Filmmaking Process Research Articles

Practical Application and Impact of VR (Virtual) Technology in Animation Filmmaking

The rapid development of virtual reality (VR) technology creates new dynamics in animation filmmaking. The industry was relatively constrained by traditional filmmaking tools, but now, using VR features during pre-production, animation production, and audience engagement offers unprecedented opportunities. This paper looks into the effects and usages of VR technology on animation filmmaking processes with a focus on its impact on the creative processes and experience of the audience. VR technology transforms the animation industry by offering new features like virtual storyboarding, sophisticated character design, and animation enhancement. These features enable animators to better plan and accurately render in real-time during post-production. A case in point is Black Myth: Goku, which was used for the case study research and demonstrates how VR technology can enhance creativity through articulate storytelling. The research illustrates how VR technology enhances creativity by expanding boundaries in the visual arts and, in turn, immersion and interaction for the audience. This study seeks to analyze the interaction between the current reality and prospective development of VR in animation, concentrating on the effects on workflows and audience attention in detail. For this purpose, the study employs qualitative analyses of industry cases demonstrating VR’s capability to improve production efficiency and precision. The integration of VR does come with its hurdles, such as the expensive technology and the difficulty of transitioning from traditional ways for most artists. Research shows that VR not only streamlines the process of animation production but also sophisticatedly transforms how viewers interact with the film by allowing them to engage with the digital realms in previously impossible ways. It encourages cross-discipline cooperation by enabling animators, programmers, and sound designers to work, as a unit, creatively to usher in a new level of storytelling whereby the audience can participate in multi-dimensional narratives. The findings of this study indicate that the use of VR technology will undoubtedly redefine the skeleton of animation filmmaking, integrating animated storytelling with responsive digital environments. This study brings to light the many aspects of VR adoption in animated media, thus broadening the scope of debate over the evolution of animation.

People Living With Dementia and Their Families as Educators for Social Justice.

It is increasingly recognised that dementia education and training should include the direct voices of Experts by Experience (people living with dementia and their families). Good practice in facilitating teaching roles for people living with dementia needs to be identified to maximise inclusion and promote social justice. This study aims to discuss the co-creation of a suite of learning modules on dementia, whose predetermined content was consistent with the three tiers of the UK Dementia Training Standards (DTS), which include filmed interviews with people living with dementia and family members. Experts by Experience advised on content and took part in filmed interviews contributing to the development of 14 interactive learning modules based on the DTS curriculum. The process was evaluated using (1) participant and facilitator reflection on the film-making process and (2) independent researcher analysis of the films' content. Seven people living with dementia and 10 family members took part. Four key points are identified regarding good practice in the co-creation of film-based learning materials with people living with dementia and their families. Five key themes are identified from the films' content, highlighting Experts by Experience spontaneous reference to experiences of perceived injustice related to their diagnosis, independently of the intended content of the module. The active involvement of people living with dementia and their families in practitioner and professional education requires us to pay close attention to what they say. Learning materials should be Expert by Experience-led rather than curriculum-led. People living with dementia and their families were involved in the design, conduct and evaluation of the study and in the preparation of the manuscript.

Application of unsupervised identification of dissolved gases in transformer oil based on spin coating film making process

Addressing the issues of low efficiency and uneven collection of dissolved gases in transformer oil leading to overfitting and poor performance of identification models, we propose a novel film-making process that integrates Gaussian process and unsupervised pre-classification to enhance the recognition efficiency of dissolved gases in transformer oil. This method not only forms a thinner and more uniform separation layer, significantly improving degassing performance and collection efficiency, but also addresses the problems of insufficient data labeling and sample imbalance by introducing the K-means++ clustering algorithm and pseudo-random integration technology, thereby enhancing model robustness and generalization ability. Moreover, the designed Gaussian Process Multi-Classification (GPMC) method employs probabilistic interpretation for result presentation, which increases the accuracy of fault identification. Experimental results show that under consistent starting conditions, the RCC and ARI indicators of our pre-classification method are close to 0.8, with the test set’s recognition rate exceeding 80 %, while the GPMC method misclassified only 2.4 % of the cases in the 1800-case dataset. These improvements make our method particularly effective for handling uncertainties and imbalances in dissolved gas cases in transformer oil, showcasing its potential for practical applications.

