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Rewrite evaluation on separate document using prompt sheet

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Rewrite evaluation on separate document using prompt sheet

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Yesterday - Using lyrics, break song into sections, and in tabular form, set out ideas for location and acting for each verse

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Yesterday - Using lyrics, break song into sections, and in tabular form, set out ideas for location and acting for each verse

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My first idea is to make a music video. This video has a story. An actor and an actress are walking along Clapham Common Park. They are very happy and in love.
This is the lyrics:
Yesterday
All my troubles seemed so far away
Now it looks as though they're here to stay
Oh, I believe in yesterday.

Another actor comes into the scene and gives a bunch of flower to the actress. The actress then looks surprised and took off the gold ring she is wearing and threw it at the first actor.

Suddenly
I'm not half the man I used to be
There's a shadow hanging over me
Oh, yesterday came suddenly

The actress and the second actor hold hands and walk out of the park. They go to a theatre and perform a dance. The first actor watches the two actors dance.

Why she had to go, I don't know
She wouldn't say
I said something wrong
Now I long for yesterday

For the final part, the second actor and actress finish dancing and sit down to play a game of monopoly. The first actor joins them.

Yesterday
Love was such an easy game to play
Now I need a place to hide away
Oh, I believe in yesterday

Why she…
The source below is from GOOGLE SEARCH (2019) Yesterday The Beatles [Online] Available at:  https://www.google.com/search?rlz=1C1CHBF_en-GBGB820GB820&ei=z6bdXJ7vBryg1fAPp7aMoAc&q=yesterday+lyrics+beatles&oq=yesterday+ly&gs_l=psy-ab.1.1.0l10.582127.584220..585791...0.0..2.620.2105.8j1j1j5-2....2..0....1..gws-wiz.......0i71j35i39j0i131j0i131i67j0i67j0i67i70i249.cnNHyRTVZAE [Accessed 25 March 2019].

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yesterday lyrics beatles - Google Search

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https://www.youtube.com/watch?v=pRK-geYGhyg yesterday by the Beatles with lyrics LYRICS: Yesterday All my troubles seemed so ...

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Studio Voltaire. Make a research visit Monday 25th to explore : their vision, emerging artists working there, upcoming events and exhibition, explore with them what they would like eg corporate video

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Studio Voltaire. Make a research visit Monday 25th to explore : their vision, emerging artists working there, upcoming events and exhibition, explore with them what they would like eg corporate video

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I visited Studio Voltaire on 1st April.
Their vision is to support artists at an important time in their career.
Emerging artists are artists at the beginning of their careers. For example, Charlie Billingham did a risograph printing with Studio Voltaire. It means he works with Studio Voltaire to print about 100 artworks. These artworks are put up for sale in the House of Voltaire. The proceeds from sale go to support Studio Voltaire. https://houseofvoltaire.org/pages/artists-designers
Established artists are well known artists who travel the world showing their works. For example, Charlotte Prodger is a well-known artist. She won the Turner Prize in 2018. Her work was displayed at Studio Voltaire a couple of years ago.

Upcoming events are Rand/Goop Mary Reid Kelley and Patrick Kelley.
Studio Voltaire does not want a corporate video at the moment. But they are happy for me to do a video of the current exhibition The Oscar Wilde Temple exhibition.

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A Aaron Angell Alan Kaprow Aleksandra Mir Alexandre da Cunha Alexandra Bircken Alice Channer Alistair Frost Allison Katz Andrew Kerr Amalia Pica Amelie von Wulffen Andrea Büttner Anselm Reyle Ann Craven Anne Collier Anthea Hamilton Antony Gormley April Crichton & Nicolas Party assume vivid astro focus B Bedwyr Will

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Explore with Sandra / Juliet connections to Studio Vol

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Explore with Sandra / Juliet connections to Studio Vol

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I have spoken to Sandra in the Arts Department. She said there is no connection between the college and Studio Voltaire. A representative from Studio Voltaire once came to the college Open Day.

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As explained by the KEATE, ANDY., (2010) Studio Voltaire About https://www.studiovoltaire.org/about/ [03 April 2019], Studio Voltaire is a not-for-profit arts organisation. Studio Voltaire supports artists at an important stage in their careers. Studio Voltaire provides site studio for forty five artists. Studio Voltaire develops many projects. It works in collaboration with local organisations and community groups. Studio Voltaire is a registered charity. The Arts Council England's National Portfolio includes Studio Voltaire.

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Studio Voltaire is one of the UK's leading not-for-profit arts organisations. Our pioneering public programmes of exhibitions, participation projects, live events and off-site commissions have gained an international reputation.

Studio Voltaire has an outstanding track record of supporting artists at a pivotal stage in their careers. We champion emerging and under represented artists, placing great emphasis on risk-taking and experimentation, allowing us to offer an alternative and agenda-setting view of contemporary art. Many of our commissions are an artist's first solo exhibition in London. We invest wholly in the production of new work that might not always be possible in commercial galleries or larger institutions, giving artists the chance to expand their practice, often working in residence in the gallery.

Exhibiting artists have included: Phyllida Barlow, Judith Bernstein, Monster Chetwynd, Anne Collier, Nicole Eisenman, Sharon Hayes, Jamian Juliano-Villani, Sanya Kantarovsky, Ella Kruglyanskaya, Cookie Mueller & Vittorio Scarpati, Henrik Olesen, The Neo Naturists, Elizabeth Price, Charlotte Prodger, Richard Slee, Jo Spence, Cathy Wilkes.

We provide a much-needed resource of affordable and accessible on-site studios which house over forty-five artists, supporting the development of a diverse range of individual and collective practices, from recent graduates to internationally recognised practitioners.

Studio Voltaire commissions a wide range of participatory activities and projects working in collaboration with artists, local organisations, schools and community groups. This programme aims to develop a closer relationship between the artist, the production of work and an active, contributing audience. Projects take place in the gallery as well as offsite.

Studio Voltaire is a registered charity and part of Arts Council England's National Portfolio. Our exhibition, participation and events programmes are fundraised for in their entirety through the kind patronage of individuals, sales of our renowned limited edition works and funding from charitable trusts and foundations. Please visit this page to find out about ways you can support Studio Voltaire.

"One of the most dynamic spaces in London."
The Telegraph

"Studio Voltaire has become one of the most energising spaces in London. Its ad-hoc approach and knack for spotting young talent makes it a formidable presence on the city's art scene."
The Guardian

"Working with Studio Voltaire remains one of the deepest joys of my artistic career. It is a unique organisation in that its artistic voice is multi-layered, multi-vocal and ecstatic. The passion, commitment, hard work and trust of the team allowed me to take risks, to push myself and my project and to engage audiences that I have not had the ability to reach before."
Artist Sharon Hayes

Phyllida Barlow, Bluff, 2010. Installation View, Studio Voltaire, London. Courtesy of the artist. Credit Andy Keate.

