Ruben Khachatryan

Parallel to Following the Invisible Sun

Korsakow experiment to a documentary project

The main project “Following the Sun” is a feature length documentary to be co-produced by filmmakers from 4 countries representing 4 parts of the world (East and West, South and North).
Parallel to this project will be created a Korsakov project by using all shooting of the participants


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“Following the Invisible Sun” is a project based on a range of interactive dialogues, representing interaction between so called “subject to subject” and “participant to witness”. Throughout the project we will be observing the ranged actions within the participants of the project.

Thems and Topic>>>>>>>
The project will be mainly built on observing people, their actions, viewpoints and their lifestyles. We’ll see how two artists will work together on a joint project, in the situation when one of them is local (the “host”), and the other one (“witness”) – is a guest. How will the new, unknown society, its traditions and customs look in the eyes of the “witness”… What will he be surprised with? What will make him blue or give him joy? The “host” is directly involved into this process. The latter perhaps has not even noticed all the “undiscovered” surrounding him, which is suddenly opened to his view by the stranger – the “witness”.

Form and Structure / interested in using GPS Maps during the project and including visually in Film, and making a version of Korsakov using the materials which was shouted from the participants of the project .>>>>>>>>>>>>

The end product will be an installation in different exhibitions Gallery which can be presented with the main documentary film, so that the people can be involved and also as a CD

In this stage of development of the project, no definition of “what it is going to be” should be given, and the director should be totally free in showing whatever he feels being in each of the four selected countries.
In this sense, only pure documentation of the emotions the director experiences will be the base of the film.

Via the camera observation, we can get a sense of distance from some of the customs/habits, through this, the society is able to see them. To notice the invisible, one should change the horizons of observation in order to bring the diffused onto the surface. The art of cinema could have been that horizon for the observation. It is suggested to solve these problems by realizing this film project.

In the 21st century, which can be characterized by globalization process, when the difference between North and South, East and West are strengthened, social contradictions and cultural estrangement appear more and more often.

In this sense, it will be symbolic to invite documentary filmmakers from the four sides of the world. Each of them will handle the mission of seeking and observing the “invisible” in other societies.
Thus we will get four observation points in four timeframes and four different stories as a result. The actions are real and depict the real life.

Each film should tell about the social peculiarities, people’s lifestyles, their feelings, their perception of reality, the link between the invisible of the individuals and societies of these countries.

The structure of the film can be built in two different ways:

1. A day-long observation, which will start with the sunrise and “follow” the sun going through the four sides till the sunset.
2. Four different stories from four sides not linked between each other through the story-line, but at the same time composing one main idea.

The directors will define which way to choose. They may also prefer to offer another – fifth person to edit the film and bring all four parts together.

Technical Part

Concerning the technical part, the artists will again be totally free in choosing necessary techniques. The film will combine from 35mm camera filming (including static camera to rapid flight) to secret shootings and interviews through a web-cam. Finally, this will be blown up to 35mm.

The primary importance will be given to the spirit of the picture range and to the sense it gives rather than to its technical quality. So it will be the idea to be given importance.
Just an opposite approach should be used regarding the sound work. This will require ideal work, paying attention to each sound – rich in technique and quality. At the same time, in the sense of creative part concerning the sound, no conditions or approaches should be suggested to the artists and they will be provided with total freedom of choice regarding the sound-library, noise or music.

Time plan

Each participant will be give three weeks for his/her part:
- The first week for observation in the country, location survey;
- The second week for basic photography
- The third week for shooting preparations;

The local participant will be assisting the guest filmmaker during the whole period. So each part will be created as a result of cooperation between the “host” and the “guest”.

The post production will also be consisting of two stages:
- Each participant will make the rough editing of his/her part of the film;
- Final editing will be done after the filmmakers watch all the parts and bring them together finding out links to connect them.

My aim is not to predict this evil but only observe the reactions of artists and follow the process of becoming a “participant” from a ”witness”...
I do not believe that cultures can be brought to one common platform, and it is even useless: it will only bring to simplifying and making humankind poorer. The project is aimed to revealing the treasures of diversity, whereas similarities can be noticed only through observing the differences.


Choosing “Following the Invisible Sun” as the title for the project, we mean the antique belief of the invisible (extinct) sun existing behind the “visible” one. It is the symbol of the self-development of the substance, the invisible sun from our unconscious world in time measure of eternity, which is the means we communicate with the Eternal soul.

Film language

The base of these films should be documental, but the solutions could be, and it is desirable that they be, artistic ones. So each single movement is given some meaning, is it directly linked to the feelings of the artist, to his outlook and to his ability of giving meanings to the supposed reality, his personal approach to this reality, his idea of it, and adopting it through his very personal nervous system…

So why should the documentation of facts be regarded separately from author cinema? The parallels or the differences between these film languages, or even the question of where one ends and the other starts are not the point.

Cinema is the observation of “Me” of the society, which, together with the one who experiences, feels what is experienced. When the society via the camera gets a sense of distance from some of the customs/habits, when it is able to see them as the obstacles of its life, this is a society on its way of recovery. To notice the invisible, one should change the horizons of observation in order to bring the diffused onto the surface. The art of cinema could have been that very horizon for observation.