This is still a work in progress, but this version includes a series of elements that work well for me and are also pointing towards where this as a moving image piece can go.
I showed a very short clip as part of Saturday’s study group, and afterwards edited my longer clip further (tidied up the beginning and end, slightly sped it up throughout).
It is a response to my family album and as such also possibly exercise 2.3 The digital family album (though as a moving image format it is rather different to the option given).
– as to the explanatory frame for the title in its various meanings: the ground and the reason.
Wendy pointed me to Sam Taylor-Johnson piece Brontosaurus (2005) which I link to here.
L. pointed me to Gillian Wearing’s (1994) Dancing in Peckham.
— both of which are rich reference points. Brontosaurus strikes me most obvious in the reverence that various sites refers to it as a key piece the authors had encountered and how moved they were by the combination of slowed down dancing and the Adagio for Strings by Samuel Barber. The piece of music is 80 years old; it interestingly is almost entirely devoid of cultural markers for me (I will have heard it before but it doesn’t have many connotations at all), but it is through its embedding in a (US-American) context of funerals and war films (such as Platoon) that it receives is poignancy and Taylor-Johnson’s own description of it being “a dance of death and a dance of life; a tender eulogy” (Taylor-Johnson 2014); Wearing’s early silent disco in a shopping mall that could also just be a market is irreverent and playful in mood. The quality of the youtube clip is poor but shows a simple setup of a static camera and her dancing in front of it. Passers-by take notice (or more often don’t).
>> privacy and publicness of these two pieces in their production are radically different.
>> purpose and role of the recording is very different too: Wearing’s performance seems at least as important as the video (if not more so), Taylor-Johnson’s is produced for the video (and the performance is for the camera and the post-processing and exchange of music).
>> I am interested in unpicking the relationship between dancer and camera and viewer a bit further: they seem rather distinct from each other, and I am interested in what they will tell me further about my own relationship to it in Der Grund.
Taylor-Johnson, S. (2014) Brontosaurus (1994), http://samtaylorjohnson.com/moving-image/art/brontosaurus-1994, accessed 3 April 2016.