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Studio Voltaire is one of the UK's leading not-for-profit arts organisations. Our pioneering public programmes of exhibitions, participation projects, live events and off-site commissions have gained an international reputation. Studio Voltaire has an outstanding track record of supporting artists at a pivotal stage in their careers.

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As explained by En.wikipedia.org. (2019). Oscar Wilde. [Online] Available at: https://en.wikipedia.org/wiki/Oscar_Wilde [Accessed April 2019], Oscar Wilde was an Irish poet and playwright. He lived from 1854 to 1900. He was educated at Trinity College Dublin and Oxford. He was sent to prison for being homosexual. He was influenced by aestheticism. The picture below is Oscar Wilde taken in 1882 by Napoleon Sarony https://en.wikipedia.org/wiki/Oscar_Wilde#/media/File:Oscar_Wilde_Sarony.jpg

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Until he was nine, Oscar Wilde was educated at home, where a French bonne and a German governess taught him their languages. He then attended Portora Royal School in Enniskillen, County Fermanagh from 1864 to 1871. Until his early twenties, Wilde summered at the villa, Moytura House, his father built in Cong, County Mayo.

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As explained by BRITISH LIBRARY NEWSLETTER People, Oscar Wilde https://www.bl.uk/people/oscar-wilde [4 April 2019], this is what Oscar Wilde said to a French writer "I put all my genius into my life, I put only my talent into my books."

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Oscar Wilde - author of The Picture of Dorian Gray

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Oscar Wilde, flamboyant and witty Anglo-Irish playwright, poet and critic is best-known for The Picture of Dorian Gray and The Importance of Being Earnest.

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As explained by THE EDITORS of Encyclopaedia Britannica, (2019) https://www.britannica.com/art/Aestheticism [2 April 2019], aestheticism is an arts movement which argues that art has its own value and serves no political purpose.

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Aestheticism | Oscar Wilde, Decadence & Symbolism

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Aestheticism, late 19th-century European arts movement which centred on the doctrine that art exists for the sake of its beauty alone, and that it need serve no political, didactic, or other purpose. The movement began in reaction to prevailing utilitarian social philosophies and to what was

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I learn that Dennis Severs House is a house named after its founder Dennis Severs to show visitors what life was like for a family of silk weavers in Shoreditch Between 1724 - 1914. It looks like a museum. ADLINGTON, DAVID. https://www.dennissevershouse.co.uk/the-tour/ [11 April 2019]. It is similar to the artists' way to bring us back in time to the Victorian era.

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The Tour | Dennis Severs' House - 18 Folgate Street

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The house is open to the public for daytime and evening tours, and private group visits.

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As explained by the leaflet The Oscar Wilde Temple [03 April 2019], David McDermott was born in 1952 and Peter McGough was born in 1958. They have been working together since 1980.

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Below is a short documentary by MCDERMOTTANDMCGOUGH (13 June 2014) McDermott & McGough https://www.youtube.com/watch?v=79UZ9HWaKbM [4 April 2019] showing an interview with David McDermott

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Today, I read an article about the artists. NICKAS, BOB., (September 27, 2017) McDermott & McGough's Oscar Wilde Tribute Skewers Our Trouble Present https://www.vice.com/en_us/article/gy5wgq/mcdermott-and-mcgough-pay-tribute-to-oscar-wilde [08 April 2019]. Now, I understand the reason the artists called their exhibition the Oscar Wilde Temple. It is called a Temple not only to pay tribute to Oscar Wilde but also to those who have died for being homosexual.

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View of McDermott & McGough, Oscar Wilde Temple, 1917, MMXVII, Russell Chapel, The Church of the Village, New York. Photo Elisabeth Bernstein © McDermott & McGough

GARAGE is a print and digital universe spanning the worlds of art, fashion, design, and culture. Our launch on VICE.com is coming soon, but until then, we're publishing original stories, essays, videos, and more to give you a taste of what's to come.

One afternoon in 1985, passing by the corner of New York's Broadway and West Houston-then the site of a carnivalesque establishment known as Carz-a-Poppin, a car wash that might have been a Coney Island ride-passersby stopped in their tracks, open-mouthed. In a seen-it-all city, this remained a singular occurrence. Before them, against a backdrop of yellow taxis and bemused drivers, what looked like a 1920s Model-T Ford straddled the sidewalk. In spite of the brisk weather, the top was down and two men, bundled up in stylish but well-worn coats fashionable sixty years prior, occupied the backseat. One of them appeared visibly perturbed.

A young man attempted to start the car with a hand crank. Also in period clothes, he stood in stark contrast to those passing by in uniform jeans and sneakers. The old heap's engine, sputtering now and then with a grandmotherly wheeze, refused to turn over . But the dandies in the backseat (were they time travelers stranded in a relentless present?) seemed oblivious. Perhaps they heard the horns of passing traffic as taunts rather than cheers, and were pretendeding not to notice. Gawkers on the sidewalk began to point and laugh. But these time travelers had been taunted before, likely from an early age. All these years later, the garish lights of Carz-a-Poppin still flash in my mind's eye, a reminder that traveling beyond the limits of memory is, like so much else in life, a choice.

The two men in the backseat were David McDermott and Peter McGough, life partners back in the 1980s, a decade that for them may as well have been the 1880s. They've continued as artistic collaborators for the past thirty-plus years. Nowadays, any young artist with half an idea is dubbed "conceptual." But McDermott and McGough's art, which has rarely been afforded this designation, is based on a particular concept: theirs has been an ongoing, lived experiment with time. Not only are their cars and clothes of distant vintage, but they have inhabited homes without electricity, used antique camera equipment to produce their photographs (cyanotypes hovering in a blue haze of the medium's early origins), and made paintings dated to subjects, events (often calamitous), and periods past. Works that referenced the great San Francisco earthquake, including vitrines filled with broken crockery, for example, are dated to 1906.

The pair's unexpected turns send us through a revolving door, spinning us out into another age, delivering us to the other side of our hopes and fears. If the high Conceptualism of the 1960s intended for art to change what you expect of it, McDermott & McGough's experiment engages their viewers as test subjects; their art changes what we expect of ourselves and others. Altering our consciousness of space and time has increasingly become the central means for their project to embody a political dimension; nowhere is this more evident than in their most recent project, The Oscar Wilde Temple, an installation realized in 2017 after brewing in the artists' studio-lab since the '90s.

Temple serves as a memorial to a figure equally celebrated and shunned in his lifetime, who lives on a hundred years past his forgotten tormentors to represent the birth of gay pride and LGBTQ rights. Situated on the lower level of The Church of the Village on West 13th Street, in a chapel where the artists encourage same-sex marriages to be performed, Temple is not far from the landmarked Stonewall Inn, site of the 1969 riots that ushered in the gay liberation movement. More recent events have hit even closer to home, and McDermott & McGough don't let these go unnoticed. They made two plaques for the chapel that honor the Reverends Paul M. Abels and C. Edward Egan, who were forced to leave their ministry-from theis very same church-because they were gay, in 1977 and 1984 respectively.

