Cinematic Co-creations: Film for critical research, film for knowledge generation, film for creative expression
Wednesday, July 31, 2024
14:00 – 15:45 (GMT+7)
Paper Abstract: This research recasts film as a research tool for knowledge production and as an expressive medium. I discuss this in relation to architecture filmmaking for heuristic learning. Films possess the capacity to reveal how space is differently organised and experienced (Penz 2012); similar to architecture design, it demands competency in narrative construction and scripting movement in space.
In essence, film productions and architecture projects merge artistic and professional labour, and realised through collaborative team effort. Grasping their workflow is advantageous even at the learning stage. Crucially, experimentations in architecture filmmaking inform practice beyond the traditional bounds and material outcomes of architecture practice (Troiani and Campbell 2019). With the convergence of media, technology in this millennium has evolved from the domination of information to become a conduit for communication, creative expression and knowledge transmission (Jenkins et. al. 2015). Lower barriers to accessing digital resources and location-independent work have democratised creative practices. They enunciate the use of techne for questioning, comprehending, critiquing and communicating novel ideas or pressing issues, enriched through collaborative exchanges and interdisciplinary dialogues.
Looking and seeing are important: Treating the camera as a prosthetic for sight and sound, one could capture specificities of the environment, or pursue object-oriented inquiries into an artefact’s provenance, materiality and legacy. The filmic outputs arising from these field workshops illustrate a meaningful engagement with the material environment, a tapestry ripe for cinematic mapping. Such processual investigations train students on good rules for research and critical application of the genre for political or restitutive intentions.
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