|
··········
Dolores é a quinta entrega dos meus Estudos Cinematográficos (“estudo” nom como investigaçom experimental senom como análise crítico). Seis décadas despois a Lolita de Stanley Kubrick (1962) madurou e converteu-se em Dolores: já nom podemos vê-la (personage e película) com os mesmos olhos. Os erros digitais (as figuras dum plano entram no plano anterior para metamorfoseá-lo) descobrem relaçons até agora ocultas das personages.
Ao mesmo tempo Dolores conforma umha trilogia com A Fundamental Error e Noite de rodos, com as que comparte a investigaçom sobre a materialidade do cinema digital, ainda que neste caso a manipulaçom do código hexadecimal nom foi realizada por mim senom que me véu dada. Dolores é material encontrado (nom buscado), um arquivo digital corrupto que o meu reprodutor nom foi quem de reproduzir fluidamente. Eu limitei-me a improvisar umha melodia em direto, como músico de jazz, movendo as images cara adiante e cara atrás entanto gravava o resultado na pantalha.
··········
Dolores is the fifth installment of my Film Studies (“study” not as experimental investigation but as critical analysis). After six decades Stanley Kubrick’s Lolita (1962) has grown up and become Dolores – we can’t see them (character and film) with the same eyes anymore. The digital glitches (figures from one shot enter the previous one to metamorphose it) unveil until now hidden connections between the characters.
Together with A Fundamental Error and Night of Hoes, Dolores is at the same time part of my glitch trilogy. It shares with them an investigation on the materiality of digital cinema, although in this case the manipulation of the hexadecimal code was not done by me but came to me as a ready made. Dolores is found (not sought) footage, a corrupted digital file my player was unable to play fluidly. I just improvised a live melody, as a jazz musician, moving the film back and forth while screen-capturing the resulting images.
··········
··········
|