“No matter how skillful the painter, his work was always in fee to an inescapable subjectivity.” (Bazin p.12)
During the creative process, I gave more attention to the recording power of the camera and the properties unique to a digital videos.
In Dialogue: Moon-Light of Tseung Kwan O and some parts of Lullaby for the Insomniacs – an old DV camcorder with 720p was used to capture images with heavy noise in zoom and low light condition. When the lens is moved, the camera captures the blurred, moving lights and objects indexically. Zooming in/ out and changing the position of the camera or moving it result in recording the motion and variations that are too microscopic for our eyes to see.
In Friday’s terms, there is a documentary value to the footages of Dialogue: Moon-Light of Tseung Kwan O and Lullaby for the Insomniacs, it is can be treated as a record of a night in and around Tseung Kwan O – the light reflected from the pool, the moon, the buildings and roads, even thought it is blurred in a low-resolution.
Being a time-based medium, the transformation of image properties with time is unique to moving images. The exposure of Dialogue: Moon-Light of Tseung Kwan O is edited to create transformation effects between abstract and realism, this is something human eye cannot perceive without technology.
Bazin, A. (1967). The ontology of the photographic image. In Bazin, A., & Gray, H., What is cinema? (pp. 9-16) Berkeley, Calif.: University of California Press.
Bazin, A. (1967). The virtues and limitations of montage. In Bazin, A., & Gray, H., What is cinema? (pp. 41-52) Berkeley, Calif.: University of California Press.
Friday, J. (2005). André Bazin’s Ontology of Photographic and Film Imagery. Journal of Aesthetics and Art Criticism, 63(4), 339-350.