Saturday, November 13, 2010
"Allegory resists fantasies of strictly teleological history in favor of fleeting instants where "meaning" is forged between past and present, in "the depths that separate visual being from meaning"."
- Adam Lowenstein, Shocking Representation: Historical Trauma, National Cinema, and the Modern Horror Film, quote from Benjamin, The Origin of German Drama
I'm becoming more interested in allegory as a means of structuring narrative, and this has been leading me into new research. I like how, in allegory, everything can be something other than what it is, or what it seems. Horror films lend themselves to this kind of reading, as symbols, stand-ins, replacements for the "unrepresentable". I am choosing to create a (mis)understanding that all horror films are 'actually' about the act of watching movies. I want to to read horror films (specifically those films that involve children) as allegories of spectatorship. I like this exaggerated sense of metaphor, the intersection of repression and fear, the formative trauma of childhood, the imbalances of power. But also the sense of play, the knowledge that "it's only a movie".
If I have a tagline for Children's Games (the way movies do), it will be "Narrative is a game we play with our bodies."
I am stuck in between the idea of making cinema and the idea of making music about cinema. As my music becomes more like a soundtrack (arranged rhythmically), I want to make videos that are more like music (arranged as a soundtrack). In any case, the conceptualizations for these videos are becoming more elaborate, to the point where I'll probably have to ask for help from a professional. As I imagine them now, I will need a soundstage, actors, lights. For example, I would like to shoot all of the 'scenes' against a rear projection screen. This will allow me to have two layers of camera work, and a disassociation between setting and action. I recently watched the original Godzilla and loved the obviously fake (yet still spectacular) array of special fx, including rear projection. What if the rear projection includes its own close-ups, edits, pans, etc., and is brought into active conflict with the shots? I am interested in pushing the artificiality of the video to the point where it can be read as something other than narrative - music. I am in awe of the moments where actual narrative films do this - scenes from Guy Maddin (especially Arcangel) or Lucrecia Martel come to mind.