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Yann BeauvaisClick here to Print this Page
Like A Song.

Anna Thew's work in sound is marked by the multiplicity of languages spoken, sung or written. This multiplicity highlights the distinctiveness of each of these languages, their scansion, their dynamic and their poetry. This collision of languages in the body of the film, whether it is Italian, German, or French, in the same breath, questions the insularity of the dominant language. English becomes one language amongst so many others.

The film-maker speaks by means of this polyphony. Consequently the original version is also plural, in the manner of the pieces of music and film from which she composes her works. Each film is coloured by the places, the towns which the film-maker passes through, the memories, the men, her desires, which she documents in a distinct way and which she assembles in mosaics from which the joins, flare outs and scratches are not discarded. The film must be understood as a body, and consequently a body which is malleable, endlessly transforming itself. This constant renewal reveals itself in Anna Thew's films in the re-cycling of sequences from one film to another. This method acts on the notion of motifs as much as it performs as a rhythmic element, permitting the films to be seen as cinematographic poems which, from individual experience, are freed to make way for other songs. In this sense, her work shares along with Anne Rees-Mogg, for whom she has a great admiration, the power to evoke something from next to nothing; a family photo, a chord of music, concretising the experience of the past with the bias of experience of an individual consciousness.

Still from Blurt Roll 2 by Anna Thew, 1987
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