Music for Moving Image asked us to contribute a short video piece to accompany the track "Waves" by Stephen.

The medium of film has long been used to tell stories, but this piece aims to merely let us find our own truths within it, by offering a screen of changing pixels, varying their colours 24 times a second.

The term tableau vivant is used to describe a static scene in theatre or film, where instead of freezing the shot, the characters freeze in position. By focussing on the nuances of the body, we aimed to observe the involuntary changes in the body such as breathing or twitching, in juxtaposition with the steady tempo of the track.

In his piece “24 hour Psycho” the artist Douglas Gordon aims to have us observe Hitchcock’s classic film at a speed of two frames a second. In doing so the viewer is forced to observe each photograph that make up the film. In using only macro shots of our protagonist, we tried to force the viewer into observing only fragments of the body, in an attempt to have the viewer form a narrative around the images presented to them.

The rolling synths throughout the track lead the viewer between shots, at a pace that is frequently paired with action shots and fast movements. We wanted to contrast that with slower, closer observations of the body, forming a distinction between the tempo of the music and the almost static shots, utilising sharp transitions between the various shots.

Music for Moving Image asked us to contribute a short video piece to accompany the track "Waves" by Stephen.

The medium of film has long been used to tell stories, but this piece aims to merely let us find our own truths within it, by offering a screen of changing pixels, varying their colours 24 times a second.

The term tableau vivant is used to describe a static scene in theatre or film, where instead of freezing the shot, the characters freeze in position. By focussing on the nuances of the body, we aimed to observe the involuntary changes in the body such as breathing or twitching, in juxtaposition with the steady tempo of the track.

In his piece “24 hour Psycho” the artist Douglas Gordon aims to have us observe Hitchcock’s classic film at a speed of two frames a second. In doing so the viewer is forced to observe each photograph that make up the film. In using only macro shots of our protagonist, we tried to force the viewer into observing only fragments of the body, in an attempt to have the viewer form a narrative around the images presented to them.

The rolling synths throughout the track lead the viewer between shots, at a pace that is frequently paired with action shots and fast movements. We wanted to contrast that with slower, closer observations of the body, forming a distinction between the tempo of the music and the almost static shots, utilising sharp transitions between the various shots.

FrozenMotion2
FrozenMotion6
FrozenMotion4
FrozenMotion7
FrozenMotion3
FrozenMotion8
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