This photographic project is an examination of video editing style and the technics it employs, Inspired by official documentaries. It aims to explore the characteristic of documentaries in their arrangement of time, space, and characters using images and texts as the medium and then divorce from reality to create new narratives. The work shows the editors’ subjectivity in creating the narratives based on the imagined audience group.

 

The work focuses on the phenomenon of art students reattending art training classes after failing the entrance exam for their dream colleges. Two sets of image documentation of their experiences, shot three years apart, have been collected as material. Three participants with distinct knowledge levels of those experiences were asked to rearrange the materials to create three new sets of narratives.

The results were shown in companion with texts adapting the styles of third-person narration and first-person expression used by official documentaries. An archive folder containing original materials, treated as unedited reality, is presented alongside the edited narratives. It is contrary to official documentaries of which only the final edit could be seen. By rethinking the authenticity of the image, the work examines the limitation of image documentation as a representation of reality and the possibility of editing in creating a new reality.

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这个摄影项目是对视频编辑风格和它所采用的技术的考察，灵感来自于官方纪录片。旨在探索纪录片在时间、空间和人物安排上的特点，以图像和文本为媒介，然后脱离现实，创造新的叙事。该作品显示了编辑者在创造基于想象中的观众群体的叙事时的主观性。作品关注的是艺术生在高考落榜后重新参加艺术培训课程的现象。冯筱然收集了两组且时隔三年拍摄的关于他们经历的图像记录作为素材。三个有着不同身份背景的参与者被要求重新安排这些材料以创造三组新的叙述。
结果采用官方纪录片使用的第三人称叙述和第一人称表达风格的文本一起显示。一个包含原始材料的档案文件夹，被视为未经编辑的现实，与经过编辑的叙述一起被展示。这与官方纪录片相反，官方纪录片只能看到最后的编辑。 通过重新思考图像的真实性，该作品审视了图像文件作为现实代表的局限性，以及编辑在创造新现实过程中的可能性。