Artist Bio/Manifesto and Reading Responses

Artist Bio/Manifesto:

As a Film Studies student in my third year at UNCW, I have had some film related experiences. In previous years, I have contributed to several student projects including the documentary film From the Ashes and the experimental film Word Play. My most recent film that I created independently, Paralyzed, is an experimental music video inspired by the work of influential avant-garde filmmakers such as Stan Brakhage, Maya Deren, Jonas Mekas, and Marie Menken among others. Although I love to make films, I have also found a passion for the critical studies side of the discipline. Recently, I interned with Working Films, an agency that partners with grassroots and non-profit organizations to use documentaries to confront social justice and environmental protection issues, and Film Matters, UNCW’s undergraduate film magazine. I did not hold a camera once during either of these internships, yet both of these experiences have helped to shape my approach to filmmaking:

I firmly believe in authentic and accountable storytelling, because storytelling through film has the potential to incite change. The independent filmmaker with a film on a minuscule budget can make a measurable impact, so it is critical that every movie that you make is true to ideas that you would want to share with the entire world, no matter who your intended audience might be. I also believe that filmmakers should never be discouraged by a lack of equipment, money, or professional connections when making a film. Sometimes, the experience of making a film is more valuable and rewarding than the actual outcome. Additionally, a truly creative mind can often overcome even the most obstinate obstacle.

Response to Fred Camper’s Naming, and Defining, Avant-Garde Film

This is actually the third time I have read Naming, and Defining, Avant-Garde Film for a Film Studies class here at UNCW, and every time I read it, I find something new to appreciate about it. This time, I was drawn to how clearly and concisely Fred Camper defines such a difficult subject: the avant-garde film. His writing is accessible, and he uses a list…how I love lists! It is not easy to break down complex, vague, and controversial topics, but Camper gives us six clear and understandable points (or a six-part test) with examples that allows us to begin to learn what it really means for a film to be avant-garde after explaining why there are so many names for this body of work. I also want to point out how he emphasizes that his six-part test is not a formula for figuring out if a work can be considered avant-garde or not. If anything, this stays true to the avant-garde mode of production because nothing is absolute when it comes to experimental filmmaking.

Response to Maya Deren’s Amateur Vs. Professional

Just as I had already read Fred Camper’s Naming, and Defining, Avant-Garde Film, I was also already familiar with Maya Deren’s Amateur Vs. Professional. I actually found this essay on my own a few years ago, and it is one of the reasons why I am still studying film today. Every time I read this essay, I feel empowered to unapologetically make films that allow me to view the world in a new and beautiful way, and grateful for my artistic freedom as an “amateur” filmmaker. In a single page, Deren gives us a reason not to wish that we could make big budget productions, but to strive to simply do what we love. One of my favorite lines from Amateur Vs. Professional is this: “Use your freedom to experiment with visual ideas; your mistakes will not get you fired.” Rather than writing about her own ideas and accomplishments, Deren choses to use her talents and experiences to instill confidence in others who share her love of filmmaking.

Response to EDIT MEDIA’s The Student 7

I am glad I had the opportunity to read The Student 7, because it really does provide sound advice for the budding filmmaker. Again, lists are fantastic. I appreciate how the authors organized the information into seven topics after the brief intro about being a responsible filmmaker. Most of these points I have heard before: know the rules before you break them, watch a wide variety of films, practice self-reflection, etc. However, what set this piece apart for me was their explanations for each piece of advice. It was not just “you should do this,” it was “you should do this because…”. Additionally, as they mentioned in the introduction, practicing what was listed in each of the seven topics will not only help you make better films, but also help you develop the skills and mindset that will let you succeed in the future.