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filmwaves.co.uk

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The art of Randy Thom

 Sound designer (FW35)

The Dispersed Subject
MICHAEL MAZIERE
The Dispersed Subject
In a significant moment in my childhood I naively imagined another cinema - one of perceptions based solely on the subjective consciousness of the maker, free from storytelling and the conventions of narrative. Since then the idea of subjectivity has been a recurring point of interest, particularly in relation to the role of the camera in film. In artists’ film and video2, the relationship between the self and the camera is explored extensively. Even in the most austere works subjectivity is located somewhere in the film chain. From the disembodied self of Michael Snow’s La Region Centrale (1971) and the fragmented, obscure and withheld subjectivity in Peter Gidal’s Room Film 1973 (1973) to the all seeing spectator in Douglas Gordon’s Zidane (2006), concerns with individual experience and consciousness are central to artists film and video. Furthermore, the complex relationship between perception and the cinematic apparatus3 explored in artist’s film and video questions equally the subjectivity of the maker and that of the viewer.