Brandon John Barnard

  For my film  diaDOGue , I wanted to continue my investigation into non-human agency like I did with  Doggy Style  and  Tinguely Feeling . For both of those previous productions, I tried to embrace chance by recording the subjects (dogs/robots) and having agency in the editing process through the selection of footage and its use in the editing process. I wanted to twist the format this time around. My plan was to film Toffee and Noodle and then use the selected footage to form a narrative. For example, if they looked concerned, I would write a piece of dialogue where they sounded concerned, and so on. So, I spent a few hours on the first day filming the dogs. They got tired pretty quickly, so I thought to myself “okay, so this will take a few days. No problem.” “Stop filming me” When I woke the next day, I found that Noodle had absolutely decimated my toy plesiosaurus (my favourite dinosaur). It was completely my fault because, one, she is a dog and knows no be...

  Finally, I am getting to what I consider the ‘first’ film in my journey as an experimental filmmaker: ‘ Broodiest Flunkey ’. This film is a bit rough — it was made as a university project, with a deadline and 3 minute time limit. It was also the first time I had played with many visual effects, and the first time I had shown my work to a live audience. A lot of what I will be saying in this article will be recycled from my university essay, as my memory on a lot of the details has started to fade. I created a timeline for this production, so I will try my best to be chronological in the retelling of the film’s creation. Some of the elements may seem tangential, though that is a lot of my practice in general. My timeline of Broodiest Flunkey (2024) I really like the above, because it shows that learning and developing a project (or even personal development), takes a mix of both consumption (books, media) and action (events, trial runs). It also shows how unexpectedly events morph...