As of current, the footage from my practical work has begun to unfold and evolve so as to become its own piece and adopt its own characteristics. I have been attempting to be as malleable and as open to working with the footage sourced as opposed to the idealistic product which was in mind in order to produce a piece that feels organic and true to the talent filmed.

In the first stages of the editing process, the necessity for a dynamic relationship between goals and products had been revealed. Such has been revealed principally by the fact that the circumstances of production, particularly sourcing footage, differed considerably from what I had anticipated they were to be. In my project, I had three avenues by which I had intended to potentially engage in the exploration of the potential of film and divergence from ‘conventional’ methodology; temporal relations between events, habitual ways of thinking and context (these are detailed further in a presentation script found here) and sought to do such through the construction of the audience’s response independently of explicit narrative or narrative structure. Such was to take the form of the filming of a young woman holding flowers wandering the streets, as was inspired by the following image.

In light of these ideas and my strong visual inclination to the aesthetics of this image, I had hoped to recreate the overall aesthetic in a fashion that would be as true to my inspiration as possible, then allow the course of the progression of the piece to evolve around a theoretical observation which was written in response to this visual inspiration. Talent was selected accordingly, just as were aims of shooting set out and thoughts as to how best to approach shooting so as to allow such to produce footage that would be as true and organic for the talent as was possible. However, not only did I found myself faced by the challenge of important self-imposed deadlines for production, but I also was put into a position of having to work with a different talent whose persona, demeanour and general character felt to me as though it was discordant with the initial goals of footage and shooting. Such was an important factor on account of the fact that, in order to maximise engagement and perceived authenticity, I had hoped that the behaviours and the manner of the character would be reflected in the events as truly as was possible and sought to then manipulate these events for these goals. In light of this, a fair amount of the footage which was acquired lacked this sense of authenticity as I had insufficient time to adapt my plans for shooting so as to be more appropriate for my talent. Those shots in which the talent is directed to a greater extent towards my initial aims appear falsified and are therefore not effectively engaging. 

In response to this, I have been invited to slightly alter the trajectory of the project and abandon some of those plans which I had initially made for myself in order to better reflect the tone which emerged in response to the alternative circumstances of production. The aim of this change is to be able to complement and expand upon this tone in a way that is ultimately more meaningful and may serve as a better facilitator for the exploration of the previously mentioned points of interest.