Thematic Fields, Transgressive Religion: Disembodiment and the Will to Nothingness in “Safe Haven”

In my article, I examine a segment of the 2013 horror anthology, V/H/S/ 2. Entitled „Safe Haven” and directed by young directors Timo Tjahjanto and Gareth Huw Evans, this segment stands out for its religious and metaphysical subject matter. Examining broader media theory concerns relating to the „found-footage horror” subgenre, I consider how, during the course of „Safe Haven”, the screen as frame is gradually supplanted by the increasingly unreal events portrayed in the segment. I seek to simultaneously engage with the question of realism in found footage films, while also utilizing Evan Calder-Williams’ notion of „horrible form” to illuminate the various aesthetic features of Tjahjanto and Evans’ intensive work. In addition, I hope to shed new light on the found footage genre through utilizing some aspects of Aron Gurwitsch’s neglected work in field psychology. Borrowing Gurwitsch’s concept of „thematic field”, I show how the various themes represented in „Safe Haven” gradually modify the viewer experience, while also deforming the fields portrayed in the film. From a realistic, almost documentary film-style aesthetic, Tjahjanto and Evans transport us to a realm of transgressive religion. Beneath the form of religious piety, we uncover a transgressive spirituality, organized around what Friedrich Nietzsche characterizes in his Geneaology of Morals as the „will to nothingness.” Beneath representation, the demonic lies in wait, eager to transcend the human element. Degrading everything it infects, the will to nothingness is born, tearing apart corporeality and, indeed, the realism of found footage as orphaned media. Both frame and body alike are torn to shreds. The key imperative of found-footage horror is the following: only the footage may remain intact

Beneath Still Waters: Brian Yuzna’s Ritualistic Return to Indonesian Cinema

This article offered the first academic consideration of American director/producer Brian Yuzna’s recent films in Indonesia. Since the mid 1980s, Yuzna worked across the USA, Europe and the Far East, pioneering a distinctive international brand of horror cinema combining social critique with explicit imagery. Despite these transnational credentials, Yuzna’s work in Indonesia was largely been ignored by those critics interested in reclaiming 1970s/80s genre entries as ‘legitimate’ symbols of Indonesian cinema. By considering Yuzna’s 2010 title Amphibious, I argued that the film contained elements of hybridity and generic impurity that critics such as Karl G. Heider have long attributed to Indonesian film traditions. As well as considering these transnational elements, the article explored connections between abject constructions of the transformative female body in both Indonesian film and Brian Yuzna’s wider cinema. The article also featured exclusive interviews with Brian Yuzna and screenwriter John Penney discussing the reception of the film

Out of body experiences: a practice-led evaluation of the shifting boundaries shared by analogue films and their digital counterparts

Phd ThesisThis thesis provides in-depth analysis of my practice-led PhD and the methods used to focus on key areas of research - namely exploring the shifting perceptual parameters revealed when analogue films are transferred to digital formats. With this process audio-visual content previously locked inside film’s decaying form is resurrected as immaterial code within a malleable frame. My work utilised this spectral quality to examine different layers of film representation, observing its inner structure, while also stepping back to contemplate its content from a self-reflexive distance. These multiple viewpoints introduced unique spaces within which to study the analogue past from a digital perspective: The filmstrip’s mechanically regulated motion seamlessly combines still images, sound and light into analogue interpretations of space-time. My work digitally desynchronised these elements, revealing the structural gaps between them while also suggesting their merger with a new perceptual model. Moving beyond internal film worlds to the boundaries they share with the physical viewing space, another layer of disjointed separation was introduced by producing screens that struggled to contain film content within their frames. Stepping back further, these screens occupied a space caught between the fixed viewpoint of a cinema and the multiple perspectives allowed by gallerybased installations. The shifting frame of these hybrid spaces created an oscillation between passive submersion within, and analytical distance from mediated worlds. By unmooring and offsetting the precise alignment between film structure, screens and viewing spaces, my practice revealed overlapping edges and disjointed spaces within which media from different eras interacted. This opened up new areas of research that fed directly into my theoretical studies (the thesis layout itself shifts outwards, from media structures to viewing spaces). This approach enabled me to produce a substantial body of work, iii offering an original contribution to this field