The time-capsule aspect of McDermott & McGough's art serves to remind us that it's often later than we think. With Temple, the artists transport us back to 1917, the date ascribed to the paintings that depict Wilde's arrest, trial, and conviction for "homosexual offences," his subsequent imprisonment in 1895-he was sentenced to two years hard labor-and his secret release. Wilde's lasting fame rests upon The Picture of Dorian Gray and The Importance of Being Earnest, as well as De Profundis (From the Depths), a letter to his former lover and betrayer, written in prison. But Wilde, often quoted and perhaps more vividly present, is also widely known for a canny, aphoristic philosophy that continues to resonate, as if he was speaking to and skewering our own time:

Semi-celebrity culture: There is only one thing worse in the world than being talked about and that is not being talked about.

Climate change denial and the return of creationism: Science is the record of dead religions.

"Fake news," decried most loudly by those who invented it in the first place: If one tells the truth, one is sure, sooner or later, to be found out.

Flag-wavers marching at night with torches in the South: Patriotism is the virtue of the vicious.

Being duped by conspicuous consumption: Fashion is a contrived epidemic.

In McDermott & McGough's installation, a series of seven paintings, The Stations of Reading Gaol (the prison where Wilde was incarcerated), have been rendered as religious icons, corresponding to the original set of seven Stations of the Cross, as befits their presentation in a functioning chapel. But the images chosen by McDermott & McGough are all based on illustrations from English tabloids and police gazettes, a commingling of the sacred and the profane.

One of Wilde's most pointed observations serves the artists in this respect, and amplifies their experiment with time: The only difference between the saint and the sinner is that every saint has a past and every sinner has a future. Over the years, their collaboration has in many ways been defined by an oft-repeated, Wildean declaration of David McDermott's: "I've seen the future and I'm not going." That this sentiment was first repeated against the backdrop of 1984, the year that loomed for many as representing future dread, is no small coincidence. Today, Orwell's repressive dystopia is manifest across the globe, leading us to wonder what is to come in the country that so firmly upholds the greatest illusion of freedom, these United States? If Wilde were alive today, he would confront no less than 72 countries where he might again be imprisoned, or worse, be put to death.

In this country, AIDS was often seen as divine retribution for deviant behavior, particularly ascribed by the Christian right. A central element in McDermott & McGough's installation is a painting they made in 1986, in the midst of the pandemic, re-translating the acronym for Acquired Immune Deficiency Syndrome as Advent Infinite Divine Spirit. What was to be gained, they asked, in a time of such horrific, seemingly unending loss? Temple commemorates those who were murdered or died for their "sins," among them Harvey Milk, California's first openly gay politician, elected to San Francisco's Board of Supervisors and gunned down in its City Hall; Brandon Teena, a transgender man in Nebraska whose life and death-raped, strangled, and dumped in the trunk of a car in 1993-was turned into the movie, Boys Don't Cry; and Alan Turing, the brilliant computer scientist and codebreaker who helped Britain to win the war, but would be rewarded for his service with an arrest on charges of "gross indecency" in 1952, and who avoided imprisonment only by accepting hormone treatments which destroyed his libido, and mysteriously died just two years later from cyanide poisoning.

Turing's inclusion in the work is a stark reminder that in 1950s Britain, "inverts" were still considered criminals, and the artists' summoning of 1917 aligns with a point in time, a half century later, when homosexuality would be decriminalized in that country. From 1917 to 1967 to 2017, we find ourselves in a time spiral, the artists' history lessons delivering us to a present haunted by the past. Their 2001 exhibition, The Lust That Comes From Nothing, for example, which engaged Hitler's persecution of homosexuals, resonates uneasily with the rise of neo-Nazis today. But look at the images of neo-Nazis on the march in Charlottesville and you have to ask yourself: Is this really the new master race? These bedraggled supporters of the family Drumpf and David Duke couldn't get hired as extras for The Dukes of Hazard. Their unlikely partners-in-crime, those khaki-clones who are blandly beyond the pale, offer a whiter shade of mediocrity in counterpoint: The Preppy Handbook meets Cormac McCarthy's The Road. In this, as Seneca reminds us, we understand that "All cruelty springs from weakness."

"To remember history can be impolite"? Felix Gonzalez-Torres's observation from 1991 refers to those who challenge the dominant narrative. If the artist were here today, he might wonder: Undone, as if it had never happened? The charges of history being rewritten or erased are nowadays made from the alt-wrong, and primarily against those their ancestors once owned, when the erasers, and the loaded guns, have been in their hands all along. Some "very fine people" to be sure. From the Civil War (did it ever really come to an end?) to the fight for civil rights, followed by black liberation, women's liberation, and all the battles for equality that continue, there has been a simmering hostility that was bound to erupt. Gay rights also threaten their masculinity. How did it become so fragile? For the most vocal, and the most insecure, maybe it was all along.

McDermott & McGough chose an auspicious day on which to unveil their tribute: September 11. This is an anniversary of seismic dimension, felt across the country, though particularly resonant for New Yorkers. Some of us saw horror unfold from our bedroom windows, and breathed in that acrid, burning air, while most, at a safe distance, watched on TV. Today, there are those who believe they own its memory, just as they own the idea of America, of liberty and of patriotism, while a few of them actually do own the country, to all intents and purposes, their wealth propped up by the thinnest facade of populism. Most troubling are those who only feel free when others are not. What would they have thought of something as "perverse" as The Oscar Wilde Temple opening to the public on September 11?

On the way home from McDermott & McGough's exhibition, a bright, beautiful day, we looked across Houston to the once comic corner of Broadway, where now stands a block of glass and metal anchored by an arena-size Adidas Sport Performance store. Business seemed to be brisk. Ubers idled curbside. Smiling parents wheeled by with children in strollers. Confused tourists clogged the corner. Life, or something like it, goes on.

Bob Nickas is a writer and curator based in New York City.

The Oscar Wilde Temple, a collaboration between McDermott & McGough, the LGBTQ Community Center of New York City, and the Church of the Village, will be on view in its lower level chapel at 201 West 13th Street until December 2. It will subsequently be presented in 2018 at Studio Voltaire in London. In New York, all proceeds from events held at the Temple, along with donations, will benefit the Community Center's programs for LGBTQ youth at risk of homelessness. McDermott and McGough's first American museum retrospective, I've Seen the Future and I'm Not Going, organized by Alison Gingeras, will open on October 1 at Dallas Contemporary.

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McDermott & McGough's Oscar Wilde Tribute Skewers Our Troubled Present

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Artist duo David McDermott and Peter McGough are famous for their willful resistance to modern technology and the relentless march of "progress." In a tribute to Oscar Wilde, the pair remembers an iconic figure still capable of whipping up controversy.

