The Post Post Manifesto presents a way of working, informed in part by the Nouvelle Vague and its alignment of theory and practice, where thinking, advising and making are understood as different positions within the same practice.
The work is in learning how to think through what you are making, in relation to established conventions, how you engage with them, and how you choose to move beyond them. This holds true whether in study, production or collaboration. A film is not only what appears on screen, but the result of many decisions, relationships and constraints held together, or not, over time. Some of this is visible, much of it is not; it is located in process. To work with moving image is to become attuned to how these elements impact your practice, come into relation and shape the work over time.
In this light, your practice develops through a deepening understanding of each project. It includes recognising the many ways it is forming and moving with that process as it unfolds, even where that movement takes the form of resistance. When understanding and making happen together, they inevitably inform each other as the work develops.
The Post Post Manifesto creates space for uncertainty and lightness in how work is approached. Trying something and following it further than expected, holding ideas in tension and allowing them to resolve over time, or simply allowing that tension to persist, are all part of the process. What matters is developing a way of working that allows answers to emerge in ways that are meaningful to you and your practice.
The work does not settle. It responds to the conditions in which it takes place, returning in different forms across different projects, each time asking something slightly different. What carries through is a way of engaging with the process as it changes, and with the specificity of each project.
By focusing on your process and the specificity of each project, the Post Post Manifesto can be applied across different forms of work. What is your paper about, and what does it mean for you to write it? What is this film about, and what does it mean for you to make it? What are the requirements of the organisation, and what does it mean for you to create films within it?
If this reflects how you work or want to learn how to work, there are three ways to engage today: screen studies tutorials, production mentoring and workflow consultation.