Lost at Sea: Intermedial Encounters in the Films of Janie Geiser
The Fourth Watch
By Genevieve Yue for Grey Room.
“Peter Pan! Oh, Peter, I knew you’d come back! I saved your shadow for you. Oh I do hope it isn’t rumpled. You know, you look exactly the way I thought you would. Oh, a litter taller perhaps. But then—you can’t stick it on with soap, Peter. It needs sewing. That’s the proper way to do it. Although, come to think of it, I’ve never thought about it before. Sewing shadows, I mean. Of course, I knew it was your shadow the minute I saw it. And I said to myself, I’ll put it away for him until he comes back. He’s sure to come back.”
—Wendy to Peter, Peter Pan (1953) info
Alehop! The countdown starts
Dziga Vertov salta
Eleven months ago, the second edition of (S8) ended. In the corridors of the Ancient Prison of A Coruña, a ghostly 3D performance of the unique Zoe Beloff took us to another dimension, placing us in an impossible land trapped between the present and the past, in a visual psychophone. A singular way of putting an end to a handful of days that gave us no little supernatural experiences. We could, for instance, experience Nathaniel Dorsky’s devotional cinema: a sensation that pierced us deeply. Also, in a magical night, Guy Sherwin and Lynn Loo were the protagonists of an unforgettable encounter between performative cinema and nature. Metropolis, by Fritz Lang, was reborn with twenty extra minutes of re-found lost footage, and with the emotion of a live soundtrack played by the Orquesta Filarmónica Ciudad de Pontevedra. info