ABSTRACT

In this article, I explore the way experimental documentary film practitioners may utilize the methodology of the bricoleuse in order to create films. I refer to my experiments in documentary film practice – mediations of memory, place and subjectivities – where I deploy hybrid filmic strategies of critical realism and fictional enactment. The bricoleuse may use footage obtained through pocket cameras, mobile devices, stills, archive or found footage – including their own past films, analogue and digital – using a digital database to store footage and to provide her with an endless storehouse of digital documents that can easily be accessed and reused in infinite ways to create new practice [Baron 2014. The Archive Effect. London: Routledge, 142]. I analyse in particular My Private Life II [Daniels, Jill. 2015. dir. My Private Life II. UK. https://vimeo.com/139077147] where I used the footage from an earlier film, My Private Life [Daniels, Jill. 2014. dir. My Private Life. UK. https://vimeo.com/104385249], to create a split screen view and my short documentary essay film, Breathing Still [Daniels, Jill. 2018. dir. Breathing Still. UK. https://vimeo.com/253291495] (shown at The Mobile Innovation Network and Association [MINA] in 2018), a short epistolary film addressed to Rosa Luxemburg and shot on a pocket camera (Canon G9X).

摘要

在本文中，我探讨了实验纪录片从业者可以利用bricoleuse的方法来创作电影的方式。我指的是我在纪录片实践中的实验——记忆、地点和主观性的中介——我在其中部署了批判现实主义和虚构表演的混合电影策略。bricoleuse可以使用通过袖珍相机、移动设备、剧照、存档或找到的镜头获得的镜头——包括他们自己过去的电影、模拟和数字电影——使用数字数据库存储镜头并为她提供无穷无尽的数字文件仓库，这些文件可以以无限的方式轻松访问和重用以创建新的实践 [Baron 2014. The Archive Effect. 伦敦：劳特利奇，142]。我特别分析了我的私人生活 II [丹尼尔斯，吉尔。2015. 目录。我的私生活II。英国。https://vimeo.com/139077147] 我使用了早期电影《我的私生活》中的镜头[丹尼尔斯，吉尔。2014. 目录 我的私生活。英国。https://vimeo.com/104385249]，创建一个分屏视图和我的短篇纪录片，呼吸静止[丹尼尔斯，吉尔。2018. 目录 呼吸静止。英国。https://vimeo.com/253291495]（2018 年在移动创新网络和协会 [MINA] 上放映），一部写给罗莎·卢森堡的短篇书信片，用袖珍相机 (Canon G9X) 拍摄。