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Caught in the Fabric of World Landscape and Documentary, a Dialogic Practice

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Caught in the Fabric of World Landscape and Documentary, a Dialogic Practice CAUGHT IN THE FABRIC OF WORLD LANDSCAPE AND DOCUMENTARY, A DIALOGIC PRACTICE J HOLT PhD 2017 1 CAUGHT IN THE FABRIC OF WORLD LANDSCAPE AND DOCUMENTARY, A DIALOGIC PRACTICE JENNY HOLT A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy Faculty of Arts and Humanities, Manchester Metropolitan University 2017 2 Acknowledgement I would like to thank my Director of Studies Amanda Ravetz and supervisor Steve Hawley at Manchester School of Art, Manchester Metropolitan University, for sharp observations, stimulating conversations and unwavering support. 3 Caught in the Fabric of World Landscape and Documentary, a Dialogic Practice Abstract This practice-led research investigates the artistic practice of documentary filmmaking as a means to explore tensions of place and visuality in landscapes of the South Pennines in the north of England. Created through an iterative process of practice-led and theoretical research, the thesis comprises four films: The North Wind (2013, 6’), Uplands (2014, 11’), Archipelago (2016, 19’), and Crossing (2017, 7’), and a written exegesis. The research addresses the dialectic between landscape’s visual epistemology and dynamic human-centred senses of place. Tensions between the ‘frame’ as a ‘bounded’ world of vision and place as dynamic and mobile engenders, and is developed through, an artistic documentary film practice that is processual and emergent (Hongisto 2015, MacDougall 2014), bringing pictorial and phenomenological concepts of landscape into a new relationship. The research is critically underpinned by Merleau-Ponty’s concept of ‘flesh’ (1968) as a means through which a ‘chiasm’ or ‘crossing over’ between concepts and experiences of place in the research location, and methods of artistic practice which explore and mediate themes of place, is created. An approach to film practice as ‘process’ has engendered a methodology of filmmaking as ‘weaving’ as a generative ontology of ‘making’, in which form ‘unfurls from within’ (Ingold 2005). This concept of weaving analogises the overarching filmmaking process, as well as becoming a means to navigate tensions of place in the landscape as a dynamic ‘play of forces’. Meanings of place in the South Pennines, a region of gritstone moorland straddling the Yorkshire-Lancashire border in the north of England, are central to the research. I argue 4 that distinct tensions of landscape in the South Pennines - a pastoral ‘wilderness’ tied to northern England’s industrial histories - are pivotal to its ‘specific ambience’ (Ingold 1993) as a site of dwelling. Entangled senses of place generating themes of place and landscape in each of the films, interact with a development of practice methods, producing an approach to ‘form’ and ‘content’ that is reciprocal and interdependent. I argue that this triangulation of documentary filmmaking and landscape via theories of embodiment advances a critical understanding of filmic tensions of place and landscape. Valuable insights are also gained into processual and material approaches to documentary film, and film practice as a form of knowledge creation about experiences and senses of place and landscape. 5 Contents Acknowledgement .................................................................................................................. 3 Abstract .................................................................................................................................. 4 Contents ................................................................................................................................. 6 List of Illustrations .................................................................................................................. 8 Introduction ............................................................................................................................ 9 Overview of the research ................................................................................................... 9 Personal context to the research ..................................................................................... 13 Overview of the written exegesis ..................................................................................... 15 Chapter 1 Crafting a relationship between documentary film and landscape .................... 19 Part 1 - The framed world ................................................................................................ 19 Picture and place: towards a definition of landscape ...................................................... 20 Landscape as image .......................................................................................................... 21 The place of landscape ..................................................................................................... 24 Documentary film: a visualised encounter with world .................................................... 28 Documentary and art ....................................................................................................... 30 Part 2 - Embodiment ........................................................................................................ 34 Landscape, place and embodiment ................................................................................. 36 Moving image and embodiment ...................................................................................... 38 Documentary film as ‘flesh’? ............................................................................................ 42 Part 3 - Temporality and rhythm ...................................................................................... 44 Temporality, rhythm and landscape ................................................................................ 45 Rhythm and walking ......................................................................................................... 47 Moving image and ‘lived time’ ......................................................................................... 50 Musical rhythm and the avant-garde ............................................................................... 51 6 Temporal structures of montage ..................................................................................... 53 Chapter 2 Research Context & Methods of Practice ........................................................... 55 Part 1 - The research location: the South Pennine uplands ............................................. 56 Part 2 – Landscape, place and moving image: a research context .................................. 62 Part 3 - Methods of filmmaking practice.......................................................................... 73 The embodied frame ........................................................................................................ 76 Observation and the poetic .............................................................................................. 80 The role of the imagination and the uncanny .................................................................. 83 ‘Weaving’: a practice method ......................................................................................... 85 Montage ........................................................................................................................... 88 Musical analogies: the contrapuntal and the symphonic ................................................ 92 Soundscape and the audio-visual contract ...................................................................... 95 Chapter 3 ‘Caught in the Fabric of World’: four films .......................................................... 98 Film 1: The North Wind .................................................................................................... 99 Film 2: Uplands ............................................................................................................... 105 Film 3: Archipelago ......................................................................................................... 112 Film 4: Crossing ............................................................................................................... 123 Conclusion .......................................................................................................................... 133 Bibliography ........................................................................................................................ 141 Filmography ........................................................................................................................ 150 7 List of Illustrations Figure 1. Not giddy yet aerial (2011) - film still .................................................................... 15 Figure 2. The North Wind (2013) – film still ......................................................................... 99 Figure 3. The Brontë Society plaque at Top Withens ......................................................... 101 Figure 4. The North Wind (2013) – film still ....................................................................... 104 Figure 5. Uplands (2014) – film still .................................................................................... 105 Figure 6. Uplands (2014) – film still .................................................................................... 109 Figure 7. Uplands (2014) – film still .................................................................................... 111 Figure 8. Archipelago
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