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Today, I read an article about the artists by LOY BELL, FRANCESCO., (November 6, 2018) Modern Martyrs at Studio Voltaire https://www.wonderlandmagazine.com/2018/11/06/oscar-wilde-temple-studio-voltaire/ [10 April 2019]. This article explains quite well LGBTQ + martyrs.

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The Oscar Wilde Temple at Studio Voltaire is a homage to fallen LGBTQ+ figures.

At a glance, the outside of Studio Voltaire's Clapham gallery looks like an ordinary church, the waist-high white wall fronting the red-brick building matching the Studio's inconspicuously monochrome logo, which sits above its black doors. Though this is a church, of sorts, the interior is far removed from the building's simple shell, with ornate floral wallpaper, boldly framed artwork, and huge wooden beams spanning the room. At the centre, replacing the traditional alter, stands a statue of 19th century poet and writer, Oscar Wilde, to whom this shrine is dedicated.

Created by artists McDermott & McGough, The Oscar Wilde Temple is an immersive installation which sees the entire Studio Voltaire gallery space turned into a shrine, not just for Wilde, but in the name of LGBTQ+ martyrs, whose lives have been taken as a result of their sexuality. Images of Wilde's persecution mount the walls, the chronological depiction of his trial and its aftermath playing on the traditional portrayals of Jesus' final days, and portraits of prominent LGBTQ+ figures such as Harvey Milk, Alan Turing, Marsha P. Johnson, are positioned on either side of Wilde's statue.

Aside from this visual installation, the space is also available for hire, accepting bookings to host LGBTQ+ weddings, naming ceremonies and more, with all proceeds going towards the The Albert Kennedy Trust, a charity that works to prevent LGBT youth homelessness, which also runs workshops in the space. We chatted to Nicola Wright, the exhibition's curator, about the project.

What inspired you to open the Oscar Wilde Temple?
The Oscar Wilde Temple closely aligns to Studio Voltaire's programmes; our sustained engagement with emerging and under represented artists. Also artists working between queer narratives, histories and identity; and our commitment to commissioning highly ambitious projects that might not be possible in larger institutions or commercial settings.

The premise for the Temple was entirely transformative, and offered an extraordinary opportunity to stage a project which has been 25 years in the making for McDermott and McGough. This is the first institutional exhibition of their work in the UK. The artists' practice has engaged with issues surrounding queer identity since the early 1980s and their work, in particular their "time machine" experiments, represent a truly radical re-imagining of history.

Why was Oscar Wilde in particular chosen as the main subject of the exhibition?
For McDermott and McGough, Oscar Wilde represents an extraordinary forebear of gay liberation: commemorating Wilde and telling his story inscribes him as both a martyr and champion for the LGBTQ+ community.

McDermott and McGough's have also depicted twelve LGBTQ+ people from the 20th and 21st Centuries whom the artists have identified as martyrs in the same tradition as Wilde. While some are internationally known figures , such as Alan Turing, Marsha P. Johnson and Harvey Milk, other less known figures include Xulhaz Mannan, the founder of Bangladesh's first and only LGBT-themed magazine, and Sakia Gunn, a young gay women murdered aged 15 for disclosing her sexuality.

How important a statement is it to have the exhibition designed as a church?
The church setting underlines Wilde's status as a martyr for the artists. McDermott & McGough have specifically appropriated from the architecture, dressings and staging of a church, from the use of stained glass windows (sunflowers and green carnations, both flowers associated with Wilde, appear in the windows and throughout the Temple), church chairs, lecterns and incense. They make explicit use of religious statuary and iconography, as in the painting 'C.33 A Holy Family' (1918/2018) - which portrays the 'trinity' of Wilde, his mother Speranza and lover Bosie in a triptych recalling altar paintings - or the painting series 'The Stations of Reading Gaol', which directly references the format of the Stations of the Cross.

Beyond this, The Temple plays an important role in the project's function as a setting for LGBTQ+ marriages, blessings, re-naming ceremonies and commemorative events. The Temple serves as an explicitly queer space for those wanting to mark meaningful moments and celebrations which they don't feel are served by conventional religious or secular institutions.

How key was it for you to give the space a practical use (by making it available to LGBTQ+ groups) as well as being an art exhibition?
It was incredibly important to offer out the space to the LGBTQ+ community: the "real life" functionality of the Temple was a key aspect of the project as envisioned by McDermott & McGough. The Oscar Wilde Temple is intended as an entirely safe space for the LGBTQ+ community - one that might simply offer space for contemplation, remembrance or reflection, but also as a practical resource for groups who might not have regular access to meeting space.

Equally, our partnership with the Albert Kennedy Trust is a central tenet of the Temple's function. As part of this partnership, we are implementing a six month programme of workshops, events, mentoring and professional development for their young people, in partnership with leading artists, writers and fashion designers, as well as fundraising for their incredible work.

Related → Related → Related → Related → Related → Related → Related → Related → Related → Related → Related → Related → Related → Related → Related → Related → Related → Related → Related → Related →

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The Oscar Wilde Temple at Studio Voltaire | Wonderland

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The Oscar Wilde Temple at Studio Voltaire is a homage to fallen LGBTQ+ figures. At a glance, the outside of Studio Voltaire's Clapham gallery looks like an ordinary church, the waist-high white wall fronting the red-brick building matching the Studio's inconspicuously monochrome logo, which sits above its black doors.

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Today, I read this article about the artists and exhibition. WILLIAMS, TERRI-ANN FOR MAILONLINE (4 October 2018) Artists build an incredible Oscar Wilde temple honouring the playwright that can host gay weddings, vow renewals and transgender naming ceremonies  https://www.dailymail.co.uk/news/article-6239219/Artists-build-incredible-Oscar-Wilde-temple-honouring-playwright-host-gay-weddings.html [11 April 2019]. I learn from this article that every object in the temple tells a story.

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Artists build an incredible Oscar Wilde temple honouring the playwright that can host gay weddings, vow renewals and transgender naming ceremonies

Oscar Wilde was imprisoned in 1985 on charges of sodomy and indecency following various accusations

Proceeds from the new exhibition will go to the Albert Kennedy Trust , a charity that helps the LGBT homeless

Visitors will be able to use the temple for LGBT rites of any kind, including marriages and vow renewals

A shrine celebrating activist and author Oscar Wilde has gone on display in London, with visitors being able to take part in marriage ceremonies and vow renewals at the chapel.

The new installation has hopes of raising funds for homeless LGBT (lesbian, gay, bisexual, and transgender) people in the city.

In a Victorian south London church, the Oscar Wilde Temple is the first London show from artist Peter McGough and long-term artistic and former romantic partner, David McDermott.

The installation is more than an art show, as visitors will be able to use the temple for LGBT rites of any kind, including marriages, vow renewals and transgender naming ceremonies.

