Part 6 Time and again, cinema seems drawn to Polaroid photography, often in unusual and tangential ways. Antonioni’s film, even if ultimately about 35mm photography, is not the only one to explore the strangely tangible qualities of space within photography (or the things contained within a photograph beyond the image). When looking at Polaroids, we perceive them spatially. By that I mean we have the … Continue reading Presence, or Polaroid Ghosts (Part 7)
Part 5 In the Park I often find myself asking a question. ‘What film would I live in if I could?’ It is a question that belies my own rather childish need to escape reality. But, if I could live in a piece of film, it would probably be Michelangelo Antonioni’s celebrated swinging cult classic, Blowup (1966). It is more than a little questionable as … Continue reading Presence, or Polaroid Ghosts (Part 6)
Part 4 The French philosopher René Descartes believed that his recollections were evidence he was not dreaming. He knew he was not asleep and merely creating the world in his mind’s eye because he was surrounded by things possessing a context that he was aware of personally. ‘But when I perceive things of which I clearly know both the place they come from and that … Continue reading Presence, or Polaroid Ghosts (Part 5)
Part 3 Journeying Maps A Polaroid is a map of sorts. It covers such a small personal realm within its cartography that the only area it helps to locate is arguably beyond the physical world and within the memory. It shows the way back to the spaces of our past. The image of a Polaroid may fade in comparison to our experiences but it is … Continue reading Presence, or Polaroid Ghosts (Part 4)
Part 2 ‘We were here, too, once and please take care of us for a while.’ ‘With digital technology,’ wrote memoirist Annie Ernaux, ‘we drained reality dry.’ As digital creatures, we carry out an endless taxidermy upon our experiences in the ever frenzied pursuit of content. Ernaux’s poignant criticism echoes Susan Sontag’s earlier weariness at what cameras had done to our ability to simply live, … Continue reading Presence, or Polaroid Ghosts (Part 3)
Part 1 Histories Polaroids are shackled to nostalgia. Its aesthetic perfectly embodies the past tense, especially in the cold light of today’s digital world. The presence captured, however, makes even the oldest photos whisper of the living moment as it happened. As an object, they are driven by this contradiction. Being so close to our lives charges these images with supernatural static. But, more importantly, … Continue reading Presence, or Polaroid Ghosts (Part 2)
‘There is a spectre inside every photograph.’ – Deborah Levy, The Man Who Saw Everything Haunting I am haunted by Polaroids. After I have taken one, I feel I have bottled something. Under my bed is a box in which I store them. It is sealed tight with a stone atop to keep the spirits locked inside. At night, I swear I sometimes hear the … Continue reading Presence, or Polaroid Ghosts (Part 1)
I was in a cafe in the Alésia area of Paris in 2017 trading horror stories about school days with the writer Édouard Louis when the novel potential of some of my own childhood memories became apparent. I had met Édouard through a mutual producer and we were discussing film projects that were never to materialise. Having read The End of Eddy and loved it, … Continue reading Nettles (2022, Influx Press) – Preview
Some directors are very natural auteurs. Their films always seemingly a product of their own conception which seems unavoidable to visually mistake. Viewing all of Andrei Tarkovsky’s films, this is perhaps clearer to see than in the case of most other directors. His distinctive visual style, which morphs into several similar variations, is instantly recognisable. Dripping with faded lights, distinct textures and elemental forces, his … Continue reading Andrei Tarkovsky – Polaroids, Mementos and Time
Celluloid Wicker Man 