FILMPUNK

IDEALISATION: CINEMATIC SPEAKEASY

Cinema, once ‘corrupted’ by the DIY splicing activities of FILMPUNK, will have to go underground; a portable collection of tools to assist this will be developed. A home-made projector, a form of insulation to block light and sound, a makeshift plinth for the projector to sit on...

https://www.youtube.com/watch?v=HmZm8vNHBSU

PULPED: 2ND ‘GOGGLEBOX’ VIEWING VISUAL RESPONSE

The first of two recordings of people watching parts of “PULPED”; I also had a conversation with viewers afterwards in order to get verbal feedback, and am compiling this into a pamphlet.

“PULPED” is a re-imagining of Quentin Tarantino’s “Pulp Fiction”.  The aim is to take an already reference-crammed movie, and extrapolate it beyond the absurd; so that it is unrecognisable as its original self, and becomes a collection of micro-narratives; some lasting only seconds.   In hijacking the already chaotic plot that is “Pulp Fiction”, I hope to expose and understand how narrative works within film, and how it can be subverted to create illusion and mine new material from existing films.

PULPED premiere poster

PULPED EXCERPT (”WESTERN” SCENE)

The outcome of this has been a collection of films cannibalised from existing material; the final one being “PULPED”; a full re-imagining of Quentin Tarantino’s “Pulp Fiction”, in which every scene has become a different genre. Despite the addition of external material, editing resulted in a drastically shortened version of the film, made up of sometimes dizzyingly brief micro-narratives; in the form of encounters with other films.

RECIPES FOR DISASTER: BOMB DEFUSING KEY PT 2 (UNSUCCESSFUL)

RECIPES FOR DISASTER: BOMB DEFUSING KEY PT 1 (UNSUCCESSFUL)

RECIPES FOR DISASTER: BOMB DEFUSING KEY PT2 (SUCCESSFUL)

RECIPES FOR DISASTER: BOMB DEFUSING KEY PT 1 (SUCCESSFUL)

This diagram explains the general structure of the narrative that is generally made up by a bomb defusing situation. The first part tends to cycle for a while before the narrative continues (represented by the video “Timer. Face. Workings.”), after which the situation goes one of two ways; either panic followed by relief (if the bomb is successfully defused), or panic, detonation, running then aftermath.

I have again focussed on a process which is generally represented in the same ways across film; however, bomb defusing is presented in a slightly more complex way, so I have curated two clips for this purpose, along with an explanatory diagram as well as a key.

This is the key for the process generally behind explosions when portrayed in cinema; generally including: threat, impact, reaction and aftermath.