Conceptual Documentary


Semester Automn
Dates

29, 30 et 31 October 2012

1st, 2nd, 3rd November 2012

First day 29th October at 14:00 pm, room 11b, boulevard Helvétique

ECTS 3
Kunsthochschule
Universit├Ąt / Haute Ecole
HEAD
Website http://www.moma.org/visit/calendar/exhibitions/1232
Teacher Mark Boulos
Contact email
for student applications
josiane.louet@hesge.ch
Content description

In this workshop, participants will create a work of conceptual, documentary video art. The workshop will begin with a discussion of theory, interrogating how concepts are instantiated in the world, and likewise how real situations and people can be made to represent artistic concepts. We will also discuss pracitcal aspects of documentary making, from operating the camera, to methods of observation, interviewing, and self-reflexivity. Participants will be given video cameras, and expected to shoot for two days. During the shooting period, they can touch base periodically for creative or technical consultation. We will proceed to a brief editing workshop, and a two-day edit. The workshop will last five days, and will be conducted in English.
Participants have their own camera and editing-computer. HEAD students will have the possibility to borrow a camera from school: please contact Toky Rabemanantsoa, GD, Room RS4, T 022 38 858 66 (10 cameras are pre-booked).

Remarks

Schedule:    

  • Day 29/10, AFTERNOON 2pm:     Introductions, theoretical discussion, directing technique (room 11, Boulevard Helvétique)
  • Day 30/10:  Shoot. (on location)
  • Day 31/10, morning: Shoot. (on location)
  • Day 31/11, afternoon: Final Cut Pro workshop, editing basics. (room 32, General Dufour)
  • Day 1st/11: edit (idem)
  • Day 2nd/11, MORNING:    presentation and review of works. (salle 11b, Boulevard Helvétique)

15 students

Perparation:     I would ask that the students prepare by reading two essays:  “Paragraphs on Conceptual Art” by Sol Lewitt as well as “A Dialectic Approach to Film Form” by Sergei Eisenstein. They are also encouraged to prepare some ideas of  who or what they might film in Geneva. They might even prepare access to their subjects if they wish.