Sound, time, picture, context.
Frampton’s experimental narrative film is divided into three parts, each one building upon the last in ways that are disconnected and disjointed, unable to decipher until its end. We start trapped in conversation with a man in the dead hours of night, unable to leave. The audio of said main is silent and instead we only get a ringing telephone, perhaps the only sound one would be able to focus on other than the dreadful conversation. The second part, zooming through the streets of New York, the only sound being a man speaking in German. Finally, a fish in a tank in the sand, waves of water engulfing the tank. A fish trapped in water trapped in a bigger body of water. This final part is completely silent and what weaves all three parts together, examining film as experience and also as captivator. The creator holds the context, manipulates the image, warps the sound. We are the goldfish.
Sound, time, picture, context.
Frampton’s experimental narrative film is divided into three parts, each one building upon the last in ways that are disconnected and disjointed, unable to decipher until its end. We start trapped in conversation with a man in the dead hours of night, unable to leave. The audio of said main is silent and instead we only get a ringing telephone, perhaps the only sound one would be able to focus on other than the dreadful conversation. The second part, zooming through the streets of New York, the only sound being a man speaking in German. Finally, a fish in a tank in the sand, waves of water engulfing the tank. A fish trapped in water trapped in a bigger body of water. This final part is completely silent and what weaves all three parts together, examining film as experience and also as captivator. The creator holds the context, manipulates the image, warps the sound. We are the goldfish.
