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SCREENING OULIPO from Potential Literature to Potential Film Katja

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SCREENING OULIPO from Potential Literature to Potential Film Katja SCREENING OULIPO From Potential Literature to Potential Film Katja Waschneck A thesis submitted for the degree of Doctor of Philosophy Department of Literature, Film and Theatre Studies University of Essex 4th of October 2017 ABSTRACT This thesis documents a research and art project that explores the creative value of using constraints in film. The starting point is the Ouvroir de Littérature Potentielle (Oulipo), the Potential Workshop of Literature, whose members explore the Potential of Literature by writing with constraints, and the films of the early twentieth century avant-garde, which demonstrate the promise of experimentalism in cinema. From these points of inspiration, the idea of using constraints to explore the potential of a field is transferred to film. As the practice of filmmaking with constraints is yet to be fully formalised and currently lacks substantial academic recognition, this thesis presents a theorisation of constraint filmmaking as a creative practice that cuts across cinematic genres and already established areas of filmmaking practice – those of short, feature, and documentary film. The cinematic work emerging from the Ouvroir de Videographie Potentielle (Ouvipo), the Potential Workshop of Video, and the movement of Dogme 95, are shown to be influential in the theorisation of constraint filmmaking practice, and several other examples of constraint films across cinema will be addressed to show how the use of constraints can enhance a filmmaker’s creativity. The thesis is accompanied by three constraint films: Project Cube, A Day in your Life, and Tales and Tellers, which were made in adherence to the stages of the constraint filmmaking process. Project Cube is an exploration of mathematically inspired constraints and is grounded in the idea of permutation. Twelve shots are used to create several different films, with their order being determined by the rolling of dice. A Day in Your Life focuses on the interplay between linguistic constraints and their visual counterparts, reality and fiction, and past and present. Tales and Tellers is a project that shows the power of images, as fairy tales from participants are illustrated in moving images, using constraints to create these pictures. These short films demonstrate both my theorisation of constraint filmmaking as a practice that can be adopted by other artists also, and my journey from Potential Literature to Potential Film. ACKNOWLEDGEMENTS You look at this page, and you wonder, will your name be on this list? How did I choose who to include in the acknowledgments, who to name and who to put first? I do not have a simple answer to this question, I only know that the space for acknowledgments is limited. A few pages, to name all the people who supported me through the last four years. So please excuse the brevity of my thank you notes and please accept my sincerest gratitude, it goes to all the people who have supported me on my journey from Potential Literature to Potential Film! Thank you to Phil Terry, for introducing me to the world of Oulipo! Thank you for believing in my idea for this thesis, thank you for supporting me in creative writing, academic writing and as a filmmaker. Thank you for everything that you have done for me in the last six years. Thank you to Nic Blower, for believing in me as filmmaker and encouraging me to pursue my goals. Thank you for pushing me to step outside my comfort zone to making films and thank you for giving me a chance to try something new. Thank you to John Haynes, for sharing your vast knowledge about thesis writing and film theory with me and thank you for your honest comments on my work, they have given me the chance to grow as a researcher. Thank you to Jane Thorp, our Graduate Administrator. Thank you, Jane, in the past five years, you have always made time for me, given me advice, encouraged me, told me off (which was always deserved and necessary) or just stopped for some friendly and supportive words. Thank you to Jeffrey Geiger, for supporting me as a Graduate Teaching Assistant. Thank you for taking the time to give me feedback and advice. Thank you to the Royal Literary Fund. Thank you to Jim Kelly for accepting, reading, questioning and discussing my work. Thank you to Claire Pollard for improving my writing, structuring and grammar skills. Thank you to all the staff from the LIFTS Department of the University of Essex. Thank you to the staff of the Media Centre at the University of Essex, especially the technicians, for putting up with all my technical problems. Thank you to my family for their continuous support. My greatest thanks go to my parents, Christian and Barbara, without you this project would not have been possible. Thank you for believing in me and supporting me. You have done far more for me than words can express. Thank you to my siblings, Bernd and Anke, for showing interest in my project and supporting me to reach my goal. Thank you to my partner, Michael, for being there, making me laugh, making me food, watching films with me and accompanying me on my journey. Thank you to Steph Driver, it has been a pleasure to work together on so many ideas (too many to list here) and thank you for all the help with things that I could not figure out. Thank you to James Harvey for encouraging me to publish and speak at conferences, and thank you for all the tips on my work. Thank you to all my friends, I am grateful to have met you all. Thank you for believing in me, helping me and, most importantly, making me laugh. Thank you for all the times you were there to meet me for a cup of tea, coffee or any other drink! Thank you to all the people who have been involved in making my films. Thank you for the interviews, all the stories that I received for my third project, and thank you Mijrin Alhajri for your patience when recording many hours of voice-over. Thank you to Julien Savès, Marc Lahore and Marion Buannic from Ouvipo for the interview, it was a pleasure to meet you and I hope that our paths will cross again in the future! Introduction ............................................................................................................................. 1 1 Constrained Art ............................................................................................................. 10 Understanding Constraints ........................................................................................... 10 Positioning CFM .......................................................................................................... 15 2 Constraint film and constraint filmmaking (CFM) ....................................................... 19 CFM and OULIPO – Workshop of Potential Literature.............................................. 19 CFM and the film practice of the avant-garde ............................................................. 33 3 The process of CFM ...................................................................................................... 52 Phases of the CFM process .......................................................................................... 52 The practice of CFM related to other movements and groups .................................... 60 3.2.1 Dogme 95 – the relation of the Vow of Chastity to CFM .............................. 61 3.2.2 OULIPO .......................................................................................................... 68 3.2.3 OUVIPO ......................................................................................................... 70 Examples ...................................................................................................................... 75 3.3.1 ErrE (Savès 2012) and RessasseR (Beaunay, 2012)....................................... 76 3.3.2 The King is Alive (Levring 2000) .................................................................. 83 3.3.3 Victoria (Schipper, 2015), Tangerine (Baker, 2015) and The Five Obstructions (von Trier/Leth, 2003) ................................................................................................... 88 4 Constraint films produced within this framework ......................................................... 97 Project Cube ................................................................................................................. 97 4.1.1 The Origins of Project Cube ........................................................................... 99 4.1.2 On the Generative Structure of Project Cube ............................................... 106 4.1.3 Reflections on Utilising the Structure of Project Cube ................................. 110 A Day in your Life ..................................................................................................... 128 4.2.1 The Origins of A Day in your Life ............................................................... 129 4.2.2 On the Generative Structure of A Day in your Life ..................................... 134 4.2.3 Reflections on the Utilisation of the Generative Structure of A Day in your Life 139 Tales and Tellers ........................................................................................................ 142 4.3.1 The Origins of Tales and Tellers .................................................................. 143 4.3.2 On the Generative Structure of Tales and Tellers......................................... 145 4.3.3 Reflections on the Utilisation of the Generative Structure of Tales and Tellers147 5 Conclusion ..................................................................................................................
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