FORTHCOMING / RESEARCH + PRACTICE

Once a concept is understood, the shot must bear it

Future programmes divide into a research seminar and a film practice lab. The first handles primary texts, terminology, scholars, and close film analysis; the second converts concepts into shootable, editable, reviewable constraint exercises.

This is currently a programme blueprint and interest page. Dates, fees, and cities are not yet announced; no fictional registration is offered.

R / 08RESEARCH SEMINAR

Time-Image Research Seminar

Eight seminars move from Matter and Memory and Cinema 1 into Cinema 2, then through Rodowick, Bogue, Marrati, Deamer, Rancière, Martin-Jones, Pisters, and the contemporary death-image issue.

Universe of images & sensory-motor
Postwar rupture & the seer
Memory, virtuality & crystal
Sheets of past & peaks of present
Powers of the false & truth crisis
Body, brain & thought
World cinemas & de-centring Europe
Digitality, death & the Cinema 3 debate

OutcomeA research essay with shot evidence and rigorous bibliography

P / 06FILM PRACTICE LAB

Time-Image Film Practice Lab

Six constraint exercises avoid imitating a slow-cinema style and instead test action rupture, actual/virtual exchange, a past without flashback, irrational cuts, bodily attitudes, and sound’s own time.

01Shooting constraint02Collective screening03Concept audit04Second edit

OutcomeSix studies + one 5–8 minute concept film

CONSTRAINTS PRODUCE THOUGHT

Six core exercises

Each exercise has explicit constraints, a deliverable, and review questions. Concepts must be demonstrated through relations among shots.

P0190 min

Disable action, not the shot

Film a character perceiving something that cannot become action. No explanatory dialogue; let space and sound bear the pressure.

≤6 shots · 2 min · sync sound

P02Half day

Build an actual–virtual circuit

Use performance, reflection, recording, or repetition so a second image does not merely copy the first but transforms it in return. A beautiful mirror shot alone is forbidden.

Actual version + virtual version + exchange point

P03Half day

The past is not a flashback

Let three sheets of the past emerge in one space through sound, objects, and bodily attitudes. Do not colour-code eras or announce a flashback.

3–5 min scene + sheet-of-time map

P04120 min

Design an irrational cut

Film two series that cannot be explained through spatial continuity or psychological causality. Make one cut let them act upon each other without a completing shot.

A/B series · one decisive cut

P05Half day

Generate thought from bodily attitude

Choose fatigue, waiting, awkwardness, or ritual and let social relations emerge among attitudes. Characters may not state the theme.

No exposition · three attitude shifts

P0690 min

Give sound its own past

Give sound and image distinct temporal series. Let them meet only at a boundary—not through simple asynchrony or explanatory voice-over.

60–90 sec audio-visual study

ETHICS & RIGHTS

The powers of the false are not a licence to manipulate participants

Documentary fabulation requires informed consent. Theory cannot justify inducing or altering testimony or concealing editorial intent. Every film, track, and archive used in class must record rights holder, source, licence, territory, and screening rights.

PROGRAMME ANNOUNCEMENTS

This will become the official gateway when programmes open

Until dates, cities, faculty, and fees are confirmed, this site will not invent countdowns, scarcity, or an unusable registration form. For now, read the blueprint and follow P4 Theater’s official announcements.

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