Juonikuvaukset(1)
Starting with a single, 18-second shot from a relatively unknown 1950s Hollywood movie, Arnold constructs a new narrative out of the choreographies and emotions that lay hidden in the source material. Using the optical printer as a microscope, he re-animates the individual frames from the original film and amplifies the inadvertent movements and hesitations of the actors. (Ann Arbor Film Festival)
(lisää)Arvostelut (1)
When the cinematic image and the entire situation depicted by the camera break their immediate merging with the so-called natural course of events and actions, Arnold's Pièce touchée arrives. In the total fragmentation of the situation and its movements, Arnold distances characters and objects from themselves, from the "only correct" course of events (which is manifested in ordinary cinema by naturalizing (ideological) uncompromising linearity of shot sequences). Pièce touchée is at the beginning of Arnold's trilogy (along with Passage à l'acte and Alone. Life Wastes Andy Hard, in which the methods of experimental film psychoanalysis precisely revealed the unconsciousness = the apparent non-existence of the displaced possibility of simulating external reality. /// The author of the book "The Logic of Sense" could observe the formal principles of Aion, the time of the "eternal" truth of events, in which Alice becomes smaller as she grows... /// The film analyzes several levels, which become apparent only thanks to this repetitive decomposition of motion and image, and above all which establish new relationships between characters and events, thus breaking the "natural" (Hollywood) flow of events: 1) the husband's hand synchronized with the wife's head - which bourgeois lady dances as the husband whistles?; 2) Where the repetitive image gives the characters only minimal will, they become, in our perception, just puppets in the hands of the master of the film image. /// However, the main thing is what Arnold creates by including the vertical axis, splitting the image in two and at the same time turning it over; 3) Doors opening from right to left in one viewer experience "change" (they really are!) to doors closing from right to left; 4) A character is moving away and approaching at the same time in "one" motion, their distance simultaneously increasing and decreasing, depending only on the correct composition of the repeated motion and the axis reversal; 5) The axis reversal creates completely new movements - or rather, more complete movements. The hand draws a perfect circle where it previously only made a semi-circle. = The characters thus find their development and completion only in the mirrored reversal. /// Arnold introduces freedom into the visual perception of the course of reality through his work with image and time and thus disrupts reality without having to physically change anything about it.
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