Alberte Pagán

Frank

Frank

(2015, 65′)

Frank é a terceira entrega dos meus estudos cinematográficos que encetara com Walsed. Irmá gémea de Quim.com, Frank acode de novo a umha película de Iván Zulueta de 1972. FrankStein resume, em tres breves minutos, a película homónima de James Whale. Desta vez Zulueta nom utiliza os 8mm de Kinkón, senom os 35mm de Whale, mas, claro, coa intermediaçom, umha vez mais, do televisor (anúncios incluídos).

Eu estiro estes tres minutos e lhes devolvo a duraçom original (só a partir da cena na que Zulueta começa a refilmar: o assalto à tumba no cemitério). Os abundantes planos congelados tenhem um menor dinamismo que no caso de Quim.com, mas permitem-me jogar coas images originais, que aqui utilizo como cinta métrica sobre a que medir convergências e divergências.

A música é a original de Zulueta, estirada à par que as images. Conservo igualmente as músicas e sons de Whale, mas elimino os diálogos, agás o intenso “Agora sei o que se sente ao ser Deus!”.

Tanto a obra de Zulueta como, neste caso, a minha, estám feitas de restos e recortes: escaravelhamos no cemitério da história do cinema, colhemos fragmentos de corpos mortos e criamos, as costuras bem visíveis, a nossa própria criatura, à que lhe damos vida. O cineasta como doutor Frankenstein, a película como monstro.

Frank is the third instalment of my film studies which began with Walsed. Quim.com‘s twin sister, Frank uses again another film by Iván Zulueta. The 1972 FrankStein condenses the homonymous James Whale film into a brief three-minute work. This time Zulueta does not use the 8mm camera of Kinkón, but Whale’s 35mm, although refilmed, once more, off the TV screen, commercials included.

I have stretched these three minutes and have given them back their original duration (but just from the scene where Zulueta starts refilming —the cemetery sequence). The many frozen shots are less dynamic than the ones in Quim.com, but they let me play with the original images, which I have used here as a tape measure with which we can measure convergences and divergences.

The music is Zulueta’s original, stretched as much as the images. I have also kept Whale’s sounds and musics, but I have removed the dialogues, except for the intense “Now I know what it feels like to be God!”

Both Zulueta’s work and, in this instance, mine, are made out of remnants and snippets: we dig in the film history cemetery, we take fragments of dead bodies and with them we create, the seams visible, our own creature which we bring to life. The filmmaker as doctor Frankenstein, the film as the monster.


























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