As part of Critics’ Choice, the screening of Vox Lux on Mon 24 Jan, 16:30 will be preceded by a video essay by Catherine Grant.
Note(s) on Absence
Vox Lux, Acousmêtre
A white screen
Modern cinema gives us the absent image to look at, but casts doubt on its own representation. [Carlos Losilla]
Where images disappear, they must be replaced by images; if not, loss threatens. [Ernst Jünger]
[P]hotographs promote forgetting...It's a confirmation of death. [Marguerite Duras]
By forgetting her past trauma and refusing to incorporate it into her subjectivity in her present life, the woman creates a distinction between her two selves: the one that experienced the trauma in the past and the one that exists independently of the trauma in the present. [Sarah French]
The image has shown us that we are a mutant species. We are, and have been since the first projected image, the real impossibility of people-images. They have since multiplied: they are occupying the surface of the world. [Jean Louis Schefer]
Often surprised, often uncertain, we discover that much of what we thought we were hearing, was in reality only seen, and explained, by the context. [Pierre Schaeffer]
In these images, I haunt a time and a place I find it hard to imagine belonging to but [to] which I very certainly did. [Stuart Jeffries]
Vox LuxBrady Corbet IFFR 2019 112′
Satirical drama about superstar Celeste (Natalie Portman) who is famous thanks to a terrible incident and who symbolises a society in moral decline.
Unconventional, visually spectacular drama about superstar Celeste (Raffey Cassidy ánd Natalie Portman), whose fame is due to a violent incident in high school and her elder sister’s talent. An incisive analysis of the violence and fame that turns people into cynical narcissists.
Catherine Grant, Professor of Digital Media and Screen Studies at Birkbeck, University of London, has been making digital videos about cinema for a decade, mostly for film critical or scholarly research publications online. With her associative approaches to intertextuality and spectatorial experience, which often turn on experimental forms of multiple screen composition and sound design, her audiovisual works rarely if ever take the "explainer" forms of much online video essay culture. Catherine also curates online for Film Studies For Free and Audiovisualcy, and co-edits [in]Transition: Journal of Videographic Film and Moving Image Studies.
Photo in header: Catherine Grant