‘Knitting Pattern Film Series’ embeds knitting patterns into the landscape and culture they were originated from through film, to include: ‘Knitting Pattern Series’ (seven 16mm animation films); ‘Faroese Knitting Pattern Series’ (four 16mm animation films). These are accompanied by ‘Cornish Knitting Pattern Series’, Journal of Illustration, Volume 6, Number 1, 1 August 2019, pp. 205-223(19) Intellect, and Cornish Knitting Pattern Charts, International Journal of Film and Media Arts, Volume 4, Number 2, Winter 2019, pp. 50-59.
- Submitting institution
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Anglia Ruskin University Higher Education Corporation
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 907
- Type
- Q - Digital or visual media
- Publisher
- The Depot, London
- Month
- -
- Year
- 2017
- URL
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https://figshare.com/s/e955521a56362e0db914
- 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
- No
- Additional information
- The Knitting Patterns film series re-embeds knitting patterns back into the landscape and history which inspired them, and in doing so gesture, landscape and film are ‘knitted together’ as a material object resulting from the ‘translation’ process. This body of practice-based research unpacks film production process by setting up a new unconventional one in which the dialectical relationship of the filmmaker, camera and subject are reconfigured. This has often focused on the controls of the camera and the gesture of the filmmaker, as an investigative approach.
‘Cornish and Faroese Knitting Pattern Series’ investigates ways in which a location specific knitting pattern can inspire and be used to create new approaches to system-based editing in the production of film. What does it mean to set up structural relationship between a knitted stitch and a frame of film, resulting in new representations of time and landscape? How can dual positions within the geography or historic points of view be linked to the pattern? Can film charts within experimental film practice as preproduction and notation, be documentation and reflective tool?
These were rigorously addressed by: adopting novel methods including using the analogue technology of the Bolex camera to establish a location-based editing system translating historic knitting patterns; employing single frame production to establish self-instigated time-lapse; using a strategy of re-positioning the camera to re-frame landscape to translate texture and pattern.
The research provided for original relationships (structural and analogous) between the cultural and historic nature of the patterns, film language, and the methods and process of film production. This revealed the live nature of the patterns, the importance of error, filmmakers’ gesture of embedding and re-purposing the patterns in a contemporary context. These insights contribute to a broader interdisciplinary research context e.g., within subject specific conferences and publications such as illustration and animation.
- Author contribution statement
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- Non-English
- No
- English abstract
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