Production process

After drawing up the shooting plan, the equipment and venue were borrowed on December 6, the shooting was completed on December 7 and December 8, and the editing was completed on December 9 and 10.

So crazy












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Cinema expanded: Avant-garde film in the age of intermedia

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Walley, J. (2020). Cinema expanded: Avant-garde film in the age of intermedia. Oxford University Press. https://doi.org/10.1093/oso/9780190938635.001.0001 Leaping ahead now from Copper Age Europe to 20th-century New York—specifically Tribeca on June 18, 1975. Avant-garde artist-turned-filmmaker Anthony McCall “premiered” his  Long Film for Ambient Light  at the Idea Warehouse, an abandoned industrial building  cum  makeshift artists’ space at 22 Reade Street (fig.  I.5 ). McCall’s film “ran” from noon of the 18th to noon the following day, during which time spectators could come and go as they pleased and move about the space at will. Viewers arriving to see  Long Film for Ambient Light  encountered a large, bare, industrial-looking room with a bank of windows along one wall covered by diffusion paper; by night, a single bare bulb hanging from the ceiling provided the only light. A timeline marking off 50 days in one-hour increments ran along one wall,...
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Production record

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Editing idea · Slow narrative pace · Reduce camera cuts · Try to use synchrony · Differences in radio dubbing style and character presentation · The color palette is blue, which sets off the character and living environment Insufficient The lighting is not good, the suitable site is not found, and the overall mirror space is limited. property 
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The place of artists' cinema: Space, site and screen.

Connolly, M. (2009). The place of artists' cinema: Space, site and screen. Intellect. 电影作为一种过时的交流形式出现，一种可能具有救赎力量的过时技术。道格拉斯对电影的使用将其视为一种古老的媒介，但这样做是为了开辟一种新的移动影像实践，这种实践可能会反映出新颖与过时、主观性与技术之间的相遇，这标志着我们的时代。 电影在艺术空间中重塑。尽管在电影研究学科中很少被探索，但当代艺术中移动影像的爆炸式增长构成了近几十年来电影概念被重新谈判和重新定义的主要场所。 新的电子媒体的霸权日益巩固， 当代艺术中电影作为一种新媒介的动员在很大程度上参与了其运动。它打破了电影和艺术图像制度之间曾经相对僵化的界限，并象征着数字化后移动图像的新可变性和可传播性。 在上个世纪的大部分时间里，许多艺术家都坚定地努力消除他们对移动影像的使用与电影的大众文化机构之间的任何关系。从事电影和录像工作的艺术家倾向于拒绝幻觉和叙事，而是与其他媒体（如雕塑和表演）建立联盟。 人们目睹了电影比喻和惯例的明显培养，如布景、蒙太奇、奇观、叙事、幻觉和投影。 谈论电影新的本体论的不稳定性可能会冒着历史盲目性的风险，因为很明显，电影的本体论一直是多样化和可变的，从一个无声的技术奇迹发展到CinemaScope的史诗奇观和大片的出现，再到电视广播和VCR平台的小屏幕。然而，可以肯定的是，自20世纪90年代以来，广泛的数字化引发了对电影材料和电影制度命运的各种明显的焦虑。 当代不仅仅是一个融合的时刻，也是一个释放多种媒介特性的时刻，这些特殊性将电影的概念分散在不同的概念和材料空间中。 电影语言的更迭基于新旧媒体的交替。 Film emerged as an outdated form of communication, an outdated technology that might have redemptive power. Douglas's use of film sees it as an ancient medium, but does so to open up a new practice of moving imaging that might reflect the encounter between ...
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