Jenny Okun

Personal reflections on the best of 20th Century architecture.

This film was hand wound though the camera backwards and forwards as the waves on a beach built up and broke on the shore.

This film consists of five hours continuous observation from a static viewpoint in the Lake District. A powerful telephoto lens was used to focus on the changing landscape. This film synthesizes the pattern of observation and that of recording mechanically the changing landscape.

No synopsis available yet.

This film uses the image of fireworks (as points of light) superimposed in the camera and in the optical printer until the surface of the film begins to bleach out.

This film explores the transformation of an image from color negative to color positive on one film stock. “The Still Life“ was painted its color negative during the filming and then the exposed film was processed and printed on color negative printstock.

Personal reflections on the best of 20th Century architecture.

This film was hand wound though the camera backwards and forwards as the waves on a beach built up and broke on the shore.

This film consists of five hours continuous observation from a static viewpoint in the Lake District. A powerful telephoto lens was used to focus on the changing landscape. This film synthesizes the pattern of observation and that of recording mechanically the changing landscape.

No synopsis available yet.

This film uses the image of fireworks (as points of light) superimposed in the camera and in the optical printer until the surface of the film begins to bleach out.

This film explores the transformation of an image from color negative to color positive on one film stock. “The Still Life“ was painted its color negative during the filming and then the exposed film was processed and printed on color negative printstock.

Time and movement have traditionally been used to establish the illusion of space in film. In this film I have tried to de-emphasize both these illusionary properties by altering the space within the camera rather than the space in front.

This film is a continuous take outside a tigers cage in Regents Park Zoo. During the first five minutes the camera moves independently of the tiger between two fixed points. The points were determined by the length of the tigers walk. For the last five minutes the camera follows the tiger.

“This film was made by superimposing in the camera six takes of myself playing the flute in six different positions around a circle. With each shot I randomly began playing “Row, Row, Row Your Boat”. The resulting film shows a unique rendition of this classic round.” - Jenny Okun

This film contrasts the concepts of relative motion and absolute motion. The speed and direction of the car and clouds, the spiralling motion of the camera, and the stationary factory chimneys all combine to produce the illusion of space within the frame.

45 fingers were needed to play the film soundtrack mimicking the sun's movement over four months on piano keys.

This film is a travelogue which shows the relationship between the car and the weather. The focal point is the windscreen and the structuring elements, the rain and the windscreen wipers.

No synopsis available yet.