Soviet Documentary Films in Lithuania: Historical and Ideological Contexts (1963–1988)

The entire cinematography and documentary film production of the Soviet Union often created an analogue a country leading an autonomous life on the screen. It sought to integrate society by spreading Communist ideology and maintaining the vision of social order and progress. Based on interviews from the respondents who had worked in various cinematographic institutions in Soviet Lithuania, this article presents a structural analysis of the documentaries, with emphasis on the film-making processes. The high noon of the Lithuanian documentaries of the sixties was determined by interesting processes and falls within the general dynamics of the production of documentary films in the Soviet Union, the socialist East European block and in the Western world. As the research has revealed, the strenuous implementation of agitation-propaganda, the educational and cultural tasks of the regime were due to both political changes in the Soviet Union, the country's ideological doctrine and social-cultural processes, as well as internal factors which then existed in cinematography – protecting one self, a wish to represent the "positive" sides of life in the republic, and the personal likings and points of view of the censors. All this determined the methodology of "approving" and "correcting-cutting" the films. While analysing the structural documentary film-making process systematically, it is possible to assume that the system of the regime's directives and the approval of films operated on the principle of keeping a balance with the Party line.

Allegro Moderato : Music, Memory, and Self-Reflection in Santiago by João Moreira Salles

Abstract: In 1992, the Brazilian film director João Moreira Salles started making a film about his family's ex-butler Santiago Badariotti Merlo. He could not finish it, but he returned to the material in 2005. He could no longer re-interview Santiago, but this created an opportunity to radically reevaluate the unedited footage. It gave more space to Santiago, a character diminished by how much Salles controlled the interview in 1992. The final version of the film is less about Santiago and more about the director's memory of him and the filmmaking process. A key aspect in this transformation was music, weaved into the fabric of the film through non-diegetic soundtrack, tempo markings, and Santiago's narration and dance. This article argues that music in Santiago was key to narrating Santiago's story differently. Through sound bridges, the film tells three distinct but parallel stories: 1) the story of the director's relationship with Santiago, 2) the story of Santiago's personal archive and 3) the story of the film itself. Santiago's favorite tempo marking allegro moderato , meaning "not happy but content," allowed Salles to understand Santiago's philosophy of life but also the director's own nostalgic feeling about the film. He was not happy due to all the missed opportunities in the interviews from 1992, but he was content with what he had achieved with what he had.

STRATEGI EFISIENSI WAKTU DALAM PROSES PEMBUATAN FILM DI BALIK RAUT SUNYI

Film Di Balik Raut Sunyi addresses mental health issues arising from the writer's concern over the lack of awareness and support for these issues, particularly social anxiety disorder. In the film Di Balik Rraut Sunyi this issue is portrayed through the story of a clown named Brian who appears to be fine when he is in character but suffers from social anxiety when he is himself. The production of the film Di Balik Raut Sunyi was managed using a time efficiency strategy, with the writer taking on the role of producer. The producer plays a crucial role in the filmmaking process, which involves script development, pre-production, production, and post- production. The time efficiency strategy was implemented during the pre-production phase by combining the Pre-Production Meeting (PPM) with other stages such as reading, recce, wardrobe and makeup fitting. Additionally, this strategy was used to plan the shooting days and schedule based on the scene breakdown in the script. The combination of these processes demonstrates that a time efficiency strategy can be applied to maximize the filmmaking process within a limited timeframe.

Digital replicas and democracy: issues raised by the Hollywood actors’ strike

Recent years have seen artificial intelligence (AI) technologies from large companies increasingly privatize people’s data, creating asymmetrical and undemocratic economic relations. Specifically, generative AI disseminates false information, distorts perceptions, and transforms the free and critical cultural public sphere into one that is privatized and undemocratic. This study examines the major Screen Actors Guild-American Federation of Television and Radio Artists strike in Hollywood in May 2023, focusing on the issues raised against actors’ digital replicas from a democratic perspective. The introduction of this technology, aiming to enhance the audience’s immersive experience, reinforces the cultural imperialistic and neoliberal hierarchical relation between companies and actors. Moreover, this study explains how digital replicas relegate actors to a subjugated state, damage their image, and demote them to the periphery of filmmaking, thereby resulting in undemocratic problems that deprive them of their subjectivity and creativity. The main findings are as follows: (1) Actors’ data, embedded in the data capitalism structure, are used to generate their digital replicas, thus causing economic and structural inequalities. Video companies’ monopolization and unapproved use of such data lead to the loss of these actors’ freedom and humanity. (2) Unauthorized digital replicas of actors through deepfakes globally damage their public image and social authority, and such false body representation has negative cultural and ontological effects on them. (3) The use of digital replicas excludes actors from the filmmaking process, eliminating their interaction and creativity in relation to other creators and audiences and preventing their participation in the critical and cultural public sphere of cinema. As humans and generative AI continue to coexist, using digital replicas with actors’ legal consent is important as it ensures their independence and expressive potential. This will develop a democratic film industry that enhances the interactive cinema–media cultural public sphere.

