Arts & International Affairs: Volume 3, Issue 1, Spring 2018 - Page 38

ARTS & INTERNATIONAL AFFAIRS If I were to advise other filmmakers regarding similar circumstances, counterintuitively the best way to inform a plan for a shoot like this is to begin at the end. When you have experience constructing event-led narratives at the editing stage, you develop a better understanding of the footage that is needed on location. One way to look at it is as a painter would his palette: a clear vision of the piece will illuminate how you reach that end result. The key word in any filmmaking practice is sequence. This means a beginning, a middle and an end—or context, content and conclusion. This should be at the fore- front of one’s mind in deciding what to shoot and when. The project was most interesting from an anthropological perspective. As the week pro- gressed, I observed how the social experiment evolved in this communally inhabited space. I wondered what aims and objectives this makeshift community would conjure up in such a short space of time. In my mind, the answers eventually became the questions that the group posed to themselves. In conclusion to this particular project, I would cite Paolo Freire’s method of pedagogy, in which the components of an event become reciprocal in the sharing of knowledge both collectively and individually. The participants attending the programme contrib- uted to a discussion, while I took part in observing and affecting the outcome that has now been edited and transformed into shared knowledge in the form of films, which can perpetuate the experience to others. Day 1: Highs and Lows Terms such as highbrow and lowbrow culture are used to distinguish taste in art and par- ticipation in such activities. It is important to recognise how various art forms fit into each category, but also how they interact or are excluded from one another in cultural programming and writing. Highs and lows can equally stand for exclusion and inclusion of any sort—for example, social, political, sexual—in and through art. In other words, what sorts or arts and cultural artefacts obtain high versus low standing, and what are the connections between these highs and lows and society? Zach Marschall summarises the first day of in-person deliberations in Edinburgh on the theme “Highs and Lows,” reflecting on participants’ experiences and their atten- dance at the opera “Don Giovanni” the night before. Highs and Lows Film by Guy Gotto (password: aia37) 38