Framing the invisible: The medium of film as a form of expression for inner existential and transformation states
Cinema synthesises many art forms into one. The seductive visible and audible world that is created (the “body” of the film) means that it often
confusingly resembles material reality. But cinema's secret strength lies in its ability to describe the secret machinery of the mind, and by evoking a feeling of recognition of the inner self large as life on the
screen, it may perhaps even have the power to remind us that we have a soul.
“Orlando” was a meditation on impermanence and immortality, via the narrative of someone who lives for four hundred years through innumerable
personal and political changes.
“The Tango Lesson” took as its starting point the idea that social dancing is essentially a philosophical enquiry into the nature of the eternal
other, and that the tango itself is, at its heart, a meditation for two.
“The Man Who Cried” a story about loss and survival, is set in the years leading up to the 2nd World War. We all live in the long shadow cast by the
events of this time. There is much to cry about.
Using examples from this trilogy of films, Sally Potter will analyse the ways in which she has tried to use cinema to conjure elusive inner states
of being and experience. The invisible is framed.