The Research Atlas

Due to privacy issues, we cannot share a link to the prototype of the Research Atlas. Instead, we present this pdf, which takes you through the different stages of development of the Research Atlas and allows you to experience, via its design, the multiple functionalities of the online archival platform.

Should you want more information, please contact Mieke Bernink, m.bernink@ahk.nl

comenius research project — lectoraat Netherlands Film Academy the research atlas — version 2021.04.28

THE RESEARCH ATLAS

THE RESEARCH ATLAS

ONLINE PLATFORM FOR RESEARCH IN AND THROUGH CINEMA

by Bram Loogman & Brigiet van den Berg

ORIGINAL AMBITION

In a world in which all of us, all the time consume and produce images and sounds, the language of knowledge and education is still that of the written word. It’s against this backdrop that the Netherlands Film Academy set up its pioneering MA-programme ‘Artistic Research in and through Cinema’.

The increasing quality of our students and the expanding complexity of their research projects, means that they’re in need of new possibilities to connect and collaborate .

The project is aiming to reinforce the connections of our students with each other and our alumni and to build a bridge to professionals from the fields of cinema and art

The interface’s participatory mode of development , multi-functionality and radical audio-visual form sets it apart from other educational interfaces.

comenius research project — lectoraat Netherlands Film Academy the research atlas — version 2021.04.28

APPROACH

comenius research project — lectoraat Netherlands Film Academy the research atlas — version 2021.04.28

SESSIONS TO DETERMINE USER GROUPS USE CASES & USER STORIES

lectoraat

Film Academy

comenius research project — lectoraat Netherlands Film Academy the research atlas — version 2021.04.28

comenius research project — lectoraat Netherlands Film Academy the research atlas — version 2021.04.28

comenius research project — lectoraat Netherlands Film Academy the research atlas — version 2021.04.28

DISCOVERY PHASE

comenius research project — lectoraat Netherlands Film Academy the research atlas — version 2021.04.28

ACTIVE USERS (The Institute & The Researchers) VS THE AUDIENCES

DISCOVERY PHASE

comenius research project — lectoraat Netherlands Film Academy the research atlas — version 2021.04.28

THE ARCHIVE VS THE ONLINE WORKSPACE

QUESTIONS

comenius research project — lectoraat Netherlands Film Academy the research atlas — version 2021.04.28

how do we create a visual archive with a lot of written words? how do we give an overview and tell a story and inspire? how do we give rearchers freedom in how to present themselves aesthetically and keep it cohesive?

IDEAS

CONNECT ME the community and the individual people as a structure (with contact as a goal)

EDUCATE ME (COLLECTIVE KNOWLEGE) collective reading/watch/reference list

INSPIRE ME

connect 'things' and make suggestions follow topics and people automated connections of 'things'

KEEP ME HERE (MAKE IT VISUAL)

comenius research project — lectoraat Netherlands Film Academy the research atlas — version 2021.04.28

layered design mouseover/scroll animations and autoplay video's and sound smooth and fluid navigation through scrolling/zooming

lectoraat

Film Academy

lectoraat

Film

DESIGN

comenius research project — lectoraat Netherlands Film Academy the research atlas — version 2021.04.28

THE ARCHIVE ON A CANVAS

PEOPLE / TOPIC / THING SEARCH LOGIN MASTER OF FILM

MASTER OF FILM

MASTER OF FILM

ARTISTIC RESEARCH IN AND THROUGH CINEMA

The master Artistic Research in and through Cinema at the Netherlands Film Academy is a unique twoyear international practice driven course for a select group of filmmakers and artists with several years of professional experience under their belt. They are offered time, space and a budget to research, explore and experiment in an open-ended trajectory in which thinking and making are one. The programme privileges questions over answers, process over product, experimentation over mere execution and long term effects over short term gain.

