Tezos

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Creator

tz1Up3Uyj6PR3AkdsaXouhhetS3VdaTkW2Ro

Description

"Q: One comment heard about experimental films in general is that most of them fall into the category either of trying to reproduce on the screen the subjectivity of mental disorder, or else trying to induce in the audience a kind of mental disorder through the use of unrelated images. It has been said that although such attempts may be occasionally successful, they are a singularly fruitless and unrewarding form of artistic communication." » Guy L. Coté interviewing Robert Breer, Film Culture No.27, 1962; quoted from Experimental Animation: An Illustrated Anthology (https://archive.org/details/experimentalanim0000unse) ------- "It outlined how traumatized victims of abuse stored memory of abuse as fragments cut-up and separated from each other, often continuously re-playing parts of that memory as intrusive thoughts, whilst the initial shock remained. This reminded me of the serial and repetitive structures often found in materialist films (...)" (...) Walker’s concepts of ‘traumatic paradox’ and ‘disremembering’ frame the non-realist disturbance and fragmentation she identifies in ‘trauma cinema’. Caruth’s theory of belatedness indicates that not all aspects of a traumatic situation are available for recall. Not only is a level of uncertainty created by delayed recognition but also narrative after recall is a mixture of truth and fantasy or metaphor. Elsaesser notes that as a result of Caruth’s displaced recall, ‘trauma also suspends the categories of true or false, being in some sense performative’ (Elsaesser 2001: 199). (...) The ‘traumatic paradox’ stresses the contradictory nature of recall of traumatic events (Walker, J 2005: 4), its mixture of accurate and counterfeit memory, of real and fantasy events. David Payne understands this blend of mistakes, forgetting and accuracy to point to the genuine nature of the events recalled: ‘memory errors are not bothersome anomalies to be explained away or minimalised, but rather they reflect the normal processes by which we interpret the world around us’ (Payne & Blackwell 1998: 53). Such mistakes in remembering power an emotive force for transforming the real into metaphor. Walker coins the term ‘disremembering’ for this synthesis of embellishment and blunder (Walker, J 2005: 80)." » Dirk de Bruyn: The Performance of Trauma in Moving Image Art (https://www.google.com/books/edition/The_Performance_of_Trauma_in_Moving_Imag/rzJQBwAAQBAJ) :: {2020/24} :: footage from Крадецът на праскови (The Peach Thief) {1964}, laser prints, paper & digital collage animation :: slightly reworked excerpt from my music video for WATINE's Eros & Thanatos {2020} (youtube.com/watch?v=z7ZiYiqHpVE) :: @annaxmalina :: annamalina.com