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The Hammer in the Head

By becoming aware of an idea that is new to us, we talk about it all the time. And beyond that, all the subjects that we approach, we approach them through this new prism. We are going as far as proselytism - essentially to convince ourselves. We repeat the same words, slightly reformulated, until we are convinced. It is a way of swallowing our conditioning to this idea, while hinting that we are already sure. In politics or in love. We repeat ourselves. We repeat ourselves. We repeat ourselves.

The Hammer in the Head

NR 2017
The Algerian Novel, chapter 2

In Algerian Novel - chapter 2, French philosopher Marie-José Mondzain reinterprets Algerian Novel - chapter 1. The film’s nested structure is a way to keep images and their symbolic load at a distance. It opens a new space of negotiation wherein new associations can be shaped. They function as a starting point for the writing of a history in movement and produce narratives which then become touchstones for a new kind of historicisation. In the second part of this second chapter, Mondzain analyses another visual material: that of the rushes recorded during the shooting of the first chapter. These rushes could have been left invisible, or rather 'unseen'- the same way some of the Algerian’s historical figures are not represented on the pictures of the kiosk. In her book, L’image peut-elle tuer? [Can the image kill?], Mondzain defines the 'unseen' as what is waiting for meaning in the community debate. The unseen would then be a sort of unexploited archive, waiting for the gaze to expand.

The Algerian Novel, chapter 2

NR 2017
Blackout

Blackout is a film about time: specifically, the loss of time as experienced by a recently sober, 23 year-old person. The anonymous narrator of the film discusses her history of experiencing blackouts through drinking; covering a five-year time period that culminated in an entire three-day time-loss, her last bender. She also discusses levels of sobriety and her desire to continue to explore various recreational drugs. The narrator declares her intention to live her life alcohol-free, while simultaneously not wanting her identity to be defined through her problematic relationship with alcohol. The narrative is open, stark and direct: a dark insight, flecked with humor. Visually, the work stutters through black moments, punctuated by originally recorded, hand-processed 16mm color film, deploying multiple exposure and other in-camera, experimental techniques.

Blackout

NR 2017