The four elements in cameraless filmmaking form. I had no idea what that would look like or how Ian and I were supposed to accomplish it. After watching the examples presented in class I got a clearer picture. Neubauer’s film was strange but more concrete that the films of Brakhage. I had viewed some of Brakhage’s films before but never within the context of aiming to create something similar.
The films of Stan Brakhage always challenged me- before it was content-wise, Brakhage’s soundless works were hailed as masterpieces by film intellectuals, including my professors, from a higher plane. It was as if it were an assignment or a test to see if I were smart enough to “get it”. In 6x1 they were presented in an even more difficult way, we were to create something in the same vein. (side note, Mr. Brakhage is presenting me a final challenge in the odd spelling of his rare last name)
After tirelessly messing with (scratching, bleaching, marking, photographing, rephotographing, taping) our film I was excited to see the thing projected. In this digital age I’m used to making a change and then obsessively checking it in context with the rest of the film instantly. (See also: Rhythmic Editing Exercise) Direct film manipulation is a last bastion of patience in the film world. Depending on their level of procrastination, students in 6x1 waited days or weeks to see the result of all their multi-media crafting. There was an air of excitement on projection day.
After some difficulties with the projector (that served to raise the tension more) our partners’ film strip was played. I can’t picture the specifics in my mind, but their bleaching was very nice and I was humbled by the work. Our film was next. Ian loaded the film and the excitement of the projector’s hum mirrored mine. I was assaulted by colors and spent most of the time trying to recognize which bits were which and then it was over. It was so fast. All those hours spent crafting gone by in one minute.
In many ways the exercise seemed Zen. You build something up only to have it destroyed. There will never again be a first time viewing of that filmstrip. We recorded it digitally, but that’s just not the same. The hum of the projector, the bits that flaked off can’t be recreated digitally or even if we run the film again. Much like a stone garden, the process, not the product, is the point.
Interesting point about there never again being a first time to view your work. I guess this form of filmmaking is unique in that you never actually see the work that you've been creating in the mode that it is meant to be viewed until it is finished and then it changes, immediately.
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