Abstract
ABSTRACTThe article explores the concept of ‘database film-making’ (i.e. first compiling a creative database of images in order to later construct a narrative in postproduction, rather than following the more traditional pathway of film-making via scriptwriting), arguing that approaching a film from a database perspective can potentially increase its cinematic qualities. The article builds upon ‘Database as a symbolic form’ (2001) by Manovich, along with cinematographic writings by Kracauer, Bresson and Tarkovsky, and presents a schema for mapping a spectrum of film-making practice from script-based to database. The author takes his own short film Crossing (2008) — co-directed with film-maker/photographer Ian Wiblin — as a case study of an image-led fiction film. The film's database consisted of both stills and moving-images, which were juxtaposed in a variety of ways; the article reflects upon this methodology, listing the variety of techniques utilized and how the meanings generated could only have emerged from adopting a database approach to storytelling.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