Calcutta Through Different Lenses: Revisiting India in Jean Renoir’s The River and Satyajit Ray’s The Apu Trilogy

The Orientalist discourse has fostered a version of the East that, for ages, have seamlessly permeated into the various attempts of the West to portray the ‘Orient’. One such attempt is Jean Renoir’s “authentic” portrayal of India for a by-and-large Hollywood audience, The River (1951) shot entirely in Calcutta. Inspired by Renoir, Satyajit Ray presented his version of Calcutta through The Apu Trilogy (1955-’59) which was in stark contrast to Renoir’s portrayal of the city. This paper seeks to explore how Renoir and Ray portray two different Indias – one smeared with a colonial perspective while the other breaks out of the West-imposed binaries to offer something more tangible – and how these marked differences are reflected through their respective filmmaking processes.

The Storytellers: In-depth Interviews with Malaysian Documentary Filmmakers

The study is based on a series of interviews conducted with the Malaysian documentary filmmakers Lau Kek-Huat, Amir Muhammad, Fahmi Reza, Harun Rahman, and Lara Ariffin between 2018 and 2021. The interviews aimed to probe into the documentary filmmaking process and investigate the underlying factors that motivate filmmakers to compose films about the Malaysian pre- and post-independence period. In the documentary, the filmmakers took the audience on a nostalgic and self-discovery journey. The documentary focused on people’s history, often overlooked in official history material. The storyteller’s role is to preserve the narrative and emphasize the value of people’s history in bridging the gaps within the nation’s history. Films have become an important source of meaning, contestation, and negotiation by providing an alternative history to their audience. The documentary probes the question of what it truly means to be Malaysian. The study utilizes the concept of the mediation of memory to comprehend the complex interaction between cultural memory and identity. The study employed thematic analysis as a systematic approach to examine interview data. The study explores cultural memory dimensions, focusing on film production, memory, and identity. The interviews revealed that the filmmaker’s role as a storyteller is critical for preserving and highlighting people’s history, as well as educating the audience, particularly Malaysia’s younger generation, to ensure that history is not lost and forgotten.

Filmmaking as a Tool for Investigating the Positive Spatial Experiences of Disabled People.

Current studies at the intersection between architecture and disability focus on addressing the immediate needs of disabled individuals and often overlook the potential of built environments to create positive experiences. Additionally, conventional approaches for investigating disabled people's spatial experiences often fail to capture the inherent nuanced sensory and emotional aspects. This paper describes the process of filmmaking and the use of film to explore its contributions and limitations in the understanding on how personal and contextual factors influence individuals' positive spatial experiences. The film Places and Small Pleasures, produced by the Cluster for Spatial Inclusion at the Royal Danish Academy in collaboration with Nossell & Co, serves as a case study for a reflective inquiry. The filmmaking process involved participant interviews, transcript analysis, storyboarding, shooting, editing, and final screening. The analysis of the interviews with four selected participants revealed key spatial attributes and contextual phenomena contributing to their described positive experiences. Four distinct narratives emerged, highlighting the participants' diverse bodily conditions, emotions and feelings in their favorite places. Representations of their experiences through the film incorporated verbal and non-verbal cues, their bodily reactions, and contextual phenomena, offering an immersive sensory richness for the viewers. By capturing the embodied experiences of the four participants within their personal and spatial contexts, the filmmaking process enhanced understanding and empathy, enriching disability studies and fostering academic discourse in this domain through positive stories.

