What follows are bits and pieces from an article I drafted six years ago about the Andrei Tarkovsky’s Zerkalo and Daniel Frampton’s filmind. At the time, I approached several scholars w…
“The filmind obscures past and present events, and makes the first visible in that it deliberately undertakes an act of remembering, which, as Biró stresses in her book Turbulence and Flow in Film, is an intentional “attempt to recapture the past.” (2008: 84) The obscurity of it derives from its possibility to visualise memory in its purest form; twisted and conjured, expressed through a mixture of colour palettes and, often enough, a change of paces of past events.“
Post on my blog The Art(s) of Slow Cinema, a previously unpublished essay from six years ago about Daniel Frampton’s filmind and Andrei Tarkovsky’s Zerkalo.