I was drawn to this exhibit more after the documentary elective started. I think it is intriguing how such a traditional medium was morphed to parallel surrealism. It really is apparent when viewing Painleve’s films that he really shot and interpreted his topic in a very poetic and artful way. It makes an audience realize that documentary does not have to be so strictly confined to the monotonous reciting of facts. Painleve probably draws the attention more to the beauty in nature and science more than traditional documentary films.
Relating this to my work in documentary, I am keeping myself open to different ideas when capturing and editing the media. I notice some shots are prolonged much more than most documentaries would. This can be translated when editing audio footage. Points can be driven home if a sound is focused on longer than expected. Also, texture and mood can be changed depending on length and tone.
The other captivating aspect to Painleve’s exhibit is the sound work by Pierre Henry on Love Life of the Octopus. Henry was a French composer who experimented with unique techniques involving electronic elements, and incorporated sounds not necessarily thought as musical.
Musique Concrete – Began in the 1940s.
“…became fascinated with the integration of noise into music.” – Wikipedia…
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Eben Mannes 