Journeys presentation


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Journeys presentation

  1. 1. JourneysBy Kirsty-Lee Kent, Lucy Smith and Gem Williams
  2. 2. PROJECT OUTLINE• Installation• Filmed from 4 different angles: front window, back window, left and right side window• Each side of the projection will be a different journey• Projected from the center onto 4 screens, creating an immersive rectangle environment• Speakers from behind the screens will play video specific soundtracks for each side• In the center of the room will either be a) a whole car or b) car parts suspended from the ceiling (most likely crafted out of art materials) with 5 chairs forming a car- like seating area for the audience• Physical artefact – a collage of the maps of each journey etc – will be left in the middle of the room for the audience to look at
  4. 4. JOURNEY ROUTESThe front window will show a journey with no specified/particularbeginning or end involving the three of us together, showing how we arecurrently going on a journey as friends, university students and aspiringartists.Lucy’s journey will be from her house to Godalming, where the grave ofher grandfather (who died when she was small) resides. This will beshown from one of the side windows.Kirsty’s journey will be from her house a yearly family trip to GreatYarmouth that is a much loved family tradition. This will be shown fromone of the side windows.Gem’s journey will be from her childhood house to the local hospital,recreating the time when her father was severely beaten when she was4. This will be shown from the back window.We may show only a section of these journeys depending on the length.
  6. 6. AIMS & INTENTIONS• Immerse the audience in an environment which, with a bit of imagination, will make them feel as though they are actually in a car, which leads to…• Make the audience think about car journeys that have had significance to them, and the moods and emotions that they created which reflected into the car• Make the audience want to figure out what the context of each of the films is (journey, emotions etc)• Explore how the window of a car can be turned into a canvas that features series of disconnected images• Reflect on how the effect of the installation – taking the audience on a journey without physically doing anything – represents both the literal effect of being driven in a car, and the metaphorical effect of cinema
  7. 7. We want to explore the importance of car journeys within people’s lives. Peopleoften don’t think of their car journeys, as they are just a mode of getting from A toB, but they can take on a certain significance depending on the to and from of thejourney.The beginning and the end of the journey are obviously important, but we want toexplore the middle of the journey. The getting there. We want to explore how thefeelings and emotions that emanate from the to and from destinations colour theexperience of the car journey for the one being driven.We also want to explore the sensation of being driven somewhere; we feel thatwhen you’re being driven on a route that you don’t know, points A and B becomedisconnected locations that are tethered only via a string of images withoutmeaning. The windows of the car become canvases on which the images rapidlychange, and the viewer becomes a passive participant in a journey; we feel thisaspect is interesting, the idea of a person going on a journey without have tophysically move or control any of it. In this aspect, car journeys reflect the power ofcinema; you are taken places without ever leaving your seat.We want to create an incredibly immersive environment via projection in order tobring the viewer into the world of the car journey, making them feel as thoughthey’re in the car. Thus, they will take a journey without having to move; the effectof being driven places, and the effect of cinema.
  8. 8. IMMERSIONWe feel that immersion is paramount to our project, andwith this in mind we are dedicated to creating anenvironment that allows the audience to fully empathisewith the aims of our project. We really want the audience tofeel like they’re actually in a car so they can betterunderstand the things we’re trying to explore; significantjourneys and the strange effect that being driven placeswhen you don’t know the way has on the way you see thethings beyond the window.In light of this, we would want the room our installation is into be completely dark, and the screens on which weproject to be as big as possible. We will place speakersbehind the screens on every side of the room to provide asurround-sound environment, placing whoever is in theroom into the environment of the car.
  11. 11. Tall Buildings by John Wood and Paul Harrison
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  14. 14. CINEMATOGRAPHY & STYLEDue to the awkward conditions of our project we will haveto film with natural light. However, if filmed correctly we feelthis will not be a problem and could in fact add to thenatural, real life roots of the content of our installation.We do not want any people visible, as we feel this wouldtake away from the audiences’ ability to place themselveswithin the ‘car’. Voices and other noises will only be heardfrom off-screen, and there will be no dialogue; this lets theaudience try and figure out what is happening in each carjourney and the significance of each noise.We want the camerawork to feel natural to further theimmersion of the audience. We will use a tripod but themovement of the car will provide the footage with a naturalmovement which will aid the creation of a realistic andimmersive environment/film.
  16. 16. MAPTo complement our installation, we want to add an artifact thatfocuses more on the routes themselves rather than just theimagery and significance of the journey. We want to create aphysical object, a collage of the four different routes that eachof the sides of the projections take, and place it in the room. Theroute of each journey will be highlighted with a thick red line.This shows where the journeys are between and therefore hintsat the significance of each, helping the audience guess at thedifferent situations.The map will be overlaid onto the screen of the projection thatthe route corresponds to, but very faintly, so that one has tolook very hard to see it, and the red line is the most visible thing.
  17. 17. MAP ART
  18. 18. Thank you for listening.