The installation had originally been mounted in New York last year and the immersive experience is now set to take over over the premises of the non-profit arts organisation Studio Voltaire, which is located in a former chapel, where it will remain for the next six months.

It was in 1985 that Wilde had been imprisoned on charges of sodomy and gross indecency following accusations made by the father of his lover, Lord Alfred 'Bosie' Douglas.

Now both McGough and McDermott want to present his suffering and help raise awareness with the new instalation, the New York Times reported.

McGough said: 'Wilde stood up for himself in the courts, he went to jail and then he was destroyed.

'What he went through was very Christlike.'

The exhibition includes an altar that surrounds a wooden rendering of the 19th-century Irish playwright and poet.

Gay rights and the AIDS crisis have been constant themes in the pair's work and feature throughout the exhibition.

While the 'Oscar Wilde Temple' is a step forward for progress, it is also a politically charged move.

The painting 'A Friend of Dorothy, 1943' features slurs that the artists have been called.

Another, showing a luminous spiral radiating from the center of the canvas, bears the title 'Advent Infinite Divine Spirit,' offering an alternate meaning for the acronym AIDS.

Both works date from the '80s. There are also contemporary pieces which are displayed on either side of the altarpiece, including 12 oil paintings of what McDermott and McGough identify as modern-day martyrs.

The figures include icons of queer culture such as Harvey Milk and Alan Turing and lesser-known figures like Xulhaz Mannan, the founder of Bangladesh's first LGBT magazine, and Jody Dobrowski, a London bar manager, both of whom were killed in hate crimes.

The artists have restored the exhibition space back to its former Victorian glory, by adding purple votive candles, heavy chandeliers and geometric floral wallpaper from the 1880s. In addition to the hand-carved Wilde statue at the altar, in true homage to Wilde, the temple is complete with new stained-glass windows depicting sunflowers and green carnations (a nod to a key prop in Wilde's play 'Lady Windermere's Fan').

Paintings of archival newspaper cartoons of the author's trial are displayed to mimic the stations of the cross found in a traditional Catholic church.

Proceeds from exhibition will go to the Albert Kennedy Trust, a charity that helps the LGBT homeless.

The world we live in today is a stark contrast to the one in which Wilde would have had to deal with, and McGough said it's clear that Wilde played a key role in the gay revolution.

'He knew how to stand up to the crowds mocking him,' McGough says of Wilde as he looks up at the statue. 'He was the figure and the forefather of the gay revolution.'

The original idea for the shine first manifested more than 20 years ago and McGough and McDermott designed the space to be a temple of love and acceptance.

'I thought, let's give some comfort to my kind and my community,' says McGough. 'A celebration of who we are.'

The 'Oscar Wilde Temple' is on view from Oct 3 2018 through March 21 2019 at Studio Voltaire, 1A Nelsons Row, London, for more information visit studiovoltaire.org.

'I HAVE NOTHING TO DECLARE BUT MY GENIUS': THE WIT OF OSCAR WILDE

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Artists build an incredible Oscar Wilde temple to honour him

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Oscar Wilde was imprisoned in 1985 on charges of sodomy and indecency following various accusations Proceeds from the new exhibition will go to the Albert Kennedy Trust , a charity that helps the LGBT homeless Visitors will be able to use the temple for LGBT rites of any kind, including marriages and vow renewals A shrine celebrating activist and author Oscar Wilde has gone on display in London, with visitors being able to take part in marriage ceremonies and vow renewals at the chapel.

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Today, I watch a video about the artists. They explain their paintings by relating them to their experiences. STUDIO VOLTAIRE (October 13, 2018) McDermott & McGough in conversation with Alison Gingeras https://vimeo.com/294912043 [15 April 2019].

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McDermott & McGough in conversation with Alison Gingeras

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5 October 2018

Twenty years in the making, The Oscar Wilde Temple is a wholly immersive work of art and secular space honouring one of the earliest forebears of gay liberation whilst commemorating contemporary LGBTQ+ martyrs and those lost to the AIDS crisis.

This will be the first–ever institutional exhibition of McDermott & McGough’s work in the UK and will provide audiences with an important opportunity to experience the artists’ groundbreaking work first–hand.

For this major new commission, the most ambitious in Studio Voltaire’s history, the entirety of the gallery, a Victorian former chapel, will be dramatically transformed to create an environment that wholly celebrates the Irish poet and author. Period wallpaper, stained glass windows, hangings and 19th century chandeliers and furniture adorn the space, evoking the provocative sensuousness of the Aesthetic Movement.

McDermott & McGough use the lens of Wilde’s legacy to make visible the traumatic history of queer identity while directly addressing the continuing inequalities faced by LGBTQ+ communities. The artists’ 30–year practice has engaged with issues surrounding queer identity since the early 1980s. Their work frequently addresses the homoerotic aspects of Victorian culture, while simultaneously acknowledging the oppressive politics of the period.

David McDermott (1952) and Peter McGough (1958) have worked collaboratively since 1980, achieving notoriety in the bohemian downtown quarters of New York with their performative ‘time machine’ experiments. This all encompassing gesamtkunstwerk saw their dress, home, and art studios (down to the materials and techniques they deployed) remain strictly faithful to late 19th and early 20th centuries. By refusing the contemporary present in favour of fabricating their own queer version of the past, McDermott & McGough asserted a revolutionary queer agency well ahead of their time. Their practice is a singular and prescient voice among the numerous politicised and activist artists that emerged into the mainstream during the AIDS crisis.

Curated by Alison M. Gingeras in partnership with Studio Voltaire.

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Go on tour Monday 8th if possible, to identify what can be said and which pictures - max 5

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Go on tour Monday 8th if possible, to identify what can be said and which pictures - max 5

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The tour of the gallery on Monday 8th April has been cancelled. I could not attend the tour of the gallery on Monday 8th.  Despite the tour of the gallery on Monday 8th has been cancelled, I was still able to identify 5 pictures I wish the presenter to talk about. I took some pictures when I visited the gallery on 1st April.

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Add greater details about the shoot itself, explaining what you did, decisions you made (selection of art, directing presenter) problems etc; include timing (too long on exteriors) and prioritisation

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Add greater details about the shoot itself, explaining what you did, decisions you made (selection of art, directing presenter) problems etc; include timing (too long on exteriors) and prioritisation

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I have never directed a film. This was the first time I have directed a film. Making this documentary was one of the most difficult and rewarding experiences of my life. It was an honour and privilege to work with staff at the Art Centre. I wish to thank staff at the Art Centre for their time. I hope my experience will inspire other students to realise their vision and to pursue a career in film production.
I chose the paintings in the Art Centre because I was looking for interesting textures, colours and shapes. The artworks I choose tie all the colours in that room together.
Directing the presenter was terrifying. Sometimes it was a tad frustrating to get the presenter to speak the way I asked, the way art critics speak. They usually interpret and evaluate art rather just say what it is.
I spent a tad too long filming the exterior of the Art Centre. The reason was I wanted to do an establishing shot of the Art Centre (image below). This was time not well spent. I should have shot the presenter first because she had little time for filming. I should spend more time on working on different ways to prioritise my tasks.

