Searching For The Unexplained | Individual Reflection


Screenshot 2013-11-28 14.33.04  Joel originally came to us with the idea he wanted to make a film about Michael Soper, the ufo enthusiast. Michael had originally been contacted to be a guest on our 1st year TV programme, Net TV earlier this year. Instantly, I found him to be a very unique character with a interesting ideology. Having spoken to him, it was clear that he didn’t care about people’s opinions. In addition, I found Michael to be very intelligent, it was clear from earlier meetings that his views and way of thinking were quiet advanced. The content of most of his speech came across as quite philosophical. He’d have us in awe and half the time his speech would just go over our heads. We wanted to present this quality of Michael in our documentary.  But we knew we couldn’t just throw everything he said at the audience, so we decided to be selective of what we were going to include in the film. Through this process in constructing our film, we begun to form a structure of what we wanted. 

As the cinematographer of the project I personally looked at the conventions of German Expressionism and how this could influence my cinematography on this project. I particular took a focus to the use of shadows and silhouttes.  I wanted to keep Michael at somewhat of a distance but also to have him close so you connect with his character.  I also looked at ‘Rashomon, 1950’ closely in preparation. Kazou Miyagawa of long shots and close ups was something I wanted to adapt in our documentary. Using close up’s when we want our audience to empthasize with Michael and long shots to put the audience in a objective position and distance so they can focus on his words rather than him! The audience will never truly know what his world is like? We will never truly know.

Process & Development

Screenshot 2013-11-28 14.33.24We first shot the film toward the end of the summer holiday. The light was very different then, so was the weather. At first we were happy with our piece visually but the quality of the audio was poor. However, the content was brilliant. From the beginning the film wasn’t going to be about UFO’s for us. We wanted to focus on the transgression of Michael Soper and how ufo-ology had shaped his thoughts. For better or for worse? This is what we wanted the audience to decide. Joel read some of Michael’s writings and he’d share the knowledge he’d acquired from them with us. We came to the understanding that Michael had a somewhat alternative philosophy to life. The uniqueness of his character had to come across in the film. So we wrote a new treatment and constructed a new shortlist. I found this to be quite an advantage for me. I knew how I’d shot the film last time and for me, this was a chance to polish up certain shots and construct new ones with meaning. One thing I’d understood from Rashomon is that one must always question the nature of reality. Me and Joel (Director) worked closely on the imagery of the film. We wanted to play around with the reality of UFO’s and that paranormal. I wanted to shoot Michael from low angle perspectives. Symbolising his search for UFO’s and the unknown. Not only that I wanted to present him as a powerful figure. A being of knowledge but also a misunderstood being. Having worked together before,  it was easy for us to develop our ideas and be able to create what we wanted exactly. 


Screenshot 2013-11-28 14.45.59As we got closer to Oxford and closer to picking up Michael, everything felt nostalgic but things were different this time. We wanted to make a brilliant film, and I personally didn’t care that prior to us leaving Cov a bird had dropped its faeces on my hair. We knew we were rushing against time and against the sun for lighting. When we got to our location the sun was setting, we had no time to gather ourselves and go through the plan, we just began shooting. Unexpectedly the colours and lighting from the sun setting were incredible through the lens. Id never worked with the sunsetting in the background before. I had my aperture quite high letting in very little light This allowed me to create the silhouttes I wanted; that and also shooting facing the sun. The colours from the sunset massively improved our visual narrative. But we were always working against time so couldn’t get as much actuality as we would have wanted otherwise we would have had an interview in the dark. We showed a level of professionalism, we hadn’t had shown in any our previous works individually or working with others.


Screenshot 2013-11-28 14.35.27Editing our film was not an easy task. In some ways I still feel that our film is not ready and is still missing something. we wanted to create a film with a slow pace. We focused our editing structure on the quote we started the film with: “Absences are more telling than presences”. We decided we didn’t want to flood the film with loads of Michael Soper quotes and philosophies and speeches or even UFO material when it came to the editing of the film. So we listened to the audio we had collected and picked out the most essential clips. This was quite difficult seeing as how the interviews were 4-5 mins each of really philosophical content. We used pauses and dips to black to really set a pace were you can really get to understand Michaels character. In addition, we used a moment of silence in the middle of the film to just give our audience time to really think about what was being said. We felt this was the most important scene in the film, visually and audibly.  After our first draft we saw that the films audio was lacking. We needed to make the sound thicker and have something there rather than nothing and just interview audio. So we took the audio of the helicopter we had, and we slowed that down and looped it to create the ambience of the film. I feel like this made the film whole and it stands as an essential tool in the impetus of the film.

We originally begun this film on the hope to enter it into a film festival. We had no idea wed end up using it as part of the module and Im pleased that we got a chance to reshoot it again. All the research we accumulated and the planning that went behind it, it would have been a shame if we didn’t come out with something decent. Visually I feel this is my best work to date, and I’m happy about the process & development I personally went through during this module. Im beginning to think and construct imagery with meaning even if the meaning may not be obvious to the public. The best piece of advice we received on this module was ‘Stay with it’. Through this I felt like I captured the best moments when I kept the camera rolling when most people’s would have been off. There were moments captured which were not planned or constructed, those moments truly reveal the character that is Michael Soper.  Michael Soper was the ecstatic truth of our film, cinematography and sound were just elements we used to portray that.


