Traumatograph

Gioli's popular technique of axial division of the image in the 1970s is once again used here, but on multiple levels: 1) Spatial and object-oriented - the car disappears into itself as a reference to a car accident. 2) Splitting is directly applied to the characters, often accompanied by color inversion through a negative - this splits the character's personality, making them inconsistent with themselves, and even the viewer cannot be sure of their meaning, neither in space nor in terms of their intentions/character (they can therefore be associated with multiple meanings). 3) Image splitting brings the synchronous connection of two distinct events and spaces - this can substitute not only the classical cut but also establish new connections between previously disjointed parts of the film (the question of the characters' responsibility and their relationship/adequacy to what is depicted). /// In conjunction with the repetition of film sequences, especially the key car accidents, an interesting comparison can be made with Pelechian's "distance montage." (2015-11-01)