Natalie
(2004) Video/Music 3.20 min
(1 min SD preview)
Music
has the ability to evoke emotions in the listener, as if the melodies
were fingers stroking invisible strings inside the body, generating
emotional vibrations that
reverberate inside it. Music can take one away to an imaginary
place where emotions can be enjoyed in a safe
form, where one can take pleasure in being melancholic and sad because
one can control and contain the
scale of it, as opposed to the real trauma of emotions from the outer
world. Films are another form of an
imaginary space where one can indulge in fantasy and live vicariously
through the protagonist of the
story. The psychologist Hugo Münsterberg (1863-1916) was one of the
first
to write about film at the emergence of the new technological
phenomenon. In the very first book
written on film theory, The photoplay: A psychological study (1916)
Münsterberg wrote:
“we come nearer to the understanding of its [film’s] true positions in
the esthetic world, if we think
at the same time of … the art of the musical tones. They have overcome
the outer world and social world entirely,
they unfold our inner life, our mental play, with its feelings and
emotions, its memories and fancies,
in a material which seems exempt from the laws of the world of
substance and material, tones which are
fluttering and fleeting like our mental states.”1
The immateriality of
video and music is well suited to “materialize” internal
experiences. I use the visual language from my dreams; I stylize my
perceptions and
experiences, employing the language
of video and music to appeal to the viewer’s senses. I
create an inner or mental space where a character is inserted,
portraying a state of mind through performance
of gestures or movement. I rarely use dialog or written language as I
find that it narrows down the
possible reading of my work. My work is suggestive and I deliberately
leave open ends that can be
interpreted by the viewer, so he can apply his own imagination to the
work as my aim is always towards
evoking an emotional experience within the viewer.
1 Münsterberg.
The photoplay: A psychological study, p. 168-9
from: Cohen. “Music as a source of emotion in film”,
p. 252
stills from Natalie
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