Meet Me At The Horizon

English Title: Meet Me At The Horizon

Country of Origin: Australia

Director: Eve Gordon, Sam Hamilton

Runtime: 16 minutes

Genre: Experimental

Year: 2007

Volume: Australasian

Other Information:
Eve Gordon and Sam Hamilton have created a series of films, film/performance and expanded cinema events that address processes of cinema, employing antique technologies refigured in new and vibrant form, often as silent cinema with live music and performers. Gordon and Hamilton assert an interest in cinema,

As it once was in its fragile yet ecstatic beginning, an explorative realm for bold new ideas and experimental modes of experience. (41st Auckland International Film Festival Catalogue, 2009: 45)


Synopsis:
Meet Me At The Horizon (approximately 16 minutes) opened on an image of a Hindu statuette which was subjected to a variety of live image manipulations. These included the diffuse beam of a backwards-facing film projector being played back across the screen as a diaphanous floating abstraction. The image split as Gordon wielded a hand-held lens in front of the projector lens. This effect caused the projected image to fragment, distort and repeat itself in echoes across the screen.

A text then played across various parts of a split screen, made up of images from up to three projectors, sometimes playing one at a time, or two in unison, or all three together. The printed text, like surrealistic silent movie inter-titles, repeatedly played across the screen, shifting from frame to frame as a disembodied electronic voice laboured to pronounce the text over and over again.

The unique nature of cinema was further highlighted by the simultaneous projection of strips of dirtied and scratched coloured film leader as flicker films (one black frame alternating with one white frame phased together in oscillating patterns) from one, two, and/or three projectors, whose beams merged, extended, and contracted through various aspect ratios from 4.3 to wide-screen formats.


Critique:

Twentieth-century painters and sculptors revealed process in the visual arts, showing them to be more than illustrative narratives. Composers from Edgar Varèse to Terry Riley and Charlemagne Palestine showed that there is more to music than melody. Writers such as James Joyce and Gertrude Stein highlighted language over story. So Gordon and Hamilton address the photo-mechanical nature of cinema, at times almost as alchemists, in medium-specific work that reveals both how cinematic images are constructed as well as how we may see the world anew through cinema, if we are willing to look at the processes through which cinematic images and meaning arrive on the screen.

Author of this review: Martin Rumsby