Whose Future? Whose Climate? http://whoseclimatewhosefuture.co.uk Fri, 19 Apr 2019 11:33:22 +0000 en-US hourly 1 https://wordpress.org/?v=5.1.11 Symbolic Camera http://whoseclimatewhosefuture.co.uk/symbolic-camera/ http://whoseclimatewhosefuture.co.uk/symbolic-camera/#respond Fri, 19 Apr 2019 10:37:03 +0000 http://whoseclimatewhosefuture.co.uk/?p=139

Below is a video displaying my symbolic camera. Making this helped inform the pre-film development process, mainly through people seeing it in my house and asking me what on earth it is, leading to a discussion about the film I am to make. At one end is a double sided mirror. The intention behind this belongs to the wish to make a film that both reflects those I work with as accurately as possible, whilst also reflecting my intentions as the film maker in the process. I see the practice of anthropology, and visual anthropology especially, as an intensely self-reflexive process. Opening yourself up to interact with a vast variety of different people whilst trying to fully acknowledge and allow them to express their uniqueness leads to experiences which often make you question yourself. To symbolise this, when you look through the camera all you can see is your own eye reflected back at you. If you move the camera further away, your eye becomes the centre of a tree; the intention being to symbolise the connection with, and effect upon, nature that the extinction rebellion is trying to remind people that they have.

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Rebel Mel http://whoseclimatewhosefuture.co.uk/rebel-mel/ http://whoseclimatewhosefuture.co.uk/rebel-mel/#respond Fri, 19 Apr 2019 08:11:04 +0000 http://whoseclimatewhosefuture.co.uk/?p=122

Below is a conversation with a protester in Marble Arch.

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Poem http://whoseclimatewhosefuture.co.uk/poem/ http://whoseclimatewhosefuture.co.uk/poem/#respond Fri, 19 Apr 2019 06:59:54 +0000 http://whoseclimatewhosefuture.co.uk/?p=108

I had to cut the end off of the poem from the beginning of the film. Although I think it is better whole, I just couldn’t get it to fit well…

 

The young will stand and show that they’re better and bigger than what came before
and they will rise hellbent,
on untarnishining themselves from the stigma attached with being a student
and whats more the government will have no choice
for they’re voice is louder and clearer than any.
The divisive tactics of the past won’t work for the young of today will be the future’s many,
rest assured.
Your fears for a life cut short
are amplified for those whose lives have just begun.
The battles of today will be fought by the young tomorrow, until change comes.
And come it will.
And come it must.
The winds of time have blown gusts of mistrust
for too long.
Seeds have been sown
that will grow into
revolution.

This must be the future’s fate.
I just hope and pray that we’re not too late.

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Youth Strike for Climate http://whoseclimatewhosefuture.co.uk/youth-strike-for-climate/ http://whoseclimatewhosefuture.co.uk/youth-strike-for-climate/#respond Fri, 19 Apr 2019 01:46:57 +0000 http://whoseclimatewhosefuture.co.uk/?p=91

15 March 2019

Youth Strike for Climate

Today, the first day of filming, was difficult. I went to Parliament Square in Westminster to film the Youth Strike for Climate: thousands of young people truanted from school to protest in order to raise awareness of the dangers of climate change. The atmosphere was incredible! Whereas I had originally planned the film to be quite sombre due to the sadness of the topic (climate change will cause massive devastation and may well cost countless lives), the footage I shot was full of positive energy. I felt straight away that to turn it into something downbeat and sad would be misrepresentative of what I experienced. The real difficulty, however, came in working up the confidence to speak to people a lot younger than me. As the youngest in my immediate family with no children in my daily life, I have very little experience talking to kids. It also felt strange approaching young people with a camera; it took a while before Jean Rouch’s comments about the camera opening up those we come into contact with to manifest themselves. The camera almost created a pressure that made my general style of interviewing – long casual conversations – harder and I found myself at first either rushing or tongue-tied. After talking to a few people though, I relaxed and the camera became secondary to the experience. It being my first time properly filming, I also found myself far too trigger-happy with the zoom and focus. Several shots were arguably ruined due to this.

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International Rebellion Week http://whoseclimatewhosefuture.co.uk/international-rebellion-week/ http://whoseclimatewhosefuture.co.uk/international-rebellion-week/#respond Fri, 19 Apr 2019 01:26:26 +0000 http://whoseclimatewhosefuture.co.uk/?p=80

15 April 2019

International Rebellion Week, London

I’ve been advised not to film anything more; the deadline is in four days…. But, I cannot resist. The whole movement has been building up to this point! Protesters have occupied five spots in Central London: Oxford Circus has a pink boat, with a sound-system in, in the middle of the crossroads – protesters are glued to the underside of it; Piccadilly Circus is held by the youth; Waterloo Bridge is being turned into a garden-bridge and has protesters glued to a lorry at one end to stop the bridge being evicted; people are camping in Marble Arch, there are compost toilets in the middle of the road and several makeshift structures dotted around; Parliament Square is held on all four corners by different blockades. The rebellion has begun.

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Editing http://whoseclimatewhosefuture.co.uk/editing/ http://whoseclimatewhosefuture.co.uk/editing/#respond Thu, 18 Apr 2019 23:17:27 +0000 http://whoseclimatewhosefuture.co.uk/?p=1

15 April 2019

Editing 

Looking back at my footage from the first day of shooting, it seems that I have asked people for their names before filming them; the initial introductory chat in which people explain who they are is missing from the majority of my footage and as I have been holding the camera I haven’t written anything down.

I feared for a while that it would devalue the footage and what the people were saying, or that people would be skeptical, assuming that I had purposefully cut out introductions. Though I still feel that this was a mistake, I realised that a lot of the footage was of students whose clearly young age introduced them initially anyway and the context is one in which the message was often just as or more important than the detailed identity of the person speaking it.

Editing is both difficult and tight-cut: I’m already quite attached to my material, and I have four days to edit in everything filmed today (Monday 15/04/19). Sacrifices are going to have to be made. 

I’ve started following Jean Rouch’s technique of editing backwards (from end to start). This is nice because it makes you realise what you value most, and makes you think about what impression you want to leave the audience with.   

 

 

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