In the exhibition version of the film shudder, I decided to embody the space into the film, by projecting it into a corner and on the floor. Doing so emphasizes the breakdown of movement, incomplete journeys and gives a three-dimensional quality to the film. Including the floor in the projection effectively joins the viewer with the film. Moving figures in the film appear to be crossing the floor in front of the viewer.
When shudder ended, the second film — a present, intimate — began but behind the viewer. If someone entered the space during shudder, s/he would be greeted with a very dark room, the dimensions of which would not be immediately discernible. When the other film began, its brightness had the effect of lighting the room suddenly, creating an element of surprise. To see the film, a viewer had to turn 180 degrees. I was able to create a quasi installation space without actually placing any objects in the screening room itself.
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