Discovering visual concept structure with sparse and incomplete tags

This work was partially supported by the China Scholarship Council, Vision Semantics Limited, and Royal Society Newton Advanced Fellowship Programme (NA150459)

Large Scale Pattern Detection in Videos and Images from the Wild

PhDPattern detection is a well-studied area of computer vision, but still current methods are unstable in images of poor quality. This thesis describes improvements over contemporary methods in the fast detection of unseen patterns in a large corpus of videos that vary tremendously in colour and texture definition, captured “in the wild” by mobile devices and surveillance cameras. We focus on three key areas of this broad subject; First, we identify consistency weaknesses in existing techniques of processing an image and it’s horizontally reflected (mirror) image. This is important in police investigations where subjects change their appearance to try to avoid recognition, and we propose that invariance to horizontal reflection should be more widely considered in image description and recognition tasks too. We observe online Deep Learning system behaviours in this respect, and provide a comprehensive assessment of 10 popular low level feature detectors. Second, we develop simple and fast algorithms that combine to provide memory- and processing-efficient feature matching. These involve static scene elimination in the presence of noise and on-screen time indicators, a blur-sensitive feature detection that finds a greater number of corresponding features in images of varying sharpness, and a combinatorial texture and colour feature matching algorithm that matches features when either attribute may be poorly defined. A comprehensive evaluation is given, showing some improvements over existing feature correspondence methods. Finally, we study random decision forests for pattern detection. A new method of indexing patterns in video sequences is devised and evaluated. We automatically label positive and negative image training data, reducing a task of unsupervised learning to one of supervised learning, and devise a node split function that is invariant to mirror reflection and rotation through 90 degree angles. A high dimensional vote accumulator encodes the hypothesis support, yielding implicit back-projection for pattern detection.European Union’s Seventh Framework Programme, specific topic “framework and tools for (semi-) automated exploitation of massive amounts of digital data for forensic purposes”, under grant agreement number 607480 (LASIE IP project)

Postmodernism: Style and Subversion 1970-1990

‘Postmodernism’ was the final instalment of a 12-year series of V&A exhibitions exploring 20th-century design. It examined a diverse collection of creative practices in art, architecture, design, fashion, graphics, film, performance and pop music/video, which the curators, Pavitt and Adamson (V&A/RCA), identified under the common theme of ‘postmodernism’. The exhibition assessed the rise and decline of postmodern strategies in art and style cultures of the period, exploring their radical impact as well as their inextricable links with the economics and effects of late-capitalist culture. The exhibition comprised over 250 objects, including large-scale reconstructions and archive film/video footage, drawn from across Europe, Japan and the USA. It was the first exhibition to bring together this range of material and to foreground the significance of pop music and performance in the development of postmodernism. Pavitt originated and co-curated the exhibition with Adamson. They shared intellectual ownership of the project and equal responsibility for writing and editing the accompanying 320-page book (including a 40,000-word jointly written introduction), but divided research responsibilities according to geography and subject. The research was conducted over four years, with Pavitt leading on European and British material. This involved interviewing artists, designers and architects active in the period and working with collections and archives across Europe. The research led to the acquisition of c.80 objects for the V&A’s permanent collections, making it one of the most significant public collections of late-20th-century design in the world. The exhibition was critically reviewed worldwide. For the Independent, ‘bright ideas abound at the V&A’s lucid show’ (2011). It attracted 115,000 visitors at the V&A (15% over the Museum’s target) and travelled in 2012 to MART Rovereto, Italy (50,000 visitors) and Landesmuseum Zürich, Switzerland (70,000 visitors). Pavitt was invited to speak about the exhibition in the UK, USA, Poland, Portugal, Ireland and Italy (2010-12)