They allow a creator to express themselves in a unique way that may not fit the structure of something like a movie.

It can allow you to break away from traditional films and explore alternative forms of cinematic expression.

Non-narrative film give the opportunity to rely on style and effect to hold attention and elicit response from an audience, rather then relying on narrative, characters and dialogue.

can be me mulitiple ideas to develop how I view the world, and use creative thought about the film

Work with rhythm, Create moods, atmospheres, and sensations.

https://www.youtube.com/watch?v=98eh_4z4hfA

Each short has a different style and tone, and make a varying degree of sense. Sorcerer's Apprentice has a little story to it featuring Mickey Mouse, but then something like Night on Bald Mountain is a metaphor about Satan and his minions. There's no connection to any of them, and they come across more like visual paintings.

These comes across as especially experimental as Disney films in the 40s like Bambi and Pinocchio have traditional story structures.

Non-narrative can mean anything and is an expression of people’s values, beliefs or general curiosity.

1 Stewart, James

2 Featherstone, William

2 Graley, Freddie

2 Miller, George

2 Dutton-Rowley, Owen

3 Davey, Kaiden

3 Evans, Elliott

3 McIntosh, Declan

4 Carvalho, Nini

4 Su, Wayne

5 Xie, Tara

5 Lyden, Keira

5 Panton, Eloise

5 Mitchell, Alfie

6 Greenwood, James

6 Allinson, Jack

6 Stanley, Matt

6 Feng, Peters

7 Aitken-Oakes, Aaron

7 Aditya shanker kaimal

7 Pamment, Ash

8 Bray, Aiden

8 Agar, William

8 McKie, Alexander-cameron

8 Gillard, Leo

Lyu, Xinran

Tony Oursler uses modern various technologies to create immersive experiences that usually tackle concerns such as social media, the environment, and conspiracy theories.

He works a lot with projections, and creates surreal looking imagery with them. Primarily he uses projections on unconventional surfaces to create faces, bizarre and surreal faces at that.

They are meant to represent the aforementioned concerns.

When this happens, projectors create the illusion of the stands shifting and rippling, even though they’re solid. It makes the stand feel alive, making for a visually pleasing aesthetic.

I feel like as we grow older, we settle into certain routines, and the frame through which we view the world and our own lives may stagnate. I’d like to try and push viewers to see with new eyes again.

The overall takeaway we want viewers is to show that even in sadness, there is still a light at the end of a tunnel

Central theme / idea

We will explore empty and transitional spaces and how they can suggest human presence without showing people. Inspired by Chantal Akerman’s use of still framing and time, the project will focus on observing space rather than action. The work will be presented on 2 screens, with the potential to carry one scene to another (across the 2 screens).

--

Statement of Intent

The project will sit within experimental and slow cinema, drawing on Chantal Akerman’s approach to duration, stillness, and sound. Long takes, minimal movement, and ambient audio will be used to suggest presence through absence.

The work will move away from traditional narrative and instead treat the typical background of a scene the main subject.

--

Intended impact on the audience

The project aims to encourage the audience to slow down and observe everyday spaces more carefully. The viewing experience will be quiet and reflective rather than narrative led.

·      My idea revolves around the idea that you don’t know what other people are feeling or thinking in their lives. I chose this as I often enjoy people watching and imagining what people are going through in their day to day. I would like the audience to watch this film and consider thinking about other people as their own individual with their own life.

·      I believe that this my idea fits into experimental as it could be something that people don’t consider and challenge them into a new perspective. My inspiration is a viral account called “aviewfromabridge” that films people who from a distance as they tell their life stories. I want to challenge conventional camera angels for interviews and playing around with camera positioning.

·      I want to allow people to be aware and considerate of the people around them, if the viewers start to think more of others.

Inspiration of the idea is taken from Goblins by Christina Rosetti and Jennette McCurdy's struggles in Hollywood.

The style we will try to aim for might be similar to Tim Burton(?), particularly his works in black and white.

