Kawase: “The word ‘document’ makes me think of the past, it gives me this impression. The word ‘memory’... memory is...”
Kazuo: "Do you feel like it's yours?"
Kawase: "It gives me the impression of living. The document, or the documentary, sleeps on a warehouse, and it belongs to the past. It feels like we are standing before the past. While the memory... the memory lives inside of us forever.”
Kazuo: "But the truth is, what we have in our memory is older than a documentary. What we keep in our minds is already dead. We remember what no longer exists. Having something in our memory is sad, it means it doesn’t exist anymore. No one is completely themselves. Someone has our second half, our second image. It’s the same with memory. The memory of someone... another person has a different part of this memory.”
Kawase: "Is that sad?"
Kazuo: "What is sad is the fact that it no longer exists.”
Camera Lucida: reflections on photography (Roland Barthes) / Katatsumori (Naomi Kawase, 1994) / Just Kids (Patti Smith) / Sans Soleil (Chris Marker, 1983) / Letter from a Yellow Cherry Blossom (Naomi Kawase, 2002) / Family Portrait Sittings (Alfred Guzzetti, 1975) / Diary (David Perlov, 1983) / The "I" of the camera (William Rothman on Guzzetti's Family Portrait Sittings) / Time Indefinite (Ross McElwee, 1993) / Diary (David Perlov, 1983)
