Devil in the detail

Narrative forms of screen continues to be my gut response to film making. Confirmed through my consumption of film and television and any creative pursuits, I am always drawn to the genre drama.

For the past two years at RMIT I have been exposed to some of the tools available to develop myself as a drama driven filmmaker, eagerly putting them under my belt. I have had the opportunity to explore these through trial-and-error practical learning in pre production, production and post. I was surprised by the unexpected learning that has come from the mixed reception of my final year film and in appreciating viewer’s interpretations. However as I approach the higher-ed mode of study, I feel inclined to exploit the analytical and critical culture we are encouraged to take and apply this to my understanding of narrative.

Over time my interest but conflicted respect for the fine art approach to the film medium has developed. The final product often first appears as wanky, egotistic or undeveloped but after closer reflection (and less judgment) it is more often an artists’ critical investigation of a particular idea. I am particularly curious about how the final piece of work is received and if the original objective is discernable?

So, here I find myself intrigued by the abstract world of cinema but quietly conflicted with the need for a narrative. I want to consider how I can find new approaches to my current methods of filmmaking by utilizing some of the practices and critical thinking behind abstract filmmaking.

As I explore this idea, I am also met with questions that have been circling in my mind for some time:

  • What stories am I attracted to the most, and why?
  • What reoccurring genres, themes and characters usually interest me?
  • Are my narrative ideas commercial, relatable, attainable?
  • Who am I as a storyteller?

Through experimentation, examination and reflection hopefully I can broaden myself as a storyteller but stay true to my true form…

 

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