MASTER OF FILM PEOPLE 2015 BRAM LOOGMAN SEARCH LOGIN

BRAM LOOGMAN

BIOGRAPHY

After his graduation in Art and Technology at HKU, Bram Loogman (The Netherlands, 1986) has been working in film, programming and design. He has made installations, performances, exhibitions and started a production company, creating short films, music videos and websites…

PROJECTS

CONTACT CARD

NAME Bram Loogman, Filmmaker, Programmer EMAIL info@bramloogman.nl

LINKS www.bramloogman.nl

TELEPHONE

NL phone: +31 6 4040 5239

SKILLS journalist, documentary, imagionation

RESEARCH REFERENCE

BRAM LOOGMAN

CONTACT CARD

NAME Bram Loogman, Filmmaker, Programmer EMAIL info@bramloogman.nl LINKS www.bramloogman.nl

TELEPHONE NL phone: +31 6 4040 5239

SKILLS journalist, documentary, imagionation

PROJECTS

Quinten I, II & III

ROLES researcher (MA—NFA, 2015)

LOOKING FOR bookdesigner

BIOGRAPHY

BIOGRAPHY

After his graduation in Art and Technology at HKU, Bram Loogman (The Netherlands, 1986) has been working in film, programming and design. He has made installations, performances, exhibitions and started a production company, creating short films, music videos and websites, usually combining those three. Many of these works, like ‘binnenste/buiten’ and ‘A Song of Praise’ have an extraordinary strong formal structure and display a love for cinema. In 2013, he enrolled in the Master’s Degree Programme and started reconfiguring this dogmatic approach through in his research ‘reverse-engineering film’.

TOPICS IMAGINATION TRUTH REALITY

MASTER OF FILM PEOPLE 2015 BRAM LOOGMAN

MASTER OF FILM PEOPLE 2015 BRAM LOOGMAN SEARCH LOGIN

TOPICS IMAGINATION TRUTH REALITY

VISUAL ABSTRACT

MASTER OF FILM PEOPLE 2015 BRAM LOOGMAN

BRAM LOOGMAN

BRAM LOOGMAN ARTIST STATEMENT

I have to admit that I make my films first and foremost for myself. For myself and the people I work with. That just seems to me the only way to be sincere in this deceitful medium. But I'm sure it provides some voyeuristic pleasure to watch us. A small tight society trying to figure something out, it's not clear what, but they're at it with a contagious devotion. I make films with the people that are most dear to me, and if they weren't already, they soon become so. I enjoy watching films, and I enjoy making them. I work with the means that are available. As a celebration of our freedom, all those opportunities that are so obvious that they are easily overlooked.

RESEARCH CRITICAL REVIEW DOSSIER RESEARCH

INTERVIEW RESEARCH

TOPICS IMAGINATION TRUTH REALITY

RESEARCH

MASTER OF FILM PEOPLE 2015 BRAM LOOGMAN SEARCH LOGIN

DOSSIER RESEARCH

a reader mode with links and previeuws on hoover

MASTER OF FILM BRAM LOOGMAN A BOY WITH A MEMORY AS A KARAOKE MOVIE MACHINE

RESEARCH ARTIST STATEMENT

RESEARCH CRITICAL REVIEW DOSSIER RESEARCH

INTRODUCTION

INTERVIEW RESEARCH

Only in retrospect I can somewhat discern a line in my pursuits of the past two years. I could not assert that I had a clear research question envisioned from the start, although I did have the idea to apply the principle of ‘reverse-engineering’ to filmmaking. This is process in which an object is studied and its functions are described in detail, in order to be able to produce a new, possibly better version. This might sound very technical and often that’s the case, but my goal was to use it as an artistic device. The starting point was the analysis of films and to use metaphorical observations to discover structures which could be deployed in the

MASTER OF FILM PEOPLE 2015 BRAM LOOGMAN RESEARCH

it as an artistic device. The starting point was the analysis of films and to use metaphorical observations to discover structures which could be deployed in the creation of new films.

MASTER OF FILM PEOPLE 2015 BRAM LOOGMAN RESEARCH

DOSSIER RESEARCH

MASTER OF FILM

LINK

Despite some slight aberrations, gradually a radically new way of filmmaking unfolded, one that is intertwined with film analysis: the analysis becomes a way of creation and vice versa. This method was proven to be particularly fruitful judging from the three feature films that emerged from it: The Quinten Trilogy. Quinten is a special case, a boy with a memory like a database with the entire history of cinema. By examining him and his relation with his girlfriend Sylvie and the rest of the world, an idiosyncratic story is told. This leads to numerous existential questions that also seem to refer to the role of the film itself.

In an anecdotal exposition I will try to unravel how these films, and this method were developed, and how they can be considered in a wider context of film traditions, both in the theoretic and practical sense.

