My experimental short films (for which I often use cine-film), are choreographic works without dialogue that deconstruct the narrative systematically. They are dance films, if you like. My intention making these mostly improvisational moving images is to find what’s called ‘wild seeing’ (Bernhard Waldenfels): although the filmed moving image in contrast to the live performance is reproductive, the film’s concept brings a pre-predicative experience (Edmund Husserl) into focus. That is to say, it doesn’t define, nor interpret anything, but the sequences of shots, the montage, and the texture of sound directly open into the current happening within the frame. They play dynamically with both Presence and Absence. Sometimes the screen is perceived as a mask or a membrane, it acts like a surface between the happening and the audience, and yet other times the screen vanishes completely.

As a result, the dynamism of receiving these moving images can be experienced as a series of immediate kinaesthetic and visceral sensations, as a kind of “absolute presence” This dynamism can also be experienced by perceiving the surface between the on-screen happening and the audience: seeing this constant slipping out of presence and synchronicity as a kind of ‘prevailing absence’. It brings about feeling connected to and disconnected from the body-mind of another, as well as feeling connected to, and disconnected from one’s own body-mind.

photo: Gábor Rumann

© ​RÉKA SZŰCS | info@rekaszucs.com 

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