Not exact matches
Here also, Bratt says he
felt a part of «a new cinematic
movement» filming Abandon (referring
mostly to the brilliant Libatique), and a peculiarly excitable Gaghan tells an anecdote regarding his dog's cameo that perhaps ought to have finished with someone throwing a butterfly net over him.
Mostly, though, the surveillance camera - style footage and the sense of being an unseen observer of other people's
movements make me think of the early days of the «reality» TV show Big Brother (the show's UK debut was in 2000) and, in particular, the uneasy
feeling that to watch meant being complicit in the game of control and manipulation playing out on the screen.
Despite being comprised of reproductions, the work
feels completely in line with Cunningham's Events, which he described as being «comprised of dances from the repertory, or parts of them, as well as
movement sequences made particularly for them, are
mostly given in non-proscenium spaces.»