The subject isn't necessarily similar to what Burton would do, however what Burton does a lot with his work is present something as "scary" but reveal it to be something wholesome or misunderstood. In that same sense, we want to present the work as something sad or depressing, but gradually show that it is developing into something hopeful.

The intended emotion is sadness, but with hope. To recognise sadness doesn't define the rest of someone's life.

Central theme / idea

We will explore empty and transitional spaces and how they can suggest human presence without showing people. Inspired by Chantal Akerman’s use of still framing and time, the project will focus on observing space rather than action. The work will be presented on 2 screens, with the potential to carry one scene to another (across the 2 screens).

--

Statement of Intent

The project will sit within experimental and slow cinema, drawing on Chantal Akerman’s approach to duration, stillness, and sound. Long takes, minimal movement, and ambient audio will be used to suggest presence through absence.

The work will move away from traditional narrative and instead treat the typical background of a scene the main subject.

--

Intended impact on the audience

The project aims to encourage the audience to slow down and observe everyday spaces more carefully. The viewing experience will be quiet and reflective rather than narrative led.

We will be exploring the theme of anxiety by showing the physical and mental effects to raise awareness about mental health and its impact on your wellbeing. We want to visually show this through the mix of mediums of film and art specifically drawing. Through the perspective of a POV, we want to give people the opportunity to understand what a panic attack can manifest as, due to some audiences never experiencing a panic attack, or can know how to identify one. This can be used to raise awareness of those who surround you and how to identify when others need help. The theme is significant as it can be stigmatised within media and we want our audience to feel awareness through relatability to the piece from their own personal experience. This was inspired by experimental short films like Panic by Melissa Lam, Psyche by Milot Idrizi and Anxiety by Iqra (@iqrasartjunk). 

With loneliness and anxiety brought on by the natural urge of humans to be reliant on others for comfort, the idea of a person forcing themselves to be self-reliant can act as a strong representation of forced isolation and its effects.

From taking the view of a person suffering from these issues, it will represent the stigma that arises when transitioning to adulthood when it comes to seeking comfort from others and can relate with people’s personal experiences in tackling anxiety in a world pushing themselves to be more independent. This piece can highlight the struggles of that transition and the consequences of failing to find that safe spot between being independent, and someone isolating themselves.

The work is aimed to make the viewer feel introspective / aware of the context behind the mental health struggles of those around them by characterising them.

We will explore how our eyes see the world and how that seeing turns into memory. I think of the eye as a camera that never switches off, always recording daily life. But these images don’t stay clear, they blur, repeat and overlap. The idea comes from real moments like losing focus while daydreaming or sudden visual memories flashing back. It made me realise we’re not always clearly seeing, just constantly processing too much. I want the audience to feel like they’re experiencing the world through these unstable eyes.

Statement of Intent

The film focuses on perception rather than story. The camera behaves like human vision, drifting focus, harsh light, and black frames like blinking. Memories appear as fragments and layered images, not clear flashbacks. This makes the work more about sensory experience than narrative.

Intended impact on the audience

I want viewers to move from comfortable watching to feeling slightly tired or unsettled, becoming aware that seeing takes effort. I also hope they question how reliable their visual memories, and even their sense of reality, really are.

be careful with intended emotions but be clear about childhood - what exactly? literature around changes into adulthood

HOPPTORNET (TEN METER TOWER) by Axel Danielson & Maximilien Van Aertryck on Vimeo

This can manifest itself in different ways depending on the person. Maybe risk and uncertainty holds you back, or maybe you hold deep-rooted beliefs that prevent you from exploring new ways of thinking.

I hope to invite viewers to question where they might be clinging to familiarity. I’d like to create abstract visuals and sounds out of the everyday to inspire wonder in viewers; prompting them to question what part of their lives might benefit from a pair of ‘new eyes’.

