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A still from Peephole film is literally shot through a peephole. For me, the peephole represents the perfect balance between public and private, between secure and vulnerable. The perception is that with the wide-angle view of the peephole we are able to see more than the human eye and thus we can access a broader view of the world. But in widening the view, we are also pushing the world farther away, actually making things harder and harder to access. The peephole speaks perfectly to ideas I was attempted to express within the film, as each one of us sees the world through our own subjective lens.

The film is constructed as a journey, a continual search to gain access to this notion of “self.” I begin in my newly adopted domestic space; a space that attempts to simulate the feeling of home but never actually achieves it. I then move out into a fragmented experience of the city, a frenetic, disconnected series of blips. Finally, I venture out into the suburbs, specifically to the house where my father grew up. I have very select memories of this place, and ultimately I will never have access to all of the memories embedded within its walls. I can never experience the full extent of this history, but there is a strange indefinable quality that surrounds it, an uncanny feeling of a home forgotten.

In the end, this film is less about somehow finding “myself” and more about the acknowledgement of my situation, my own subjectivity, and realizing that there are parts of my past that have shaped who I am and will always cling to me. It is also about the journey itself, a continual search and endless feedback loop of memory and experience. The film provides a space of meditation, a chance for personal reflection in which past and present collide. Ultimately, we see our world, our history, and ourselves, but only through the peephole.

Throughout this journey, there are two transitional aspects occurring. Visually, the peephole view starts off very distanced and gradually zooms in until it completely fills the screen. Aurally, the “past” audio soundtrack starts off clear and becomes more and more muddied and distanced until it eventually disappears. Using these two elements further highlights the rift between past and present, the closer we get to one the farther away the other moves. Along with this, the feeling of disconnect and estrangement can be seen by the fact that the

Timothy Grover

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Stigmart10 Videofocus February 2014  
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