Corner EDITS

Looking at film through the process of ritual, a great experimental ritual in film is achieved not in spatial terms alone, but in terms of a time created by specific sounds and most importantly by the techniques and processes involved in editing. This time, has the ability to transform the viewer into a “traveler” by blending these two elements into form (“choreocinema” is the form used in this case) This experience is probably felt in most of Maya Derens films; although sound is a minimal character in most of her experimental trips, the world she superimposes on film becomes a trance-like experience you can’t peel your eyes from.

Incredibly textured and dramatically lit, The Very Eye of Night contrasts themes like movement, aesthetics, physical beauty, and dark inner workings. For a modern audience, the rituals involved in this piece are missing fast cuts, deep layering and poetic melodies. I took the liberty of re-ritualizing Deren’s visuals with Bonobo’s Billie Holiday twist; this can hopefully bring back an obsolete experience to the modern viewer.

Also, I’ve been looking at Deren’s work for quite sometime now as visual reference, and just recently found that a lot of her work was actually shot in her home. She was thrilled to shoot The Very Eye of Night in an actual studio. I bring this up because lots of incredible filmmaking nowadays is still being produced this way. Even with a limited budget, and spatial limitations, what makes a great film is exploiting that certain ritual and strong content /or story.

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