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partygoers listen to music via headphones). As such, the film was made without a soundtrack and each person’s experience of the film was colored by the particular music they were listening to at the time.

acts like an organizing agent and in many ways is the most narrative part. It has recurring elements, a relatively limited range, and leads viewers to attribute specific meanings to the wide array of images displayed.

When we decided to make the piece into a film it was clear that we needed to introduce sound, to endow the piece with a particular sound. And so we were looking for a musician and sound artist who could give more depth to the work, introduce his own take on the piece – who could, in effect, be a collaborator. This is how we met Ori Kadishay with whom we continued to collaborate on future projects.

Throughout the soundtrack body parts were linked with mechanical sounds (a leg was given the sound of a metronome, hands the sound of a machine) and sometimes lifeless objects were endowed with bodily, human or organic sounds (breathing paper, or vomiting cuts).

Insofar as sound was introduced only after the film was made, our dialogue with Ori allowed us to see it with fresh eyes and to be more concrete in our approach. The sound in this work

This combination highlighted our immersion in the world of the catalogues, but also the difference between observing an original work of art, as opposed to seeing it reproduced in a

The sounds waver between noises from a cold, mechanical world and warm, organic tones.

Profile for WomenCinemakers

WomenCinemakers, Special Edition  

WomenCinemakers, Special Edition  

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