Crynodeb: Trafoda'r erthygl gwestiynau a gododd yn sgil llunio Gwlad yr Asyn, sef drama lwyfan ar... more Crynodeb: Trafoda'r erthygl gwestiynau a gododd yn sgil llunio Gwlad yr Asyn, sef drama lwyfan ar ffurf monolog. Cafodd y ddrama ei hysgrifennu fel ymateb gwrthimperialaidd Cymreig i destun canonaidd Shakespeare, The Tempest. Yn gyntaf, ystyria'r erthygl y diffyg traddodiad a geir yng Nghymru o ysgrifennu dramâu gwrthddisgwrs Shakespearaidd o safbwynt Cymreig, cyn canolbwyntio ar y cwestiwn, 'beth a ddylai nodweddu'r ddrama ôldrefedigaethol Gymreig?'. Dadleua y dylai gyfleu 'golwg deublyg', hynny yw, cydnabod bod gan Gymru etifeddiaeth o ddwy ochr y rhaniad imperialaidd: gwlad a gafodd ei gwladychu ond sydd hefyd wedi gwladychu.
The article is a record of collaboration between a poet and a filmmaker Á one undertaken under se... more The article is a record of collaboration between a poet and a filmmaker Á one undertaken under several people's gaze, becoming aware of itself through the perspectives of the visual and the verbal artist, of the critic and creative maker. It observes the process from the poet's and the filmmaker's sides of the interface, in the language and thought processes that come naturally to each, exploring particularly the use of metaphor to throw light upon the collaborators' investigation of poetryfilm. As the project progressed it revealed the tensions between the participants' allegiance to the idea of collaboration and the urge to retain control of one's own medium and ways of working. Tracking the collaboration throughout each stage of development, from initial conversations, through false turns and periods of apparent impasse, the article records the inputs and shifts that led to a final synthesis and publication in an unexpected form.
Abstract In 2002 internationally established installation artists, Artstation and Welsh filmmaker... more Abstract In 2002 internationally established installation artists, Artstation and Welsh filmmaker, Wyn Mason, collaborated on an artist placement within a Brussels asylum seeker reception centre, Le Petit Chateau. The resulting Paperwork exhibition at The Old Library, Cardiff, included a looped, twin-screen video projection. Collaborating with Artstation, whose art practice is heavily influenced by cybernetics, led Wyn to adopt a radically different filmmaking approach to that of traditional film and TV practices. The result is a hybridised film that is drama and documentary, cinema and art video, and a film that was designed to address the high level cultural-political arena of Cardiff's bid to become European Capital of Culture 2008. Now re-edited as a linear piece, Paperwork is being represented as a 10-minute short work for film festival audiences. The article tracks the production process, showing how cybernetic method impacted on conventional film and TV practices.
ABSTRACT The article explores the concept of ‘database film-making’ (i.e. first compiling a creat... more ABSTRACT The article explores the concept of ‘database film-making’ (i.e. first compiling a creative database of images in order to later construct a narrative in postproduction, rather than following the more traditional pathway of film-making via scriptwriting), arguing that approaching a film from a database perspective can potentially increase its cinematic qualities. The article builds upon ‘Database as a symbolic form’ (2001) by Manovich, along with cinematographic writings by Kracauer, Bresson and Tarkovsky, and presents a schema for mapping a spectrum of film-making practice from script-based to database. The author takes his own short film Crossing (2008) — co-directed with film-maker/photographer Ian Wiblin — as a case study of an image-led fiction film. The film's database consisted of both stills and moving-images, which were juxtaposed in a variety of ways; the article reflects upon this methodology, listing the variety of techniques utilized and how the meanings generated could only have emerged from adopting a database approach to storytelling.
