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  1. superfícies - o mata-mosca (mata-moscas) (Alberte Pagán, 2020)

    Surfaces – The Fly Swatter (flyswatter). The Fly trapped in the flyswatter. The film’s sprocket holes disappear into the holes of the flyswatter.

    more info: albertepagan.eu/cinema/filmografia/superficies-ii/#matamosca

  2. Dolores (Alberte Pagán, 2021)

    Dolores is the fifth installment of my Film Studies (“study” not as experimental investigation but as critical analysis). After six decades Stanley Kubrick’s Lolita (1962) has grown up and become Dolores – we can’t see them (character and film) with the same eyes anymore. The digital glitches (figures from one shot enter the previous one to metamorphose it) unveil until now hidden connections between the characters.

    Together with A Fundamental Error and Night of Hoes, Dolores is at the same time part of my glitch trilogy. It shares with them an investigation on the materiality of digital cinema, although in this case the manipulation of the hexadecimal code was not done by me but came to me as a ready made. Dolores is found (not looked for) footage, a corrupted digital file my player was unable to play fluidly. I just improvised a live melody, as a jazz musician, moving the film back and forth while screen-capturing the resulting images.

    more info: albertepagan.eu/cinema/filmografia/dolores/

  3. Limites - Parte I (Alberte Pagán, 2021)

    “The limits of my language mean the limits of my world.” (Wittgenstein)

    Limits is an antispeciesist look at the non-human animal world. They look back at us. The limits of the frame and duration fight the metonymization of the image. The animal stops being a “cat” (symbol, metonymy) to become a sentient being. The speciesist limits (“cat” as a generic reference) clash against the limits between portraits (individualization of the living being).

    more info: albertepagan.eu/cinema/filmografia/limites/