Friday, 16 October 2009
Martin Arnold cuts, extends and reverses found films; with these obsessive and repetitive techniques Martin Arnold causes hidden narratives and subtexts to be read from the films.
The two examples I briefly viewed were Passage à l'acte (1993) where a few succinct clips from Robbert Mulligan's To Kill a Mocking Bird (1962) have been revamped in the Martin Arnold style to generate an uncanny view of a family held up by aggression and thick tension. Alone. Life Wastes Andy Hardy (1998) in which Martin Arnold and compiled clips from various monotonous Andy Hardy films and constructs a narrative heavily influenced by Oedipus complex. By using harmless scenes with Andy Hardy's character and his mother; Martin Arnold's editing has caused them to appear incredibly obscene and lust driven.
In the example above, I believe this particular scene works well due to the music in the background; because when reversed and repeated I can't help but be overwhelmed by the intensity from the music mirroring the reversing of the visual.
But does he search for these underlying narratives that seem hidden to initial viewer or simply create them?