Saint Ignatius' College, Riverview
An aggressive, palpitating epic in the visual and audible styles inherent in the veneer, rhythms and textures of late silent cinema. For me, this is a sycophantic satire of the silent films of Soviet virtuosos Sergei Eisenstein and Dziga Vertov, as well as the products of German Expressionism belonging to FW Murnau and Fritz Lang. For this effect I’ve endeavoured to emulate the pounding momentum and lurching image of black and white silent cinema, as well as incorporating the philosophy of 'intellectual montage’: the incessant barrage of rapid and surreal juxtapositions oblige the spectator to unhinge their melodramatic imagination and fill in the blanks. The splintered, allegorical narrative also makes certain that the teasing, allegorical implications remain in the forefront. Essentially, this film assaults as an irksome call to arms for an audience to recognise the redeeming value and power of art, intrinsic in apparently outmoded forms’ aesthetics (such as those of hiccupping silent films, which hold so much value for me). It questions the notion of envy when foisted on haggard superficialities of the modern world and therefore inculcates their superfluity.