Research on the Application of AIGC in the Film Industry

This paper explores the feasibility of applying artificial intelligence generated content (AIGC) technology in the film industry, analyzes its potential to replace certain positions in the film industry, and explores how to integrate AIGC into different aspects of film production such as script writing, video production, and audio processing through experimental creation. Comparative research and experimental methods are used to explore the feasibility of applying AIGC in the film industry at this stage. The more mature AIGC platforms such as ChatGPT 4.0, Stability AI, Midjourney, and Suno V3.5 are used for research to optimize the film production process and provide some reference for other researchers. The findings suggest that AIGC could redefine industry standards and democratize the filmmaking process, enabling more creators to access sophisticated tools and produce high-quality content. This paper ultimately provides a roadmap for the strategic adoption of AIGC in filmmaking, outlining best practices and future research directions for a sustainable and creative AI-powered film industry.

The Kinomatics Australian Film Production Dataset: A Curated Dataset Describing Australian Feature Film Titles and Personnel 1975–2022

Abstract This article presents a novel, extensive, and thoroughly documented dataset describing Australian feature films and the personnel filling ten key production roles on those films. The dataset is curated from public information in multiple sources and draws on further supplemental resources to verify, validate and consolidate this information. In total, the data describes 22,720 roles filled by 9,397 distinct people across 1,877 films, covering an important 47-year period in the Australian film industry. The authors outline how the dataset solves several problems for scholars interested in data that provides a historical record of the collaborative filmmaking process. In particular, to address concerns about known coverage problems with popular sources such as the Internet Movie Database, this dataset has undergone extensive manual checking to ensure that it is reliable as a source of information on a national film industry. Moreover, the authors have carefully and manually linked each person appearing in the dataset, which allows the dataset to provide a rich source of information for exploring the relationality of filmmaking collaborations. The inclusion of ten key filmmaking roles further expands the utility of the dataset beyond existing datasets which tend to focus on actors and/or directors, writers and producers.

Documenting the air

The air sustains, connects and conditions our lives and has been of growing relevance to social scientists adopting an atmospheric approach to social life. Nonetheless, in screen studies, air’s critical uptake has so far been limited to narrative cinema, leaving it undertheorized in non-fiction filmmaking. In this paper, I introduce theories of the air that flow from the broader rise of atmospheric socio-aesthetic theories and suggest that it is possible to understand the air as an agent in the relationship between a filmmaker and their practice, and the film and its viewers. To make this argument, I first present a theoretical orientation to air as it is implicated in the non-fiction filmmaking process, before considering how the air has been understood in film scholarship, and how it has been taken as a subject of filmmakers working in experimental traditions. I then consider two bodies of non-fiction filmmaking through this aethereal lens. The first is Margaret Tait and her concept of ‘breathing’ with the camera, and the second is Arwa Aburawa and Turab Shah’s And Still, It Remains (2023). In these analyses, I argue that thinking aethereally allows us to consider the co-construction of documentarian, document and viewer.

On Academic Filmmaking as a “Messy” Methodology

How would you make a documentary, stranded in your house, in the middle of a global pandemic? What happens to your project, and what happens to the filmmaker-researcher? On the eve of the global Covid-19 pandemic, I returned from Melbourne to Istanbul to begin filming the documentary which is the practical side of my Ph.D. project on the filmmaking methodologies of contemporary female filmmakers from Turkey. When the outbreak of the pandemic locked the world inside their houses, I turned my house into a studio and started using things I found in the house as my equipment, such as the projector, phones, and books as tripods. My friend turned into a cinematographer, and we learned how to use a 4K video recorder from YouTube tutorials. We filmed the live interviews with the female filmmakers that took place over Skype. The film ended up reflecting the experience of making a film under the pandemic conditions. In this article, I will attempt to think through my filmmaking process and understand “mess” as an experimental approach that works even in an academic context.

Participatory wildlife films for primate conservation education in Los Tuxtlas Biosphere Reserve, Veracruz, Mexico.

Audiovisual media has become an integral part of conservation education strategies, with the potential not only to communicate information but also to impact on its viewers perceptions and attitudes towards a particular subject. Despite this potential, few studies have evaluated either the use of film for primate conservation initiatives or the wider impact of participatory film production. Our study evaluates the impact of a participatory documentary film about historic human-primate coexistence in the Los Tuxtlas region, Veracruz, Mexico, to improve people's knowledge, perception, and attitudes towards the local primate species, Alouatta palliata and Ateles geoffroyi. Our study took place in six rural localities, in four of which a participatory film-making process was undertaken, involving production workshops and public screenings; two localities were intentionally left out as control groups. People's knowledge, perception, and attitudes towards primates were assessed through randomized sampling using a questionnaire prior (n= 419) and following (n= 223) the presentation of the documentary. Results indicate a minimal but positive shift in participant's attitudes and perceptions, with statistically significant increases in primate knowledge scores. While the participatory approach offers promise, further exploration and refinement are essential for effective conservation education. The study highlights the need for diverse and locally based perspectives in developing conservation education materials and programs to foster meaningful engagement and drive primate conservation efforts forward.