RESEARCH ARTIST STATEMENT

BRAM LOOGMAN THE AESTHETIC OF MIMICRY

PROLOGUE

REVIEW DOSSIER RESEARCH

— THE CONTEMPORARY CONDITION OF THE EMERGENT EASTERN EUROPEAN STATES

More than four years ago I wanted to develop an idea for a film about an idiot savant in a post-aristocratic family. I asked Paul Groot for advice on writing the script. I met him at Mediamatic, a cultural hub even before the word existed. Paul has caused a furore as an art critic, writer, and in the 80s contributed to Rabotnik TV, an avant-garde pirate station. We meet regularly in a cafe where the intellectualism is omnipresent, we are drinking coffee while fantasizing about mansions and wavering between a red Ferrari and a Citroën DS. While trying to define the dynamic within the family, immediately Pasolini’s Theorema comes up, followed by Cassavete’s Love Streams, and soon our conversations end up in an endlessly expanding universe of film references. A scenario is never finished, but these conversations in which it seems we want to discuss every film ever made do lead us to all sorts of peculiar insights.

INTERVIEW RESEARCH

I was searching for a way to apply different visual aesthetics to film: from the grotesque via pop-culture to propaganda. Unable to relate these visual strategies to my work, I eventually came across the idea of non-genuine aesthetics, which I call ‘The Aesthetics of Mimicry’. I wanted to explore the way how mimicry can create a paradoxical cycle where originality is driven by imitation.

THE EASTERN BLOC, also known as the Communist Bloc, the Socialist Bloc and the Soviet Bloc, was the group of communist states of Central and Eastern Europe, East Asia, and Southeast Asia … under the hegemony of the Soviet Union (USSR) that existed during the Cold War (1947–1991) in opposition to the capitalist Western Bloc. In Western Europe, the term Eastern Bloc generally referred to the USSR and its satellite states in the Comecon (East Germany, Poland, Czechoslovakia, Hungary, Romania, Bulgaria, and Albania);[a] in Asia, the Soviet Bloc comprised the Mongolian People's Republic, the Socialist Republic

progressions.

MASTER OF FILM PEOPLE 2015 BRAM LOOGMAN RESEARCH

METAPHORICAL DISSECTION II

DOSSIER RESEARCH

as cinematic model

MASTER OF FILM

TOPICS IMAGINATION TRUTH REALITY

BRAM LOOGMAN THE AESTHETIC OF MIMICRY

We approach the films in a very specific way. It is no secret that on the internet any conceivable film can be obtained and weekly the research lab is expanded with new material. We are not affected by the nostalgic tendency to discard this as too volatile, or vulgar eagerness. Undoubtedly, the relation to a film will be different when it takes decades instead of a few hours of waiting. After twenty years the film will obtain a monumental value, but now with the immediate availability of all films a different kind of relation is developed, which is not necessarily less committed. The total adoration of a film can also have a paralyzing effect. For our purpose, the film needs to handled tenderly, though thoroughly.

RESEARCH ARTIST STATEMENT

RESEARCH CRITICAL REVIEW DOSSIER RESEARCH

— THE CONTEMPORARY CONDITION OF THE EMERGENT EASTERN EUROPEAN STATES

The procedure with a laptop on a shaky base in a noisy cafe, does not seem to be very precise. But appearances are deceiving. It is in the fingertips that slide over the hyper-sensitive surface of the trackpad, which establish a direct contact with the film. Like on a Steenbeck table the images are manually conducted, therefore watching a film becomes almost the same action as editing a film. Zooming in on a detail is as effortless as creating an overview. The film is approached on an equal footing, it is not unilaterally the film that is dictating how to see the images.

INTERVIEW RESEARCH

the imagination is done mentally, but we found out that our thoughts were also easily translated to the practice of filmmaking.

At this stage the history of cinema is no longer an established fact, but actualized through the editing gestures of the fingers. In this specific relation the thoughts of new films can emerge. Not just the film that is watched is literally within reach, but also other scenarios can be envisioned.

I was searching for a way to apply different visual aesthetics to film: from the grotesque via pop-culture to propaganda. Unable to relate these visual strategies to my work, I eventually came across the idea of non-genuine aesthetics, which I call ‘The Aesthetics of Mimicry’. I wanted to explore the way how mimicry can create a paradoxical cycle where originality is driven by imitation.

