Project Concept

Concept – What is it that you are trying to achieve? What is your central idea?

The aim of my screen-based work is to convert old video tapes from when I was a child growing up, onto a digital platform. With this footage in chronological order, along with footage filmed on digital platforms, I will edit a reflective piece that comments on the notion of combining the old with the new – the combination of film platforms with digital platforms of recording, along with the notion of family over time.

With this in mind, the central aim of my work is to show how recording platforms have advanced through collections of my family’s archival footage. The second aim is to create a sentimental and reflective piece.

The distinction between tape recordings and digital recordings should hopefully show a stark difference between the mediums.


Context – reference artist/ artwork, historical background, relevance to own interest. In what ways are you responding to the work/ the practice of the artist/ filmmaker? Is there relevance to your own practice/ discipline/ interest?

An artist that has inspired my screen work is Bill Morrison’s short film Porch 2007. Porch is an adaption of found footage and experimentation of materials. The archival footage montaged together depicts society in its simpler times.

Here is a link to Porch

Morrison explores the passing of time and uses film as a medium to evoke memory, reach a new level of aesthetics and revive dated footage. The subject matter in Porch 2007 remains synonymous, despite being depicted in many different film footage. The use of editing through montage results in a nostalgic impression for viewers. The use of over tonal editing further evokes an emotional response from viewers as the nostalgic clips unfold. The cinematic language Morrison portrays is one that appreciates archival film and develops it into moral, reflective screen work.

I will be responding to this work by going through my own collection of archival film from video tapes, right up to recordings made on iPhones through camera and other applications like snapchat etc. My work will follow on similar principle to Morrison’s – an emphasis of dated footage coming back to life through revival, emphasis on family (that’s what the content of the tapes consists of), memoir, reflections and nostalgia, along with experimentation (i.e experimentation of transforming film on to a digital platform, with the collaboration of film from camera/iPhone recordings), and, most importantly, the growth of a life and family over time.


Rationale – Why? What are the main reasons you want to pursue this idea? What do you hope to achieve in this work? What format will the work take? Why is this form of ’delivery’ chosen for executing your ideas?

One of the main reasons I want to pursue this idea is for the sake of my own childhood memories to now. The clip will serve as a sentimental piece displaying memories significant to my childhood up until the present.

A second reason is to also highlight the evolution of film mediums. My screen based work will feature film from video tape recordings, to cam recorder recordings, right up to iPhone recordings.

I have chosen a screen-based format as I want my work to be a piece where a person can sit down and become immersed by the found footage in chronological order. I would want the work to be intimate. Since the film will feature personal clips from my life I find it fitting and appropriate to be viewed in a singular screen environment. I intend to create a sentimental, reflective and thought-provoking piece. By sitting down focussing on one screen a person can be completely drawn and focussed.

I want it to be a piece where a person can sit down, and draw upon their own memories through evocation of my own. I want the audience to have an insight on my time growing up and see the evolution of film technology throughout the 19 years of my life.

Update after presentation:

After presenting my piece to Etienne, he suggested the idea of altering my screen-work to an installation. This new lay out involves the following:


This installation layout involves three screens on three plinths. The first plinth will hold an old tube TV with a VCR (unsure yet as to whether the vcr will need its own plinth just to sit on). In this first station a video tape will be played. The audience will be invited eject and rewind the tape once it plays out.

The second station will have a flat screen with a USB inserted. The USB will contain footage from me as a teenager (or any footage from 2005 onwards).

The final station will have contemporary footage displayed from a tablet.

The aim of this new installation layout is to show the connection between content and the platform that it is played on. Having three stations shows the rapid development of technology over the span of 19 years. Each station will still feature my own personal footage.

However, after going through video tapes I have decided that this may not be a favourable idea anymore. I am not comfortable letting a two hour tape of myself as a child play continuously as there will be a lot of content that I cannot edit to suit appropriateness. Despite this great idea for an installation, I think I will still stick with my original idea. A screen-based work over an installation will also be easier to cater for space wise (considering we have to fit a whole cohort in a tight area) and for ease of production – no anxiety about attaining equipment (when every one else will be after it also), and no stress about multiple equipment failing


One Reply to “Project Concept”

  1. Hi Mia,

    Your proposal has a lot of exciting potential and the exploration entailed from this project will shed light on how media has evolved in a young person’s life. I would encourage you to research more into the evolution of the different image-making media and their cultural use. Bill Viola for example has written that video as a medium has more affinities with audio (tape) recording than with film. The use of television by Nam June Paik, the use of closed-circuit television by Bruce Nauman, ‘tube’ television by Gary Hill, experiments with broadcast television by David Hall, Brian Eno’s video paintings using video, all contribute to the cultural use of mass (image-making) media.

    Editing selected footage together from your archive provides opportunities to explore textures of these media. How you transfer the materials to digital format would influence this process (for example if you record the video playing on a screen, you could exaggerate the interlaced lines, phosphorescence of the television screen, or pixels on the screen). Video magnetic tape (video8, vhs etc,) also degrade, perhaps capturing this deterioration may provide another avenue.

    I would like you to think more openly about the final work. Don’t decide now how the finished work will run from beginning to end – it does not need to be demonstration of the evolution of the media in chronological order – rather be open and allow the editing and compilation processes guide you towards a more poetic musings about memories and recordings.

    You will also need to consider what the role the audio elements will play in the work.


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