Investigating the Potential for Collaboration Between Translators and Filmmakers in the Subtitling of Foreign Films

Collaboration between filmmakers and subtitlers should result in subtitles that better reflect filmmakers’ intentions. However, these parties rarely communicate in practice, and not enough research has been conducted to investigate attitudes towards collaboration among both parties. Interviews were conducted with 12 professional subtitlers and eight filmmakers to investigate attitudes to and prior experience of collaborating on subtitles. Attitudes varied between parties. Filmmakers were generally enthusiastic about past collaborations, whereas subtitlers’ opinions were mixed. Some subtitlers noted collaboration helped understand filmmakers’ intent for dialogue. Conversely, others reported input from filmmakers could be overbearing and unhelpful. Some subtitlers doubted filmmakers would be interested in subtitling, despite filmmakers’ largely positive attitudes to collaboration. Both groups expressed concerns about time and monetary costs. Interviewees also indicated concerns about when, in the filmmaking process, collaboration would be most useful, with some disputing the practicality of Romero-Fresco’s (2019) accessible filmmaking model, which includes collaboration from pre-production to post-production. Both parties viewed subtitling as a creative process, which might be facilitated by collaboration, depending on the product being subtitled. Given subtitlers’ higher scepticism towards collaboration, it is likely that an acceptable collaborative model would be subtitler-initiated and limited to post-production, although further research is required. Lay summary Collaboration between filmmakers and subtitlers should result in subtitles that are closer to filmmakers’ intentions. However, these two groups rarely communicate in practice, and not enough research has looked at attitudes towards collaboration among both parties. I interviewed 12 professional subtitlers and eight filmmakers to investigate opinions on the pros and cons of working together during the creation of subtitles. Attitudes differed between the two groups. Filmmakers were generally enthusiastic about past collaborations, whereas subtitlers’ opinions were mixed. Some subtitlers noted collaboration helped them to understand filmmakers’ intent for dialogue. On the other hand, other subtitlers said that input from filmmakers could be overbearing and unhelpful. Some subtitlers doubted filmmakers would be interested in subtitling, despite filmmakers’ largely positive attitudes to collaboration. Both groups expressed concerns about time and money. Interviewees also indicated concerns about when, in the filmmaking process, collaboration would be most useful. Both parties viewed subtitling as a creative process, which might benefit from collaboration, depending on the film or show being subtitled. Given subtitlers’ higher scepticism towards collaboration, it is likely that collaboration between these two groups would work best if it was initiated by the subtitler and limited to the post-production stage, although further research is required.

“My cinema is not diplomatic, it is confrontational”: Decolonial framing of the home in two documentaries by Rosine Mbakam

This article centers on two documentaries about migrant women in their home: At Jolie Coiffure (Chez Jolie Coiffure, 2018) and Delphine’s Prayers (Les Prières de Delphine, 2021), both directed by by Rosine Mbakam. I put in conversation the home as a private space and the home as a national construction which creates categories of exclusion and restrictions. I argue that Rosine Mbakam performs an act of “decolonial framing” by taking an antiethnographic approach and creating documentary events—including the filmmaking process, the film viewing, and real-life interactions centering on the film. This transnational cinema of confrontation creates community for Black, diasporic, and African audiences while reversing the gaze against white audiences. Mbakam films the home to showcase instances of resistance to institutional racism and colonial duress. Showing the home on screen also opens the way to create better homes for all through multiple avenues of participation. First, I analyse Mbakam’s filmmaking process and her own involvement on screen as a co-creative act, I then look at her composition which reflects the complex dwellings of the protagonists and how they are shaped by architecture. Finally, I look at the reception of her films to show how her mobile cinema activities provide the infrastructure for making new home spaces.