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Corresponding with the presenter/Art Centre

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Corresponding with the presenter/Art Centre

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I have decided to publish email correspondence between myself and the curator of the gallery that was necessary to organise my visit. Each email was meant to be read only by the person named in the message header. I thank staff at the gallery for their collaboration.  I especially wish to thank Laura Harford for inviting me to the gallery.

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Look at series in which critics talk about art to establish a style

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Look at series in which critics talk about art to establish a style

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Today, I look at a programme to see how Andrew Graham Dixon moves between shots KARENMCGANN (2012) Art of Russia  - Episode 3 - Moscow Metro  https://vimeo.com/36184339 [12 April 2019]. His presentation shows he has a passion for art. He lies on the ground with a pair of binoculars and talks about art. This shows he is encouraging the viewer to think and feel.

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Art of Russia - Episode 3 - Moscow Metro

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Andrew Graham Dixon explores the art of the Moscow underground network

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Rework audio track to have less music with clear logic i.e. it comes in between artworks, when the presenter moves. Reflected

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Rework audio track to have less music with clear logic i.e. it comes in between artworks, when the presenter moves. Reflected

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I choose four audio tracks from YouTube Audio Library for my film. They are free music and non-copyright. These audio tracks come in between artworks. I lower audio when the presenter speaks and increase it when the presenter moves from one art work to another. I choose these soundtracks for their emotional themes to complement the documentary with a story. I choose these soundtracks to express the right emotion and to communicate the artists' idea about LGBTQ more fully. These audio tracks are

I Saw Three Ships by Audionautix (1:54 minutes) https://www.youtube.com/audiolibrary/music?ar=2&o=U [Accessed 5 May 2019].

Forever Yours by Wayne Jones (1:52 minutes) https://www.youtube.com/audiolibrary/music?ar=2&o=U [Accessed 14 May 2019].

Neck Pillow by Silent Partner (1:36 minutes) https://www.youtube.com/audiolibrary/music?o=U&ar=2 [Accessed 21 May 2019].

Borderless by Aakash Gandhi (2:51 minutes) https://www.youtube.com/audiolibrary/music?ar=2&o=U [Accessed 5 May 2019].

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Look at series in which critics talk about art to establish a style

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Look at series in which critics talk about art to establish a style

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Today, I watch a programme by MEADSSHRINE5 Jonathan Meades - The Truth About Porkies https://vimeo.com/139071359  [03 April 2019]. I find his film clever and funny. At 08:03 of this film, Jonathan Meades walks into frame, talks about pigs and then walks out of frame.

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Finding a location that does everything I want, a back up location and how I will use it

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Finding a location that does everything I want, a back up location and how I will use it

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There was no location that does everything I want. I could only film in two locations: the exterior of the Art Centre and one room inside the Art Centre. I chose one location outside the Art Centre on a pavement because I felt that location was a good storytelling tool. That location was very scenic. An inspiring location was in the Art Centre where all the paintings were displayed on the wall.

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The first assembled rough cut of this documentary came in over 5 minutes. Further editing took that down to 5 minutes then later to the permitted running time of 4.59 minutes (6 May 2019).

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Using different tools techniques and effects in Premiere, Audition or After Effects

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Using different tools techniques and effects in Premiere, Audition or After Effects

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At 0:47 of the edit, there is the sound of a door squeak and close. I have removed some of this noise by editing in Adobe Audition. I use the Spot Healing Brush to paint the part where I hear the noise. The sound of a door squeak and close is displayed as a yellow thumbing pattern. Adobe Audition calculates and removes it.

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Working out how long I need on each location

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Working out how long I need on each location

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The presenter should speaks 30 to 45 seconds on each artwork. A wide shot should be taken of the presenter when she is talking.

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My tutor took a look at my edit and made comments. At
01:20, there should be a picture of the artists. The artists were and still are in America. I could not interview them nor take a picture of them. There was no picture of the artists in the Art Centre.
01:30, I need to mix it to inside.
03.11, there should be a picture of Oscar Wilde or a close up shot of the Oscar Wilde Temple.
02:11, there is an "um". I need to remove this "um".
02:39, there is a jump cut. I should insert a cutaway at this point.
03:00, the presenter looks odd when a wide shot suddenly appears as she is talking. I will change it to a close up shot.

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Look at series in which critics talk about art to establish a style

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Look at series in which critics talk about art to establish a style

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Today, I watch a programme by ZCZFILMS (12 April 2011)

Waldemar Januszczak Visits - Skokloster Castle https://www.youtube.com/watch?v=q8i6Ax9JseU [05 April 2019]. I find this art critic's style casual. He makes it understandable.

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Waldemar Januszczak Visits - Skokloster Castle

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Look at series in which critics talk about art to establish a style

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Look at series in which critics talk about art to establish a style

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Today, I watch another programme by ZCZFILMS (10 March 2016) The Renaissance Unchained Bonus Scene - Limewood https://www.youtube.com/watch?v=nFqCrULwhD4 [05 April 2019]. I find this video, specifically the part about the man and woman losing the battle with time, interesting. That part illustrates how to shoot from different positions around the art.

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The Renaissance Unchained Bonus Scene - Limewood

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Look at series in which critics talk about art to establish a style

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Look at series in which critics talk about art to establish a style

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Today, I watch another video by ZCZFILMS (29 March 2019) Vincent: The Full Story - London Walk https://www.youtube.com/watch?v=NZBB7bWKP2I [7 April 2019]. I learn from this video that background music does not necessarily have to come from YouTube Audio Library. It can come from musicians playing guitar on the street.

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Look at series in which critics talk about art to establish a style

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Look at series in which critics talk about art to establish a style

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Today, I watch a programme by ZCZFILMS (12 December 2013) Edvard Munch at The Tate Modern https://www.youtube.com/watch?v=L78itf8ocgM [22 April 2019]. This video shows how an art critic moves around a space.

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Plan for filming on 23rd April: shots in the morning and Laura in afternoon

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Plan for filming on 23rd April: shots in the morning and Laura in afternoon

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I went to the Art Centre to film on 23 April as planned. Two other students came along. When I returned to college to upload the film onto the computer, the camera SD memory card was broken so I could not add the interview to the edit. I could not recover data from the broken memory card.

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At 01:32, the presenter repeats herself. I remove the part where the presenter repeats herself. I replace it with a cutaway. I use the footage on my B-roll.

