George Lucas, THX 1138, (1971)
Jørgen Leth, The Perfect, Human, 1968
There's a suspicion with
theoretical work that it is situated toward the future, but it can essentially
be someplace else, a parallel world to our own rather than a conceivable
future. Once you drop a long-term viewpoint of speculative work you immediately
broaden the scope for aesthetic experimentation and innovative depiction of
elective substances. One of the most well-known cinematic nonplaces is the
tremendous, white space of George Lucas’s THX 1138 (1971). It is the model of
future space or nonplace. But white does not continuously need to flag the long
run. It can moreover propose we are watching a few kinds of try; possibly
indeed a thought explore. In Jørgen Leth’s test film The Culminate Human
(1967), a man, lady, and sometimes both associated with essential props to
illustrate crucial human exercises such as eating, resting, kissing. In this
film, the empty white space is a nonplace instead of a representation of the
future. In each case, the chief makes no endeavor to build a detailed world,
but instep gives a clear canvas, a “white box” onto and into which viewers can
extend their claim thoughts.
They both have a definition of
non-place. The definition of modern places in the super modernity is like what Marc
Augé says in his book. And I am using the same definition of super modernity in
the center of my recent work (Table). The emptiness in the center of my work is
in the contrast with the accumulation of images around the center. I am trying
to boost the notion of documentary photography. The chronology by images in
news and media has been affected by the avatar and simulation. Using images as
an object for controlling society leads to a new model of fraud. This kind of
method for historiography emerges a new version of documentation according to
the taste and not reality.
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