This concept could also expand to include ‘hearing with new ears’ or other senses.

quotidian, observe your own eyes

enter the void - POV examine other films that are POV

Look at the biology of visual stimuli and memory

In terms of inspiration it is similar to being incredibly drunk and trying to sleep but feeling the world spin all around you. This is also based on a nightmare I had a very long time ago where I could see myself from the 3rd person falling farther and farther into a void until I was only but a dot. Experimental because we are looking at the eyes of the person looking at themselves from the 3rd person. The works of Douglas Trumbull and in particular his work in the Star Gate Sequence in a 2001: A space Odyssey with the sequence symbolising the transition from human to a higher state of consciousness with the protagonist being transcended onto a new plain of existence. We would like to achieve this similar level of transcendence

In addition in the journal of the society of psychical research they conducted an experiment to see if people could tell they were being watched through cameras because you know you are being watched but are unable to do anything about it. It triggers your 6th sense and we want to demonstrate that paranoia here of being able to see yourself from the 3rd person.


This idea links to experimental films as there is a lack of storytelling, unlike traditional storytelling; a sequence of unpredictable visual events.

support statement if we gender

and who is the audience

where is drawing fit in? what other films use drawing?

thanothobia scale

be clear about sleep states and heautscopy

narrow down focus

explore what is meant by familiarity and routine

what other works deal with isolation and independence

how is this modern condition framed in discourse - what is its name?

The project will be filmed using a camera mounted on a dolly, moving horizontally through each location with controlled, consistent motion. The movement will shift from slow to faster as it transitions into the next space, connecting scenes across two screens. One screen will introduce a new location as the other completes the previous one, such as moving from a stairwell into a car park. Stairwells, corridors, and car parks will be chosen for their architectural structure and signs of use. Editing will prioritise smooth transitions rather than cuts, allowing movement to guide pacing. Sound design will use ambient and off-screen sound, including footsteps, voices, and environmental noise, alongside visual traces such as footprints or marks to suggest human presence without showing people.

—

Approach to experimentation

Experimentation comes from combining controlled camera movement with minimal action to explore how empty spaces can feel active. The two-screen format allows overlapping movement and sound to test connections between locations through rhythm and pacing.

—

Structure with time and space

Time is structured through changes in speed and duration. The two-screen installation guides attention while allowing reflective viewing.

The video will include extracts from the Goblin Market, the poem which partly inspired our themes for the short film. The extracts of the poem will be featured on screen as text, similar to Stephen Hamacek’s Ozymandias animation, a short where the text is displayed over relevant visuals to its story.  

Describe your approach to experimentation?  

Without context of the poem, the extracts included may sound nonsensical to the viewer, which should hopefully give the short an abstract feel. The main visual viewers will see will evoke the passage of time moving forward, so while what they might not understand fully what they are seeing, they should get the sense there some sort of theme about time. 

How will you structure time and space in your project? 

The pace of the short will be quite fast. As both of our inspirations revolve around stories that take place from childhood to adulthood, and we only have a small duration of time to work with, the visual style will look as if it is moving in fast forward.  

Use the lighting techniques of High Neon lighting to add mystery and darkness as well as some colour to the film with some arc lights shining through some velvet screens.

Use virtual Surround sound design including white noise sounds such as Rain, Tv static effect and water hitting metal to stimulate the viewer.

For mise-en-scene, we will use the setting of a bathroom and use a flexible two way silver screen mirror to create an illusion of a double similar to Sally Goldings work.

Through After Effects we can do lots of layering. Through particle world we can make varied visual imagery. Position vectors can be used to move elements and we can EASE EASE the vectors for more fluid movement.

I believe that these choices support our concept by creating a collage of different people, representing their individual lives.

My approach to experimental is to try and create something meaningful through non conventional means and techniques.

Our approach to unconventional will be through equipment, camera angels and projection, as I want the audience to be challenged on how to think about the different stories being told

I intend that the structure of this project will be jumping around through our interview footage and the collage of our projection to create an interesting contrast in our work

However, instead of relying solely on video, the project will use pictures sporadically to convey the idea of the breakdown of the characters mind through their isolation to represent their thinking and venture into their psyche.