Udomlertlak (THA).

MASTER OF FILM

RESEARCH ARTIST STATEMENT

RESEARCH CRITICAL REVIEW DOSSIER RESEARCH

FOOTNOTES

[1] Into the light: re-considering o -frame and o -screen space in gallery films, Catherine Fowler Audio-vision, sound on screen, Michel Chion

[2] What Is an Image? W.J.T.Mitchell

INTERVIEW RESEARCH

[3] Scrapbook of the sixties, Jonas mekas

[4] Absence/Presence, Amanda Bell

[5] A Virtual Window, Anne Friedberg Time-image, Gilles Deleuze Movement-image, Gilles Deleuze

BRAM LOOGMAN THE AESTHETIC OF MIMICRY — THE CONTEMPORARY CONDITION OF THE EMERGENT EASTERN EUROPEAN STATES

[6] Rizoom, Gilles Deleuze, Félix Guattari

[7] Di érance & Repetition, Gilles Deleuze Online texts on Jacques Derridas Di érance, Jacques Derrida

I was searching for a way to apply different visual aesthetics to film: from the grotesque via pop-culture to propaganda. Unable to relate these visual strategies to my work, I eventually came across the idea of non-genuine aesthetics, which I call ‘The Aesthetics of Mimicry’. I wanted to explore the way how mimicry can create a paradoxical cycle where originality is driven by imitation.

IMAGINATION TRUTH TOPICS

First, we reject the idea that filmmaking is a costly, time-consuming and tedious process. There is no script, budget, or any pre-production at the base of the film. It is merely a kind of avant-garde approach that gets us started. Or perhaps better yet, a hacker mentality, which in its subversive characteristics could be considered a form of modern avant-garde. Adventurers, hidden in their rooms, who will not let themselves be intimidated and individually find their way in complex systems, fully financially independent. It could be understood as a political statement, a call for a radical revision of the modes of production, a small revolution based on Marxist ideology. But that is not the case. The ruling class is already too clever, each fund or festival offers the opportunity to experiment, space for deviation. Furthermore we should realise that all requisites are available. With a simple camera, a second-hand lens attached, and the Internet as a boundless distribution channel everything is possible. It would seem false to pretend we are acting as rebels, to the contrary, it should rather be considered a celebration of the freedom and the resources that are so obvious that they are easily overlooked. But the idea of this cinematic hacker is not only pragmatic, it also serves as a creative incentive. The hacker is capable of constructing a large amount of connections with relatively few resources. He infiltrates computers worldwide, and deploys them for his own cause. Similarly we infiltrate our most beloved films in order to use them when constructing our own films. This could relate to all aspects, from narrative and character development, to editing or cinematography. In other words, despite the lack of a script there are certain ideas already before starting that are often found in the films of one of the many heroes. The inevitable classics like Hitchcock, but just as easily the artistic films of Warhol, or the almost forgotten Dutch filmmaker Adriaan Ditvoorst who briefly surfed along on the Nouvelle Vague. We search for example for an Antonioni location in which the architecture seems to be crushing the characters, or a Terrence Mallick camera that moves through the room like a fly and annoyingly

MASTER OF FILM PEOPLE 2015 BRAM LOOGMAN RESEARCH

LOGIN

PROJECTS

BRAM LOOGMAN

PROJECTS QUINTEN I, II & III

BIOGRAPHY

MASTER OF FILM PEOPLE 2015 BRAM LOOGMAN

MASTER OF FILM PEOPLE 2015 BRAM LOOGMAN SEARCH LOGIN PROJECTS

MASTER

BRAM LOOGMAN

REFERENCE QUOTE MODERN TIMES

Author Jacques Rancière Publication Year 2017

QUOTE

READING LIST REFEREN CE PRIMATOLOGY IS POLITICS…

“A fiction is not the invention of an imaginary world. Instead it is the construction of a framework within which subjects, things, and situations can be perceived as coexisting in a common world and events can be identified and linked in a way that makes sense. Fiction is at work whenever a sense of reality must be produced.”

