From Void to Memory by Jorge Suárez-Quiñones
<This audiovisual essay proposes an understanding of cinema as a transformative device able to affect a series of re-signifying operations, involving political and historical re-examination as well as shifts in the subjective experience of time-space.
<The essay is focused on the transformation that takes place in the viewer’s perception of a specific kind of cinematic entity: filmed void spaces, and how they may turn out to be read as places of memory.
<Cinema has the possibility of qualifying spaces, materializing information and connotations that, at first sight, seem invisible. This potentiality of cinema unveils the paradoxical complexity of filmed void spaces: something simultaneously is and is no longer there.
Late Spring (Yasujiro Ozu, 1949)
The Quiet Man (John Ford, 1952)
Tokyo Story (Yasujiro Ozu, 1953)
An Autumn Afternoon (Yasujiro Ozu, 1962)
Fortini/Cani (Danièle Huillet & Jean-Marie Straub, 1976)
One Way Boogie Woogi (James Benning, 1977)
Too Early, Too Late (Danièle Huillet & Jean-Marie Straub, 1982)
Innisfree (José Luis Guerin, 1990)
Sud (Chantal Akerman, 1999)
One Way Boogie Woogie / 27 Years Later (James Benning, 2005)
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