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Description
As digital cameras have become more popular over the las two decades film cameras have started to fade into obscurity. Film cameras are now common items at thrift stores as people are getting rid of them to buy more modern cameras. Some of these cameras have undeveloped canisters of film in them that their owners forgot about. For my Honors Thesis I plan to make a photo book comprised of photographs from these undeveloped rolls of film I find.
So far, I have found three rolls of film that were able to be developed. Some of the rolls I have found were blank or too damaged to be developed. I will continue to search for more as I do this project. My goal is to have eight to ten complete rolls by the time I begin making my book.
Developing the pictures is always a surprise. They had remained undeveloped for years until I found them. I never know what will be on the roll. I always have so many questions when I see the pictures for the first time after they are developed. I wonder who took the pictures, where/when they were taken, how they ended up in a thrift store and how subjects would feel about the pictures today. I would like to be able to answer all of these questions, but I know it would be difficult to track down the people in the photos.
Even though the photos are of strangers they seem to still have a sense of nostalgia for me. They remind me of my memories from the era they were taken in. This connection is one of the bases I want to use for my presentation of the photos. One idea I have is to sequence these pictures from least clear to most clear, starting with pictures that can barely be comprehended. I think this would accurately represent memories in my own life. Many of my early memories are more blurred and less coherent but the more recent memories are much clearer. Sequencing will be an important tool for conveying my intended message. There are also many other tools I can use in post processing; however, I want to try to keep the photos as original as possible. There are some ways I could explore manipulating the photos without changing their original unedited look. Some ways I could do this are cropping, resizing and narrative. I will continue to explore these tools as I progress through this project.
So far, I have found three rolls of film that were able to be developed. Some of the rolls I have found were blank or too damaged to be developed. I will continue to search for more as I do this project. My goal is to have eight to ten complete rolls by the time I begin making my book.
Developing the pictures is always a surprise. They had remained undeveloped for years until I found them. I never know what will be on the roll. I always have so many questions when I see the pictures for the first time after they are developed. I wonder who took the pictures, where/when they were taken, how they ended up in a thrift store and how subjects would feel about the pictures today. I would like to be able to answer all of these questions, but I know it would be difficult to track down the people in the photos.
Even though the photos are of strangers they seem to still have a sense of nostalgia for me. They remind me of my memories from the era they were taken in. This connection is one of the bases I want to use for my presentation of the photos. One idea I have is to sequence these pictures from least clear to most clear, starting with pictures that can barely be comprehended. I think this would accurately represent memories in my own life. Many of my early memories are more blurred and less coherent but the more recent memories are much clearer. Sequencing will be an important tool for conveying my intended message. There are also many other tools I can use in post processing; however, I want to try to keep the photos as original as possible. There are some ways I could explore manipulating the photos without changing their original unedited look. Some ways I could do this are cropping, resizing and narrative. I will continue to explore these tools as I progress through this project.
ContributorsBeauchamp, Aaron F (Author) / Anand, Julie (Thesis director) / Bonfiglio, Thomas (Committee member) / Department of Supply Chain Management (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
“The Difference Between Paper Cuts & Exit Wounds” is a multidisciplinary body of work consisting of a manuscript, a short film, and a set of photographs. As digital culture expands, there are increasing possibilities for cross-genre work within the literary canon. The adaptation of visual mediums alongside the written word supports different levels of reader, and viewer, engagement. This visual and written manuscript permits the audience to experience the project at varying levels of intensity. “The Difference Between Paper Cuts & Exit Wounds” explores the self through fragmented lenses. The poems alone work with white space and experimental forms to create new shapes, new considerations, and new wonders. When put in conversation with the visual art, a poem becomes even more layered—providing alternate entrances to the subject matter. This manuscript is invested in the framing of concerns, of questions, and of thematic obsessions. Through the integration of multiple mediums, the poetic self and the agency of the speaker become multifaceted, apart from the written word alone. With the project’s film component, the curation of vignettes encourages a resistance of a linear narrative. Multiple clips are put on top of one another, with varying levels of opacity, creating multi-layered exposures within a second long clip. This represents the same fragmentation and deconstruction of a linear narrative that is prominent in the written manuscript. The work investigates memory as it distorts desire, frequently returning to how the body holds psychological and emotional trauma. With hybrid approaches to the subject matter, the manuscript illustrates the potential for intimacy to be soft and tender while simultaneously abrasive, triggering, and painful. It allows space for uncertainties, for co-existing conditions. By fracturing the expected forms of both standard poetic lexicon, and standard video narratives, “The Difference Between Paper Cuts & Exit Wounds” complicates the tendency for audiences to dissect art in hopes of reaching a single, definite interpretation. Instead, the body of work builds new spaces for engagement and inquiry.
ContributorsGoettl, Maxana Quinn (Author) / Ball, Sally (Thesis director) / Diaz, Natalie (Committee member) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05