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Women Cinemakers

agree with this interpretation? Moreover, how do you consider the relationship between reality and imagination within your process? That is why that experimental video starts with a black blank screen that I wanted to present as dark. Then, in the dark, there are white frame lines that define the screen - an imaginary square, as if there were four equal rectangular spaces drawn out of nothing, as if there were four rooms, there are specific objects: a man's boot, a woman's boot, everything turns into dance, black turns white, while white is black, the image is turned upside down and comes back again; and then I leave everything to the viewer's imagination. At the end of the film, everything goes dark again; everything disappears so quickly, dissolves as it appeared: I deliberately did it that the stills swiftly changed each other so that the viewer would not be able to understand whether it was real or imaginary. Another stimulating work that we would like to introduce : this work can to our readers is entitled be viewed at and it could be categorized as a . It consists of 17 images of symbols and signs -- equivalent to the use of 17 syllables in the Japanese poetry form Haiku. How did you come up with the idea of combining techniques from the field of visual arts with poetry? I got the idea of how to combine visual arts techniques with poetry by coincidence in 2011, when surfing online. I found an open call to one-night annual international juried festival of film, sound and new media 'Lightworks 2011', organised and directed by Grimsby Institute at North East Lincolnshire in the UK.

Profile for WomenCinemakers

WomenCinemakers, Special Edition  

WomenCinemakers, Special Edition