Audio-Visual flow | Christian-Alexandru Popa | Angick Blog
I am a young storyteller coming from Romania and currently living in Scotland, having many interests in the art world. I hold skills and experience within filming, directing, editing, and acting as well as creating soundscapes and sound design for innovative film and moving image worlds. Thinking the new and surrounding myself with inspiring individuals whilst working in diverse projects, from poetic filmmaking to fiction and documentaries. Standing for social equality, and integrity, I managed to establish what my art and storytelling mean to a creative authentic expression of self. My name is Christian-Alexandru Popa and I am an artist approaching life with full consciousness, vitality and intensity heading towards generating ambitious audio-visual flow who goes beyond limitations, always aspiring for poetic connection where feeling is heightened, and the spectator is made more active.
The contemporary Romanian New Wave Cinema is based upon a conceptual premise and goes against the fictionalized propaganda style of the “old communist cinema” that had subtle references to politics and society. The Romanian New Wave Cinema is a direct one having a style of filmmaking based on social contexts that have been ignored for decades, following an internal narrative purpose. Directors of the new wave express with a close attention to the negative spaces created by industrialism as well as the alienating relationship between humans. The aesthetic and style belong not only to the borders of Romanian culture but also to the European ideas of philosophy and influenced by various European Cinema from Italian Neorealism to British New Cinema and the French Nouvelle Vague.
My cinema thought revolves around an audio-visual flow that
processes a self, created in the film through symbolic representations that
rest upon the phenomenology of vision as well as contemplating on the the
collective issues expressed and the human consciousness. It is a poetic cinema
of self-expression that seeks allegorical status in its attempt to articulate
the past while using montage and sound as a sense of tropology. My films are an
experience as well as a system of communication which utilises multiple
perspectives to situate the viewer in a familiar position of relating to the
world. The image is neither objective nor subjective but a process of
transformation creating cinematic meaning while the sound is empathetic driving
the story forward.
The role of sound design is crucial in my cinema practice and is
represented by the interplay against the image that adds value to the screen.
This imitates the natural function of the expressed world presented in cinema.
Using collaborative techniques with Glasgow based musicians, I direct, sample,
and manipulate the soundscapes created.
Art will exist in the audience's imagination and interpretation so
that one will recover the external phenomena, providing gatherings of cognition
over time building composite understandings. Through the experience of
uncertainty, the subject will relate to the reality of its perception, memories
thoughts, and desires. The main motive that shall be recognized in my
filmmaking is the reclamation of a re-enchanted relationship with nature as a
source of orientation whilst opening new possibilities of thought through art.
Thus, the unification of these elements is realized by an interaction of meaning within the sound and the visuals which reveals an insight into the cinematic experience. The spontaneity evoked in the montage, sound design, and score performance is deconstructed from culture and mirrored into the nature of the film. This renders the perception of time and space into a rhythm that the spectator observes in the cinematic world. This image is supposed to be thought of as the audience discovers the anonymity of affection through the sound design, and the feeling-thinking interrelationship between the audio-visual flow. The viewers will discover that their subjective state and perception is in a constant process of trans-formative effect, opening ways for correlation and encouraging optional thinking.
When the audience is confronted by a new experience, they will look
for familiar patterns which will automatically orientate and make sense of what
is in front them. Therefore, the work will be recognized while the mind
projects into concrete spirituality.
I believe Cinema is a means where the author creates an
unconditional reality. A film is an emotional reality, and the audience
receives it as a second reality relating to his individual experience.
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