Filmmaking Manifesto

My work continues traditions of non-fiction filmmaking and video art that are committed to experimentation and destabilization.  Also, I spent several years working in performance and event-based work.  These investigations into liveness, immediacy, and procecss inform my current practice, providing me with tools with which to approach video, film, and documentation.  I have borrowed Nicholas Bourriaud’s idea of “relational aesthetics,” and adapted it here for a filmmaking practice in my Relational Filmmaking Manifesto.  

Relational Filmmaking:  A Manifesto

Relational filmmakers do not make films about people.
Relational filmmakers make films with people.

Relational filmmakers do not interview subjects.
Relational filmmakers have conversations with other people.

Relational filmmakers do not know what the final film will look like.
Relational filmmakers make formal decisions that address the aesthetic, ethical, technical, and personal problems encountered throughout the making of the film.

Relational filmmakers do not adhere to established modes or conventions.
Relational filmmakers make films that are abstract, factual, and fictional, all at once. 

Relational filmmakers do not fuck around with these tools of representation and power.
Relational filmmakers use their tools to experiment with new ways of being and to emancipate new forms of subjectivity. 

Relational filmmakers believe that reality is the consequence of what we do together.  Their films carry and conduct traces of this belief.  Relational films are co-created through careful and playful interrogations of the roles performed by the people and materials involved with the film’s production and reception:  artists, subjects, passers-by, audiences, environments, ideas, and things.


Relational Filmmaking: A Manifesto

A short piece of writing published in INCITE! Journal of Experimental Media & Radical Aesthetics, Issue #2, edited by Brett Kashmere, Fall 2010.  Reprinted in its entirety above.


Relational Filmmaking:  A Manifesto & Its Explication

Essay in Afterimage: The Journal of Media Arts and Cultural Criticism, a publication out of the Visual Studies Workshop in Rochester, NY

As the title suggests, it discusses my snappy Relational Filmmaking Manifesto in greater detail, making reference to my 2010 experimental documentary video, Girl Next Door.