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Women Cinemakers After sharing our thoughts with Ori about different parts of the film, he described the sonic landscape that would characterize each part - a consistent, but not necessarily realistic language that would represent the actions taking place on screen. These sounds, made to fit the pace of the film itself, represented the first version of its soundtrack. At this point, some parts were almost finished, while others were decidedly empty, namely those areas in which the animation described a kind of expansive landscape that needed to be filled with music. Thankfully, Eyal Talmudi from the band Malox allowed us to use music from his album “Gaza Trip.” It is a great privilege to include such wonderful material, alongside musical arrangements that Ori prepared especially for the film.

catalogue, with the soul of the artwork having passed, or perhaps transformed into the pages of the catalogue. The sound served many purposes: to refine associations that are triggered for us by the images, to create an atmosphere, and also to highlight moments of humor in the work. We hope that this can offset any sense of self-importance that is an inherent part of a piece devoted to works in the museum collection. The film was very musical in nature, even prior to the soundtrack, shaped as it was to carefully coordinated movement and rhythms that were playing in our head. In fact, every film has its own sense of timing, prior to the creation of music or a soundtrack.

Re-organization was initiated as a site-specific projection for “Contact Point” 2015 – an all-night event that hosts artists in a range of media who engage with art works throughout the Israel Museum in Jerusalem. Serbian performance artist Marina Abramovi once remarked the importance of not just making work but ensuring that it’s seen in the right place by the right people at the right time: how is in your opinion online technopshere affecting the consumption of art by the audience? The one-time screening of the work as part of the “Contact Point” event was a significant, exciting experience. In many respects we consider the adaptation of the work from a sitespecific piece into a film essentially a new piece, separate from the original, despite the similarity between the two. The original screening related to the architecture of the building on which it was screened (in contrast to the rectangular format of conventional film screenings). The sheer size of it invited viewers to situate themselves relative to the piece, to decide which part of the frame to focus on. Shown in the context of a silent disco party (music via headphones), the

Profile for WomenCinemakers

WomenCinemakers, Special Edition  

WomenCinemakers, Special Edition  

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