Penerapan Dutch Angle Dalam Enggambarkan Emosional Pada Film “Tolong Aku”

Film, as a genre in the world of cinema, offers a short but captivating audiovisual experience. Films have the potential to create creative, entertaining works and have high artistic value. In the filmmaking process, various techniques and elements are used to improve the quality of the final result. Films are able to convey messages and emotions through various means, including dialogue, visuals, music and special effects. This research focuses on the important role of shooting techniques or cameras in film making. One of the techniques taught is Dutch Angle or Dutch Tilt, which involves tilting the camera angle on a vertical or horizontal axis. This technique is often used in the thriller and horror genres to create a dramatic effect on the audience. The film "Help Me" is an interesting case study, utilizing the Dutch Angle to produce emotions such as sadness, fear, anger, and surprise in the audience. The story of this film tells the story of a student named Dinda who is trapped in an organization that adheres to devil beliefs. Through the use of Dutch Angle, the audience is presented with an unstable atmosphere, creating tension and anxiety that blends with the main character's experiences. The aim of making the film "Help Me" is to apply the Dutch Angle technique to arouse the audience's emotions. In this way, the author hopes to strengthen the message and emotional nuances conveyed through this film. This research also aims to provide an overview of how shooting techniques in films can influence the audience's perception and emotions towards the work.

НИГЕРИЙСКИЙ КИНОСЦЕНАРНЫЙ ТЕКСТ КАК ОТРАЖЕНИЕ КРЕОЛИЗОВАННОЙ РЕАЛЬНОСТИ

The article deals with the peculiarities of script texts within the realm of cinematography, a contemporary art form. The research endeavors to elucidate the primary characteristic features of Nigerian script texts, which undergo creolization towards the norms of British English and local languages and cultures. Screenwriters initiate the filmmaking process by crafting a script text, serving as the essential foundation for directors, actors, stuntmen, costume and makeup designers, as well as editors. Nigerian script texts manifest as creolized texts, distinguished by a notable feature: the detailed inclusion of authorial remarks providing extensive information for future utilization. Each film script embodies a creolized text, contributing to the transformation of structural substance into a new cinematic reality. Nigerian script texts undergo multiple instances of creolization, adapting to the requirements of local languages and cultural peculiarities. The research validates Nigerian script texts as creolized compositions characterized by detailed authorial remarks, shedding light on language-specific features such as grammar transformations resulting in simplification processes. The most prevalent grammar simplification processes entail the consecutive use of nouns and pronouns, a preference for simple verb tenses, and the omission of auxiliary verbs in interrogative and negative sentences. The grammatical alterations observed in Nigerian scripts are attributed to the influence of local languages and Nigerians' aspiration to adhere to local language features, thereby preserving cultural heritage.

Filmmaking as architectural carpentry

Food production is the largest cause of global environmental change. The debate on sustainable agriculture focuses largely on the implementation of new agricultural techniques. The impact of these techniques on agricultural landscapes is not often considered. With the film ‘Tussen de kassen’, I attempt to shift the current debate in a direction that allows consideration of the aesthetic and systemic consequences of the implementation of agricultural techniques on specific landscapes. ‘Tussen de kassen’ examines an innovative and sustainable landscape of greenhouse horticulture. More than a tool to communicate research or annotate site visits, film and filmmaking functioned as architectural carpentry. Meaning that the complete process of filmmaking (including preliminary site visits, editing, etc.) functioned as an unconventional method of knowledge production for an architectural research project. Using ‘Tussen de Kassen’, I illustrate three ways in which filmmaking as architectural carpentry benefits the work of landscape architects whilst examining modern landscapes of food production; As a tool to explore and examine the atmospheres of agricultural landscapes (1) Film is able to convey synaesthetic properties of a landscape. These are properties that belong to multiple sensory fields at once and play a part in generating ‘atmosphere’, the meaning a person assigns unconsciously and almost instantaneously to a space. Film allows viewers to explore the synaesthetic properties behind this initial atmosphere and (re-) examine their subconsciously assigned meanings to space. As a method to explore unexpected entanglements in food production landscapes (2) The (architectural) medium used to analyse a site determines the understanding of that site. Filmmaking demands close engagement with a site, making the filmmaker a participant of the landscape. This results in unexpected discoveries of entanglements between agricultural techniques and other site aspects. As a form of eidetic storytelling for landscapes of the Anthropocene (3) Narrating the functioning and conception of Anthropocenic landscapes in a causal, linear manner is problematic as it leads to ‘undecidability’ and inaction. Film, as an eidetic storytelling tool, combines different types of information (i.e. visual, acoustic, quantifiable, metaphoric, etc.) to mediate multivalent, openended and non-linear narratives for Anthropocenic landscapes. Cover image: Stills from ‘Tussen de Kassen’