Here's an extract from an e mail I sent Doron about this piece:
…this is great & quite the strangest thing you've ever made. The tone is quite disturbing, made me quite nervous, but it's also beautiful. In particular there's one moment near to the end with lots of effects when there's just some of the most beautiful shades of green *ever* on the screen. Also I had an epiphany whilst watching - I realised one particular move I love in your editing ( and it lends it so much of its personal quality and power) -it's like a sort of "half-jump-cut" - we move from one position of a person to another, sometimes with a slight zoom in or out or a slight change of angle but the continuity is both manifestly broken and somehow retained. It *is* a jump cut but in your hands it doesn't have the brashness that one might associate with that term. It's amazingly potent. Do you shoot with that sort of thing in mind, zooming in and out with a mind to removing some of the intervening footage? I like the performance too, understated but effective.. The effects are the thing I find strangest - they are so in-your-face and contrast so markedly with that lovely B&W look you achieve. The little buzzing objects ( for want of a better description) put me in mind of the helicopter in the Tell Aviv portraits.. The symbolism ( again for want of a better word) is so intensely personal, or at least hermetic that at this end of your work there's a flavour of Blake. I couldn't exactly logically justify that assertion but it *feels* true to me..
Comments
Here's an extract from an e mail I sent Doron about this piece:
…this is great & quite the strangest thing you've ever
made. The tone is quite disturbing, made me quite
nervous, but it's also beautiful. In particular
there's one moment near to the end with lots of
effects when there's just some of the most beautiful
shades of green *ever* on the screen.
Also I had an epiphany whilst watching - I realised one
particular move I love in your editing ( and it lends
it so much of its personal quality and power) -it's
like a sort of "half-jump-cut" - we move from one
position of a person to another, sometimes with a
slight zoom in or out or a slight change of angle but
the continuity is both manifestly broken and somehow
retained. It *is* a jump cut but in your hands it
doesn't have the brashness that one might associate
with that term. It's amazingly potent.
Do you shoot with that sort of thing in mind, zooming
in and out with a mind to removing some of the
intervening footage?
I like the performance too, understated but
effective..
The effects are the thing I find strangest - they are
so in-your-face and contrast so markedly with that
lovely B&W look you achieve. The little buzzing
objects ( for want of a better description) put me in
mind of the helicopter in the Tell Aviv portraits..
The symbolism ( again for want of a better word) is so
intensely personal, or at least hermetic that at this
end of your work there's a flavour of Blake. I
couldn't exactly logically justify that assertion but
it *feels* true to me..