Austrian artist Michaela Grill: Experimental filmmaking techniques help make a good film
An Austrian artist, Michaela Grill said in during my professional career, it is very important for me to make good audio-visual works and I think experimental filmmaking methods can help the filmmaker in this regard.
She made the remarks in the virtual specialized meeting “38-20” at the 38th Tehran International Short Film Festival currently underway in Tehran.
Grill noted that sometimes there are abstract images in my films that seem to have been made using a computer, but in fact, I recorded the abstractness of the images when I was shooting.
“I was looking for images that had a hidden representation. In this example, the narrative overshadows the comprehension of the image, and instead of paying attention to the aesthetics of the image, we go to the comprehension that gives us a narrative. At such times, the human brain begins to watch the narrative line defined in the story, which is very enjoyable,” she added.
“In my last film, which is called an article documentary, I researched different aspects of whales, their hunting and different aspects, and made a life of all the sounds I had collected for this research, and contrary to my initial idea, I really enjoyed the production process of this film, I also researched different areas and realized the emptiness of different areas, which is the result of human efforts to destroy creatures,” Grill noted.
“During my career, it is very important for me to make good audio-visual works, and I think a lot of experimental filmmaking techniques can help the filmmaker in this area,” said Grill. “For all my films, I first consult the musicians, and I believe that sound and film are complementary, and perhaps in all of these activities I create an audio-visual space that viewers can help complete when they see it.”
She added: “We used a lot of 1920 footage for the work and coordinated this footage with each other based on the theory of history and art, and by letting go and separating from the narrative approach, it could lead to other explanations and riddles that lie in them. But because of the narrative nature of the story, it was possible to approach those narratives.”
The filmmaker continued: “In all my films, we have analyzed the features of filmmaking in the 1920s, such as the chases and escapes of that decade, in order to analyze each of them in modern cinema. All the sounds and images were taken from the archive and the sounds were not supposed to show anything in the image and were just nostalgic.
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