12/7/2010
AMAZING!
Just discovered this video tonight. It has inspired me immensely, as I'm beginning to do more video work.
Keren Cytter - Four Seasons, 2009
**Warning-Nudity**
As the film unravels, conflicting narratives are revealed, switching between the stories of Stella, a tragic tale of heart-break and domestic murder, echoing Tennessee Williams’ A Streetcar Named Desire (1947), and Lucy. A voice-over describes the building using its architectural elements as metaphors for human behaviour. Climaxing with a series of spontaneously combusting objects – birthday cake, Christmas tree, record player – Four Seasons is a homage to all that is fake, showcasing visual clichés, lo-fi special effects and deadpan delivery. Yet, somehow, Cytter creates a sense of poignancy rather than of cynicism.
Cytter’s work emphasizes only multiple fragmented moments of feeling. As the man in Four Seasons explains to Stella, ‘I loved you then and I love you.’ Stella replies ‘… you pushed me. Head hit the floor so hard and my skull cracked wide open […] You broke my back. My knees. My heart.’ Clearly he wasn’t in love with Stella at that point. Cytter flouts her style clashes – home-movie Hitchcock, lo-fi Hollywood glamour, soap-opera Samuel Beckett, soft-core feminism – manipulating these cultural tools with results that range from the banal to the sublime, from the embarrassingly comic to the vulgarly surreal.
Kathy Noble
Just discovered this video tonight. It has inspired me immensely, as I'm beginning to do more video work.
Keren Cytter - Four Seasons, 2009
**Warning-Nudity**
As the film unravels, conflicting narratives are revealed, switching between the stories of Stella, a tragic tale of heart-break and domestic murder, echoing Tennessee Williams’ A Streetcar Named Desire (1947), and Lucy. A voice-over describes the building using its architectural elements as metaphors for human behaviour. Climaxing with a series of spontaneously combusting objects – birthday cake, Christmas tree, record player – Four Seasons is a homage to all that is fake, showcasing visual clichés, lo-fi special effects and deadpan delivery. Yet, somehow, Cytter creates a sense of poignancy rather than of cynicism.
Cytter’s work emphasizes only multiple fragmented moments of feeling. As the man in Four Seasons explains to Stella, ‘I loved you then and I love you.’ Stella replies ‘… you pushed me. Head hit the floor so hard and my skull cracked wide open […] You broke my back. My knees. My heart.’ Clearly he wasn’t in love with Stella at that point. Cytter flouts her style clashes – home-movie Hitchcock, lo-fi Hollywood glamour, soap-opera Samuel Beckett, soft-core feminism – manipulating these cultural tools with results that range from the banal to the sublime, from the embarrassingly comic to the vulgarly surreal.
Kathy Noble

0 Comments:
Post a Comment
Subscribe to Post Comments [Atom]
<< Home