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
