Very Cool: Ergodic Cinema / A Garage Collaborative Experiment on Production Notes

via mubi.com

From the site:

"Toward the end of 2010 fellow Mubian Anonymouse began a thread to recruit members to write a collaborative script, a script that anyone could make a movie from, from high school students to professional filmmakers. After continuous discussion about structure, theme, and film pitches, on December 21st, PolarisDiB made the following proposal for structure:

“Wikipedia entry for ergodic literature.” Also it’s linked associated articles for: “Cybertext” and the professor/writer of these concepts: “Espen Aarseth.”

This is what I propose:

Making an Ergodic Cinema, or an Ergodic Movie.

Here is why:

1) Ergodic Cinema: The theme that took off, “moving through”, “travelling,” could be interplayed both structurally and stylistically with the overall content and texts of the movies. Literally, we create a structure of posable deviations from a central narrative, and filmmakers themselves are quite allowed to create their own “offshoots” of the original structure. WE have to produce the first few movements, say, half a dozen short films that revolve around what seems to be a narrative, but which can branch out in any direction. Think The Discreet Charm of the Bourgeoisie, except made by multiple artists instead of a single director." -- PolarisDiB

2) Cybertext: Another theme that has seemed to take off quite well in these dicussions is our placement as cyber-collaborators, detached and decentered production units capable of a global scale production but struggling with the viability of pulling our resources together in any meaningful or continuity-edited way. Cybertext fixes this. The short films refer to each other, but not just in terms of allusions but actually in terms of structure. We must create short films that can be seen in any order, thus changing the narrative of the overall project as a whole—these short films should refer or allude to each other in a means that draws the audience to other “chapters” of the story via a visual hyperlink, but without the dead ends or frustrations of an anticlimactic Choose-Your-Own-Adventure. The most successful result would be the one where an audience just simply doesn’t know when to end, even though finding its way back to similar videos rewatched, recontextualized in a different part of the narrative.

Issues:

1) Logistics...

2) Design...

3) The Seed of Growth...

The What: Or, Deciding on a Theme..."

Posted via email from Siobhan O'Flynn's 1001 Tales