The Lost Hands | Drawing From The Arts

After discussing the ideas we all had about the Chauvet Cave Paintings, we decided to make a film that questions the significance of images in our lives and the primal human instinct of wanting to be remembered. The short film connotes many messages behind it such as the longing to return back to the beginnings in order to find ourselves in this life. Furthermore, the importance of seeing the human race as a community who should solve their problems and questions together.

KAZUO MIYAGAWA, Cinamatographer | Rashomon (1950)

I chose to watch Rashomon because I’d heard of the name in the form of a novel in the film Ghostdog: The Way Of The Samurai. The cinematographer Kazuo Miyagawa was really experimental in his approach to photographing this film.

His use of natural lighting from the sun is very a symbolic way to portray the characters.

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He used the sun to symbolize evil and good in the film, arguing that the wife gives in to the bandit’s desires when she sees the sun. However, I read that the sun was too weak and they had to use a mirror to reflect to sunlight to make it strong resulting in the light travelling through the branches. Kazuo Miyagawa also uses some expressionist techniques through the use of shadows. I particularly enjoyed the way characters were framed.

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The use of sunlight is particularly effective in the woods. Rashomon also had shots that were directly into the sun. Kazuo Miyagawa is also know for his tracking shots which are apparent in the film. Some tracking shots particularly when characters are running in the woods create a blurred motion from the leaves.

Mise-en-scene is also quite symbolic to support the contrast of good vs evil. The use of space is also great particularly during the scenes at Rashomon.

Long Portrait/ Cinemagraph|Cinematography

I decided to base my Long Portrait/ Cinemagraph on questions and mystery. At the start of the first year we were asked to come up with five ideas and obsessions. I made it clear in my choices that one of my obsessions is questioning everything.

In this single shot of myself; I position the shot toward the mirror, thereby positioning the viewer at a point were they are looking at a reflection of me rather than directly at me. I did this because I wanted the viewer to be in a voyeristic position, were they are not allowed to see my face but just my back. I didn’t want the viewer to imprint their thoughts on me, their judgements nor to pick out my flaws. As quoted by Susan Sontag in her collection of essays ‘On Photography’: “You see someone on the street…and essentially what you notice about them is the flaw”. I think this can be applied in this situation. I wanted to keep the viewer at a distance, out of my world, but not completely. I decided to set the shot up this way because I felt that this also gave the viewer a chance to question my character as they try decipher me. The viewer is at a position were they can focus on other things such as the (mise-en-scene) in the frame; the viewer begins to try piece together my character through the different semiotic signals presented. I chose to use my desk light to create the mood/ atmosphere. Its lonesome, its dark, it secluded, its everything I am. Through one shot of completely nothingness I feel I have revealed everything.

Chris Marker’s – Sans Soleil


Chris Marker’s ‘Sans Soleil’ presents to us Marker’s travel log exploring various countries and cultures through documentary style footage. Marker’s ‘Sans Soleil’ is a film presented from a distance. The use of a omnipresent narrator whom recites to us Markers thoughts and notes during his travels, positions us at a voyeuristic point where we feel like we are watching these cultures secretively. Theres a distance between what the filmmaker see’s and what the viewer sees. As if we are not allowed to see these parts of the world, were beliefs and behaviours is the total opposite of western cultures. Chris Marker jumps through footage from his travel between Iceland, Japan, Guinea-Bissau and San-Francisco. In addition, he includes mesmerising edits that really make you look into yourself through the image. The film contains no synched sound.

At first I found the film quite disjointed. I was confused at what I was watching and what I was hearing. I began listening to the narrator, a woman reading letters supposedly written by a “Sandor Krasna”, whom we are told is the traveller whose footage we are watching. With a bit of research, I found that Krasna is one of many Marker pseudonyms. This concept, raises some conflicting ideas about the nature of memory. The images have been created by a fictional character, their meaning attributed through letters read by someone else entirely at a later date. Therefore, the memories and moments we are witnessing are undoubtedly flawed ‘in that history is being created after the fact and changed for one’s own means’.

‘Sans Soleil’ is a film about the accuracy of memory in a personal and cultural sense.He opens the film with a quote from T.S Eliot’s ‘Ash Wednesday’: “Because I know that time is always time/ And place is always and only place / And what is actual only for one time / And only for one place”. The opening creates a very strong ideology that moments take place in a singular spatial and temporal “zone”, never to be repeated. This idea is explored in the novel ‘On Photography’ by Susan Sontag. She explains that photography gives the photographer power to hold reality, or in this case hold the memory through moving image. Marker presents these memories as history, unreliable history.

I particularly enjoyed the natural cinematography of the film. The cameraman was well experienced, whether that be Marker/ Krasna, I found the footage to be very well shot and framed. At times I found myself quite deep into the film and the cultures being presented, I found it all quite interesting especially the monologues/ narration during his visits to Japan, a very strange country. All in all Chris Marker’s film opened my eye to the power of culture and memory, I wish one day to travel the world and make my own interpretation of ‘Sans Soleil’.