Journal of Adaptation in Film & Performance, 2012
This article is an account of a trans-European poetry-film project, Continental Drift, which cons... more This article is an account of a trans-European poetry-film project, Continental Drift, which consists of a system of mutating from one short film to the next via poetry. Its methodology is explained, along with a description of how the project, still in its initial stages, is progressing. The main theoretical notion that underpins the project is viewing translation as a key concept for understanding European identity. The article first explores a view of European history and culture from a translational perspective, before demonstrating how these ideas have informed how the project is structured and viewed. Finally, the term moiré, borrowed from physics, is introduced as a general cultural term, but specifically used here to facilitate an understanding of translation and poetry-film. introduction Presenting art practice as research is not without its challenges: one wishes to pay homage to both art and the academy, despite the fact that their respective lexicons are sometimes conflicting or even contradictory. The approach
Er bod y traddodiad o lunio dramâu gwrthddisgwrs canonaidd (sef 'ysgrifennu nôl' i’r cano... more Er bod y traddodiad o lunio dramâu gwrthddisgwrs canonaidd (sef 'ysgrifennu nôl' i’r canon llenyddol o safbwynt ôl-drefedigaethol) yn gyffredin ledled y byd, ceir diffyg dramâu o'r fath o safbwynt Cymreig. Prin iawn ydynt. Amcan y ddoethuriaeth ysgrifennu creadigol hon yw unioni'r sefyllfa hon trwy gyflwyno dwy ddrama lwyfan sy'n herio safbwynt ideolegol imperialaidd Shakespeare (y prif lenor canonaidd Prydeinig) o bersbectif ôl-drefedigaethol Cymreig. Caiff y monoddrama, Gwlad yr Asyn, ei selio'n fras ar The Tempest. Defnyddir prif archdeipiau trefedigaethol y ddrama (Prospero, Miranda, Ariel a Caliban) i ystyried perthynas gymhleth Cymru ag imperialaeth. Defnyddia’r ail ddrama, Temptio Shakespeare, y prif gymeriadau Cymreig a ymddengys yn nramâu Shakespeare (Owen Glendower, Lady Mortimer, Captain Fluellen a Sir Hugh Evans) i ystyried agwedd gyffredinol Bardd Avon tuag at Gymru. Cyflwynir y dramâu bob yn ail â dwy ysgrif sy'n damcaniaethu am natur y ddra...
Crynodeb: Trafoda'r erthygl gwestiynau a gododd yn sgil llunio Gwlad yr Asyn, sef drama lwyfan ar... more Crynodeb: Trafoda'r erthygl gwestiynau a gododd yn sgil llunio Gwlad yr Asyn, sef drama lwyfan ar ffurf monolog. Cafodd y ddrama ei hysgrifennu fel ymateb gwrthimperialaidd Cymreig i destun canonaidd Shakespeare, The Tempest. Yn gyntaf, ystyria'r erthygl y diffyg traddodiad a geir yng Nghymru o ysgrifennu dramâu gwrthddisgwrs Shakespearaidd o safbwynt Cymreig, cyn canolbwyntio ar y cwestiwn, 'beth a ddylai nodweddu'r ddrama ôldrefedigaethol Gymreig?'. Dadleua y dylai gyfleu 'golwg deublyg', hynny yw, cydnabod bod gan Gymru etifeddiaeth o ddwy ochr y rhaniad imperialaidd: gwlad a gafodd ei gwladychu ond sydd hefyd wedi gwladychu.
The article is a record of collaboration between a poet and a filmmaker Á one undertaken under se... more The article is a record of collaboration between a poet and a filmmaker Á one undertaken under several people's gaze, becoming aware of itself through the perspectives of the visual and the verbal artist, of the critic and creative maker. It observes the process from the poet's and the filmmaker's sides of the interface, in the language and thought processes that come naturally to each, exploring particularly the use of metaphor to throw light upon the collaborators' investigation of poetryfilm. As the project progressed it revealed the tensions between the participants' allegiance to the idea of collaboration and the urge to retain control of one's own medium and ways of working. Tracking the collaboration throughout each stage of development, from initial conversations, through false turns and periods of apparent impasse, the article records the inputs and shifts that led to a final synthesis and publication in an unexpected form.