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Show greater awareness of interviewer/presenter conventions (eyelines). Analyse at least one art programme with a presenter (Wademar Januszczak)

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Show greater awareness of interviewer/presenter conventions (eyelines). Analyse at least one art programme with a presenter (Wademar Januszczak)

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Today, I watch a film by ZCZFILMS (14 January 2019) Warhol at the Whitney https://www.youtube.com/watch?v=STtePghGmzk [10 April 2019]. At 0.33/5:59, Wademar Januszczak walks into frame, talks about art and then walks out of frame. He maintains his eyelines.

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Show greater awareness of interviewer/presenter conventions (eyelines). Analyse at least one art programme with a presenter (Andrew Graham Dixon)

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Show greater awareness of interviewer/presenter conventions (eyelines). Analyse at least one art programme with a presenter (Andrew Graham Dixon)

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In this programme JOAN4567 (10 December 2008) Andrew Graham Dixon on the genius of Rubens https://www.youtube.com/watch?v=_PAIVh0Y_I4 [23 May 2019],  at 1:29/7:36, Andrew Graham Dixon walks into frame, talks about art and then walks out of frame. All the shots have matching eye lines. The eye line of Andrew Graham Dixon matches that of the camera lens. He is not looking up at the camera lens. He is not looking down on the camera lens. He is looking directly at the camera lens. That is what I have discovered. I brought different bits of this research together to incorporate into my own ideas for my film and help it develop.

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Explain how to shoot the presenter walking/talking with test shoot or storyboard. Connect that to your project

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Explain how to shoot the presenter walking/talking with test shoot or storyboard. Connect that to your project

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This is sometimes called Walkie/Talkie Filming. In my documentary, the presenter walks into frame and talks. After talking about art, she walks out of frame. I learnt this technique from watching Andrew Graham Dixon's programmes. Below is a test.

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My first idea is to make a music video. My second idea is to make a documentary about a gallery. My third idea is to make a short film about Spider Man. For details of my ideas, please visit my FMP Initial Ideas by clicking on the link below.

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Today (24 March 2019), I watch a documentary on Vimeo. (2018). Five days later. [Online] Available at: https://vimeo.com/297116994 [Accessed 24 March 2019]. In the documentary, residents describe the impact of Hurricane Michael. This documentary shows details of what happened five days after Hurricane Michael struck the US mainland. The use of sound to tell its story is a really powerful tool for giving this documentary impact. I will research sound to use in my documentary. I will conduct research into sound on YouTube Audio Library.

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Interview with Jamie Burton 
Panama City, FL
October 15, 2018

A small crew and I were in Florida filming the hurricane relief effort. We met the Burton family and they graciously shared their story of Hurricane Michael. They lost everything they had. They were a week away from opening the pool hall they are standing in. It is destroyed along with their house. All they have left is their truck. We met them 5 days after the storm and all they had been doing was helping the poor people in the trailer park across the street. No electricity. No running water. In humid Florida heat. True heroes. We hope this film raises awareness for them and the many other survivors. The hurricane may be out of the news cycle but these people still need tons of help. Please help Jamie and Jennifer rebuild their lives at www.gofundme.com/burton-family-relief

Filmed by Jeremy Asher Lynch, Max Knies, and Kay Parker
Production Assistance from Justin Lyons
Aerial Cinematography by Chandler Williams
Storm Footage by Taylor Walsh
Original Score by Ali Helnwein
Color by Marshall Plante
Sound Mixing by Steve Bucino
Special Thanks to Walter May, Jan Livingston, and Wendy Lightbourn

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Choosing the right soundtrack for my documentary was a tad difficult. There were so many soundtracks on YouTube Audio Library to choose from. I had to listen to many soundtracks and then choose those which complement my documentary.

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On Tuesday 12 March, I rang the gallery to make an appointment to view the gallery. The manager was not in and I was asked to ring back. On 14 March, I rang the gallery and was able to speak to the curator / person in charge of the gallery. She asked me to email the gallery with my query.

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Today (25 March 2019), I sent an email to a lecturer to ask for three actors to work through some scenes for my music video or film Spider Man.

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Today, I watch YouTube. (2016). Spider-Man Movie (2002) - Peter vs. Flash Scene (1/10) | Movieclips. [online] Available at: https://www.youtube.com/watch?v=jM7Eou4bV-Q [Accessed 27 March 2019]. I like the part where the fork sticks to his hand. That shows spider-like abilities. This film is relevant to my idea of making a short film about Spider Man even though it didn't end up influencing my idea. I learn by watching this film and putting what I learnt into a film of my own.

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Spider-Man Movie (2002) - Peter vs. Flash Scene (1/10) | Movieclips

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Today (28 March 2019), I test the Canon EOS 6D before I use it. I take some images. The Canon EOS 6D takes still photos using a 20 megapixel Fine JPEG setting.

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I have an appointment at the Arts Centre on Monday 1 April 2019. Below is a letter I will give to them

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Today (30 March 2019, I watch Vimeo. (2019). SPIDERBOY. [Online] Available at: https://vimeo.com/124158836 [Accessed 30 March 2019]. I find the story in this film interesting.

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Today, I watch Pasion, D. (2019). A City break at the heart of Florence. [Online] Vimeo. Available at: https://vimeo.com/321577836 [Accessed 30 March 2019]. The background music in this video illustrates the connectivity of the paintings. It is dramatic. It inspires me to choose background music for my video.

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A short film with the most important attractions in the City of Florence by Daniel Lobato
Music taken from https://www.bensound.com "Birth of a Hero"

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Today (1 April), I will attended an exploratory meeting with staff at the gallery. The purpose of this meeting is to ascertain whether it is feasible to do a documentary

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Today, I watch this video LEITHEAD, ALEX., (March 30, 2014) BBC Academy Single Camera Directing course - final film https://vimeo.com/90450724. [03 April 2019]. This video inspires me to do a documentary. It grabs me visually. The story about Paul, the man in the film collecting things, was beautifully shot. Watching this video shows me how to include materials to tell a story

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BBC Academy Single Camera Directing course - final film

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This was the final film I made on the BBC Academy's 'Directing for Single Camera' course in March 2014. I was given a brief to make a film about Paul Norris, who likes to collect things. Well, everything.

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According to this video, the font for a screenplay has to be Courier New at twelve points EXPERTVILLAGE (17 January 2008) How to write a Screenplay: Font Tips For Screenplays https://www.youtube.com/watch?v=TwDk5ay1JOk [14 April 2019].

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How to Write a Screenplay : Font Tips for Screenplays

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As explained by the internet article PAVLUS, J. (2019). Errol Morris’s Secret Weapon for Unsettling Interviews: The Interrotron. [Online] Fast Company. Available at: https://www.fastcompany.com/1663105/errol-morriss-secret-weapon-for-unsettling-interviews-the-interrotron [Accessed 6 May 2019], Errol Morris has an interview style. It is showing the interviewees talking right into the camera lens.

