Hidden Filming suggests we view films through their plot holes. If films with narrative plots and wholesome structures are viewed and edited according to disciplines and procedures conforming to their configurations, then perforated structures, degenerate formations and plot holes must have viewing and editing methodologies of their own.
More than a mere interdisciplinary investigation, Hidden Filming suggests a politics of contribution to, or participation with, perforated structures and degenerate formations. Reading through the plot holes of a story is possible only by devising a line capable of twisting in and out of them. The chthonic ballistics of such a line not only encompasses solidity with a perforated transcendence and porous realism, but also convolves and terminally bends the formative matrix of the structure itself. Drawing upon two major quandries for consolidated plots and consistent narratives, Hidden Filming reformulates and utilizes the components of apocryphality and steganography – that is, inauthenticity and hidden filming. Whereas the former predominantly concerns problems arising from misauthorship or the intervention of anonymous collectivities (the crowd) in editing a film, the latter addresses perforations or anomalies in a film caused by the existence and activities of something other than the governing structure of the assumed base plot.
What is usually identified as a plot hole is nothing but the concrete trajectory of such activities which, however communicative it is on the subsurface level, is inconsistent and symptomatic on the outer surface and superficial level. Hidden Filming can grasp political plot holes without reducing them to a whole or separating them from each other. Therefore, for viewing events at Stellenbosch University in connection to the national movement for decolonization Hidden Filming is the ultimate tool of extraction, digging and participation, that is to say, viewing (watching) as both scrutiny and realization.
Hidden Filming integrates the utilitarian frenzy of ( ) hole complex as its functioning principle, inseparable from its convoluted structure. In Hidden Filming structure and function alike are the same as in the dynamism of emergence and formation in porous earth. Hidden Filming can be described as utilising every plot hole, all problematics, every suspicious obscurity or repulsive wrongness as a new plot with a tentacled and autonomous mobility. The aftermath of this utilization manifests itself as an act of filming and editing whose effect is to deteriorate the primary unified plot or remobilize the so-called central theme and its authority as a mere armature or primary substance for holding things together.
The central or main plot is reinvented solely in order that it may stealthily host, transport and nurture other plots. In Hidden Filming, a main plot is constructed to camouflage other plots (which can register themselves as plot holes) by overlapping them with the surface (superficially dynamic plot) or the grounded theme. In terms of such a filming, the main plot is the map of the concentration blueprint of plot holes (the other plots). Every hole is a footprint left by at least one more plot prowling underneath the garbage dump.
A plot hole does not operate on behalf of an absence but registers and conveys the activities of a sub-surface life. Plot holes are psychosomatic indications of at least one more plot densely populating itself in the holes it burrows through and digs out. However, the propagation of plot holes in Hidden Filming is not merely the evidence of actual independent plots beneath and through the visible surface of the so-called main story line. More importantly, it is the indication of the active in-authenticity and anti-Film distortions that Hidden Films carry.
In addition to being the manifest symptoms of other ongoing plots, plot holes originate from pseudonymity, anonymity and deliberate distortions linked to issues of authorship usually associated with Hidden Films. Shifting voices, veering authorial perspectives, inconsistent visual punctuations and audio divergences bespeak a crowd at work, one author multiplied into many. In fact, mis-authorial problems which are usually associated with Hidden Films give rise to tendrilled plots as new narratives spreading out from the surface plot in all directions, plots capable of seizing the surface story or the textual structure from the dominant authorial space.
These ideas are paraphrased from Reza Negarestani’s CYCLONOPEDIA.