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Yann BeauvaisClick here to Print this Page
Like A Song.

Diverse strands lead us into the universe of this film-maker, and amongst those one discovers a sensitivity shared by many film-makers of her generation who began to use Super 8 film, that is a small size format without quality, rough, disposable and common. A format which distances itself from the more established industrial formats such as those used in experimental cinema of the seventies. She did not restrict herself to this format alone, but this was the vehicle which lent itself to capturing diary images as well as being useful for the preparation of single screen studies which would later be shown in the form of multi-screen works. "Super 8 lends itself to collecting diary images, but sometimes it is not diary but gathering, looking, in the same way as though you drew or painted things, only this is moving." (AT)

To use Super 8 is incidentally to embrace the pictorial aspect of the medium, the colour of Kodachrome, the grain, but also the physical ease of use of the lightweight camera with its macro (close up) lens facility. Recourse to this format, for this film-maker as for many others, (Teo Hernandez, Derek Jarman, Cordelia Swann to cite but a few), brings with it an acknowledgement of the body through gesture. Capturing, changing rhythms; a pulsating syncopation is found in several films, Shadow Film (1983), Ramblas Idiomas (1987), Tivoli Films (1988), Train from Dresden to Berlin (1994). It is worth noting that many of these Super 8 films will be re-filmed to become other films on 16mm, but differently from a great number of film-makers, the source material of these films will not be discovered until much later, once the secondary works from which they originated, have already been seen.

This manner of filming, which does not give precedence to one method over another, which asserts the flares, the elisions, the passages from image to image like pauses, reveals an immense freedom with respect to the camera, and for the film-maker inscribes the need to take hold of the camera to expressive ends. Extra-ordinarily, in these films the film-maker shares with Marie Menken this means of capturing the evanescent beauty of a garden in garlands of single frames on one day (Mourning Garden Blackbird 1984); or from season to season (Autumn Rush for Kurt Kren 2002), just as she re-captures the universe of Tivoli Gardens in a homage to Kenneth Anger. But here there are shots which she films of the fountains and garden which evoke the essence of the film. It is not the landscape as a thing in itself, but the representation of that landscape which is the favoured object.

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