Fear and Might | 00:21:56
Tamar Getter , October 2018
processed photos, stills, found footage (including Ryszard Cieslak in class at the Jerzy Grotowski experimental Theater), filmed sequences, paintings and drawings stills. Sound: waves and seagulls, and a Cossacks' song sung by Yoram Gozansky.
text, directing, photos, filming, process sound and editing, Tamar Getter, 2018
►A woman narrator tells seven short stories describing a series of independent situations. Together they form a conceptual-poem sequence that deals with physical postures of fear (freezing in place, trembling, stupefaction, shock, etc.).
►Four stories deal with animals and three with people.
►The text tells and describes pictures on the screen and others that are not visible. The reverse of this is conveyed through additional pictures, at times the same ones newly processed, clearly distorted, which in the way they are made and concatenated affect the preceding or postponing of what the text tells or will tell later.
►Duo sequences form a break between the seven stories. One is a primitive animation made from a single still photograph of a giant tsunami wave crashing on the shore, and the second is sort-of pantomime showing a hand playing with a metal ball. The overall structure, the order of the stories, and their content slowly unravel towards the end.
►Rapid flickering, the overall optical configuration dominating this work, offers some relation to the experience of looking at pictures in terms of a question on meaning: what invites what; What precedes, what delays, what describes, what enables, what remembers what: the pictures the words or the words the pictures.
►The imaginary time of the work, a blend of present, past, and mythical time, stems from this indecisive movement. There is the direct observation present when the text points to a concrete picture that appears on the screen, and then, there are all other speculative spaces, times, and places required by the characterization of the fear postures described.
►As I write stories too, without visuals, it might be proper to say that this video-work reflects how my Imagism works while I am writing a song or a story.