissioned EATOMSK projects and has since been presented as a part of the OMSK/Strange Screen festival in Thessaloniki, Greece 2002. In 1996 I co-founded the Volcano! underground film festival, which ran in London annually until 2000. Film/Video directing credits include: Those Who Are Jesus (56 mins doc. 2001. Grierson Documentary Award Nominee; I Make Things Happen (6 mins. exp fiction. BFI archive); Maldoror Chapter Seven: The Spectator of Outrageous Contortion (7 mins. Exp fiction. 2001); Auditorium (7 mins. 1999. Video); Approaches to Autism (58 mins doc. 1998) Funded by the Arts Council of England. Artists Statement My work with moving image increasingly questions notions of performing and of what constitutes a fiction. Recently I have begun to extend my practice into working with a live component. This project is an attempt to fuse all of the above into what I term contextual film. For the past two years I have been exploring how the processes of cinema can be returned to the everyday contexts from which they derive (or which they sought to emulate or describe). Having directed actors, constructed narrative scenes, overseen editing and musical scoring, I have evolved an understanding of the many intricate devices involved in film narrative construction and presentation. I am now seeking to exploit these devices outside of a screening space in an actual environment, and for the most part without ever using a lens. I wish to expand this notion of performing and drop it into the seemless everyday. I am setting out to intervene in the actual, to place a cinematic frame over it so that ordinary public (and private) occurrences become complicated in a narrative mode.