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Oscar-winning documentary filmmaker Errol Morris has a signature style that's as instantly recognizable as Martin Scorsese's or Wes Anderson's: namely, showing his interviewees talking right into the camera lens. But I've always wondered - unless he has a video tap from his eyeball going right into the camera, how does he actually shoot that way? Here's an example of the direct-to-lens style, from his Oscar-winning The Fog of War:

And from the Apple commercials:

And from a recent documentary commissioned by IBM:

Think about it: How does Morris get such penetrating interviews if the interviewee is just looking at a camera? If they're looking into the lens and not at Morris, it would be hard for Morris to get anything like the unsettling, revealing, startlingly personal interviews that are Morris's bread and butter. Would you tell a flat piece of glass about the biggest mistake you ever made in your life?

Morris solved that problem with the Interrotron, an ingenious bit of camera-rig design:

By shooting through a simple two-way mirror with a video monitor mounted under the camera lens, Morris can film his subject and make eye contact with him/her from the exact same angle. But that's only half of it. The real genius of the Interrotron is that it's a two-way street: the same mechanism gives the interviewee continuous eye contact with Morris, as well. No hiding behind a monitor while lobbing awkward questions for this director; Morris, who's known to interview people for literally dozens of hours, doesn't fake the intimacy you see on camera. It's the real outcome of an intensely human process - and the Interrotron's subtle design genius humanizes the filmmaking process enough to break down the subject's emotional barriers.

Luckily, the basic idea is simple enough that any enterprising filmmaker could probably build her own if she really wanted to. And these technical illustrations (prepared by production designer and frequent Morris collaborator Steve Hardie) should make that process even easier.
[See more at Steve Hardie's website]

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Errol Morris's Secret Weapon for Unsettling Interviews: The Interrotron

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Oscar-winning documentary filmmaker Errol Morris has a signature style that's as instantly recognizable as Martin Scorsese's or Wes Anderson's: namely, showing his interviewees talking right into the camera lens. But I've always wondered - unless he has a video tap from his eyeball going right into the camera, how does he actually shoot that way?

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Please see my research below

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U8 FMP UAL Project Proposal Template.docx

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Making choices and decisions on location and adapting to circumstances

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Making choices and decisions on location and adapting to circumstances

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Following my visit to the Art Centre on 1st April, I decided to do a documentary rather than a music video. There are two reasons for this. First, I thought the meeting went well. Second, I felt the curator was a charismatic person. I did not rely on other students or my tutor to decide for me. I made up my own mind to do a documentary film rather than a music video according to the circumstances and within the agreed time frame.

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I attach my production schedule to show how I plan the production of my film. It allows me to see what each day is supposed to look like.

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Corresponding with the presenter/Art Centre

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Corresponding with the presenter/Art Centre

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This is a letter I gave to the presenter

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I provided the presenter with a script. The presenter did not follow the script. She spoke about the artworks in her own way. Below is the script I provided. Writing the script was hard. It took me two weeks just to write the script. It could easily have taken me three or four weeks to write the script. This was because I did not know anything about the artists nor their work. I had to research about the artists and their work before I could come up with a starting point.

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I liked what John Yorke said about the mid point. The establishing of an emotional connection between the audience and the protagonists aim is what I want to explore in the scene I'm shooing from my script.

"Talking on BBC Radio 4’s Front Row, John Yorke explained to Mark Lawson why the midpoint — the thing that happens halfway through the narrative that changes everything — is such an invaluable tool for storytellers:

‘I think the midpoint became more and more significant the more I went on looking at stories. And it’s not just screenwriting; in fact, if you look at A Passage to India it’s the Marabar Caves — everything builds up to the Marabar Caves incident in the middle of the book, then leads away from it…'"

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Talking on BBC Radio 4's Front Row , John Yorke explained to Mark Lawson why the midpoint - the thing that happens halfway through the narrative that changes everything - is such an invaluable tool for storytellers:

'I think the midpoint became more and more significant the more I went on looking at stories. And it's not just screenwriting; in fact, if you look at A Passage to India it's the Marabar Caves - everything builds up to the Marabar Caves incident in the middle of the book, then leads away from it...

is another really good example, because the first half of is Hamlet's journey to prove Claudius' guilt. Exactly halfway through he proves it, then the second half of the story is "What do I do with it?" And, actually, that's the shape you find in all archetypal narratives.'

So, what do screenwriting students on the online course make of John's emphasis on the midpoint?

J Michael Bradley is an aspiring screenwriter and member of Derbyshire Scriptwriters. In the first exercise in every session of the course John asks students to watch films with a specially devised prompt sheet that encourages them to look deeper and spot the elements that make up the structure of stories, from act breaks to inciting incidents.

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FOCUS ON THE MIDPOINT TO NAIL YOUR STORY | ARTICLES | PWA

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Talking on BBC Radio 4's Front Row , John Yorke explained to Mark Lawson why the midpoint - the thing that happens halfway through the narrative that changes everything - is such an invaluable tool for storytellers: 'I think the midpoint became more and more significant the more I went on looking at stories.

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From my research into the function of the mid point in 3 act structure and from analysing a few examples from films I've decided that this would be something I'd like to explore in my project because it is somewhere I can experiment with influencing how an audience feels about a character and somewhere to explore ways to plug audiences into the character's aim though use of sound and lighting to suggest emotional states and show inner change for the character

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THIS PADLET provides evidence of your ability to think clearly and productively about your ongoing work on this film. It should show:

1 accomplished and professional communication skills
2 perceptive analysis and interpretation
3 clear and sophisticated thinking
4 maturity in decision making
5 a constant focus on progressing your ideas and your film.

Refer to specific examples to explain the point you make.

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I'm interested in finding ways to divide my frame and to communicate the emotional separation between my two leads. This shot by New York photographer Chellisse Michael uses complimentary colour and the architecture to separate his two models into very distinct spaces. His placing of the models and the stop difference between the lighting of the two also makes it very clear whose scene this is and gives us a sense of their relationship dynamic

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Use of colour, lighting, shot selection, camera support or movement

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Use of colour, lighting, shot selection, camera support or movement

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The presenter appears blue in the shot. I use colour correction to make the presenter appears white in person is also white on camera.

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When reflecting on your use of practical filmmaking skills try to show how you have:
- Made use of your aesthetic awareness and understanding
- Used technical skills and knowledge effectively
- Been imaginative and flexible and explored options
- Develop creative solutions

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This is my target for improvement

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I use a rifle mic to capture sound. The rifle mic is attached to a boom. The boom should have been placed on the edge of the camera frame. The boom pole was in frame on a couple of occasions. Those were the occasions when I had to re-shoot.

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When reflecting on your ongoing research try to show how you have:
- Found and used a range of relevant sources for your research
- Sustained research throughout the project
- Interpreted what you've discovered, to help you with your film
- Brought different bits of research together, to incorporate into your  own ideas for your film and help it develop
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When reflecting on development of your ideas try to show how you have:
- Developed a comprehensive understanding and knowledge of the type of film you're making.
- Developed complex and well thought through your ideas

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