“Narrative as understood by film theorists involves the linear arrangement of events, selected and sequenced in a logical order, especially in a temporal sense. Cause and effect is the keynote, a story that proceeds logically and sequentially in time. Films having a beginning, a middle and an end – preferably, from a Hollywood point of view, a happy, or at least a resolved ending.
Jean-Luc Goddard agreed with that, but with a decided sting in the tail. “A film should have a beginning, a middle, and an end,” he famously remarked, “but not necessarily in that order.” That, of course, is nonlinear narrative, (elliptical narrative), defined in a nutshell.”
– from Elliptical Narratives: Some Thoughts on the Photobook, by Gerry Badger in The Pleasures of Good Photographs
Visually investigate the idea and possibilities of narrative and photography.
With a film camera, shoot images that document one day in a minimum of 24 exposures – from the time you wake up to the time you go to sleep.
The film should be developed as process-only, no prints and do not cut at the following places:
In considering your photographic vision and use of camera aesthetics, give particular attention to your use of the photographic frame, vantage point, moments of exposure and the role and use of light to reveal your interpretation of the thing itself and details as they relate to the possibilities of a photographic narrative.
One (1) of the photographs is required to be a self-portrait.
It is essential that your efforts reflect a sense of considered thought, active visual exploration and is articulated with a cohesive vision and photographic sensibility.
For the critique (see Calendar for Due Date) and evaluation, please complete the following:
1 – Digital Contact Sheet of all Images Shot
2 – Digital Prints from images on Contact Sheet
Turn-in all critique materials in a manila envelope for evaluation and feedback.