TOPICS IMAGINATION TRUTH REALITY

MASTER OF FILM PEOPLE 2015 BRAM LOOGMAN REFERENCE

BRAM LOOGMAN

LOOGMAN

once logged in you can save items throughout the archive

OF FILM

PEOPLE 2015 BRAM LOOGMAN

CRITICAL REVIEW RESEARCH

DOSSIER SAVE TO PERSONAL COLLECTION RESEARCH

DOSSIER RESEARCH

BRAM LOOGMAN

CRITICAL REVIEW

A BOY WITH A MEMORY AS A KARAOKE MOVIE MACHINE

RESEARCH

INTERVIEW

A BOY WITH A MEMORY AS A KARAOKE MOVIE MACHINE

INTRODUCTION

INTRODUCTION

Bram Loogman: REVERSEENGINEERING FILM

Only in retrospect I can somewhat discern a line in my pursuits of the past two years. I could not assert that I had a clear research question envisioned from the start, although I did have the idea … to apply the principle of ‘reverseengineering’ to filmmaking. This is process in which an object is studied and its functions are described in detail, in order to be able to produce a new, possibly better version. This might sound very technical and often that’s the case,

RESEARCH ARTIST STATEMENT

ARTIST STATEMENT

TOPICS IMAGINATION TRUTH REALITY

Only in retrospect I can somewhat discern a line in my pursuits of the past two years. I could not assert that I had a clear research question envisioned from the start, although I did have the idea to apply the principle of ‘reverseengineering’ to filmmaking. This is process in which an object is studied and its functions are described in detail, in order to be able to produce a new, possibly better version. This might sound very technical and often that’s the case, but my goal was to use it as an artistic device. The starting point was the analysis of films and to use metaphorical observations to discover structures which could be deployed in the creation of new films.

Soon I’m supposed to be graduated from the Master of Film. But what does it mean to be ‘a master of film’? It sounds almost pompous if you start thinking about it, and I was wondering how I could live up to that title. What I realized is that it’s not so much … being a master in relation to others, but that it’s rather about the ‘mastering of film’. I entered this program with a research plan to develop a system for

My earlier work is highly stylized and formed on the basis of rigid structures in which the actors and the camera move. The process was equally strict and dogmatic. By relentlessly pursuing a preconceived image eventually the film would emerge. The way to get there was tough but the result would be satisfying although it was predictable. Also a strong affection for classic cinema … was already there. In the most beloved films there is always a clear distinct aesthetic quality, but at the same time it contains something incomprehensible. Now when I look back and had to define a research question then it would come to that, an attempt to somehow get a better understanding of those films. research

Despite some slight aberrations, gradually a radically new way of filmmaking unfolded, one that is intertwined with film analysis: the analysis becomes a way of creation and vice versa. This method was proven to be particularly fruitful judging from the three feature films that emerged from it: The Quinten Trilogy. Quinten is a special case, a boy with a memory like a database with the entire history of cinema. By examining him and his relation with his girlfriend Sylvie and the rest of the world, an idiosyncratic story is told. This leads to numerous existential questions that also seem to refer to the role of the film itself.

I have to admit that I make my films first and foremost for myself. For myself and the people I work with. That just seems to me the only way to be sincere in this deceitful medium. But I'm sure it provides some voyeuristic pleasure to watch us. A small tight society trying to figure something out, it's not clear what, but they're at it with a contagious … devotion. I make films with the people that are most dear to me, and if they weren't already, they soon become so. I enjoy watching films, and I enjoy making them. I work with the means that are available. As a celebration of our freedom, all those opportunities that are

When I entered this master’s programme I already used the term 'reverse-

PEOPLE 2015 BRAM LOOGMAN SEARCH MASTER OF FILM

CRITICAL REVIEW RESEARCH

DOSSIER SAVE TO PERSONAL COLLECTION RESEARCH

DOSSIER RESEARCH

BRAM LOOGMAN

CRITICAL REVIEW

SPACE SAVE TO PERSONAL COLLECTION TRUTH IMAGINATION

A BOY WITH A MEMORY AS A KARAOKE MOVIE MACHINE

A BOY WITH A MEMORY AS A KARAOKE MOVIE MACHINE

INTERVIEW RESEARCH

Bram

INTRODUCTION

Loogman:

