My thesis experimentally submits Olafur Eliasson’s — what I dub — watery projects frame ongoing motion or changeability similarly to the cinematic image, particularly the selected projects Big Bang...Show moreMy thesis experimentally submits Olafur Eliasson’s — what I dub — watery projects frame ongoing motion or changeability similarly to the cinematic image, particularly the selected projects Big Bang Fountain (2014), Still River (2016) and Fog Assembly (2016), yet transgress the customary image. I ask how to transgressively read the projects by their cinematic potential, or, how to analyze how constructed watery splashes, melting ice cubes or evaporating foggy clouds amplify the viewer’s sense about temporality, and space and self-existence. I set my experiment against a cinematic backdrop constructed by multiple considerations and analyses on Anthony McCall’s ‘solid light film’ series (1973 - 1975). My thesis experimentally demonstrates the cinematic potential productively inquires into the selected watery projects.Show less
ABSTRACT: Videographic criticism has emerged as an innovative form of critical analysis of film since the digital innovation brought about by the online film sharing websites YouTube and Vimeo in...Show moreABSTRACT: Videographic criticism has emerged as an innovative form of critical analysis of film since the digital innovation brought about by the online film sharing websites YouTube and Vimeo in the early 2000’s. However, videographic criticism, although popular has made slow progress in its attempts to assert itself in the world of contemporary film criticism. This thesis seeks to locate videographic criticism in contemporary film criticism by examining the state of contemporary film criticism by using Kevin B. Lee’s 2014 video essay, Transformers: The Premake as a case study. This thesis will begin by demonstrating that videographic criticism is a reflexive and relevant method for the production of film criticism. It will further examine how videographic criticism uses techniques associated with compactness and condensation to create arguments. In examining these methods, this thesis will finally interrogate the relevance of videographic criticism to contemporary media analysis and film criticism. Thus, this thesis finds the videographic criticism to be an effective and innovative way to produce meaningful, rich film criticism.Show less
The uprisings of 2011 started in Tunisia and impacted a lot of countries in the Middle East. The consequences can still be seen today. This thesis attempts to approach how these events have...Show moreThe uprisings of 2011 started in Tunisia and impacted a lot of countries in the Middle East. The consequences can still be seen today. This thesis attempts to approach how these events have impacted the cinema industry and in particular the place and representation of women in it.Show less
The thesis looks closer at vernacular photography, a record of the everyday created by common people, as one of the most common ways in which photographic images are created. By using the specific...Show moreThe thesis looks closer at vernacular photography, a record of the everyday created by common people, as one of the most common ways in which photographic images are created. By using the specific example of the family photographic collection of John “Zbyszek” Jagla, a Polish refugee born in Uganda, the thesis examines different dimensions of photographic meaning. The analysis draws on research from within the field of photographic theory and applies those theories and approaches to demonstrate the ways in which photographs carry their own meaning, both as images and as objects, and how that meaning changes not just over time but also depending on their context and who is viewing them and why.Show less
Het onderzoeksobject van deze scriptie betreft een specifiek onderdeel van het oeuvre van de fotograaf Michel Szulc-Krzyzanowski (1949), genaamd de Sequenties, gemaakt in de periode 1970-1985 (zijn...Show moreHet onderzoeksobject van deze scriptie betreft een specifiek onderdeel van het oeuvre van de fotograaf Michel Szulc-Krzyzanowski (1949), genaamd de Sequenties, gemaakt in de periode 1970-1985 (zijn ‘vintage’ serie). De onderzoeksvraag richt zich op hoe een toeschouwer zich tot verschillende Sequenties van deze kunstenaar verhoudt. Een aantal van deze werken wordt geanalyseerd door toetsing aan historische feiten rondom de geschiedenis van de menselijke waarneming en door toepassing van theorieën uit de filosofie (o.a. Vilém Flusser, Philippe Dubois), de neurowetenschappen (Rick Grush), de kunstkritiek (o.a. Rosalind Krauss, Janneke Wesseling, Maarten Vanvolsem) en de fotografie- en filmkritiek (o.a. Laura Mulvey, Vivian Sobchack). De analyse focust zich op de verhoudingen tussen wereld, object, subject (fotograaf en toeschouwer), fotografische afbeelding en de fotocamera.Show less
In the first part the base of my research will be the landscape and more specifically the nuclear radiated landscape as visualized in the artistic medium of film and video. The post human landscape...Show moreIn the first part the base of my research will be the landscape and more specifically the nuclear radiated landscape as visualized in the artistic medium of film and video. The post human landscape caused by nuclear radiation has alienated man from nature will be discussed by framing this landscape in the ecological rethinking of T.J Demos and Timothy Morton. Their focus is on the eco-critical debates by Felix Guattari, Bruno Latour and Michel Serres who started these debates in the 90s. I will content that these debates are able to contribute to a changing perspective, a better understanding of our relation with the Earth and the value of sustainability. Art is able to offer innovative ways to communicate important insights into human relationships with the radiated landscape. I will analyse the object-subject relationship between the observed landscape and the observer. How consciousness is attained by the construction and deconstruction of subjectivity in cultural practices that enables awareness and provokes action. In the first part I will analyse two critical art practices, realized by Diana Thater and the Otolith Group, that research the consequences of the radiated landscape of Chernobyl and Fukushima. As such, I will contend that the medium of film as used in the analysed artworks has the ability to construct and deconstruct subjectivity, overcoming the gap between object and subject, whilst creating consciousness and awareness that makes an appeal to activism. In the second part of this thesis, the artistic statement of my film installation will be expressed elucidating the decontaminating activities of the landscape in Fukushima three years after the nuclear disaster struck this area in Japan. As a visual artist I realized the film installation aware/哀れ consisting of a short experimental film with a composed soundscape that illustrates the subjective experience of the landscape and an interview film in which the relation of the Japanese cleaners with the contaminated landscape is expressed. The installation researches and questions the complex mutual engagement between the man-made landscape and a sustainable future. Next to the film installation two photographs are exhibited, cyanotypes portraying a landscape that is inflicted by the nuclear now. My theoretical research as described in the first part of this thesis is at the base of this installation. The film installation was shown in an exhibition in the Japan museum SieboldHuis in Leiden, The Netherlands from 10 till 22 February 2015 as part of this thesis.Show less
The aim of this thesis is to investigate how contemporary documentary is appropriating certain strategies that are traditionally only used in art, to question the difficulties of giving an accurate...Show moreThe aim of this thesis is to investigate how contemporary documentary is appropriating certain strategies that are traditionally only used in art, to question the difficulties of giving an accurate documentation of the world. A world that is never transparent or simple, conflicts and situations that are never black or white. For this I will look at the photographs by documentary photographer/artist Richard Mosse, as an example for the wider phenomenon in contemporary documentary, and investigate what strategies he uses to address the problems of documenting atrocities in Eastern Congo and narrating its complicated story to the viewers. I will investigate how the boundary between documentary and art in these strategies (and because of these strategies) is shifting, what the implications are and what effect this has on the viewers. For this thesis I will examine three main strategies Richard Mosse uses in his photographs: first, the use of a certain pre-determined concept and the negation of the decisive moment, as was long (at least until the 1980s) the characteristic of documentary photography and photojournalism. Second, the aesthetization of the documentary photograph and its increasing relationship to art and, third, the presentation of the work in both an installation form as well as the placement of these projects within a cultural and art institutional environment.Show less
