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On Location: The Imagined Private Interior in Public Life
| Content Provider | Semantic Scholar |
|---|---|
| Author | Lee, Gini |
| Copyright Year | 2009 |
| Abstract | This paper reveals the interior landscapes of selected contemporary Australian films, such as The Caterpillar Wish and Bad Boy Bubby, to develop a number of thematic influences on the manner in which domestic and private lives are constructed through filmic imagination. The research uncovers the conditions that contribute to particular scenographic representations of the humble interiors that act as both backdrop and performer to subtle and often troubled narratives. Such readings are informed by the theoretical works of writer Gertrude Stein, among others, who explore the relationships between the scenographic third dimension and the fourth dimensional performance in the representation of narrative space. A further theoretical thread lies in Giuliana Bruno's work on the tension between private and public filmic space, which is explored through the public outing of intensely private spaces generated through narratives framed by the specificities of found interiors. Beyond the interrogation of qualities of imagined filmic space is the condition whereby locations, once transformed by the event of movie making are consequently forever revised. These altered conditions subsequently reinvest the lives of those who return to the location with layered narratives of occupation. Situationally, the now reconverted interior performs as contributor to subsequent private inhabitation, even if only as imagined space. The possibility here is that the qualities of the original may be superimposed and recontextualised to invest post-produced interiors with the qualities of the other space as imagined. This reading of film space explores new theoretical design scenarios for imagined and everyday interior landscapes. On location: the imagined private interior in public life Whenever I watch movies made in places that I know well and sometimes live in, I usually experience a sense of unease. Shot in familiar places, these sequences of images entwined within someone else's story and re-contextualised through the filmic project, often shock me into a dislocated view of my world. This displacement is further exacerbated through the usual renaming of these places as either identifiably somewhere else or as fictional places over the life of the film. Their spatial sequences are postproduced into curiously superimposed situations to suit the storyline and filmic aesthetic. These new observations of my customary urban and remote interior landscapes of South Australia that are the subject of film sets instigate personal speculations on a collision of associations effected by fictional, locational juxtapositions. Cognitive spatial and material shifts remake known places into sites of transient occupation for the currency of the filmic experience. And when it is all over, when the film crew leaves, the movie has been released, and all returns to everyday life, the vestiges of these altered occupations fade away. Or do they? In my experience, the memory of these fictional events forever resonate in the psyche of the people left behind. Through recollections of images witnessed in film space/time or in the appearance of the material left- overs of the filmed event - a rough stool or an oddly out of place paint job - slight yet changes in the fabric of the place as it was before endure. |
| File Format | PDF HTM / HTML |
| Alternate Webpage(s) | http://arts.brighton.ac.uk/__data/assets/pdf_file/0006/44835/26_Gini-Lee_On-Location.pdf |
| Language | English |
| Access Restriction | Open |
| Content Type | Text |
| Resource Type | Article |
