Review and Analysis

Possible titles: Do Not Disturb or The Red Carpet

Experimental film and installation.

First draft complete, although needs consistency and build up, however when it works it works well.

Part 1:

Initial travelling house scene and abstract number narrative sets up nicely, interesting visuals that flow well, the difficulty being in when to have silence / no visual.  The visuals will at times bring you back to the installed room and it's important references relate from film fantasy to experienced reality for the viewer although the difficulty at this stage is not being able to review the work in spacial context, although at this stage I'm confident that I will have enough time to review this aspect before the deadline.  Dolls house footage could be added here although to what effect I don't know.  I feel that I want to enforce the roles of personal / social as going back and forth between the personal belonging to the room and the social as viewed experience through the film.

Part 2:

The tension is building but must remain consistent with visual / audio references to part 1.  I have experimented with adding other sourced narratives from interviews etc but as yet have not found anything that quite fits, however I think this will fall into place in time.

Ads:

I enjoy the vagueness of the first constructed ad. Cleansing and ritual are important and I feel the ads add a further layer to narrative.  Could possibly end / begin (loop) the plane footage and audio to add a sense of arriving / leaving and a sense of the elsewhere.

Shots to film:

Dolls house
long wide slow moving pathways as per locations sited. Maze like.
Still moments, although these could be converted to moments of stillness within the installed room and may not be necessary.  Also these could be interpreted as too Chantal Ackerman Hotel Monterey.

Installation notes:

Dado rail, dark bottom light top for screening.  False wall, door refurb, back of door map and red carpet.  Also possibly a wash basin depending on discreetness.

Room 237 - Symbolism, Interpretation and Intention in Kubrick's Shining

Theories that the true sense of horror generated by The Shining in fact stems from the intended subliminal imagery meticulously placed by Kubrick throughout the film referencing the genocide of the American Indians and the Holocaust.  If it is true that direct reconstructions of historical monstrosity become in someway a parody and lean towards fabled production, devoid of any authentic terror connection, then The Shining is a true masterpiece in that it is able to replicate the individual experience of the horror of war.



Points to review:



Mythology: The Labyrinth and The Minotaur

Nomos and Polis: The nomad and the state, Moon landings and secrecy.

The Grid, The Hotel and Psychoanalysis: Zizek.

Intention and Interpretation: The gaze of the object.

Horror, Architecture and the Sublime

Source: Horror in Architecture
Joshua Comaroff and Ong Ker-Shing


An exploration of horror in the visual.  Often the horror aspect is achieved through the supplementary audio of soundtrack, or audio alone as in the old time radio suspense hour editions. Is it imperfection or the perfection of image that is seen as horrific?  The sublime and abject lie in the fantastical horror,  it is able to present the world as it might be by bringing to light evidence of things previously unseen.  The double, the perfect twin or clone identifies with the horrific, the mirror being the frequented fictional catalyst in many a horror fable.  The room left untouched and exactly as it was after it's inhabitants have departed becomes a double in that the possessions belong to another time, the domesticity a parody of itself, the objects becoming ghosts themselves, incontinent and hollow.

Repetition  follows the double closely, in the sense that there can only be one authentic original.  A street of perfectly duplicated houses comes to mind, Stepford Wives style.  As we move through such a place, time becomes redundant,  the street becomes a labyrinth with no landmarks, no beginning, no end.  Groundhog Day.  Place cannot exist convincingly without it's reference in time, without time, it becomes a void, somewhere lost in the laminal, like a dreamscape or nightmare, an abyss.

Video Art and the Home Video

https://www.youtube.com/watch?v=36WUgFMDY-M

Gillian Wearing
2 into 1
1997


Home video, Wearing creates a audio / visual swap of a mother talking about her two sons and vice versa, a piece which has been linked to the process of the ethnographer within the artist.  The result is something very disturbing, the mixed narratives being presented by mismatched blank faces, violent undertones coming from the words being spoken.  The role of the mother within the family alludes to an inferior, almost victimised task, the opinion of which seems inherited from their father.  The audio of actual interview over script proves compelling and conclusive.

The Furnished Room
1940s Radio Production
Produced and Directed by William Spear
Written by Lucille Fletcher

Source: archive.org

https://archive.org/details/SUSPENSE2

Translations Show

'Rooms'

Links

'Projection 27', Rosie Keane, 2012, digital collage / installation.

Links can be found in the way that the structure of building, the grid like connections is essential to my practice, although the structures I exploit are concerned with an aspect of the domestic or the faux domestic, furniture, home or hotel room based, and now for my degree show piece a dialogue between the doll's house and memory of public place and ownership.

Reduced to it's very basics the structure of the grid has appeared somewhat unintentionally in my work for years and for me, I think somewhere subconsciously it must represent some kind of personal association with interior vs exterior, internal vs external and fixed space vs transient.  To be within the grid offers shelter and protection, but also enclosure and imprisonment.  Just as a prison cell, a hotel room, a bedroom or a house conforms to my obsession with 'The Grid'.

'Ornaments', Rosie Keane, 2012, photograph of installation.

It's only recently that I've become aware of the recurring 'grid' in my work and it's only now that I am trying to understand what this means.  I feel the above piece, 'Ornaments' is able to illustrate the borders between the bordered enclosed and the unmapped exterior.  The visual structure of the shelving unit echoes that of a high rise block or a filing cabinet where objects or people are confined and compartmentalized, we order our possessions in this way, we decorate our enclosures to disguise the actuality of the grid, to denote our ownership over the space, to make it our own and in that way we feel as if we belong to it as much as it 'belongs' to us.  What lies outside the grid of comfort is the unknown, without ownership and colonization of it, it becomes empty, a void and a vacancy.

A vacancy, the uninhabited, also refers to a hotel room or a property which is waiting for something, for inhabitancy, so in that way the vacant and empty can lie on either side of the grid.  What this grid means in terms of my practice I still don't know, but somehow I feel as if it is important.  It is now that I release that the three figures in Bacon's triptych are also enclosed in the grid.  Perhaps this was something I was aware of all along. Not only compartmentalized by their arrangement within their frames, but also by the lines within each separate painting, the figures exist within the enclosed.