In an attempt to discover the equivalent of music in the cinema, British filmmaker Jayne Parker has produced a series of works that are not so much documentaries as visual studies based on a piece of music and the gestures of the performers who play it on screen. We’ll see some of them in this session.
In recent years, music has become increasingly important in Jayne Parker’s work, introducing itself materially among her images. While on the one hand the filmmaker has acquired an acute perception of the performance and dynamics of musical interpretation as a physical fact thanks to cinema, offering us incredible images, music has led her to think about the film structure in a more formal, abstract way. In fact, we find correspondences between the way the music is constructed and the way the filmmaker seeks to express herself through film.
The series of works selected present musical compositions by Stefan Wolpe, Volker Heyn, Georges Aperghis, Sylvano Bussotti, Laurence Crane and Oliver Messiaen, performed by the pianist Katharina Wolpe and celloist Anton Lukoszevieze, regular collaborators of the filmmaker.
The session will begin with Amaryllis, a brief study of the interior of flowers, filmed in 16mm, highlighting the presence of other elements and objects that amplify the meaning of music. In addition to working the image and sound on the basis of the encounter of the body of the interpreters with their respective instruments, we see how Parker introduces into these films elements of still life (flowers, plants, animals and other objects) that open up the metaphorical space and meaning of the compositions.
- Amaryllis – a study, 2020, 7’
- Stationary Music, 2005, 15’ (OV with Catalan subtitles)
- The Oblique, 2018, 11’
- Blues in B-Flat, 2000, 8’
- Trilogy – Kettles Yard, 2008, 25’
- Catalogue of Birds Book 3, 2006, 16’
Digital screening. Copies courtesy of LUX.