work
1510 – sogno su carta impressa con video
| category | Animation |
| subject | Human figure, Abstract |
| tags | sogno, denti, bambini, infanzia, collage, famiglia, zia, nipoti, sorelle, parenti, lacerazioni, incubo, pixel |
| minutes | 7 |
| seconds | 17 |
| year | 2013 |
Full hd, col, sound. pw: onirico
The 1510 painted frames try to recreate the atmosphere of a recurring dream in which living and dead relatives entertain each other with apparent carelessness, ignoring my help request. I'm a child and I realize I have lost all of my teeth, that my aunt Tina decides to patiently fasten on me, without however investigate about the reason of the loss, nor does she suggest a credible remedy. The living room, hosting the anguish of remembrance-absence and the image of the future-absent, becomes the spatial fulcrum of sleep ad drowsiness. Illogical dreams phases are mixed up with lucid dreams, in which I can find rational connections between the (evanescent) presences of the dream and the (real) faces identified in the memories. A dreamlike journey that offers a violent awakening on a common private future.
Statement on the film
What pushed me to make this film is a paper, pictorial and material need, from which the digital experience excludes. I wanted to transpose the informal pictorial on video, physically tear the memory printed on paper, because every shot contains only a memory, never a present. The tearing of faces also recurs throughout the dream, preventing me, in the dream, to recognize people close to me, or rather, to really know them.
I would define the film as a collage, but not only for this tactile and physical aspect: more precisely "space-time collage", because in space and time the filmic work is arranged. The typical discontinuity of the collage is found also in the use of private amateur VHS, filled with electronic granularity, superimposed on the real grain of the printed and then painted digital frames. The combination of these different supports determines the "unfolding" of the temporal collage that takes on a predominantly pictorial and visual significance, even though it properly represents the various phases of the narrative dream.
The 1510 painted frames try to recreate the atmosphere of a recurring dream in which living and dead relatives entertain each other with apparent carelessness, ignoring my help request. I'm a child and I realize I have lost all of my teeth, that my aunt Tina decides to patiently fasten on me, without however investigate about the reason of the loss, nor does she suggest a credible remedy. The living room, hosting the anguish of remembrance-absence and the image of the future-absent, becomes the spatial fulcrum of sleep ad drowsiness. Illogical dreams phases are mixed up with lucid dreams, in which I can find rational connections between the (evanescent) presences of the dream and the (real) faces identified in the memories. A dreamlike journey that offers a violent awakening on a common private future.
Statement on the film
What pushed me to make this film is a paper, pictorial and material need, from which the digital experience excludes. I wanted to transpose the informal pictorial on video, physically tear the memory printed on paper, because every shot contains only a memory, never a present. The tearing of faces also recurs throughout the dream, preventing me, in the dream, to recognize people close to me, or rather, to really know them.
I would define the film as a collage, but not only for this tactile and physical aspect: more precisely "space-time collage", because in space and time the filmic work is arranged. The typical discontinuity of the collage is found also in the use of private amateur VHS, filled with electronic granularity, superimposed on the real grain of the printed and then painted digital frames. The combination of these different supports determines the "unfolding" of the temporal collage that takes on a predominantly pictorial and visual significance, even though it properly represents the various phases of the narrative dream.