There will be an absence of audio in the form of music as a lack of noise will hammer home the feel of being alone onto the audience with silence being key in enforcing the feel of isolation. This is inspired by work like Civil War (2024) that utilises silence and pictures to enforce reflection on its viewers.

The project will be made to feel much slower and intimate considering it covering a more personal topic and the way the film is structured, framed and edited will reflect that. By being less reliant on video, it challenges the norms of already established film.

If we were to go down this avenue, we might want to shoot 360 degree video, and probably capture binaural audio as well. We could experiment with compositing conventional ‘flat’ footage into this experience as well.

We understand that by placing a viewer in a 360 degree experience, a lot of special considerations and efforts will have to be made in both the filming and editing processes. Conventional framing and shot types may not apply, and mise-en-scene will have to be approached differently, as the viewer would also have the freedom to look behind, above, etc.

My technical approach focuses on handheld filming to keep movement feeling natural and immediate. I use soft focus overexposure and delayed focus to mirror how vision feels when eyes grow tired and unfocused. Editing introduces sudden black frames jump cuts and brief flashes of memory that interrupt the viewing flow. Sound becomes minimal with breathing clothing movement distant voices and a low hum shaping the atmosphere and building quiet mental strain.

Experimentally I film through plastic glass and reflective surfaces so images appear blurred doubled or distorted. In post production I layer visuals shift opacity and create afterimage effects so different moments share the same space. The pacing begins slowly grows intense and fragmented then softens again leaving a lingering sense of visual and emotional exhaustion that gently blurs reality and memory together for the viewer who experiences perception as something shifting unstable and deeply human rather than clearly fixed.

working with text - projection

small set building - lighting - visual storytelling element

is it live action?

is it models?

Is it projection?

is it abstract?

five interviews by 27th

filming interviews in abstract ways - experiment

projection - what other works have used projection?

what soundesign sits under this?

liminal space - how others attacked this

mimick two screen install in the edit

time remapping - motion tracking - high frame rate

five shots by the 27th

think carefully around vision and perception of vision

are you abstracting to support the idea of POV

Enter the void (warning mature rating)

1 long shot by 27th that mimics human vision

start thinking through sound

PSA - is it a PSA or is it an experimental film

Are there PSA's which use abstraction to be more effective?

Narrow the style you want to achieve

17th - mood board, two animation experiments

full break down of panic attack

practical requires require a studio or a bedroom with a tarp

what is the sound of heautoscopy

three composited shots with accompanying sound

what other moving images challenge our idea of the familiar and how? 2 works to discuss on the 27th

any experimental films that deal with isolation specifically?

films that use still imagery or combine still imagery

exposure triangle 27th

location reccy - with shots - is it person/landscape/space/place what defines what you are doing?

The first few seconds I filmed in my room. 

The idea with that opening is because we said we’ve took inspiration from Janette McCurdy’s struggles growing up, the video starts off with the viewer kinda entering her book, the book being about her life story.

(That isn’t McCurdy’s book in the opening as I don’t actually have it, so I’ve just used Becky Lynch’s autobiography as a place holder for the time being).

I thought about what you said with Tim Burton and him using miniature sets. 

I’m not sure if we will use miniature sets at the moment, but when you mentioned it, it made me think of how the opening in Beetlejuice is comprised of those arial shots, so I tried to capture that same sort of movements there. 

I’ve got LED lights in my room (I should’ve probably experimented with other colours but regardless) I thought the red glow gave it a bit of a fancy and unique feeling. Different uses of colour could envoke a particular emotion (like blue = sadness etc)

The book opening in reverse (excuse my hand in frame) looked a bit rigid and reminded me of a stop motion animation style a little bit, which is a medium Burton has worked in several times. 

It looks a bit unimpressive, but throughout the video we want text and poem extracts to be featured on the footage, which is what I did over the pages turning.

For the rest of the video I used stock footage but basically I came up with this idea. 

