i approach hybridity with a level of specificity — that specificity being through philosopher jerrold levinson’s definition of hybrid artforms. he says that hybrid artforms not only use a blend of artmaking materials (narrative film footage, documentary film footage, historical archive footage, photography, and animation, for example), but they are also:
“…made clear only by reference to historical conditions at the time of creation and in terms of media that have already been constituted as such. the components of a putative hybrid must be locatable somewhere in the preceding culture and must be plausibly seen as having come together in the result.”
in other words, hybrid artforms exist in the historical lineage of widely accepted artmaking practices. they’re perhaps not widely accepted in the sense of value judgements — that the practices surrounding these works are good or bad. however, they are widely accepted, as levinson says, in the putative sense — that they are assumed to have existed or exist. in short, hybrid art draws from already-existing styles.
my films are often hybrid artforms that blends media art materials, as well as narratve and documentary techniques, to grapple with and analyze human experience.