Symbio
Media archaeology involves the deconstruction of the medium, enabling audiences to take a step back and reconsider the technicality, methods and pure tangibility of the medium that is used. This essay deals with the work of William Greaves, one of the pioneers of African-american documentary filmmaking.
The moving image has long been considered to be “a series of visual shocks” impressed upon the spectator.1 This essay will identify the reasons behind these “visual shocks” and the ways in which these reactions could be produced upon the viewer. Theories will be drawn from Brechtian theatre, trompe l’oeil paintings and Allen’s concepts of cinematic illusions. The essay will then analyse the methods in which Greaves’ Symbiopsychotaxiplasm. Take One. aims to reveal these illusions. The analysis will be broken down into three parts: narrative as a whole, the working script of the film and in the film’s screen test, and the technical aspects of the film. Finally the essay would conclude with Greaves’ achievements in the making of this film, similar movements in experimental cinema and how these strive to breakdown the cinematic medium and provide the viewer with a different perspective of the medium.
The Fourth Wall and Other Screens
Breaking the fourth wall can also be referred to the verfremdungseffekt, which is conceptualized by Brecht. In theatre, where a set is usually built with three walls leaving the fourth wall facing the audience open is the setting for the illusionary effect of theatre to take place. Brecht however, strives to tear down this invisible fourth wall. Willett writes of Brecht’s technique, “The audience can no longer have the illusion of being the unseen spectator at an event which is really taking place.”2 In order to execute verfremdungseffekt, Brecht’s plays would have actors addressing the audience directly, or have them react in a way that makes the character vividly aware of his position as a performer in a play.
The moving image has long been considered to be “a series of visual shocks” impressed upon the spectator.1 This essay will identify the reasons behind these “visual shocks” and the ways in which these reactions could be produced upon the viewer. Theories will be drawn from Brechtian theatre, trompe l’oeil paintings and Allen’s concepts of cinematic illusions. The essay will then analyse the methods in which Greaves’ Symbiopsychotaxiplasm. Take One. aims to reveal these illusions. The analysis will be broken down into three parts: narrative as a whole, the working script of the film and in the film’s screen test, and the technical aspects of the film. Finally the essay would conclude with Greaves’ achievements in the making of this film, similar movements in experimental cinema and how these strive to breakdown the cinematic medium and provide the viewer with a different perspective of the medium.
The Fourth Wall and Other Screens
Breaking the fourth wall can also be referred to the verfremdungseffekt, which is conceptualized by Brecht. In theatre, where a set is usually built with three walls leaving the fourth wall facing the audience open is the setting for the illusionary effect of theatre to take place. Brecht however, strives to tear down this invisible fourth wall. Willett writes of Brecht’s technique, “The audience can no longer have the illusion of being the unseen spectator at an event which is really taking place.”2 In order to execute verfremdungseffekt, Brecht’s plays would have actors addressing the audience directly, or have them react in a way that makes the character vividly aware of his position as a performer in a play.