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Inscribing in Time

by Clarice the Specter
Not just my attempt at paying tribute to Tarkovsky’s idea of “sculpting in time,” inscription in the cinema interrogates the layers within representation and the valences between the camera and the subjects, as well as the constant flux of objects within the frame in relation to duration. “When you look at a picture, if you look just one second you get the information, ’that’s a corridor.’ But after a while you forget it’s a corridor, you just see that it’s yellow, red, lines: and then it comes back as a corridor.” -Chantal Akerman (taken from Ivone Margulies’ excellent book on Akerman’s opus, Nothing Happens: Chantal Akerman’s Hyperrealist… Read more

Not just my attempt at paying tribute to Tarkovsky’s idea of “sculpting in time,” inscription in the cinema interrogates the layers within representation and the valences between the camera and the subjects, as well as the constant flux of objects within the frame in relation to duration.

“When you look at a picture, if you look just one second you get the information, ’that’s a corridor.’ But after a while you forget it’s a corridor, you just see that it’s yellow, red, lines: and then it comes back as a corridor.” -Chantal Akerman (taken from Ivone Margulies’ excellent book on Akerman’s opus, Nothing Happens: Chantal Akerman’s Hyperrealist Everyday

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