Thursday, 14 April 2011


Once I had decided to show 'Cana' and 'Drive' it was a case of figuring out how to show them along with the finer details. I was very uncertain of how to best present those two films. Weather they would be looped one after another or if I was going to put them together only to be seen in an order during certain time slots. My thoughts on the difference in presentation method's was that the later was more suited to my work as they seemed like films that warranted viewing in their entirety. I was very much at odds towards the presentation methods. On the one hand I wanted people to see them in their entirety as I felt that was the best way to view them but I was very aware that intern I would be forcing people to sit and watch my films which makes me very self conscious. From my experience when people watch films within a gallery setting they will give the film less time then if given a cinema type setting. I knew that employing this method would ensure that the audience would watch it in full which in tern gives them a full experience giving them a grater understanding of their judgements towards it.

I had been watching a lot of Flux films when I was editing 'Cana' and 'Drive' together and I was always fond of the way they began, acting as an interesting uniform for them all. The style was something I was fond of too, the flickering and flashing introductions of titles and artists etc... I applied a similar introduction to both the films having a countdown before each new film started. I wanted to give the audience a chance to take a moment between films, due to the nature of them I felt that running them one after another might have been too much and would have left them overwhelmed. The countdown was 30 seconds long, this was something I felt was as suitable time between films as it would give an appropriate comedown from the first, and a build up to the second.

The title of the collective films came about when I was reading 'Utopia Limited' by Marianne DeKoven. She was de constructing the sixties by breaking down some of the most prominent literature such as 'Fear and Loathing in Las Vegas' by Hunter S. Thompson. In a section she breaks down Thompson's metaphor and use of the title 'The Great White' for his convertible whilst driving down the highway to Las Vegas where Thompson depicts the death of the sixties whilst referencing Herman Melville's 'Moby Dick'. I felt this appropriation of 'The Great White' was a fitting one as the films are road movies essentially but also contain my own mixed feelings of America and my place within it.

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