Abstract In 2002 internationally established installation artists, Artstation and Welsh filmmaker... more Abstract In 2002 internationally established installation artists, Artstation and Welsh filmmaker, Wyn Mason, collaborated on an artist placement within a Brussels asylum seeker reception centre, Le Petit Chateau. The resulting Paperwork exhibition at The Old Library, Cardiff, included a looped, twin-screen video projection. Collaborating with Artstation, whose art practice is heavily influenced by cybernetics, led Wyn to adopt a radically different filmmaking approach to that of traditional film and TV practices. The result is a hybridised film that is drama and documentary, cinema and art video, and a film that was designed to address the high level cultural-political arena of Cardiff's bid to become European Capital of Culture 2008. Now re-edited as a linear piece, Paperwork is being represented as a 10-minute short work for film festival audiences. The article tracks the production process, showing how cybernetic method impacted on conventional film and TV practices.
ABSTRACT The article explores the concept of ‘database film-making’ (i.e. first compiling a creat... more ABSTRACT The article explores the concept of ‘database film-making’ (i.e. first compiling a creative database of images in order to later construct a narrative in postproduction, rather than following the more traditional pathway of film-making via scriptwriting), arguing that approaching a film from a database perspective can potentially increase its cinematic qualities. The article builds upon ‘Database as a symbolic form’ (2001) by Manovich, along with cinematographic writings by Kracauer, Bresson and Tarkovsky, and presents a schema for mapping a spectrum of film-making practice from script-based to database. The author takes his own short film Crossing (2008) — co-directed with film-maker/photographer Ian Wiblin — as a case study of an image-led fiction film. The film's database consisted of both stills and moving-images, which were juxtaposed in a variety of ways; the article reflects upon this methodology, listing the variety of techniques utilized and how the meanings generated could only have emerged from adopting a database approach to storytelling.
Journal of Adaptation in Film & Performance, 2012
This article is an account of a trans-European poetry-film project, Continental Drift, which cons... more This article is an account of a trans-European poetry-film project, Continental Drift, which consists of a system of mutating from one short film to the next via poetry. Its methodology is explained, along with a description of how the project, still in its initial stages, is progressing. The main theoretical notion that underpins the project is viewing translation as a key concept for understanding European identity. The article first explores a view of European history and culture from a translational perspective, before demonstrating how these ideas have informed how the project is structured and viewed. Finally, the term moiré, borrowed from physics, is introduced as a general cultural term, but specifically used here to facilitate an understanding of translation and poetry-film. introduction Presenting art practice as research is not without its challenges: one wishes to pay homage to both art and the academy, despite the fact that their respective lexicons are sometimes conflicting or even contradictory. The approach
Er bod y traddodiad o lunio dramâu gwrthddisgwrs canonaidd (sef 'ysgrifennu nôl' i’r cano... more Er bod y traddodiad o lunio dramâu gwrthddisgwrs canonaidd (sef 'ysgrifennu nôl' i’r canon llenyddol o safbwynt ôl-drefedigaethol) yn gyffredin ledled y byd, ceir diffyg dramâu o'r fath o safbwynt Cymreig. Prin iawn ydynt. Amcan y ddoethuriaeth ysgrifennu creadigol hon yw unioni'r sefyllfa hon trwy gyflwyno dwy ddrama lwyfan sy'n herio safbwynt ideolegol imperialaidd Shakespeare (y prif lenor canonaidd Prydeinig) o bersbectif ôl-drefedigaethol Cymreig. Caiff y monoddrama, Gwlad yr Asyn, ei selio'n fras ar The Tempest. Defnyddir prif archdeipiau trefedigaethol y ddrama (Prospero, Miranda, Ariel a Caliban) i ystyried perthynas gymhleth Cymru ag imperialaeth. Defnyddia’r ail ddrama, Temptio Shakespeare, y prif gymeriadau Cymreig a ymddengys yn nramâu Shakespeare (Owen Glendower, Lady Mortimer, Captain Fluellen a Sir Hugh Evans) i ystyried agwedd gyffredinol Bardd Avon tuag at Gymru. Cyflwynir y dramâu bob yn ail â dwy ysgrif sy'n damcaniaethu am natur y ddra...
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