Static Film

Static Film: The relationship between cinema interiors (auditoriums) and the blank cinema screen, through photography and vintage technologies. Is the absence of content upon the screen what gives the screen the presence within the photograph or is it the interiority that the screen is situated in that represents presence and absence? While exploring notions of interiority and voyeuristic portraiture in regard to presence and absence.

The relationship between the cinema auditoriums and the blank screens can be defined by firstly noting the obvious difference of space, one is filled (auditorium) the other (screen) is empty. Yet the screen remains uncluttered and free of detail, within the interior, however the blankness of the screen, the nothingness holds a certain presence within the photographs. An unrelenting barrier, that holds no content while conveying a narrative element, narrative in this instance referring to the unanswered questions that the blank screen raises.

On some level the blankness of the screen is conveyed as content, as within ‘The Picture House Series’, the blankness becomes a physical element within the photographs, a tangible object, as the photographs are tactile, allowing a physical connection to develop between the object (photograph) and viewer. However this physical element could be said to replace the absence with presence. If by removing the untouchable element of cinema screens, it is removing the absence that is felt within the photographs, if by removing that essential element of cinema magic, the content.

As an undercurrent, the surrounding of the various cinema screens included in ‘The Picture House Series’ are responsible for the presence felt within the photographs as, by their very nature, cinema auditoriums are imposing, dramatically theatrical spaces that demand unwavering attention when inside of them. The structure, architecturally speaking heightens the screens presence within the photographs as the seating rises upwards, creating a large expanse of space overhead. The seating sits in regimental rows, one after the other, then the screen is revealed to fill one wall, drafting the entire auditorium. The auditorium retreats into the background when the screen is revealed, becoming just a space in which to focus all attention onto the screen.

Commonly the blank cinema screen could be seen as dominating and overwhelming yet the camera angles in ‘The Picture House Series’, centrally and unashamedly prominent, convey an aspect of voyeurism. Voyeurism in the term of direct gaze, not sexual gratification, that is normally associated with the word voyeurism. However the photographs aren’t forced as they stand out in the open, photographing confidently and directly. The blankness of the screen holds the gaze, the same if not more some as if the screen had content projected upon it.

Is this the power of nothingness?

Does this nothingness hold power or status?

What is the difference between nothingness and emptiness? One denotes unimportance while the other denotes that whatever was important is not there anymore, possibly used up or non-existent.

When viewing ‘The Picture House Series’ photographs, the viewer would immediately be aware of notions of presence and absence, due to the emptiness of the auditorium and the presence within the photographs of the blank screen. However these awareness’s convey deeper relationships within the photographs. Notions such as narrative, content and the materiality of film and video mediums are raised. Questions arise that are relevant to film and photography, when the screen is blank, devoid of filmic (or more commonly used now, digital) content, does the screen become defunct?

Interiority becomes an integral concept between presence and absence, as interiority exists in both the auditorium and the screen itself. Meaning, the screen is in the interior of the auditorium, yet is a separate interior of its own, as the screen holds its own content, whether be it physical or metaphorical. However on another level the photograph of the cinema auditorium and the blank screen, develops a third interiority angle, as the cinema auditorium and the blank screen are enveloped or more accurately frozen within the medium of photography, creating another interior, the interior of the photograph itself.

Relating back to notions of presence and absence, the photograph creates a physical presence, as the cinema auditorium and blank screen then become objects of there own. The photographs becoming objects heighten the concept of voyeuristic portraiture, as a voyeuristic tendency is to separate beings’ into belongings. ‘The Picture House Series’ communicate voyeuristic tendencies by allowing a paradox with portraiture to be created as, one focuses on the hidden gaze while the other acknowledges the gaze.

‘The Picture House Series’ is stated as portraiture due to the traditional technical elements that arise within the photographs themselves. The camera position; centrally placed focuses on the subject, sitting centre of frame. The details are captured that render each auditorium unique from each other, while still capturing each imperfection and flaw, excluding nothing, drawing links to voyeuristic tendencies which differ yet carry similarities to portraiture.