![]() Their camera does not focus primarily on humans as privileged actors in the world but rather on the fabric of affective relations among the natural elements, animals, technology, and our physical lifeworlds. ![]() The films coming out of the lab take a decentered, nonanthropocentric approach to the visual practice of the moving image. In the process of reinventing the relationship between their two fields of inquiry, anthropology and cinema, they have established an experimental laboratory and school at Harvard University, the Sensory Ethnography Lab. ![]() ![]() 90 min.įew filmmakers in recent years have managed to combine formal innovation with a programmatic stance toward filmmaking quite like Véréna Paravel and Lucien Castaing-Taylor. Michael Taussig, I Swear I Saw This: Drawings in Fieldwork Notebooks, Namely My Own (2011)īen Russell, Good Luck (2017), four-channel digital video installation transferred from 16 mm, color and black-and-white, sound, approx. In this threshold situation, language opens up such that “sound and image, image and sound, interpenetrated with automatic precision and such felicity that no chink was left for the penny-in-the-slot called ‘meaning.’” Surrealism, said, takes advantage of the fact that life seemed worth living nowhere but on the threshold between sleeping and waking, across which, back and forth, flood multitudinous images. Hila Peleg in Conversation with Rosalind Nashashibi, Véréna Paravel and Lucien Castaing-Taylor, and Ben Russell ![]()
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