Close Up1983

After three years this film attempts yet again to deal with the problematising of filmic representation in sound and image: the overt politically-polemical soundtrack from Nicaragua must not synchronise with nor must it find an entirely separable continuum of reality away from the image sequences. Without avoiding the interrogation of narrative/anti-narrative cinematic structures (the way the images and the sounds at times hold/do not hold, or the way they attempt to force a position contradictory to any (imaginary) represented homogeneity of constructed space, time, ego, language, film) an attempted materialist use of sound and image must at the same time be an anti-individualist work. Subjectivities of sound and image, sometimes producing contradiction (between the two, and within each) must be in constant process with/against the political polemic(s): the film can not allow for a final exclusion of either. What is intended is neither some pure formal dialectic. The viewer's attempts via her/his/the cultural context of meaningmaking(political/sexual/narrative) are worked against by this film's process (or should be). The work against the capitalist patriarchal position of narrative, in other words, is (still, and in specificity) the main interest. –P. G.