RESEARCH ARTIST STATEMENT

ARTIST STATEMENT

INTRODUCTION

REVERSEENGINEERING FILM

Only in retrospect I can somewhat discern a line in my pursuits of the past two years. I could not assert that I had a clear research question envisioned from the start, although I did have the idea … to apply the principle of ‘reverseengineering’ to filmmaking. This is process in which an object is studied and its functions are described in detail, in order to be able to produce a new, possibly better version. This might sound very technical and often that’s the case,

TOPICS IMAGINATION TRUTH REALITY

Only in retrospect I can somewhat discern a line in my pursuits of the past two years. I could not assert that I had a clear research question envisioned from the start, although I did have the idea to apply the principle of ‘reverseengineering’ to filmmaking. This is process in which an object is studied and its functions are described in detail, in order to be able to produce a new, possibly better version. This might sound very technical and often that’s the case, but my goal was to use it as an artistic device. The starting point was the analysis of films and to use metaphorical observations to discover structures which could be deployed in the creation of new films.

Soon I’m supposed to be graduated from the Master of Film. But what does it mean to be ‘a master of film’? It sounds almost pompous if you start thinking about it, and I was wondering how I could live up to that title. What I realized is that it’s not so much … being a master in relation to others, but that it’s rather about the ‘mastering of film’. I entered this program with a research plan to develop a system for

My earlier work is highly stylized and formed on the basis of rigid structures in which the actors and the camera move. The process was equally strict and dogmatic. By relentlessly pursuing a preconceived image eventually the film would emerge. The way to get there was tough but the result would be satisfying although it was predictable. Also a strong affection for classic cinema … was already there. In the most beloved films there is always a clear distinct aesthetic quality, but at the same time it contains something incomprehensible. Now when I look back and had to define a research question then it would come to that, an attempt to somehow get a better understanding of those films. research

Despite some slight aberrations, gradually a radically new way of filmmaking unfolded, one that is intertwined with film analysis: the analysis becomes a way of creation and vice versa. This method was proven to be particularly fruitful judging from the three feature films that emerged from it: The Quinten Trilogy. Quinten is a special case, a boy with a memory like a database with the entire history of cinema. By examining him and his relation with his girlfriend Sylvie and the rest of the world, an idiosyncratic story is told. This leads to numerous existential questions that also seem to refer to the role of the film itself.

I have to admit that I make my films first and foremost for myself. For myself and the people I work with. That just seems to me the only way to be sincere in this deceitful medium. But I'm sure it provides some voyeuristic pleasure to watch us. A small tight society trying to figure something out, it's not clear what, but they're at it with a contagious … devotion. I make films with the people that are most dear to me, and if they weren't already, they soon become so. I enjoy watching films, and I enjoy making them. I work with the means that are available. As a celebration of our freedom, all those opportunities that are

When I entered this master’s programme I already used the term 'reverse-

MASTER OF FILM

BRAM LOOGMAN

BIOGRAPHY

After his graduation in Art and Technology at HKU, Bram Loogman (The Netherlands, 1986) has been working in film, programming and design. He has made installations, performances, exhibitions and started a production company, creating short films, music videos and websites…

NAME Bram Loogman, Filmmaker, Programmer EMAIL info@bramloogman.nl

LINKS www.bramloogman.nl

TELEPHONE

NL phone: +31 6 4040 5239

SKILLS journalist, documentary, imagionation

MASTER OF FILM throughout the archive there will be hints to collections that might be of interesting to you

MASTER OF FILM

PEOPLE 2015 BRAM LOOGMAN

DOSSIER RESEARCH

BRAM LOOGMAN

DORIAN DE RIJK RESEARCH

DOSSIER RESEARCH

CRITICAL REVIEW RESEARCH

CRITICAL REVIEW

A BOY WITH A MEMORY AS A KARAOKE MOVIE MACHINE

A BOY WITH A MEMORY AS A KARAOKE MOVIE MACHINE

INTERVIEW RESEARCH

Bram

INTRODUCTION

Loogman:

RESEARCH ARTIST STATEMENT

ARTIST STATEMENT

INTRODUCTION

REVERSEENGINEERING FILM

Only in retrospect I can somewhat discern a line in my pursuits of the past two years. I could not assert that I had a clear research question envisioned from the start, although I did have the idea … to apply the principle of ‘reverseengineering’ to filmmaking. This is process in which an object is studied and its functions are described in detail, in order to be able to produce a new, possibly better version. This might sound very technical and often that’s the case,

TOPICS IMAGINATION TRUTH REALITY

Only in retrospect I can somewhat discern a line in my pursuits of the past two years. I could not assert that I had a clear research question envisioned from the start, although I did have the idea to apply the principle of ‘reverseengineering’ to filmmaking. This is process in which an object is studied and its functions are described in detail, in order to be able to produce a new, possibly better version. This might sound very technical and often that’s the case, but my goal was to use it as an artistic device. The starting point was the analysis of films and to use metaphorical observations to discover structures which could be deployed in the creation of new films.

