I often find myself going back to the same old things or returning to the same old places. Those are moments I want to look back upon, to make a round-up for myself. To get away from my life for just a while and consider things. I apparently need such lieux de mémoire and recollection objects to get myself into a nostalgic state. At the same time, I enjoy creating such objects and places for myself, i.e. ascribing a personal, timeless value to banal things and places. But the choice of the places and objects seems to be arbitrary. Why these objects and not those places? I cannot explain. But precisely this inexplicability fascinates me not only as a human being, but also as a maker of images. What makes an image iconic or representative for a (collective) void? This is what I want to find out in my research. Not via a theoretical approach, but via the making (and experiencing) of images of recollection. The text 'Analogous home video as an object of remembrance' is a personal reflections upon this.
'Analogous home video as an object of remembrance' is a reflection within the framework of an investigation into analogous home video. How is this domestic film practice employed to represent memory and lieux de mémoire? How can home video be applied within an artistic practice?
The film 'Son' that is referred to in this text tries to answer these questions. Each film in my research is an investigation into a line of approach (documentary, video diary, appropriation, refilming, …) and the ‘readability’ of this form.
In other words: how to visualize a memory in an intensely felt nostalgic and authentic way (such as home video) that is at the same time universal for a third party?
'Son' was screened and evaluated by colleagues, filmmakers and academics in an informal setting. The film was the basis for an open discussion about narrativity vs registration, anti-symbolic approach, the use of 'flatness' and contemporary texture. In reaction on the discussion, I remade 'Son'. This remake is not a film, it's a brainstorm.
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