Parallel Space: Inter-View is made with a photo camera. A miniature photo 24 by 36mm is exactly the size of two film frames. Originally, I had a strict, formal concept. The visual space of the Renaissance locked in the optics of the film and still camera. In front of our eyes the landscapes of the film spread out and allow themselves be conquered; a constellation which is then subverted by letting the hardware and the software slip minimally. If I take a photograph with a strict central perspective (the vanishing point in the middle), it gets smashed when projected. The spacial lines plunge towards the lower edge of one frame, to be ripped apart at the top of the next. Optically it resembles a flickering double exposure; the former temporal and spacial unity disintegrates into pieces which have a correspondence with each other. Soon these spacial constructions were not enough. I began to interpret the content of both spatial halves - to lead the spectator's separation from the surrounding reality into another sequence of binary opposites: listener - speaker; viewer - viewed; public - private; man - woman; sensuality (emotion) - reason; sexuality - taboo, and so on. In addition, I took the psychoanalytic setting and drew a comparison with the cinema setting. In both cases there is a narrator who does not see or know his listener. Film makers, in common with the analysand, produce a very intimate flow of pictures which are met with highly concentrated attention but still fall into the anonymity of the audience...
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