I think we might change our statement of intent a little bit and approach it with a more simplistic angle; have it simply about the passage of time.

I believe me and Layla will be able to film similar stuff I included here, I’m thinking we could have it all be comprised of time lapses perhaps(?).

Goblin Market could still potentially work for this too, but a poem that that focuses specifically on the subject matter of time would probably more relevant extracts. McCurdy's book on itself might even be a better choice.

Here's a very basic sequence that I managed to actually export and play in VR.

The project file got all messed up, so I couldn't export this one to VR.

When we see with new eyes, even the ordinary seems extraordinary. Through the medium of VR, we hope to immerse viewers in an experience from birth, through life, then death.

Abstract visuals will be composited onto 360 footage representing early life. As time

accelerates, these abstract visuals will decrease, making reality grow ordinary and

mundane.

I’ve been inspired by various experimental artists I follow on Instagram. ‘Psuedohuasca’ overlays abstract visuals – such as fractals or 4D objects – onto real life footage. ‘Lucioarese’ creates abstract visualisations that follow the sound of birds singing. ‘uonvisuals’ creates fully CGI scenes revolving around trips through fractal environments.

We hope to take inspiration from these different approaches to abstraction in experimental art, and combine these ideas to create something new.

Although it follows a life from birth to death, our VR experimental film will be a sensory

experience, not a narrative experience. We intend to follow the concept of a life, rather than following a specific individual and what makes them unique. Therefore, viewers will be able to see their own lives in this experience.

We hope viewers are left to question where they might be able to introduce novelty back into their lives, or how they might be able to

rejuvenate their appreciation for the everyday, allowing them to live more in the present and help time slow down a little.

Due to this being a sensory VR experience, we need to capture 360 video and binaural

sound. We then also need to be able to edit this together, composite footage, and build a couple fully virtual environments from the ground up.

We’re currently in the process of securing a 360 camera, and exploring our options for a

binaural sound recording setup. I’ve also chosen After Effects as the software I’ll use to import, edit, composite and export 360 footage. I’ve already created a couple of test sequences, experimenting with ideas for the film while learning the software.

Through the use of VR as our medium, we’re already exploring a highly unconventional form of filmmaking. We hope to explore how a 360 experience differs from a flatscreen one, and how this added immersion can influence the impact a cinematic experience has on a viewer.

Our work will be successful if viewers are able to fully immerse themselves in the

experience, and also if they feel they’ve gotten something out of it, however small.

We understand that 360 VR is significantly more challenging to create for than a conventional 2D film. I’ve already run into technical challenges while editing. There’s also a risk that we lean TOO abstract, making any sort of meaning lost on the viewer.

However, these challenges provide an opportunity for us to grow as artists. We’re really stepping out of our comfort zones here, but by learning as we create and overcoming issues as they arise, we’ll learn a lot.

focus down on time - what are the techniques which you can use? timelapse, time remapping, double exposure, extended exposure

what comes first - the poem? the technique? the feeling? the experiment?

what is the set? where is the text coming from?

test that involves to text - projection/text in-edit? Friday 6th

Inspired by Sally Golding’s work, Your Double, My Double, Our Ghost. Hoping to use a flexible silver two way mirror that lets take a look at a distorted version of yourself. And Fyodor Dostoyevsky with his novel the Double.

I had a dream once where I was in a situation similar to this looking at myself from the 3rd person and whilst it terrified me, I also felt slightly inspired from it.

Hopefully at one point we are going to get rid of the setting and replace it with a blank void. Contrast in speed, the person in camera is being pulled away. It starts off slow and long cuts to feel unavoidable. Before eventually speeding during the end to have a feeling of everything crashing down upon

One problem we will face is trying to make sure the camera isn’t in frame when using the mirrors

Through one extremely long take form a birds eye view shot and some cuts. For lens we are going to use a mixture of fish eye lens’ to create a surreal feeling and a zoom lens for flexibility. The intended purpose is to be from the double’s perspective.

