Filed under: 17 Days (vol.4)
I am interested in the intersection of everyday life and technology. What happens when what we often consider to be the mundane and monotonous details of daily life collide with the rapidly moving world of technology?
Life as we know it has evolved with the use of technology but do things remain the same, on a basic and visceral level? How have our perceptions changed with the introduction of technology into our everyday lives? Simple events such as traveling; the simple movement from ‘Point A’ to ‘Point B’ has taken on new meaning. Indeed, two people on the same train or in the same car will have unique, individual experiences. My films aim to explore these experiences.
As a filmmaker trained in the narrative arts, I have been educated in the craft of filmmaking and storytelling. However, my films directly contradict idea that narrative has to adhere to the formulaic in order to convey a powerful and moving story. My films do adhere to a formula of sorts, albeit in a most abstract way. I use specific elements to tell my stories but I also draw on elements of poetry and music to advance the story; rhythm, metaphor, alliteration, image and tone are all used in my films to advance the story. Traditional tools such as establishing and covering shots are incorporated to create an initial context to the space and to introduce ‘characters’ which are central to the storyline.
There is also a very distinct cadence to my films. Through editing and effects in post production, I create rhythmical patterns which are integral to the storyline and the overall unfolding of the narrative within the film. An originally composed ambient soundtrack accompanies most of my films as well. Through sound, I aim to immerse the viewer in a unique experience, one that completely envelops the viewer and is specific to what is happening on screen.
The gathering of footage is an important part of the process. The placement of the camera is integral to the process as this makes ‘characters’ of static and motionless objects. The hours of footage are then reduced to a short 3-4 minute clip, which is then edited, re-edited, and manipulated in post production to create the story and the distinct texture of what eventually will become the final short film.
Sian Amoy – San Francisco California
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