The Studio Diaries are a series of 100 short films created throughout 2018, each film taking the form of a diary entry shot, edited and released online in a single day. Over the course of seven months the films capture the workings of our daily creative practice, but more than simply documenting, the Studio Diaries are creative thought in action. Each film is an investigation into the language of moving images, exploring how narrative and meaning are constructed through the relationship between sound and image.
Looking back over the first 100 films we can see that there are a number of reoccurring interests and obsessions – one is the process and mechanisms of creativity, another is testing the limits and possibilities of the camera, but maybe the most constant preoccupation for us is the investigation into the very nature of moving images and how they work.
One way we have approached this question is by looking at moving image in relation to other art forms, considering what one art form can do that others can’t, and how the same subject approached in different mediums can help reveal some of the technical and ideological structures inherent in the mediums. During this time we were particularly interested in looking at how the major genres of painting could be approached with moving images and there are various Studio Diaries that could be considered as still lives, portraits, interiors and landscapes.
The selection of Studio Diaries presented here brings together 9 films which could be considered landscape films. Nature, landscapes and weather are present throughout all of our work but over the past couple of years they have increasingly become a central focus.
The seemingly simple artistic problem of how to film a landscape is a fascinating one, and one we are still grappling with. Within the Studio Diaries, the landscape was used mainly as a subject for visual experimentation, to test filmmaking techniques, different strategies and approaches, and see what effect they produced. Our concern was with the possibilities of image-making, investigating how meaning is constructed and experienced, but to film a landscape always seems to reveal something about our relationship to place and the natural world. Several of these films were created while we were location scouting for other projects – the act of pre-production became a creative adventure in itself resulting in these stand alone films. Our intention was never to document the places for later reference but more to see what they activated in our imaginations and to capture this meeting between environment and fantasy through the micro-narratives of the diary form.
The full first series of 100 films can be viewed here.