Use the lighting techniques of High Neon lighting to add mystery and darkness as well as some colour to the film with some arc lights shining through some velvet screens.

Use virtual Surround sound design including white noise sounds such as Rain, Tv static effect and water hitting balloons to stimulate the viewer.

The setting will be a bathroom.

Through After Effects we can do lots of layering. Through particle world we can make varied visual imagery. Position vectors can be used to move elements and we are using particle effects

The technical challenge will be trying to not reveal camera whilst dealing with mirrors.

Conceptual challenge will be trying to evoke the right feelings and showcasing an accurate representation of Heautoscopy.

Producing a cohesive piece of work that is immersive both visually and sonically. Successfully using practical and post production effects with lights/mirrors and superimposition.

Experimenting with sound and creating a unique soundscape that stimulates the viewer.

thoughts around collage/montage/the edit process might dictate the how it all works

five interviews by the 6th no backsies

Think through the framework of the visual component

final production - stock footage, projection over models, people, objects,

mood board - 6th

2 initial projector shots 6th

depth of field implies interest - things blur that aren't being looked at

develop your eye floaters

can you animate what it is there when your eyes close - shine light through your eyelids - can you build that into a shot

another experiment by the 6th

6th - binaural radio mic recording linked to a new composition

end result is VR captured from 360

This effect is meant to represent time accelerating as we get older, and how often we're only half present in a moment.

Time Techniques – In terms of how time is portrayed, I think we will stick to the idea of using time lapses. Since we said in the statement of intent that our film is discussing themes like time passing us by/growing up too fast. The first test video we did somewhat conveyed how we want the video to look. There’s also this video we found here that portrays time lapses in a less amateur way https://youtu.be/zRXWAZk8fGs?si=ngoC6mDR5llB7qx4 We may also use time remapping if we see it best fit, however the majority will be time-lapse.

What the set is – The set will be a compilation of various locations, as the time-lapse footage will be an assortment of different events. The change in location contextualised by this being a story from a book, and differing poems being spoken out throughout.  

Where the text is coming from – the text will be edited to look like it has been integrated into the environment. For example, the lyric video for the song “Sunflower” edits the song lyrics into existing footage from “Spider-Man into the Spider-Verse". The text appears subtly as if it’s part of the environments. It also appears in comic text bubbles a few times (referencing the comic book origins of that franchise), text could appear in our video on a paper background to reference the fact we entered a book at the start.  

https://youtu.be/ApXoWvfEYVU?si=jV0r8ORoE5zPDZ4P 

Text test - Apologies for the extremely basic test video. Spent way too long trying to figure out the text masking that I didn't find time to experiment with other styles of text. But this is basically a crude visualisation of how text will appear. Need to figure out how to make it look interrogated into the background/Or at least better than what iMovie can offer. https://youtu.be/UyzMTHUOn9g?si=zpsT2w6_bZBLQT0R

Gel and lighting- Projecting symbols onto ceilling.

Projection - using projections to project images like blood and heartbeat onto people.

Framework of theme/style/composition around visual collection ie: collection of shots on feet, collection of shadows walking etc - CONCEPTUAL CONNECTIONS TO EXPERIMENTAL INTENT

Gel and lighting- Projecting symbols onto ceilling using phone lighting and gels.

Projection - Using projections to project images like blood and heartbeat onto people.

think through the closed eye sections

secluded space

storyboard for next session 13th

mocked-up shots in isolated and built-up area

using actor to move between the juxtaposed spaces.

Also, we found a more appropriate poem that fits our short's intentions better - https://medium.com/the-lark/time-7fbdca02c8cd

This is just one clip, the final film will have footage like this edited in an experimental sensory sequence.

The black and white version brought out contrast and texture, which suited the focus on space and absence. However, We preferred the retro colour version, as it felt more engaging and gave the spaces more atmosphere.

The added colour worked well with the camera movement, helping the transitions feel smoother and more connected. While black and white felt quite basic, the colour grade added more depth and made the overall piece of experimental film feel more visually interesting.