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Tanya Syed
But Tanya Syed's films also confront the viewer with another form of movement within the image.

She has described a particular interest in the choreography of the camera. Delilah is filmed with "a circle or a line … in the camera movement [and also in] the movement of the figure." In her earliest film, Chameleon (1990), these movements create the sense of a literal and metaphorical 'interior'. The body of a female figure spins before the camera, her dress reflected in a slowly-closing glass door. The image of a 'veil' floats down an interior stairway - "a vaginal image" where the hollow of a skirt floats above us and down this staircase, where a woman's feet are followed and a hand is withdrawn into the hollow of a sleeve. Outside, her arms and hands dig over and over, repeatedly, into the earth. The impact of these movements is felt in the final shot of the film where a door opens to the street and the woman meets the gaze of passing men who view her. While the interior space unravels in silence, the exterior image is frozen by sound.

Both the movement of the camera and the movement of the performers in Delilah and Chameleon are part of Syed's further agenda, which is, she has said, "to destabilize the viewer; for the point of view never to be fixed. Our sense of centre is gravity. I want to shakne that," she explains. "All the films are done in this way, to make [you] question who you are, or … remember who you are."

Still from Chameleon by Tanya Syed, 1990
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