The Rise of the VIDEOPUNK in MiniDV Culture

What if all the subjects that influence me, don’t follow a narrative that could be explained in structure?
What if the progression I want to capture can’t be contained?

That’s where experimentalism comes in;
The experimentalist is a practitioner of adventure.

Opposing the standard, while exposing the flaws of whatever system he is forced to live by. He is an escapist, a surrealist feeding on the corpse of mainstream cinema. In the mindset of an experimentalist you become the videopunk.

The videopunk, as a way of life, is able to tackle any genre he wishes, because it becomes not a case of rejecting the stereotype, but reinterpreting it in whatever way he sees fit.
Rejecting the preconditioned format would be admitting the demise of narrative; yet the dismantling of structure only requires reinterpretation.
Honest exploration is the only language a videopunk speaks, by reflecting upon ideas and concepts and the need to share and invent new perspectives no matter how ignored these concepts become. At the heart of it all, yet not for the faint hearted, experimentation has provided a platform for the enablers and innovators of underrepresented perspectives.

Being the ultimate adaptable media, the MiniDV culture has unleashed a wave of young film enthusiasts.
The Videopunk has risen from an industry that define expression through the language of technology.
The ability to write, produce, edit and release… the concept of the freedom of digital expression means these voices can never be silenced or controlled. We are no longer spectators but producers of our own reality.


An open letter to the tutor

Hi Phil… I’m still quite stuck on what to do. All the subjects I want to explore can’t be done in 4 weeks…

I want to be able to focus down on a subject but I’m still not sure what that is. I’m interested in the moment
where film fails to portray what it’s like for individuals who live in these altered states…
like ADHD’s manic state, or an Asperger’s panic attack, but what I feel is easiest is to capture a moment with a musician. stage personas, who they become when they get in ‘the moment’.
Because musicians, especially singers – have to explore those dark psychological introverted moments and they share their gift in creative ways.
There are better ways to explain ‘the moment’ but right now the easiest way to explore it would be that of a ‘Peak’ – of creativity expression and emotion; and that usually comes out in performances.
It’s a state of being, to live in that moment of absolute bravery, intent and force, to look your crowd in the eyes and sing or play something that is personal, something which in the wrong light could get ridiculed or taunted. In a way, if you play to the right crowd, it can feel gratifying and ultimately quite unifying.
But it’s the evaluation of that moment, the fluency in your direct ability to transform such raw emotion into words, to know that something that you’ve worked on, through conception, production and into a final piece and into a public arena to share that same passion. I think this is something I’d like to explore. Where to start…

First stage of DocNext Project 1

Media as a form of communication, is a device used to realize intent, to better the understanding for the masses in reference to social, political, environmental, and economic terms.

Language is the essence of communication, and without the want or need to communicate to one another there would be no need for language.

Expression is the essence of the soul, and language is the media in which the voice can be heard. But what if you are trying to express the expressionless?

Film has developed a language of it’s own, brought forward by Hitchcockian style, yet I would argue that it is still only suitable, or speaking to; a very select group of people.

For instance, Hollywood loves lush dramatic soundtrack scores that use certain tones, notes, and scales to develop certain emotional attachments, to pull the heartstrings based on empathy, sympathy and compassion.

But what f you don’t feel the same way others do? People affected with Asperger’s, or more widely spread; Alexithemia – would have incredible difficulty in recognizing the underlying cues in emotionally-fused films.

Alexithemia is identified by a difficulty identifying, understanding and interpreting or describing the feelings being felt by yourself or others.

When you go to see a big budget Hollywood film, the script has most likely been through more financial hands than creative ones. You are no longer the individual but part of a mass consumer-based economy, and that’s where I feel mainstream cinema has become so disjointed with itself.

In beings who’s minds are literally hardwired differently – these emote-driven films tend to leave people like me ‘out of the loop’.

Not only do they rely heavily on a range of outdated techniques which are majorly unprogressive for the neurologically diverse, but they leave a section of the audience feeling alienated and confused.

So how would you express feelings to an emotionally-deprived being without it having to be pointed out?

Would it be akin to trying to describe a sound to the deaf, without being onomatopoeic?

I want to explore different ways of seeing, as it becomes more apparent that the film language we are currently using is not at it’s full potential, because it does not cater to those who aren’t a majority.

I want to be able to find a visual style for sensory issues, mainly in first person POV style. To build on this I aim to ask those around me who may have slight deficits but have been able to find their own personal expression through creative means, round issues such as synesthesia and hyperacusis.


Taran Burns… began his creative career in music college studying ‘Making Music Through Technology’ and soon began creating remixes for other students and teachers, as well as launching into original work, and his first album was eventually sold through Amazon, Itunes, Napster and Walmart.

After being enticed by international VJ’s to perform at Tate Britain,
Taran decided to make the transition into film, and studied Media Production at The Bristol Academy Of Media Arts, testing the water with a range of films – Drama, Music Video, Comedy and Social Action documentary, and going on to win the award for ‘Outstanding Achievement’ at the Academy’s end of year festival.

After graduating with a triple distinction Taran took time out to develop his own ideas and films – and along the way was made a NESTA Ignite! Beneficiary and given funding to further his creative career. Around this time, Taran became a founding steering group member of, an initiative to develop and harness a route for young people into the film industry, and part of the Content Crew of, which provided training as a film programmer lead by the Independent Cinema Office.

Taran also worked closely as a videographer for Encounters Festival and watershed, and collected interviews from established and rising film makers, animators and actors (such as Paddy Considine and the likes)
Taran has also taught cinematography in festivals such as BBC BLAST, and Eden Project’s ‘Biotik’ event, and has made an appearance as a panel judge in a few competitions along the way.
Going freelance at a young age has lead Taran to developed projects with over 25 organisations in the Southwest, ranging from Bristol Zoo, Friends of the Earth, Connexions West, Cirque Bijou, Ecosulis, ECF, BFI, CIPD, Coexist, BACWG… to name a few, while making an appearance as international film scout for Strangerfestival ’09 and International Documentary Film Festival ‘10 and a film programmer for Electric December ’08 and Future Film Festival ’11.

Alongside all of this, he has worked on many shorts over the years as a runner, boom boy, and sound recordist for Overlook Films, BAFTA winner Rachel Tillotson, RTS nominee Claire Alberie, and a microbudget feature.

While studying a Creative Writing open degree in late 2011, he co-founded a company called Coexist Music & Media Centre, which has a floor dedicated to finding and developing independence in artists by allowing a platform for performance, practice and recording while collaborating with multimedia professionals in the Southwest. Taran is now in the postproduction stages of a new album, being mastered by EMI.

 Taran wrote this in third person.