Regarding peer review, I would appreciate receiving more literature resources and curating practices related to “micro-movies.” Specifically, I have two questions that I would like to highlight:
(1) Are there any other curators who have talked or written about their theories and processes for curating films in detail? I would like to learn from their insights and reflect on their approaches.
(2) Is there any cross-discipline theoretical or wider research on micro-movies beyond the artists that I have already mentioned? I am eager to expand my knowledge on this topic.
Here’s my peer review to Borui’s vlog
https://blogs.ed.ac.uk/s2321841_curating-2022-2023sem2/2023/04/04/week-11-peer-review/
I was lucky enough to have the opportunity to read Chen Yan’s blogs, and I was interested in the form of curatorial artwork she eventually chose because film is a very new field for me, and after reading these blogs I spent a lot of time doing additional reading on “film language” and started thinking about –What is the role of the language of video in contemporary art?
With the development of technology, the role played by photography in the arts became public and accessible when the art of photography became integrated into the folklore and almost everyone had a mobile camera to shoot anywhere and everywhere, rather than being the preserve of filmmaking.The cost of completing a ‘video work’ in the broadest sense of the word is becoming lower and lower, more and more artists have the opportunity to experiment with video work, and with the development of media technology and digital media as an important medium for cross-border art creation, it is possible for any art form to use the ‘video With the development of media technology, digital media has become an important medium for cross-border art creation.(such as the Hunan Provincial Art Museum’s interactive art exhibition on the works of Qi Baishi, the Spanish artist’s exhibition of immersive video experiences based on the temple of Ramses II, and the dance-imaging community which is experimenting with various things, etc.)
As a new art form in recent years, the real-time and interactive nature of new media communication has greatly enhanced people’s interest in microfilm and their participation in it, and has pushed it into a wider public space, making it a more significant It has also pushed microfilm into a wider public space, making it a more significant social function.In recent years, micro-films have been on the rise and are being created in a professional manner, highlighting their public and socio-cultural functions.
In 2005, Hu Ge’s short film “A Bloodbath Caused by a Steamed Bun”, based on Chen Kaige’s film “Wuji” and CCTV’s “China Social Rule of Law Report”, sparked a lot of debate among netizens, and many short videos based on spoofing entertainment became popular on the Internet.This kind of self-produced online short film, which focuses on people’s self-expression, can be seen as a prototype of micro-film.The first microfilm in China was a 90-second film called “A Touch of Fire” in 2010, and since then the term “microfilm” has been coined. Microfilm can be defined as a product of the new media era, characterised by micro-length, micro-investment and micro-production, and is a new audio-visual art form with a complete narrative and the ability to convey certain contemporary and social relevance.
Returning to the curatorial process, Chen Yan and I have chosen the same type of work as the core of this exhibition, also within the broad art form of video, but I have chosen to shoot the work in a more ‘documentary’ way, while using post-production and editing to complete the second creation, and the performance content is also more I have chosen a more ‘documentary’ approach to filming, while using post-production and editing to create a second work.
I have not seen the full content of Chen Yan’s chosen works so far, and I look forward to the day when I can meet them officially, and wish us well in our curatorial activities.