Forty years after the height of structuralist filmmaking, we are witnessing a growing interest in the complex role of dramatic narrative structure in artistic production. With this in mind, and within the framework of a project devised by Derek Brunen, Master of Fine Art students from Piet Zwart Institute had 48-hours to script, shoot and edit their own videos.
This screening celebrates the fruits of their labour, as well as providing an opportunity to catch OVER THE BONES, a remarkable film where the incongruous worlds of Spektrum and Chrome Hoof singer - Lola Olafisoye, and lorry driver - KB Forbes collide as we ourselves question whether what we're seeing is documentary, fiction or perhaps something in-between?
Presented in collaboration with the Master of Fine Art program, Piet Zwart Institute.
Critiquing the regime of narrative cinema, artists working with film and video have been dissecting narrative structure since the late-sixties. Today, moving image artworks continue to experiment with Brechtian reflexivity, perpetually revealing their process of production. In our current post-conceptual climate however, do we still need to be continually reminded that we are watching a construction? With the recent release of films such as The Arbor and Self Made by artists Clio Barnard and Gillian Wearing respectively, we are witnessing a growing interest in the complex role of dramatic or narrative structure in artistic production.
Believable Fictions and the Politics of Intensity is a thematic project, designed by Derek Brunen for the Master of Fine Art program at the Piet Zwart Institute. Over the course of the project, students examined structuralist film strategies as well as basic narrative structure, looking at a range of artists and filmmakers exploring fiction while also employing degrees of reflexivity. A week of film screenings, readings, discussions and technical workshops prepared students for an intensive, 48-hour production period, during which students worked collaboratively over these two days to script, shoot and edit their own film.
Over The Bones is a visual essay fusing documentary and fiction to detail the meeting of two intentionally incongruous characters, a singer and a lorry driver. Following the structure of a road movie the narrative is revealed through voice over, live interviews and musical performance. Witnessed in their separate working environments the characters’ stories slowly converge until they meet through an accident in a swimming pool that has startling and surreal consequences for both individuals.
Through the juxtaposition of different types of performance the film investigates how men and women use different emotional languages to communicate with others, express anxiety and find their place in the world. Ultimately asking the question, “Whose voice do we speak with, whom do we feel able to speak to and who hears our voice?”.