Carriage
A 10-minute artist’s film exploring the notion of analogy between pro-filmic and filmic experience, and how the uncanny may be understood in, and through each.
- Submitting institution
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Kingston University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 32-106-1746
- Type
- L - Artefact
- Location
- UK
- Open access status
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- Month of production
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- Year of production
- 2017
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
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- Additional information
- Eleanor Suess’s artist’s film Carriage (2017) explores the notion of analogy between pro-filmic and filmic experience, and how the uncanny may be understood in, and through each. Mobilising the recognised cinematic experience of train journeys, which predates cinema itself, Carriage amplifies the filmic aspects of that experience, offering a parallel, yet different experience in the viewing of the film.
The ten-minute film is the result of a 02:56 minute-length single-take piece of iPhone footage that Suess filmed from a train window at night, which records the nocturnal parallel dance of a train on an adjacent track, where individual train windows are pools of light in an otherwise black void. Suess then utilised digital video-editing techniques to draw out qualities embedded within that original clip, exposing the uncanny nature of the pro-filmic experience through processes of slowing, enlarging and overlaying the audio and visual footage, extending and transforming the spontaneously recorded footage into an artist’s film.
As her primary research methodology, performative research practice is used in a transdisciplinary way, combining a contextually responsive, iterative and reflective process from architectural design with that of ‘working-things-out’ (Le Grice, 2001) in artist filmmaking. The focus on the architectural artefact of the window, which becomes a ‘film within a film’ (Lewis and Mulvey, 2014), combined with filmmaking techniques influenced by structural film such as extreme repetition, offers another example of a transdisciplinary methodology. The resulting time-based hybrid artefact made with these processes can be situated in several disciplines, or sit between them in an undisciplined space.
The film has been selected for screening though a competitive peer-review process, for ten individual, international film festivals, ranging from the architectural (ARCHFILMFEST – Architectural Film Festival London), to the avant-garde (San Diego Underground Film Festival (SDUFF)).
- Author contribution statement
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- Non-English
- No
- English abstract
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