Home Stories (1990)
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Home Stories影片简介
"A collage of Hollywood melodramas of the 1950s and 1960s, filmed directly from the television set.
The constantly recurring motifs of suspense and clichés of plot make it possible to move seamlessly among scenes fr...展开om different films with different protagonists. In the montage, the movements and gestures of the actresses – stars like Lana Turner, Tippi Hedren, and Grace Kelly – seem choreographed and planned for each other. The musical setting (Dirk Sch?fer) supports this through connected sound passages that are experienced as stereotypes of the genre. The collaboration of sound and images culminates in the dramatic shift from the familiar to the frightening and shows how women become the victims of the voyeuristic cinematic gaze".
”In HOME STORIES Müller transforms linear, syntagmatic events into a world of purified emotion expressed in closely related, paradigmatic elements, condensing them into a grand poem of fear."
(Peter Tscherkassky, Mostra Internazionale del Nuovo Cinema, Pesaro, cat., 2000)
“HOME STORIES, in its insistence upon mirroring and self-reflexivity, reveals its source of terror as not somehing inherently ‘feminine‘, but rather as the construct of femininity created by patriarchal modes of representation and held up as mirrors to women in texts designed for female consumption. Müller’s redesigned text transforms these confined/confining depictions of femininity, and after building to an intertextual frenzy, frees the representations both in terms of the narrative and in terms of their cultural usage.“
(Robert Cagle, Claustrophobia, ex.cat., Birmingham 1998)
The constantly recurring motifs of suspense and clichés of plot make it possible to move seamlessly among scenes fr...展开om different films with different protagonists. In the montage, the movements and gestures of the actresses – stars like Lana Turner, Tippi Hedren, and Grace Kelly – seem choreographed and planned for each other. The musical setting (Dirk Sch?fer) supports this through connected sound passages that are experienced as stereotypes of the genre. The collaboration of sound and images culminates in the dramatic shift from the familiar to the frightening and shows how women become the victims of the voyeuristic cinematic gaze".
”In HOME STORIES Müller transforms linear, syntagmatic events into a world of purified emotion expressed in closely related, paradigmatic elements, condensing them into a grand poem of fear."
(Peter Tscherkassky, Mostra Internazionale del Nuovo Cinema, Pesaro, cat., 2000)
“HOME STORIES, in its insistence upon mirroring and self-reflexivity, reveals its source of terror as not somehing inherently ‘feminine‘, but rather as the construct of femininity created by patriarchal modes of representation and held up as mirrors to women in texts designed for female consumption. Müller’s redesigned text transforms these confined/confining depictions of femininity, and after building to an intertextual frenzy, frees the representations both in terms of the narrative and in terms of their cultural usage.“
(Robert Cagle, Claustrophobia, ex.cat., Birmingham 1998)
