Venado

Solares

7

IMAGEN, bálsamo del fuego, intensa armonía visible. IMÁGENES, humedades distintas fluyen sobre lo que entra en el mismo río, lo sonoro se esparce y… se junta… lo visible se reúne y se separa y… montaje que acerca y tensa la distancia, armonías audiovisibles afirmando la existencia del movimiento. Revoluciones del fuego: exhalación diamantina nunca sumergiéndose dos veces en el mismo río, ahí el INTERVALO gobierna todas las cosas. RAYO OCULAR, nuevo cada día.

Colectivo Los Ingrávidos

IMAGE, balsam of fire, intense visible harmony. IMAGES, different humidities flow over what enters the same river, the sound spreads and… comes together… the visible joins and separates and… montage that zooms in and tautens the distance, audio-visual harmonies affirming the existence of movement. Revolutions of fire: diamantine exhalation never immersing itself twice in the same river, there INTERVAL governs all things. OCULAR RAY, new every day.

by Colectivo Los Ingrávidos

Cine-ethnography

When I filmed the second ritual, I myself was in a sort of trance that I called the “cine-trance,” the creative state, which allowed me to follow very closely the person who was about to be initiated.  The camera played the role of ritual object.  The camera becomes a magic object that can unleash or accelerate the phenomena of possession because it leads the filmer into paths he would never have dared to take if he did not have it in front of him, guiding him to something that we scarcely understand: cinematographic creativity … It seemed to me in particular that the individual observer who confronted the phenomena of possession, of magic and sorcery, merited critical examination himself…

In this universe of fragile mirrors, next to men or women, who can with one clumsy motion unleash or stop the trance, the presence of the observer cannot be neutral.  Whether he wants to or not, he himself is integrated into the general movement, and his slightest actions are interpreted with reference to this particular system of thought.  All the people I film today are familiar with the camera and know what it is capable of seeing and hearing.  They have also seen successive screenings of the films in the course of their editing.  In fact, they react to this art of visual and sound reflection in the same way they react during the public art of possession or the private art of magic and sorcery.

by Jean Rouch