Soon I’m supposed to be graduated from the Master of Film. But what does it mean to be ‘a master of film’? It sounds almost pompous if you start thinking about it, and I was wondering how I could live up to that title. What I realized is that it’s not so much … being a master in relation to others, but that it’s rather about the ‘mastering of film’. I entered this program with a research plan to develop a system for

My earlier work is highly stylized and formed on the basis of rigid structures in which the actors and the camera move. The process was equally strict and dogmatic. By relentlessly pursuing a preconceived image eventually the film would emerge. The way to get there was tough but the result would be satisfying although it was predictable. Also a strong affection for classic cinema … was already there. In the most beloved films there is always a clear distinct aesthetic quality, but at the same time it contains something incomprehensible. Now when I look back and had to define a research question then it would come to that, an attempt to somehow get a better understanding of those films. research

Despite some slight aberrations, gradually a radically new way of filmmaking unfolded, one that is intertwined with film analysis: the analysis becomes a way of creation and vice versa. This method was proven to be particularly fruitful judging from the three feature films that emerged from it: The Quinten Trilogy. Quinten is a special case, a boy with a memory like a database with the entire history of cinema. By examining him and his relation with his girlfriend Sylvie and the rest of the world, an idiosyncratic story is told. This leads to numerous existential questions that also seem to refer to the role of the film itself.

I have to admit that I make my films first and foremost for myself. For myself and the people I work with. That just seems to me the only way to be sincere in this deceitful medium. But I'm sure it provides some voyeuristic pleasure to watch us. A small tight society trying to figure something out, it's not clear what, but they're at it with a contagious … devotion. I make films with the people that are most dear to me, and if they weren't already, they soon become so. I enjoy watching films, and I enjoy making them. I work with the means that are available. As a celebration of our freedom, all those opportunities that are

When I entered this master’s programme I already used the term 'reverse-

DOSSIER

PETER HAMMER

FUTURE

comenius research project — lectoraat Netherlands Film Academy the research atlas — version 2021.04.28

THE AUTHOR WILL KEEP CONTROL OVER WHO CAN SEE WHAT

FUTURE COMMENTS

comenius research project — lectoraat Netherlands Film Academy the research atlas — version 2021.04.28

AND THREADS

FUTURE ONLINE WORKSPACE

comenius research project — lectoraat Netherlands Film Academy the research atlas — version 2021.04.28

FUTURE

comenius research project — lectoraat Netherlands Film Academy the research atlas — version 2021.04.28

AUTHOR WILL HAVE VISUAL CONTROL WITH A COLLECTION OF COLORS

AND FONTS

BIOGRAPHY

After his graduation in Art and Technology at HKU, Bram Loogman (The Netherlands, 1986) has been working in film, programming and design. He has made installations, performances, exhibitions and started a production company, creating short films, music videos and websites…

NAME Bram Loogman, Filmmaker, Programmer EMAIL info@bramloogman.nl LINKS www.bramloogman.nl

BRAM LOOGMAN

RESEARCH

BRAM LOOGMAN

BRAM LOOGMAN

ARTIST STATEMENT

DOSSIER RESEARCH

RESEARCH CRITICAL REVIEW

I have to admit that I make my films first and foremost for myself. For myself and the people I work with. That just seems to me the only way to be sincere in this deceitful medium. But I'm sure it provides some voyeuristic pleasure to watch us. A small tight society trying to figure something out, it's not clear what, but they're at it with a contagious devotion. I make films with the people that are most dear to me, and if they weren't already, they soon become so. I enjoy watching films, and I enjoy making them. I work with the means that are available. As a celebration of our freedom, all those opportunities that are so obvious that they are easily overlooked.

