From spending the time viewing the media work and listening to the filmmakers discuss their intentions behind it, I gathered that a great deal of the inspiration or drive behind the concept was the idea of sharing experiences or cultures from across the world to the viewing audience. The artist, filmmaker or photographer defines the visual form way in which the content is communicated – however the similarity between them all is the broad contemporary art structure that they uphold.
This use of the documentary in contemporary art expresses a particular focus on experience, knowledge and understanding in the form of whichever media the artist uses. For example, where Arun Khopkar’s film Volume Zero is a form of art in itself, being that it exists as its own platform of media, it hones in on and explores the architectural skills and visuality of Charles Correa; therefore setting the sub-layer of documentary content (physical) using film (projected). It is to be noted that by creating this kind of art, where devotion and involvement by the filmmaker is essential, creates a link that connects the creativity and indeed subjectivity of the artist and the subject or theme they are communicating. My own filmmaking process is in this manner, by allowing myself to become immersed and involved in the subject so that my focus in the media is contextualised by experience (mine and others) rather than just a short amount of research into the area.
Similarly, documentary visual arts leads on from how the ‘look’ and ‘feel’ of the documentary in film furthers the viewing audience connection to what they see onscreen. Aesthetic considerations when creating the documentary films may be forefront at the mind of the filmmakers, as the subject – whether this be a person, landscape or artwork – must be shown in a light that does not break the ethic codes set about between filmmaker and subject. Certainly in the discussion with John Wyver regarding his visual approach to filmmaking did he discuss the difficult nature of “filming a painting”, instead preferring to focus on the brush-strokes of the painter rather than the whole piece at once. Artists are being recognised as having this conscious process of ‘engagement’, or the dialectical relationship, where the ‘documented’ is by default becoming a subjectified matter of interest, where the ‘documentarist’ becomes a crucial element to the narrative, visual and communicative process.