Journeys presentation
-
Upload
kirsty-kent- -
Category
Entertainment & Humor
-
view
247 -
download
2
Transcript of Journeys presentation
JourneysBy Kirsty-Lee Kent, Lucy Smith and Gem Williams
PROJECT OUTLINE• Installation• Filmed from 4 different angles: front window, back
window, left and right side window• Each side of the projection will be a different journey• Projected from the center onto 4 screens, creating an
immersive rectangle environment• Speakers from behind the screens will play video
specific soundtracks for each side• In the center of the room will either be a) a whole car or
b) car parts suspended from the ceiling (most likely crafted out of art materials) with 5 chairs forming a car-like seating area for the audience
• Physical artefact – a collage of the maps of each journey etc – will be left in the middle of the room for the audience to look at
DIAGRAM OF OUR INSTALLATION
JOURNEY ROUTESThe front window will show a journey with no specified/particular beginning or end involving the three of us together, showing how we are currently going on a journey as friends, university students and aspiring artists.
Lucy’s journey will be from her house to Godalming, where the grave of her grandfather (who died when she was small) resides. This will be shown from one of the side windows.
Kirsty’s journey will be from her house a yearly family trip to Great Yarmouth that is a much loved family tradition. This will be shown from one of the side windows.
Gem’s journey will be from her childhood house to the local hospital, recreating the time when her father was severely beaten when she was 4. This will be shown from the back window.
We may show only a section of these journeys depending on the length.
JOURNEY ROUTES - MAPS
AIMS & INTENTIONS• Immerse the audience in an environment which, with a bit of
imagination, will make them feel as though they are actually in a car, which leads to…
• Make the audience think about car journeys that have had significance to them, and the moods and emotions that they created which reflected into the car
• Make the audience want to figure out what the context of each of the films is (journey, emotions etc)
• Explore how the window of a car can be turned into a canvas that features series of disconnected images
• Reflect on how the effect of the installation – taking the audience on a journey without physically doing anything – represents both the literal effect of being driven in a car, and the metaphorical effect of cinema
We want to explore the importance of car journeys within people’s lives. People often don’t think of their car journeys, as they are just a mode of getting from A to B, but they can take on a certain significance depending on the to and from of the journey.
The beginning and the end of the journey are obviously important, but we want to explore the middle of the journey. The getting there. We want to explore how the feelings and emotions that emanate from the to and from destinations colour the experience of the car journey for the one being driven.
We also want to explore the sensation of being driven somewhere; we feel that when you’re being driven on a route that you don’t know, points A and B become disconnected locations that are tethered only via a string of images without meaning. The windows of the car become canvases on which the images rapidly change, and the viewer becomes a passive participant in a journey; we feel this aspect is interesting, the idea of a person going on a journey without have to physically move or control any of it. In this aspect, car journeys reflect the power of cinema; you are taken places without ever leaving your seat.
We want to create an incredibly immersive environment via projection in order to bring the viewer into the world of the car journey, making them feel as though they’re in the car. Thus, they will take a journey without having to move; the effect of being driven places, and the effect of cinema.
IMMERSIONWe feel that immersion is paramount to our project, and with this in mind we are dedicated to creating an environment that allows the audience to fully empathise with the aims of our project. We really want the audience to feel like they’re actually in a car so they can better understand the things we’re trying to explore; significant journeys and the strange effect that being driven places when you don’t know the way has on the way you see the things beyond the window.
In light of this, we would want the room our installation is in to be completely dark, and the screens on which we project to be as big as possible. We will place speakers behind the screens on every side of the room to provide a surround-sound environment, placing whoever is in the room into the environment of the car.
MOODBOARD
INSTALLATIONS
Tall Buildings by John Wood and Paul Harrison
CAR INSTALLATIONS
http:
//yo
utu.
be/
W1j
0FhN
sDW
khtt
p://
yout
u.be
/W
1j0F
hNsD
Wk
http:
//yo
utu.
be/
0DXk
KIuo
4AQ
CINEMATOGRAPHY & STYLE
Due to the awkward conditions of our project we will have to film with natural light. However, if filmed correctly we feel this will not be a problem and could in fact add to the natural, real life roots of the content of our installation.
We do not want any people visible, as we feel this would take away from the audiences’ ability to place themselves within the ‘car’. Voices and other noises will only be heard from off-screen, and there will be no dialogue; this lets the audience try and figure out what is happening in each car journey and the significance of each noise.
We want the camerawork to feel natural to further the immersion of the audience. We will use a tripod but the movement of the car will provide the footage with a natural movement which will aid the creation of a realistic and immersive environment/film.
SHOT EXAMPLES
MAPTo complement our installation, we want to add an artifact that focuses more on the routes themselves rather than just the imagery and significance of the journey. We want to create a physical object, a collage of the four different routes that each of the sides of the projections take, and place it in the room. The route of each journey will be highlighted with a thick red line. This shows where the journeys are between and therefore hints at the significance of each, helping the audience guess at the different situations.
The map will be overlaid onto the screen of the projection that the route corresponds to, but very faintly, so that one has to look very hard to see it, and the red line is the most visible thing.
MAP ART
Thank you for listening.