Year of release: 2017
Original format: HD video
Running time: 12 minutes 30 seconds
Screening format: single channel QuickTime MOV, Blu-ray H.264, DCP
Credits: A film by Kayla Parker
Cinematography: Stuart Moore and Kayla Parker
Sound design: Stuart Moore and Kayla Parker
Production: Sundog Media
Thanks: Vickie Fear and Annabel Nicolson
Thanks also to: Ben Borthwick and Gavin Lewarne at Plymouth Arts Centre; Anya Lewin, Roberta Mock and Liz Wells at Plymouth University; and to Susan Matheron, Claire Butcher and Elizabeth Chapman-Lane, Research and Creative Industries
Supported by research awards from Plymouth University
Distribution and sales: Sundog Media email@example.com
A journey through a year ‘on location’ in a Devon hollow way.
A hybrid form of landscape cinema, which observes a year’s cycle of seasonal changes, centred on an unnamed hollow way in a remote area of rural mid-Devon that forms the stream bed for several springs. The film captures meteorological phenomena and the natural world in the sunken lane over a twelve month period, using experimental filming techniques and field recordings made at the site that capture the sonic architecture of the space.
To create the film, I made regular field trips to the location with the cinematographer and sound recordist Stuart Moore - these visits allowed us to experience the place during a varied range of weather conditions through winter, spring, summer, and autumn, to respond intuitively using our camera and sound equipment, and then to review and reflect on the recordings we had made.
On Location is the initial phase of a practice-based research project that responds to Annabel Nicolson’s artist’s book, Escaping Notice (1977). Nicolson was an important member of the 1970s British film avant-garde, and the unnamed hollow way connects to a track that leads to the isolated farmhouse featured in her book.
Publication and comments
Primordial Soup exhibition curated by Laura Denning, Cleveland Pools Geogian lido, Bath; part of the Fringe Arts Bath Festival (28 May to 11 June 2017)
Presentation of joint paper with Stuart Moore, 'On Location: developing an eco-sensitive cinema', for Digital Ecologies and the Anthropocene symposium, Bath Spa University; includes a screening of the film On Location (28 April 2017)
Presentation of paper, 'Dark Matter: Being In-Between On Location', Embodied Disturbance workshop presented by Artistic Research Cluster, Plymouth University; includes a screening of On Location (29 March 2017)
MIA: THREE exhibition, Centrespace, Bristol; curated by Lucieta Williams (24 to 28 February 2017)
Presentation of paper, ‘On Location: New Materialism and Film in the Anthropocene’, for New Materialism and Film research seminar with Dr Deborah Robinson and Dr Min Wild, jointly presented by the Artistic Research Cluster (ARC), Moving Image Arts (MIA) and Performance.Experience.Presence (PEP) research groups; Plymouth University; event includes a screening of On Location (2017) and Dr Robinson’s short film, Like a Signal Falling (2016) (1 February 2017)
On Location: Kayla Parker part of the Gallery in the Cinema exhibition programme of artists’ film, Plymouth Arts Centre Cinema, Plymouth (premiere, 10 to 19 January 2017, solo exhibition)
Plymouth Art Weekender Scott Building, Plymouth University; as work in progress (24 and 25 September 2016, 11am to 5pm)
Presentation of paper, On location: (re)visiting the past, Performance.Experience.Presence (PEP) research seminar; Plymouth University; initial outcomes of recent scoping trips to sites in the Devon landscape (2 March 2016)
Filming began at the start of 2016 when ice was on the ground, and has evolved through the months on a series of field trips, following the seasons. Returning again and again to the same location, I am sensitive to the changes that have occurred since my last visit and become aware of the differences in temperature, wind, light and shade, colour and pattern, sound, flora and fauna, and the occasional trace of humans, horses and dogs passing along the track from one place to another. This perceptual data - my sensory and emotional experience of the place - informs my response to capturing images and audio.
Field trip 06 30 April 2016 filming the mud in the streambed
Field trip 09 19 June 2016 at the bottom of the track near the greenway, the air dark with rain
Field trip 10 17 July 2016 on the way down, the stream almost dry
Field trip 10 17 July 2016 filming shadows on the dried mud at the bottom
Field trip 12 16 August 2016 near the greenway where the track begins to rise
Field trip 13 18 September 2016 looking back along the bottom of the track
Field trip 14 9 October 2016 bramble shoots hanging down to the ground
Field trip 15 18 December 2016 bottom of the track starting to flood
Field trip 16 3 January 2017 frozen stream