Duplicity III

The innate power of images, performance, iconography is pushed to the extremes with Duplicity 3. We are guilty of producing and falling for this power for it is one of our many unspoken languages, childish deadly rules and societal outlining. We all fell under the spell of what we wear, how we behave, how we act, how we present, how we react, how we do make up, how we adjust, sometimes in how we expect others especially children to do the same by us. The only place where we can fully truly forget that exterior or atleast one of them is within the darkness of the cinema room yet here Brakhage’s film is like somebody suddenly turning on a flashlight in the middle of the cinema, shining it on everybody including you and just staring. You’re at the cinema, why do you have your make up on? Why do you wear to be attractive? Why for nobody can see you, not here but you believe you are seen, are you lonely or are you absorbed, either way you are here to see yourself on the screen but truth be told, you only see what you think you see. When you see a animal how much do you really see them and how much do you just see what you believe to be animals? In the end we are still kids, sight and the impression of seeing is a doll that never leaves us.

The innate power of images, performance, iconography is pushed to the extremes with Duplicity 3. We are guilty of producing and falling for this power for it is one of our many unspoken languages, childish deadly rules and societal outlining. We all fell under the spell of what we wear, how we behave, how we act, how we present, how we react, how we do make up, how we adjust, sometimes in how we expect others especially children to do the same by us. The only place where we can fully truly forget that exterior or atleast one of them is within the darkness of the cinema room yet here Brakhage’s film is like somebody suddenly turning on a flashlight in the middle of the cinema, shining it on everybody including you and just staring. You’re at the cinema, why do you have your make up on? Why do you wear to be attractive? Why for nobody can see you, not here but you believe you are seen, are you lonely or are you absorbed, either way you are here to see yourself on the screen but truth be told, you only see what you think you see. When you see a animal how much do you really see them and how much do you just see what you believe to be animals? In the end we are still kids, sight and the impression of seeing is a doll that never leaves us.

The innate power of images, performance, iconography is pushed to the extremes with Duplicity 3. We are guilty of producing and falling for this power for it is one of our many unspoken languages, childish deadly rules and societal outlining. We all fell under the spell of what we wear, how we behave, how we act, how we present, how we react, how we do make up, how we adjust, sometimes in how we expect others especially children to do the same by us. The only place where we can fully truly forget that exterior or atleast one of them is within the darkness of the cinema room yet here Brakhage’s film is like somebody suddenly turning on a flashlight in the middle of the cinema, shining it on everybody including you and just staring. You’re at the cinema, why do you have your make up on? Why do you wear to be attractive? Why for nobody can see you, not here but you believe you are seen, are you lonely or are you absorbed, either way you are here to see yourself on the screen but truth be told, you only see what you think you see. When you see a animal how much do you really see them and how much do you just see what you believe to be animals? In the end we are still kids, sight and the impression of seeing is a doll that never leaves us.

The innate power of images, performance, iconography is pushed to the extremes with Duplicity 3. We are guilty of producing and falling for this power for it is one of our many unspoken languages, childish deadly rules and societal outlining. We all fell under the spell of what we wear, how we behave, how we act, how we present, how we react, how we do make up, how we adjust, sometimes in how we expect others especially children to do the same by us. The only place where we can fully truly forget that exterior or atleast one of them is within the darkness of the cinema room yet here Brakhage’s film is like somebody suddenly turning on a flashlight in the middle of the cinema, shining it on everybody including you and just staring. You’re at the cinema, why do you have your make up on? Why do you wear to be attractive? Why for nobody can see you, not here but you believe you are seen, are you lonely or are you absorbed, either way you are here to see yourself on the screen but truth be told, you only see what you think you see. When you see a animal how much do you really see them and how much do you just see what you believe to be animals? In the end we are still kids, sight and the impression of seeing is a doll that never leaves us.