HOW MEDIA ARTIST CONTEXTUALIZE ARTWORK

The critical objective of artwork is presenting fantasy as reality even when we all know that the artwork is sculpted or painted. In the modern history of art, the sense of illusion modifies making any object to qualify as art. Therefore the ideology surrounding the art is fundamental at times than the real artwork (Johnston, 2016:304). This essay is giving clear details and the description of artistic work, how it is viewed, how the work noises, and the mood that that it brings by to the audience and what the people gain from the artwork. It majorly talks about the link between the artist work and the entire social, hypothetical and logical debates that performers engage with references to philosophers, and exhibition of artwork which are vigorous developments.

Broomfield went to Quaker boys’ boarding school for his high school education from the year 1959 to 1965. He later joined Cardiff University for higher education. After 4 years, he graduated with a degree in law and afterwards he was enrolled in Essex University graduating with a political science degree and went for further studies at the National Film and Television School in London (Elsaesser, and Hagener, 2015:67). Description of Nick’s Documentary Film Theory Nick Broomfield together with his colleague Michael Moore, in their works of art, applied the theory of participatory filmmaking. Broomfield, being an expert in investigative matters in the documentary film, worked with the least number of the crew by recording the sounds by himself with the assistance of two cameramen.

His intentions as a filmmaker were representing the truth of the matter in whatever he was observing objectively, freeing the viewer and other people from the deceptions concerning the methods in which such aspects of life were presented formerly (Johnston, 2016:304). From the perspectives described above Nick Broomfield has therefore been the state of affairs catalysts filmmaker (Elsaesser, and Hagener, 2015:67). Broomfield theory of participatory approach has been critical as the interaction between the interviewee and the filmmaker provide a conducive environment for the interviewee to give details which are suitable for the general public in the understanding of the matter (Elsaesser, and Hagener, 2015:67). Reflection on Broomfield Documentary film Other artists in the same industry and beyond have been making comments that while watching Broomfield documentary films, you develop the feelings that compelling tensions from you are longing for some ethical certainty, there is clear destination sense is felt with the narrative confidence (Walker, 2018:134).

Stella Bruzzi states that Broomfield performative documentary styles: through the invasion of the filmmaker into the taped act affect the conditions, by giving the biopic film the staging mode since the performative skills bring the sense of reality which is missing in other documentaries (Johnston, 2016:304). The impact of his work was eminent in the 21st-century work of the young filmmakers like Morgan, Michael Moore, and Louise Theroux who demonstrated the same style they borrowed from Broomfield in their recent hits on Box-office. Filmmakers are termed as Less Nouvelles Egotists. Artists likened Broomfield’s work to that of Hunter. S. Thomas, the American Gonzo journalism. Nick Broomfield said he was trained by a person who prefers or loved observational movies in which individuals are made to feel adequate concerning the way they are.

That concept is what is instrumental in the making of the film that is insightful. Nick has another philosophy that chaos is the best creative place that an individual should work from (Elsaesser, and Hagener, 2015:67). Broomfield goes ahead to illustrate how he has been able to effectively use chaos in creating an illusion in his film which is so captivating. For instance, the documentary on Driving Me Crazy 1988, Nick describes his desperation, and how the situation was going out of control. He advises filmmaker should begin even by making a low-cost film by some good shots and evaluate whether the making of the film is their venture. Broomfield thinks that a documentary is at its best when it comes to issues of empathy, creation between the situation and the audience about the matter they know nothing about (Walker, 2018:134).

Broomfield says there is a belief that, people from South Central are like bogeymen. However, through filming documentary he realized that such individuals are likeable and charismatic, creating the sense of empathy for such persons. That is the crucial aspect of the film. The perpetrator was named Grim Sleeper as he had taken a break of 14 years from his murder career ranging from 1988 to 2002. Franklin arrest came in 2010 as one of the suspects after long delays and the trial of Grim begun in 2016 February. The jury convicts Lonnie for the murder of nine middle-aged women and one girl of teenage (Walker, 2018:134). The jury recommended the death penalty for Lonnie on 6th June 2016, and Grim Sleeper was finally sentenced to death by the Court of Los Angeles for the ten victims who were named in the verdict.

