Performing erasure
Contribuinte(s) |
unknown |
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Data(s) |
01/01/2013
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Resumo |
This presentation examines my abstract films from my ongoing 16mm and digital experimental film practice, e.g.: 223(1985, 6 mins), Migraine Particles (1984, 12 mins) , Understanding Science (1992, 18 mins), Rote Movie (1994, 12 mins), Trauma Dream (2002, 7 mins) and Analog Stress (2004, 12 mins) as expressing a process of erasure, a method employed to construct a gutted and marooned identity. It rereads the essentialism of Modernism as laying bare the mechanics of erasure and denial and Peter Gidal’s anti-illusionist ‘Materialist Film’ as a practice outlining the structure of trauma, and the nature of traumatic memory, described as dissociative in Pierre Janet's early work.<div><br />I understand my practice as a response to trauma, dislocation and resettlement expressible in the emptied and gutted voice of the New Australian, a 50s term for the assimilated migrant of which the Dutch were considered exemplar performers, good white New Australians, who neatly left their Dutch identity at the door, but who never-the-less witnessed the ambiguities of the ideologies they implicitly embraced. The term ‘New Australian’ is an ‘official’ 1950’s identity which asks you to forget your past for a problematic, undefined Oother¹ that is set apart from ‘Australian’.</div> |
Identificador | |
Idioma(s) |
eng |
Publicador |
University of Amsterdam |
Relação |
http://dro.deakin.edu.au/eserv/DU:30057029/debruyn-performingerasure-evid-2013.pdf http://www.film-philosophy.com/conference/index.php/conf/2013/paper/view/477 |
Direitos |
2013, The Authors |
Palavras-Chave | #trauma #abstraction #cinema |
Tipo |
Conference Paper |