Prior to today’s presentations, the consultation with Paul assured me tremendously. I needed to understand what was needed from us and the scope of our presentation. After explaining the movies and specific ideas I want to explore, Paul suggested 1) to simply put up looped screenshots to visually convey my relevant inspiration 2) that Edgar Wright’s style (Cornetto Trilogy) does not complement my aesthetics 3) and to have a written speech in hand.

Our meeting made me realise that pitches should be communicated in a clear and concise manner. It is not about looking grand and complex. It is about relaying our focus and investigative processes. I believe this understanding will benefit us in the future when selling ideas. (It’s not about me, it’s about the work.)

Now Tuesday has come. Two unexpected guest panelists entered the room. I remember the familiar dread sinking in and the clench of damp hands. Oh, my hands are really sweating. Regardless, unlike last semester, I will not run away. So here goes my three minutes on the floor, in three… two… one…

“Hello friends, my name is Grace Purnamasari.

This semester, my exploration will be led by camera movement. I am interested in the performance quality of the camera: the ways it can move to serve an action in frame. I question, “how can the camera cover the object or actor’s physical activity? How can it complement or counter the on-screen action?” Instead of a mere passive voyeuristic tool, the moving camera becomes a part of the performance as well.

Watching the film Departures by Yojiro Takita, I was inspired to cover rituals. Rituals are fascinating. Like a dance, its meaning is derived from the physical sequence. It takes away or isolates focus from character and narrative story. Hence, using rituals decreases the number of uncontrolled variables to direct. This theme also triggers a rumination about my own filmmaking preparation, execution and learning process – a personal ritual.

Unfortunately, I will not be embalming a corpse. Instead, I have decided to cover everyday-observances, such as folding clothes.

I have no concrete idea what specific tasks will be done each week. However, it is a process of reflection. So each task will inform the next. For example, having recorded the act of folding clothes, I realise the variation of movement is not extensive. Therefore, my next shoot will involve folding a blanket instead, an activity which requires more time and various body movements to execute.

While my curriculum is flexible, it also includes specific ideas: deconstruction, imitation and experimentation. First, to deconstruct the aforementioned Departures and the film An by Naomi Kawase. In their scenes involving rituals, what was the camera angle / movement / focus / depth of field / source of light / colour / props and texture / sounds / how were the cuts sequenced? After which, to imitate their components by transposing them onto my folding ritual. Then, to experiment by editing differently and including other ways to cover. How can the scene creep in, or be reframed to introduce a new item or be stationary to welcome an entrance? Deconstruction, imitation and experimentation. Loosely, this will be my working process.

The camera is a new friend and I am not the most disciplined person. So starting and seeing through every week will be a challenge. But I want to be a better filmmaker and I hope to receive everyone’s guidance.

Thank you.”