‘Kelvin’ tells the story of the river Kelvin, through a focus on the colours, patterns and textures of the water. The aim of the film is to draw the eye to details in the water, using the framing of the camera as a lens, while also exploring the rivers significance in a wider context. 

 

Film, in this case 16mm to digital, as a medium has been an effective way to capture the rivers nature. The liner movement of the river is echoed in the liner qualities of a film; just as you never witness a whole river at one time you can never see the completely film at one moment. This is a concept I have been particularly interested in relation to water; there is so much to witness in just one section of a body of water but equally it’s always fascinating to imagine the sections you can’t see. Especially when thinking of rivers where they will flow through various landscapes/cityscapes and will ‘see’ so much on the course of their journey. 

 

Alternating between single shots, 4 screen shots and short single frames changes the pace of the film and enhances the different ways we see rivers. The section where 4 shots are compared at the same time remines the viewer of the multiple ways of looking at the river, whereas the fast passed single frames references the quick glances we might get from trains, cars or bikes. 

 

A big part of my project and intention in making work is to give a voice to these natural elements that are often overlooked or underappreciated. I have tried to reflect this in the name by keeping it as something that could be perceived as a human name. I like that the viewer might make assumptions about the film based on the name but the subject matter will surprise them and serves as a reminder of how rivers are just as alive as humans. 

 

The sound for this film has been taken from various points along the river (but recorded separately) and I have incorporated more human or man-made sounds as a subtle layer under that noise of the water, especially where the river flows through Glasgow. This references back to how we, as humans, see the river. For example I explored a lot on my bike so have included the sound of me cycling as a way to bring that context back in. This way of applying the sound after has given me more flexibility with which sound goes with which image and has allowed me to play with ideas about how a sound can change how the visual image is perceived.