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Written By: Adam Plant


Beauty is in the eye of the beholder; a phrase so overused it becomes
a staple in the cliché hall of fame.

However, like most clichés, it holds some respected significance (particularly when referring to the insightly theme we’re here to discuss today).

While the majority of fashionable filmmakers are chiefly motivated by a vision to generate the “next best thing” or “innovative masterpiece”, others are more compelled to walk an artistic route venturing down the unhinged path constructed purely on visual experimentation.

As an exploit which holds almost no commercial prospective, these overly artistic obscurities are commonly dismissed as nothing more than cheaply constructed novelties; or worse yet, considered “undesirable trash”.

But to quote yet another cliché, ”You should never judge a book by its cover.”

The realization of a project without the expectation of financial riches, mass public appreciation or mainstream expansion opens a door of unmitigated freedom; offering artists the ability to explore their own uninfluenced drive to craft schemes purely based on personal vision.

Although traditional videographers are valid in their supposition that filmmaking should be fixated on run-of-the-mill dynamics and standard story-telling plot devices, the stylized film has the remarkably unconventional ability to capture emotion, humour and atmosphere without concentrating on any actual plot-arcs to provoke such effects.

As a filmmaker who rejoices in the oblivion of such freedom, I’ve been in an ongoing pursuit to formulate the “best” procedure for “bad” filmmaking. Whether it’s a depraved approach to originality or simply paying homage to the nostalgia of yesterday’s forgotten videotape format; overtly stylistic cinema has become my absolute passion.

Even though this article may put forward certain explorative insights into my own creative process, I want to make it perfectly clear that there is no “right” or “wrong” when it comes to the characterization of good-bad art.

Everything is permitted and everything is validated in these territories. Enjoying the view through out-dated lenses: As we enter the age of digital perfection, 4K resolution has clearly become the customary normality of camera technology.

While this may deliver a level of optical precision and elegant assurance, it certainly won’t be suitable for the
Avant-grade filmmakers who demand a vintage VHS flair.

Despite the fact that tiresome post-editing can aid in attaining blurred picture resolution, it can only go so far in terms of authenticity and depth.

As a means of limiting the time-consuming labours involved, I recommend you take a trip to the local second-hand dealer in pursuit of genuinely aged film equipment.


Watch the Youtube Video of – Hardy Slerg Wamon – End Nostalgia Here

— To be continued in our January 2020 Issue of Cut Frame Magazine. —

More about ”Effort For Effortless Achievements: The Art of Purposefully Bad Art”.

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Cut Frame Magazine is an online magazine Highlighting the Entertainment Industry from the Perspective of Filmmakers, Actors, Musicians, and Industry Professionals

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