Remembering as an act of obscuring

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In this sequence from Hiroshima mon amour (32’57” – 43’45”), Alain Resnais sets the private realm of memory against the public sphere of history to explore the representation of the past as mutual and collective construction of that which is partly remembered and partly imagined.

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Memory of touch in Laurie Anderson’s ‘Heart of a Dog’

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“One cannot know another time through visual information alone.”[1] Our memories are stored in the body as much as in the mind; corporeal as much as cerebral. Films that deal with memories must, therefore, do more than simply convey sounds and images. They must speak of and to the other senses. Laurie Anderson’s experimental doco-drama Heart of a Dog animates intimate memories encoded in touch by shifting from optical to haptic vision[2] and enabling the cinematic image to reach the “senses that are close to the body.”[3]

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Cremaster by Matthew Barney

Cross between Performance Art and Cinema, the Cremaster Cycle is a series of five films directed by artist Matthew Barney. Matthew Barney’s filmmaking is abstract and there is little dialog in the Cremaster Cycle. The films communicate in a highly-symbolic language and the storylines can be hard to follow on the first viewing.

Cross between Performance Art and Cinema, the Cremaster Cycle is a series of five films directed by artist Matthew Barney. Matthew Barney’s filmmaking is abstract and there is little dialog in the Cremaster Cycle. In a surrealist (think Jean Cocteau) fashion, the films communicate in a highly-symbolic language. The storyline is hard to follow; just as it is in the disjointed dream sequences.

Experimental Dance Film

 Featured Creator: Experimental dance film Ghost line Cassie Marketos · June 12, 2012 · 4 comments You'll need an HTML5 capable browser to see this content. Ghost line is the collaborative effort of dancer/choreographer Cori Olinghouse and experimental filmmaker Shona Masarin. Together, they've crafted an experimental dance film that evokes silent era clown movies and classic Vaudeville theater through interpretative movement and a variety of vintage film techniques (like frame-by-frame animation).

“Ghost line” is the collaborative effort of dancer/choreographer Cori Olinghouse and experimental filmmaker Shona Masarin. Together, they’ve crafted an experimental dance film that evokes silent era clown movies and classic Vaudeville theater through interpretative movement and a variety of vintage film techniques (like frame-by-frame animation). See it here.

Abbas Kiarostami

Feature film 'Shirin' (2008) by Abbas Kiarostami features 114 mute spectators at a theatrical representation of Khosrow and Shirin, a Persian poem from the twelfth century, put on stage by Kiarostami. The development of the text -- long a favorite in Persia and the Middle East -- remains invisible to the viewer of the film, the whole story is told by the faces of the women watching the show.

Feature film ‘Shirin’ (2008) by Abbas Kiarostami features 114 spectators at a theatrical representation of ‘Khosrow and Shirin’, a Persian poem from the twelfth century, put on stage by Kiarostami. The development of the text (long a favorite in Persia and the Middle East) remains invisible to the viewer of the film, the whole story is told by the faces of the women watching the show.