Cinema is back. Here, nine photographers explore the art of film-making
I first thought of making a video about doors while working on my 24-hour installation “The Clock”, a sequence of film fragments showing clocks that flowed in real time. I was searching for “editing points” that would allow me to move from one minute to the next, one film excerpt to another. I noticed that a door scene offered an interesting transitional moment.
These editing techniques form the basis of cinematography. They are the grammar of cinema. Movies are made from thousands of fragments, edited together to create an illusion of continuity, a realistic flow and, ultimately, a narrative., which I saw as an art student in the late 1970s. She used jump cuts to show someone’s feet while they were walking, but each step was taken on a different surface: carpet, concrete, grass, sand.
Doors are fascinating objects, rich with symbolism. They can hide or reveal, express opposites of light or dark, exterior or interior, open or closed. This richness is the reason film-makers love them. Making this video, I realised that even though we constantly encounter doors, we don’t think much about them. Try to remember all the doors you’ve gone through today. We are constantly pushing and pulling them, entering and exiting architectural spaces. They are commonplace, yet unfamiliar.
As film magazine editor Haery Kim observes in an essay accompanying Chan-wook’s photographs, “here is a storyteller freed from the confinements of storytelling”.‘Shirin, 100 Portraits’, 2007 © Gelareh Kiazand‘Shirin, 100 Portraits’, 2007
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