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# Project Description The expansive boundaries of film Grace Baggott Summary Final work When does a film stop becoming a film? Throughout my practice I explore methods of using analogue materials and apparatus to construct a structural outcome. Drawing inspiration from the words of Jennifer Reeves on analogue filmmaking: “I think it has a connection with the human body, the skin, the ageing, the imperfection, the colour, the beauty,” my work often highlights the importance of the relationship between the intimate and tactile characteristics of analogue filmmaking. There is a continuous importance of process throughout my work which is intrinsic to the outcome of my art as well as meta and multi-dimensional outcomes process can create. I am fascinated by the unpredictability of analogue filmmaking and often use these failures and mistakes to materialise the embodiment between filmmaker and film. By engaging with analogue imperfection in sculpture or installation, my work alludes to the ontology of apparatus theory in the context of expanded cinema and extends to the capabilities of analogue apparatus and the limits of how filmmaking can be explored. I question the way in which film exists in a cinematic versus exhibition space allowing my work to exist in a state of creative malleability. When does a film stop becoming a film? Throughout my practice I explore methods of using an... College Central Saint Martins Course BA (Hons) Fine Art By engaging with analogue imperfection in sculpture or installation, my works allude to the ontology of apparatus theory in the context of expanded cinema and extends to the capabilities of analogue apparatus and the limits of how filmmaking can be explored. Final work View Gallery View Gallery View Gallery II (Above) 16mm film, converted to digital II (Above) explores the tactile and sculptural characteristics of analogue film utilising each stage into a significant intimate process between the object and the filmmaker. Each glimpse of human interaction or trace is embodied into the reel or analogue apparatus, conveying a significance in the use of hands throughout the films entirety. II (Above) also explores the dimensions of analogue time- space; The time in which the film was shot, projected, reshot and reprojected all explores the infinity of cinematic time-scape jumping from different spectated realities. View Gallery View Gallery View Gallery Research and process View Gallery View Gallery View Gallery Share this project By engaging with analogue imperfection in sculpture or installation, my works allude to the ontology of apparatus theory in the context of expanded cinema and extends to the capabilities of analogue apparatus and the limits of how filmmaking can be explored. A link to this page has been added to your clipboard Browse related work Craft & Process Materiality Nature & Environment Analogue ExpandedCinema Experimental Film Material Process
# Links ## Official page - https://ualshowcase.arts.ac.uk/project/447822/cover ## External - https://www.instagram.com/gracebaggottartist - https://www.gracebaggottartist.com - tel:07557687545 - mailto:gracebaggott1618@gmail.com - https://twitter.com/intent/tweet?url=https%3A%2F%2Fualshowcase.arts.ac.uk%2Fproject%2F447822%2Fcover&text=The+expansive+boundaries+of+film - https://pinterest.com/pin/create/button/?url=https%3A%2F%2Fualshowcase.arts.ac.uk%2Fproject%2F447822%2Fcover&media=https%3A%2F%2Fportfolio-tools.s3.eu-west-2.amazonaws.com%2Fwp-content%2Fuploads%2F2023%2F06%2F15120544%2FGrace-Baggott-1024x632-1.jpg&description=The+expansive+boundaries+of+film