INTERVIEW RESEARCH

MASTER OF FILM PEOPLE 2015 BRAM LOOGMAN

LOGIN

TOPICS IMAGINATION TRUTH REALITY

DOSSIER RESEARCH

BRAM LOOGMAN

CRITICAL REVIEW RESEARCH

CRITICAL REVIEW

DOSSIER RESEARCH

A BOY WITH A MEMORY AS A KARAOKE MOVIE MACHINE

A BOY WITH A MEMORY AS A KARAOKE MOVIE MACHINE

INTERVIEW RESEARCH

Bram

INTRODUCTION

Loogman:

RESEARCH ARTIST STATEMENT

ARTIST STATEMENT

INTRODUCTION

REVERSEENGINEERING FILM

Only in retrospect I can somewhat discern a line in my pursuits of the past two years. I could not assert that I had a clear research question envisioned from the start, although I did have the idea … to apply the principle of ‘reverseengineering’ to filmmaking. This is process in which an object is studied and its functions are described in detail, in order to be able to produce a new,

TOPICS IMAGINATION TRUTH REALITY

Soon I’m supposed to be graduated from the Master of Film. But what does it mean to be ‘a master of film’? It sounds almost pompous if you start thinking about it, and I was wondering how I could live up to that title. What I realized is that it’s not so much … being a master in relation to others, but that it’s rather about the ‘mastering of film’. I entered this program with a

My earlier work is highly stylized and formed on the basis of rigid structures in which the actors and the camera move. The process was equally strict and dogmatic. By relentlessly pursuing a preconceived image eventually the film would emerge. The way to get there was tough but the result would be satisfying although it was predictable. Also a strong affection for classic cinema … was already there. In the most beloved films there is always a clear distinct aesthetic quality, but at the same time it contains something incomprehensible. Now when I look back and had to define a research question then it would come to that, an attempt to somehow get a better understanding of those films. research

Only in retrospect I can somewhat discern a line in my pursuits of the past two years. I could not assert that I had a clear research question envisioned from the start, although I did have the idea to apply the principle of ‘reverse-engineering’ to filmmaking. This is process in which an object is studied and its functions are described in detail, in order to be able to produce a new, possibly better version. This might sound very technical and often that’s the case, but my goal was to use it as an artistic device. The starting point was the analysis of films and to use metaphorical observations to discover structures which could be deployed in the creation of new films.

I have to admit that I make my films first and foremost for myself. For myself and the people I work with. That just seems to me the only way to be sincere in this deceitful medium. But I'm sure it provides some voyeuristic pleasure to watch us. A small tight society trying to figure something out, it's not clear what, but they're at it with a contagious … devotion. I make films with the people that are most dear to me, and if they weren't already, they soon become so. I enjoy watching films, and I enjoy making them. I work with the means that

MASTER OF FILM PEOPLE 2015 BRAM LOOGMAN RESEARCH SEARCH LOGIN

—

CREDITS

Bram Loogman G15 + concept and programmer

Brigiet van den Berg concept and design

MA ALUMNI AND CURRENT STUDENT/ RESEARCHERS

Aron Birtalan G18 + guest teacher MA

Mirka Duijn G15 + guest teacher MA

Peter Hammer G19

Albert Kuhn G19

Stanis ł aw L iguzinski G16 + guest teacher MA

Mar í a Molina Peir ó G17 + guest teacher MA

Giorgia Piffaretti G19

Federico Sande Novo G20

Francesco Ragazzi G18 + guest teacher MA

Dorian de Rijk G16

Julia Sokolnicka G16

Yafit Taranto G19

Marleine van der Werf G21

Sophie Wright G20

Ben West front end developer

Nina Jan G15 + collaborator the research atlas

FILM ACADEMY / MA EMPLOYEES AND GUEST TEACHERS:

Mieke Bernink (Senior Fellow Comenius, head MA and lector NFA)

Sander Blom (former member MA team)

Kris Dekkers (MA team)

Wineke van Muiswinkel (former member MA team)

Robert Ochshorn (guest teacher)

Floris Paalman (guest teacher)

Sabien Schütte (MA team)

Eyal Sivan (former co-lector NFA)

comenius research project — lectoraat Netherlands Film Academy the research atlas — version 2021.04.28

Marc Tiemissen (head AV NFA)