How can we create a collaborative filmmaking method within the creative constraints caused by COVID pandemic-related lockdowns?
The Covers Are the Eyelids was made using a method of projecting moving images onto objects and then re-filming the projections. The method of synthesis of components is made visible as the multiple layers can be seen simultaneously. This layering through a video projection method was used to combine components made by practitioners from diverse disciplines. The combination of components is a creative event that results in the frames towards the completed film. The film could be written about in many ways. This text concentrates on the layering-in because this filmmaking method produced a mode of collaborative practice.
This text describes the practical method of creative collaboration involving filming layered projections onto objects. Moreover, it outlines the creative combination involved in the selection of projected images and objects. The finished film explores this method of creative imbrication through practice. This imbrication can be understood as a practice which makes visible a ‘production of novel togetherness’, which Alfred North Whitehead terms ‘concrescence’ (1928/1978 pg.31). The core proposition is that the film acts as a tacit exposition of a process of concrescence. To make this claim, we first summarise the proposition of concrescence from Whitehead, we then articulate the filmmaking challenge as a research question. In the methods section we describe the creative practices that come together in filmmaking. In the outcomes section, we further apply Whitehead’s proposition of concrescence in order to articulate how the process is made apparent by the method of filming projections.