_trailers for a kinotectonic project

five one-minute 'trailers' following initial preoccupations in valencia. they may be read as [some] chapter-headings for the next film which will beginto form a more definitive narrative for the kinotectonic project. also, a postcard to the elders.

_snapshots_01

_valencia pre-trip poster

_contrapposto
from sculpture to soma

This film attempts to construct a plane of desire by reading between the lines of the previous two films [mannekino eye introvert/extravert].

As a basic kinomatic device, and in contrast to ‘mannekino eye [extravert]’ this film uses the zoom as opposed to the pan to define a scenic transition: that of scale.

As previously, the technique of chiaroscuro is applied in order to communicate ambiguity (to push something in two directions). As in mannekino eye [introvert], the light becomes a dynamic subject (the sun) which interferes with the desire of the kino-eye to focus on/identify the subject.

The subject – kino’s object of desire – describes a transition from inanimate to dynamic, a reference to the apparent coming to life (or ambiguity of mannequin’s lifelessness) of the apparently inanimate object: mannequin, in previous films. She is introduced as unambiguous inanimate sculpture-like figure. The film concludes with two impulsive somatic gestures, an exhalation of smoke identifying that the subject does indeed breathe; and a glance towards, the kino-eye, a reference to initial studies of parallel lines of thought in ‘inland empire’.

_mannekino eye [introvert]

The physical inversion of mannequin’s eye by the wax cast – the material of the geometric investigation – becomes here, a sort of personification of the inanimate object. The slice – necessary for the creation of an accurate section through her eye – becomes a further dissection/exposure. Ironically, it seems to bring the subject to life though an almost frankenstinian operation.

_wax cast of mannequin's eyes

the colour black has an ambiguous and ambivalent nature, synonymous with bipolarity, giving it a mythological aura that has, over the centuries, fed aesthetics, ideologies, politics, techno, technology, theatre, cinema etc.

negative examples are:
black shirts; black magic; the black plague; black mass; black cat; black period; black list

positive examples are:
little black dress; black gold; black pride; black humour; black jack; black virgin; black pearl

_ambiguity : to be ambiguous, unclear. from latin ambigere ‘push something in two directions’.

_ambivalence : the simultaneous presence of contradictory emotions or feelings towards the same person or thing. a term used in psychoanalysis in relation to split personalities, a vein of ambivalence runs through art seen as a metaphor for splits with nature, culture, the self, one’s own art, etc. this bipolarity, this contrast or otherness, is expressed most visibly in the play between black and white.

_b/w [black and white] : a technique in photography in cinematography, but also a reference to conceptual expressions of representative form, such as the theory of perception, among others. in photography, black and white is synonymous with reportage, with images linked to fashion, and with subjects where photography is being used to create art.

- from the glossary of a noir

_polyophysiognomical : amalgam used by the italian futurist anton giulio bragalia to describe a method of photography which attempted to describe a dynamic object by means of overlays. also known as photodynamism.
_poly- : many or several
_physiognomy : 1 the face or features, especially when used or seen as a key to someone’s personality. 2 the art of judging character from appearance, especially from the face.

_photographic and geometrical analysis of eye curvature and camera angle

_set up drawing of experiment

_set up drawing of experiment

_illuminance studies of stills sequence from ‘mannekino eye’ film

_chiaroscuro : amalgam of italian words meaning light and dark referring to a contrasting use of light and shade in painting, photography and cinematography. In the latter, most notably in german expressionist film, and in film noir. Indusive of ambiguity.