Nicholas Broomfield through his documentary was able to bring into view what the public didn’t understand about the government neglect of the Southern city making it difficult to apprehend him immediately. He had just come from the drug rehab centre and his wife had reported him to be suicidal. The name of the wife was Courtney Love (Almeida, 2015:171). Broomfield decided to investigate the matter concerning what went down in the last days of Cobain. Nick came with his film crew to those people that were purportedly associated with Love and Kurt, as well as the estranged father of Love, aunt to Cobain and the couples who were former nannies (Walker, 2018:134). He even interviewed Eldon the bandleader who was claiming that Love had made an offer to him of $50,000 to assassinate Cobain.

One by the name Private Johnson even rebels from the taking drills from the Drill commander named sergeant Abing (Renov, 2014:147). The sergeant afterwards tests for the strength of the women through intimidation, and when they fail to perform as expected, he demands that they do exercise. However, he later claims that the experience he has had in the military has made him not have any feelings for women that they are weak. The film is the best way of exposing the tough conditions that the military personnel goes through during their training (Walker, 2018:134). How the artist presented his work and persona to the public Nick Broomfield says that in his documentary film at times, he would use the elephant trap technique, which he later defines it as the sudden ambushes and provocations which he performs on the subjects.

For instance, Battle for Haditha documentary of 2007, has the heavy time when the Marines were requesting for the psychological aid, but they are telling him to be patient until the end of the tour (Renov, 2014:147). However, he ends up participating in the massacre. That process shows the chain-link of the situations which are leading up to the tragedy every day. In another incident, concerning the Broomfield documentary about Aileen Wuornos, a lot of weight has been placed on Aileen fraudulent upbringing which was allegedly the cause of her criminal lifestyle. That shows that the society should be very much aware concerning the way they bring up their members. Some people view Broomfield’s documentary as approaching the subject for an interview from the outside in techniques.

This is not because the majority of the interviewees are avoiding him, but because Nick is interested in the cultural, economic and the social circumstances which are animating his subject of study. This makes some of the audience to misconstrue the film concerning Kurt Cobain and Love Courtney, Tupac and Biggie, as well as that of Aileen Wuornos as the conspiracy theories which have been skilfully corroborated (Renov, 2014:147). Another artist states that the artistic work of Nick Broomfield is ineluctably oriented towards the films murderers’ profiles, rock stars, prostitutes, white supremacists and politicians. Broomfield’s viewpoint or perspectives often balanced what can be assumed. Some people say that the presence of Broomfield in the video itself is strongly felt in his film as well as that of other artists who have been using similar techniques (Walker, 2018:134).

He has been able to adequately create the feeling that there is no agenda for curiosity and that elation and chaos of the journey are instrumental for the provision of the story. The truth about Nick secretiveness came to light even though he never mentions that Juan Churchill was his wife and the mother of his son Barney. That shows that he loved artwork whereby he turned his career into a family affair while at the same time he did not prefer recognition no wonder he never recognized his wife or son as members of his family at any point of the film (Renov, 2014:147). As a media artist student, there are several principles that I have been able to learn from the artwork of Nick Broomfield documentary film.

Personally, as an aspiring media artist, I feel challenged by the works of Nick Broomfield. He influences me a lot especially on how to beat the odds and come up with my unique way of working just as he did in his film work. I get inspired by his hard work and smart work as well. In one of the interviews, he says, “I think these films, more than anything, are about gray areas, and about the weird, different things humanity gets itself into” showing how he is occupied with his work of documentary films and focused on impacting humanity positively(Johnson 2016: 105). I suppose that cinematography documentaries embody the collision and functioning through two competing cultural features as Broomfield used to put it in his film work like in the Heidi Fleiss and Aileen.

This is the key aspect I would like to make a change on and restore it. With regards to John Dovey, Broomfield’s reflexivity techniques frame him as a “klutz, a failure who makes mistakes and denies any mastery of the communicative process. ” He condemns him for being unable to convey an expressive analysis on his areas of work. Correspondingly, Stella Bruzzi advocates, Nick Broomfield’s documentaries “prove to be unsatisfying because any serious intent behind the films is lost altogether” (212). According to the two criticisms, Broomfield’s films are playful practices that pamper the filmmaker’s selfish agenda.  Sisyphus-Journal of Education, 3(1), pp. Bruzzi, S. New Documentary. London: Routledge. Elsaesser, T. Documentary and psychoanalysis.  Embodied Encounters: New approaches to psychoanalysis and cinema, p.