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| "URBAN
FANTASY" is conceived as a spatial plot aiming to explore the spatial
dimension of psychoanalytic speech in everydaylife. It highlights the
process of real positioning in urban space as a critique against the
scenariocentric or visual mastering in film/video making. As opposed
to the narrative structure of the "moving" image and "travelling"
camera, the piece is articulated as a sequence of static images cancelling
out the differences between private-public, inside-outside, close-distant,
anterior-posterior… It shows the spatial persistence of events,
by focusing on acts of spatial intimacy and commitment as witnessed
in the paradoxical domestication of public space in everyday life. Sound
and image compositions are reintroduced as spatial statements, as causes
rather than effects. The piece highlights the dialectic of the person/citizen
as a critique of the notion of the individual/flâneur; the former
is a space-proposing discourse registering with fulfillment and accomplished
positions, whereas the latter is a space-cosuming one, always being
in a state of unfulfilment, thus applying scenarios which idealize and
disable space. This work belongs to a series of short computer animation pieces ("Open Air Cinema"#1 and #2 1996, "The Postcard"1999, "Urban Fantasy" 2003) in which Anamorphosis extends the spatial dialectic, as a proper directing technique, to the domain of the moving image. A still from the movie originally appears as a visual introduction of Andrew Samuel’s text ‘Citizens as Therapists’ and Andreas Empiricos’ prose "In the street of the Philhellenes", published in Tracing Architecture, AD/Architectural Design magazine, guest edited by Nikos Georgiadis, London March 1998, p.26. |
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URBAN
FANTASY
copyright ©2003 |
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