WARNING: This film contains flashing images.
“Psycho” (1960) by Alfred Hitchcock and “Psycho” (1998) by Gus Van Sant collide in a frame-by-frame editing that assaults the eyeballs and assassinates the normative consciousness of the viewer. The footage seem to penetrate us, as though it was a knife or a threatening phantasmagorical entity. The fast succession of single frames and extremely short audio files produce afterimages and aftersounds—entoptic and endaural phenomena—creating a film that does not happen on the screen, but in our brain cells.
*Just a technical note for those interested on how things are made, this film consist just of both shower scenes fragmented in frames; the odd frames are the shower scene from the Hitchcock movie and the even frames are the shower scene from the Van Sant remake. No image or sound effects of any kind, just the frames. Sense-destructive cinema, enjoy! :)
“Far more creativity, today, goes into the marketing of products than into the products themselves, athletic shoes or feature films.”
Pattern Recognition, William Gibson.
“But this will be the end of our civilisation, when people will not work because work has become so intolerable to their senses, it nauseates them too much, they would rather starve. Then we shall see the hammer used only for smashing, then we shall see it. Yet here we are—we have the opportunity to make beautiful factories, beautiful machine-houses—we have the opportunity—”
Women in Love (1920), D.H. Lawrence.
Lots of noise.
Noise commencing in my ears.
So huge a noise.
A noise like thunder.
Din and noise.
Noise without noise.
The noise of conflict.
The loudness of that noise.
“‘No man,’ said Birkin, ‘cuts another man’s throat unless he wants to cut it, and unless the other man wants it cut. This is a complete truth. It takes two people to make a murderer: a murder and a murderee. And a murderee is a man who is murderable. And a man who is murderable is a man who in a profound if hidden lust desires to be murdered.'”
Women in Love, D. H. Lawrence.