BA APPLIED MEDIA : Induction Exercise
Project Title: A Day in the Life of Trelissick
Date Issue: 24-09-14
Date of return: Film completed by 10-10-14
Evaluation hand-in 15-10-14
Lecturers: Andy Hughes /Sue Lewis
Programme Leader: Sue Lewis
The purpose of this exercise is to introduce the working methods and practices required of a BA third year. It is also to introduce everyone to the group and engage with the different specialism’s represented by the students on the course.
A B.A. (Hons) requires you to have a critical awareness of how your own work fits into the theoretical and historical context of visual arts practice. Your first practical module will be working at The National Trust’s Trelissick House and Garden, therefore this exercise has been devised to get you thinking about conceptual issues around the National Trust.
You are required to produce a film (this could be moving image, time lapse or slideshow) of one aspect of Trelissick which will be compiled to give a ‘Day in the Life of Trelissick’ which will be displayed on the course website from 15th October.
In order to aid you in this task we will be going to Trelissick on Wednesday 1st and Thursday 2nd October. We will be having talks from the staff at Trelissick and other professionals who will discuss their work with specific clients.
Produce the following
• A workbook that includes your research and planning
• A finished film, HD 720P, on a disc or usb device, 20-30 sec (timelapse)
2 -5mins (Moving Image) .
• An evaluation of your working methods and the finished film. (approx 500 words)
This exercise will be assessed as part of your Creative Production in a Local Context portfolio
What’s the point of the National Trust radio broadcast;
Frank Percy Smith
Britain in a Day
Once time is ‘embalmed’ in the photograph, it persists, carrying the past across to innumerable futures as they become the present. This persistence characterizes the embalmed index whatever it might be. But because the photograph captures the presence of life stilled, the instantaneous nature of human movement and the fragility of human life, it confuses time more thoroughly than, for instance, the presence of a ruin or a landscape in which traces of the past are preserved. Out of this link between a past moment and the future, Barthes translates the photograph’s relation to time into tense. For him, the photographic image is a recording of absence and presence simultaneously:
What I see has been here, in this place which extends between
inifinty and the subject (operator or spectator); it has been here
and immediately separated; it has been absolutely irrefutably present, and yet already deferred. 7
Mulvey L (2006), Death 24x a second, Stillness and the Moving Image, London: Reaktion Books. p56-57
- Barthes R (1993), Camera Lucida, London: Vantage