"Miss Candace Hilligoss' Flickering halo" by Fabio Scacchioli, Vincenzo Core.
Selected for the 68th Venice International Film Festival (Italy)
Award for the Best Short Film at Lausanne Underground Film Festival (Switzerland)
Award for the Best Experimental Film at Corti & Cigarettes International Short Film Festival (Rome, Italy)
Award for the Best Experimental Film at Timishort Film Festival (Timisoara, Romania)
Award as important cinematic work at Alternative Film/Video Festival (Belgrade, Serbia)
ICMA European Award at ICMC2012 - International Computer Music Conference (Lubljana, Slovenia)
The beginning is another movie, an american noir of the early 60s: gutted and disemboweled, tortured and "detourned" images organize themselves into precarious and evolving structures, intertwined in multiples and twisted plots in a state of permanent collapse. The aim is to incite the explosion of a closed system through a dispositive of audiovisual implosions. Forget what you see while you are actually watching it, and soak in a vibrating, optical ancestry. A scream without a reason.
The human eye can see the world through photoreceptive cells on the retina, a membrane sensitive to light emitted or reflected by objects. Light travels through time and space at a certain speed. For example, sunlight takes 8 minutes to get to our eyes, while from other stars it takes several lightyears. Also the light generated or reflected by an object or a person on Earth takes a certain time, even if short and infinitesimal. There is a distance (short, eternal) between us and our image of reality. Even between thought and action, between thought and language, there is a similar lapse, necessary to transmit the signal via electrical impulses from the brain to different parts of the body.
“Miss Candace Hilligoss' flickering halo” is a film about this distance, about the interval simultaneously separating and uniting, the silence between words, the black between pictures. It 's a film against the dialectical opposites in cinema, assembled according to the Heisenberg's uncertainty principle and the use of the phenomenon of retinal persistence as an expressive tool. Vincenzo Core, sound director, believes the audio element is not just a naturalistic comment of pictures, but rather a counterpoint between sound and images able to turn the experience into a real "audiovision ".
Video / Sabrina Ratté
Image / file courtesy of Samantha Katz
Music composed by Roger Tellier-Craig
AURAE was part of The First Digital Art Auction at Phillips, curated by Lindsay Howard. ( Phillips + Tumblr present Paddles ON!) paddleson.tumblr.com/
AURAE, is a video based on a photograph manipulated digitally and processed through electronic signals. The architectural forms constantly falling apart and their changing textures evoke the ephemeral nature of perception, and suggest the idea of time and its influence on this perception.
In a celebrity-obsessed culture, filmmakers often exploit the downfall of a star to amplify the emotional undertones of the fictional films in which they perform. POSTFACE takes a look back at the filmography of Montgomery Clift whose private life and career spiral downward after a 1956 car crash that left his face scarred and partially paralyzed.
Like an actor without a face, the video is an exploration of obsolescence, produced by means of analog tape manipulations.
In this gothic melodrama, Joan Crawford and Bette Davis perpetually wake to find themselves haunted by their own apparitions and terrorized by markers of time. Isolated in their own screen space, each woman struggles to reclaim time from the gendered discourses of aging that conflates older women with a sense of expiration and invisibility.
The Time that Remains is the third work in the Dark Matter series, an ongoing cycle of video installations that are concerned with personal and historical experiences of time, and how these relations are mediated by screen technologies. Begun in 2005, each work in this series takes the form of a séance fiction where encounters are staged between the past and future selves of a deceased screen star.
Materials: Humoresque (1946), Hush... Hush, Sweet Charlotte (1964), Jezebel (1934), Possessed (1947), Strait-Jacket (1964), The Letter (1940), What Ever Happened to Baby Jane? (1962). Music: Frédéric Chopin ‘Nocturnes Op.9 No.2’, Overlook Hotel ‘As Time Goes By’, Thomas Newman ‘Mental Boy’.