Project Proposal – Fractured

Working Title: Fractured

Medium: digital film & photo media

Techniques/Methodologies: Composition, the combination of various extreme close-ups into the one shot using a split-screen editing technique post-production (almost mosaic). Attempting to create an almost three-dimensional depiction of the human face and the emotions that lay beneath, while only using a series of flat images and an evocative script. Exploring the consequences of compartmentalising ones emotions and what happens when these walls break down. Exploring how something fractured or fragmented can hold incredible power and resonance.

Research Plan: The work of Maurizio Galimberti is one of the massive influences of my proposed experiment. His ‘instant art’ he creates using multiple shots on a Polaroid camera represent what I am trying to emulate via film. I think it’s amazing how he has managed to capture a three-dimensional impression using a two-dimensional format.

Maurizio Galimberti

I need to research further to find works that use split screens effectively, not only as an aesthetic choice, but as one that portrays meaning and adds to the overall story of the piece. The following video shows a montage of split-screens used in cinema, but most of the clips use the technique on a superficial level, I want to explore how the split-screen can be used on a deeper level.

I also need to research more into the fractions present between a person and their emotions and the compartmentalisation used by many as a coping mechanism. I need to learn the telling signs of someone who compartmentalises their grief and the benefits and consequences associated with this form of coping mechanism. I think exploring these areas within the script will appropriately accompany the visual aesthetic.

Description of Project: In basic summation, my project will consist of a series of video-portraits that examine both the visual front of a person as well as their fractured emotional state. Each portrait will resemble a mosaic, composed of varying frames of the individual, as seen in the work of Galimberti, attempting to create a three-dimensional portrayal of these characters both physically and emotionally. The fractured aesthetic of the visual component will be carried through to the script as I experiment with how to depict compartmentalisation as a coping mechanism and what happens when these compartments are broken down. My work will examine whether such erosion represents a healing process or a collapse of mental health.

The opening will consist of several split fractions of the person – numerous extreme close-ups of the individuals face running concurrently as they reveal their story to the viewer. Gradually, as compartments collapse, so will the number of fractions decrease until we are left with a complete, unbroken shot of the individual in their raw emotional state, healed or destroyed.

Why this experiment interests you: I have always had a deep interest in psychology and in particular how individuals cope when catastrophic events happen within their lives. I am fascinated how some people can manage their grief while maintaining complete dignity and sanity while others are reduced to madness. As a viewer I am always drawn to characters who are forced to cope with unbearable circumstances, I have come to realise that these extreme emotions draw me in far deeper than their lighter counterparts and thus I hope to engage my viewer with the same level of fascination. Thus, I want to experiment with how somewhat abstract aesthetics, such as the split screen, can work to represent abstract notions such as locking ones emotions into various compartments in their mind. In my research for ideas for this project I was grabbed by Galimberti’s work and how it lends itself to exploring compartmentalisation as a coping mechanism within characters. Thus I am interesting in experimenting the best process to allow the aesthetic to mirror the purpose of a film.

Expected Outcome: Exploring both aesthetically and psychologically how compartmentalisation affects an individual. I want to blend these two compartmental elements together until they represent a seamless depiction of an individuals outer portrayal mirroring their inner turmoil. I want the work to represent a visual experimentation of how aesthetics can mirror a deeper purpose of a film.


Week 11:

  • Further research compartmentalisation as a coping mechanism in order to inform the script writing process.
  • Experiment with the filming & editing technique: collecting a series of extreme close-ups and attempting a rough edit.
  • Complete & submit forms.
  • Complete rough draft of script.

Week 12:

  • Complete script.
  • Cast characters and send them their lines to memorise.
  • Begin & Complete filming.

Week 13:

  • Begin editing process & explore how best to compose visual mosaics together.
  • Finish the film.

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