The Art And Practice Of Virtual Filmmaking

Now the Big SaveMe Oh Retrospective will start 7 october in secondlife, it is adviced for the legion of noobs to do some homework for this. Here is a the first book you can study.

http://books.google.nl/books?id=mfCemUjqWSwC&printsec=frontcover&hl=nl&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false

Best part of the book starts at page 93:

If one seeks an artistic vision that has the power to “stun”the viewer as Allen puts it, one need search no further than the machinima of SaveMe Oh. In many ways her work truly exemplifies avant-garde machinima’s unconventional nature. “All my movies are in a way an extension of my performance and composing behavior; of the way my avatar has developed…. The only valuable art in Second Life,” asserts Oh, “is performance art, and this is reflected in my movies.” She describes Second Life as “the canvas” on which she creates. Her machinima “becomes the artwork.”

Like her Dada and surrealist antecedents, Oh invites the viewer to become part of her composition, often forcing the audience to participate by reacting to her art installations which she captures as live theater in her machinima. Whether filming her audiene chasing after flying dollars to remind them of the evils of consumerism, grinding them into hamburger to protest factory farming, or staging her own funerals in anticipation of rejection by critics of her work, Oh creates striking machinima that both challenges one’s thinking and redefines the limits of the genre. Moreover, her art is rarely separate from her politics and provides continuity to her work. Among the most controversial of her works are those that explore hypocrisy and the traditional notion of sin and redemption. While machinima as a vehicle for social critism is staunchly defended by some, others find the approach abrasive. SaveMe Oh’s work elicits both responses in equal measure, reflecting her audience’s reaction to her artistic vision.

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