DAY 1 (17 JULY)
All workshops take place in the Digital Media and Performance Lab (DMPL)
Workshop 1 (15:30-16:15)
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Samuel Kujala & Tom Rejström
Affective Relationality, Technical Limitations, and Creative Affordances in Film Acting |
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In this presentation and workshop, we share our artistic practice through which we aim to re-examine the affective relationality, technical limitations, and creative affordances in film acting. Our practice is informed by an affective, postpsychophysical understanding of the actor’s corporeality (Camilleri 2019), and the embodied intertwinement of the filmmakers and spectators (MacDougall 2006; Gallese & Guerra 2012; Yilma et al. 2023).
In our professional practices as film actors, we have experienced clashes between our acting choices and the technical implementation within scenes, which has shaped an emancipatory desire to experiment with and reimagine the relationship between the film technologies and the actor’s corporeal technique. For this purpose, Kujala has invented and further co-developed with Rejström two corporeal practices, the “fingerlens” and the “broomstick-boom”, which we apply as kinds of proto-technologies to simulate the actor-technology relationality.
First, we introduce these practices and their reasoning, and then, try them out with the participants. Finally, we present our production plan for an experimental short film, where the typical call sheets are replaced by a structured variation of experimenting with these practices. The film aims to render visible the affective intensities occurring in the actor-technology interaction and uses them as the core cinematic material.
In our professional practices as film actors, we have experienced clashes between our acting choices and the technical implementation within scenes, which has shaped an emancipatory desire to experiment with and reimagine the relationship between the film technologies and the actor’s corporeal technique. For this purpose, Kujala has invented and further co-developed with Rejström two corporeal practices, the “fingerlens” and the “broomstick-boom”, which we apply as kinds of proto-technologies to simulate the actor-technology relationality.
First, we introduce these practices and their reasoning, and then, try them out with the participants. Finally, we present our production plan for an experimental short film, where the typical call sheets are replaced by a structured variation of experimenting with these practices. The film aims to render visible the affective intensities occurring in the actor-technology interaction and uses them as the core cinematic material.
Workshop 2 (16:30-17:15)
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Michael Morgan
Intimate Encounters: Dialogue Between the Director and the Actor in the Artisanal Mode of Production 
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This workshop introduces dialogue as an embodied practice for collaborative interaction between the filmmaker and the performer in the artisanal mode of production, with the director operating the camera. I will demonstrate how embodied performance techniques can be employed by the director and the actor in experimental fiction filmmaking, with a series of screen tests from a short film.
I adapt embodied performance techniques from psychophysical acting approaches based on “voice”, along with experimental approaches to fiction filmmaking that facilitate interactions between the director and the actor. By using spoken and imagined “voices” in a filmic performance, the director and actor agree or argue with the other, which constitutes the "character-consciousness" of the performer and the "camera-consciousness" of the filmmaker.
The Rise (2024) is an experimental short fiction film about a character checking into a hotel room, before contemplating whether they should stay. As an artisanal filmmaker, I operated a handheld camera while employing spoken and imagined dialogue to facilitate collaborative interactions with the actor that were based on agreement or argument. This embodied practice of directing creates a dynamic interaction between the character and the camera, which opens to a new form of experimental fiction cinema.
I adapt embodied performance techniques from psychophysical acting approaches based on “voice”, along with experimental approaches to fiction filmmaking that facilitate interactions between the director and the actor. By using spoken and imagined “voices” in a filmic performance, the director and actor agree or argue with the other, which constitutes the "character-consciousness" of the performer and the "camera-consciousness" of the filmmaker.
The Rise (2024) is an experimental short fiction film about a character checking into a hotel room, before contemplating whether they should stay. As an artisanal filmmaker, I operated a handheld camera while employing spoken and imagined dialogue to facilitate collaborative interactions with the actor that were based on agreement or argument. This embodied practice of directing creates a dynamic interaction between the character and the camera, which opens to a new form of experimental fiction cinema.
DAY 2 (18 JULY)
All workshops take place in the Digital Media and Performance Lab (DMPL)
Workshop 3 (16:00-16:45)
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Eunice Gonçalves Duarte
Filming in Low Tech: Images to Contemplate, to Zoom in and Zoom Out |
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This workshop will create images as handcrafted pieces – minding the elements, with care, that are revealed or hidden in the image: images to contemplate. From contemplating images, other images will appear; from these images, others will manifest in a generative sequence similar to mechanical functioning.
Departing from a still image (postcard or photography), this workshop explores the basics of real-time filmmaking using low-tech and everyday devices. It follows the steps of early film techniques to capture action using a webcam or mobile phone and produce sound and light for low-tech images, combined with performance art techniques.
Departing from a still image (postcard or photography), this workshop explores the basics of real-time filmmaking using low-tech and everyday devices. It follows the steps of early film techniques to capture action using a webcam or mobile phone and produce sound and light for low-tech images, combined with performance art techniques.
